2 comments about Christmas With Leontyne Price (Dig).

1. This Christmas is THE Cd to own above all others, as most anyone who's heard it will tell you - critics worldwide included.
   
   Without a doubt, the singing of soprano Leontyne Price -"La Splendissima" - is incomparable here. There has never been a soprano with a timbre so incredibly distinctive & beautiful that also infuses her music with a rare humanity and humility. Every Christmas is inauguarated with this recording at my home, and those fortunate enough to receive this CD as a gift from me, are infinitely grateful & astounded by Ms. Price's gifts.(especially those not inclined to Opera singers!)
   Her collaboration here with Maestro Von Karajan is just as rewarding as all of the others including "Carmen", "Tosca", the Verdi "Requiem"(VHS/DVD), and a legendary "Il Trovatore". These (2) musical 'giants' seem to derive inspiration from each other that ignites a passionate response from each as well. Nowhere is this more evident than in their now 'classic' rendition of the Schubert "Ave Maria". Listen to the ethereal, voice-like intro of the orchestral strings that precedes Ms. Price's celestial vocalism. It's magical! The programme is diverse and deeply satisfying for the Season. Miss Price's singing, whether in this rep, singing Spirituals, the recital stage, or Grand Opera, is almost always an inveterately soulful experience. It is no less so here. Celebrate the Season (any Season you like) with "La Splendissima" Leontyne Price singing classical 'Soul' music at Christmas. Get this!!!!!!!! Note: This particular packaging includes the original picture and liner notes from the original 1960 Decca release. Its so nostalgic, and makes this collection all the more treasurable. Enjoy.



2. The group of bored fifth grade boys are huddled into the public school library. The weeks drag on before we break for the holidays, of spending time at home with our families and the anticipated loot we'll get for Christmas. The librarian/teacher insists on playing Christmas music on the record player. We sit and giggle about the long-haired musical arrangements and the high soprano voice singing. The librarian tells us all to shut up and listen "to one of the greatest voices in the world". We do. And at that tender age I first heard the voice of Leontyne Price and this beautiful Christmas album that has been part of my holiday music ever since.
   
   Nothing is amiss in this collection. The Price instrument was young and spontaneous, the arrangements are spectacular and von Karajan is (for once) taking a back seat to his soloist. Thank you, Mrs. Farrell, for the introduction to this wonderful album. All I have to do is put this CD on and I'm transferred back to the public school library, my classmates eagerly waiting for Christmas to come, and to my family and Christmas home in Chicago.

5 comments about Vision: The Music of Hildegard von Bingen.

1. Richard Souther's electronic, sometimes techno arrangement/accompaniment of Hildegard's pure and intense melodies is an experiment that works well for certain pieces (Virga ac Diadema, O Frondens Virga, O Euchari in Leta Via) but fails for others.
   
   In any case the voice and performance of Emily Van Evera is very uplifting, even if the final product is not exactly what she was expecting.



2. If Hildegard Von Bingen wrote music for a hip lounge, this would be it. Its amazing that music this old ( from the 1100's) can sound so wonderful and modern with the addition of modern instruments. It really energizes the old music I have couple of recordings of Hildegard's music with out the addition of lounge, and this wonderfully differant. Lounge or medieval, Hildegard is always wonderful.



3. This cd is one of my favorites at this moment, I would definetely recomend this cd to someone who is doing their spiritual work, trying to go to the next level, because it definetely raises your awareness, your vibration/consciousness. This music promotes presence, if you get out of presence while listening to this music, it will bring you to presence, several times during this cd. This music awakens appretiation and Love for the Divine Mother and helps us align with Christ Conciousness! This work feels Divinely inspired, it is awesome to witness how somebody that lived almost a thousand years ago has managed to work toguether with the people who did this wonderful work of art and Love! The musical notes transport me to a spiritual, angelical realm and I have felt Hildegard's presence often since I've been listening to this cd!
   You can listen to the sampler amazon provides for a taste of it!!!! Namaste!!!



4. 1. This work is very unigue, it has the very unique mix of the ancient and the new and believe me it works!
   2. This is not something that one can use in contemplative meditation. The words and compositions are St.Hildegard's but the music is very modern yet enjoyable. A very innovative work....
   3. The idea is based on Hildegard's visions. Though her visions occured some 700 years ago it was the future she saw and hence the music is futuristic for her yet profoundly appealing to us.
   5. If too much of classical mono/polyphonic singing gets to you then put this one on..... its like the little cucumber rolls that are served with sushi....freshens you a lot!



5. This CD isn't quite the shining example of Hildegard's music, but it isn't dissapointing either. The new-agey music and the chanting go well together, but at times the mix is a little akward, and it is those moments when it seems that the vocals are just stamped on top of the music that takes away from this album. Otherwise, the music is pretty rich and conjures epic and heavenly images. I'd have to side with the 'purists' on this one: if you're a stickler for authentic sounding Hildegard music, go for the other albums such as Luminous Spirit because this one might come across as a little weird.

1 comments about Brahms: Music for Two Pianos.

1. There are those who carry unmerited disdain for the reduction of orchestral or quartet music to the piano state. Many feel this is beyond any composer's wishes - to have orchestral, fluid colors and nuances be relegated to the intrinsically percussive reproduction on the keyboard. But in fact, many composers wrote both one piano/4 hands and two piano versions of their favorite works, often performing them with friends during their lifetimes - Stravinsky, Rachmaninoff, Ravel to mention only a few.
   
   This recording is a brilliant clarion call for such piano reduction performances. While everyone knows Brahms wrote 4 hand piano accompaniments for such works as his 'Liebeslieder', these two works here played with the full spectrum of intensity, suavity, clarity, percussive brilliance and gentle caressing by Emanuel Ax and Yefim Bronfman are likely to be surprises to the listener. VARIATIONS ON A THEME OF HAYDN is a standard in the orchestral repertoire and here placing these creative variations within the keyboard domains of Ax and Bronfman makes them sing with a completely new voice. Much the same can be said of the more elegant Piano Sonata in F Minor. What began as a solo piano work passed through the stage of a work for string quintet and here is presented in the two piano variation, a work of great beauty and expressivity.
   
   Ax and Bronfman are so in tune with each other's dissimilar approach to the keyboard that the result of their collaboration is a vastly enhanced experience for the listener: compare the earlier Rachmaninoff 'Symphonic Dances' and Suites for 2 Pianos' recorded in 2001. Now the two pianists perform these works (and other works which we can only hope they will record!) on the stages of the orchestral halls around the world: their recent appearance in the Los Angeles Disney Hall was a sonic revelation. Highly recommended. Grady Harp, March 05

2 comments about Karl Jenkins: Stabat Mater.

1. There are religious texts set to music for choir and orchestra that outrank Jenkins's "Stabat Mater", but for moments of orchestral and choral effectiveness, the Jenkins is most commendable. It is always listenable and often moving. There is a sameness to the listening experience as the music evolves... Jenkins seems more intent of creating an effect than in giving this ancient poem a new reading or a new life. I do admire the work, however, and would pay well to hear it in live concert should that opportunity arise. In the meantime, this recording a good value for the dollar.



2. I'm listening to this right now on XM Vox. It's powerful. It's a delight.

5 comments about Beethoven: Favourite Piano Sonatas.

1. There is some wonderful Beethoven playing to be heard in this set. In matters of light and shade, expansive tempos and luminious piano poetics, Brendel has got what it takes. His best performances here are clearly the Pastoral, the Tempest and perhaps the Les Adieux. The Pastoral especially requires patience and imagination which Brendel delivers. The famous Tempest finale is not rushed, but handled warmly and most beautifully. Brendel's Waldstein Sonata is not among the best but it's adequate.
   
   But when it's time to really take the gloves off and dig into the full breadth of Beethoven's heroic, passionate thunderer mode, Brendel is not up to standard. The Pathetique Sonata was revolutionary when it was composed. It's not that long, it's not that new structurally but there is the lifeblood of the coming Romantic movement in this music. The opening movement under Brendel does not summon up the necessary might this music is forged from. Listen to Richter and hear it soar.
   
   The Moonlight Sonata's opening Adagio Sostenuto is very famous and Brendel has what it takes but what about the finale? After the perfect foil of the tiny second movement, we hear the great counterpart to the opening adagio... the psychotic presto. Brendel is just not prepared, doesn't have the skills to make one feel this manic piece. It needs much more speed and a devil may care attitude. This is too careful. I've heard Gilels and others surpass Brendel very easily.
   
   But the Appassionata is the biggest disappointing. I tried listening to Brendel's rendition multiple times and have found that it lacks everything this sonata is all about. This is one of the most wicked piano works ever composed. It is about a passion so deep, it should obliterate all who know it. A pianist who takes on this beast should possess a fire-breathing technique and no fear of dark grandeur. Listen to Gilels' giant interpretation on DG or Richter's versions on RCA and Melodiya. After those experiences, try coming back to Brendel! I don't doubt you'll be as annoyed and bored as I was.



2. I recently heard Brendel's 70s recordings of the "famous" Beethoven sonatas first time in quite a few years (I heard them before). Initially, I was not moved. It sounded like he was just playing the notes. As I listened more attentively, however, I started to get impressed. Clarity is the key word here - the clarity of playing and intention. No detail is too small to Brendel. Every marking by the composer (staccato, legato, crescendo, decrescendo, diminuendo, etc) is observed with utmost care. He is one of the few musicians who understand the importance of clearly differentiating between forte, mezzo-forte, and fortissimo (and varying levels of piano in that matter). It also appears he painstakingly prepared the voicing of certain chords so they sound in very particular ways. Listening to Brendel is like watching familiar movies through an HDTV. Compared to his playing, Ashkenazy glosses over quite a few details even though I love his romantic view of the works. Brendel's Beethoven is like a house solidly built inside and out, with every nail firmly hammered in. In comparison, Ashkenazy's is like a house that is glamorously painted outside without as much craftsmanship committed inside.
   
   Perhaps the downside of Brendel's approach is that everything sounds too intentional. It's as if Brendel pushes the score into my face, pointing at notes and markings for me. More imagination and spontaneity may have helped. But no one can deny this is a faithful materialization of what Beethoven wrote, astonishingly executed. Of course you can supplement Brendel with the Russian guys such as Gilels, Richter, Horowitz and particularly Kissin, whose rendition of Moonlight sonata defies any comparison. They truly know how to conjure up a perfect storm or squeeze every drop of juice from the score. But it would be misleading to think Brendel delivers no emotion from these sonatas. After all, the emotions are already in the music when played right. And no one knows more how to play the music right than Brendel does.



3. When I found this recording in my library I was sourprised: The most beloved sonatas of Beethoven, played by a pianist I appreciate so much. How could I forget I own it?
   I listened again, and understood. The sonatas are wounderful, but the playing is at most OK, and these works deserve much more. Almost every piece here has at least one much better performance: I prefer, for instance Gilels for the Appasionata, Rubinstein for the Pathetique, and Barenboim for the Les Adieux. This recording simply doesn't get to me.



4. I find Brendel's playing style washy, imprecise, sluggish, and completely without fire. In a word, boring! He is the anti-Glenn Gould.



5. Earlier recordings by Alfred Brendel hold a top spot in Gramophone's 2005 Classical CD Review, but while not at the top of the listing, this CD receives considerable praise at honorable mention. As always, individual sonatas have their respective, best interpreters (e.g., Rubinestein or Richter for Appassionata; Gilels for Waldstein); however, this is a rarely-found sampling by a recognized "great" pianist. In addition, collecting the pieces represented here would normally require the purchase of 2-3 individual CDs or a packaged cycle. Thus, this is a bargain value. Perhaps not the "first choice" for the musical purist or trained ear, nevertheless these recordings serve as a well-above-average collection of the most familiar Beethoven piano sonatas. Perfect for the classical listener wishing to (a) discover Beethoven piano music; (b) looking to fill in or diversify an existing collection or, (c) looking for a concise B+/A- collection of Brendal interpretations.

5 comments about Our American Journey.

1. The harmony is outstanding and in combination with the right song can ring a powerful emotional cord such as "Calling My Children Home". I doubt you can find a better group than Chanticleer.



2. This CD is a great example of Chanticleer's phenomenal versatility, and it has something for everyone to appreciate. The Appalacian twang on the two Billings pieces is a bit much, but otherwise Chanticleer is in top form here and really shows what they are made of. As for the recording itself, something about the micing or acoustics in the recording process causes the countertenors to be just a tad too strong on a few tracks, but it's not a major problem.
   
   To me, the most extraordinary tracks are: The Un-Covered Wagon with it's surreal effects and incredible array of vocal techniques, Willow Weep For Me, Jeanie With The Light Brown Hair (Michael Lichtenauer's solo floats so effortlessly in a mixed vocal register, I have never heard anything like it!), and Whispers.



3. I purchased this CD after hearing this magnificent choral group sing "Calling My Children Home" in a recent concert. Written by Doyle Lawson (from the group "Quicksilver"), Charlie Waller and Robert Yates, the song is a standard bluegrass number I had known for years (Emmy Lou Harris for one has recorded it); but I had no idea it had found its way to San Francisco. Chanticleer has made this song their own. I cannot imagine anyone else's version coming close to theirs.
   
   The group sings 17 other songs on this CD, most of them arranged by Joseph Jennings, Chanticleer's music director. Their version of William Billings' "David's Lamentation," a Sacred Harp work, will blow you away. Another favorite of mine is "Wayfaring' Stranger." There are also two Stephen Foster songs included, "Jeanie with the Light Brown Hair" and "Camptown Races" as well as Gershwin and other American composers.
   
   There seems to be no kind of music that this group cannot sing better than most other groups. They remind us that there is no musical instrument more beautiful than the human voice.
   
   This CD should be one for the time capsule.



4. Chanticleer fans know what to expect in terms of vocal quality, and won't be disappointed. I agree with another reviewer that the Appalachian accent is a little over the top, but I thought the shape-note style was perfect: brilliant sound, but not that nasal.
   
   I enjoyed the many styles of music in this CD, but since I tend to listen to CDs straight through as albums, I found it a little disconcerting to go so suddenly from one style to the next (e.g., Mexican Baroque to shape note).
   
   That being said, everything is splendidly, sensitively performed. The renditions of "Whispers" and "The Un-Covered Wagon" are breathtaking. By all means, buy and enjoy this!



5. This album features a wonderful selection of "American" choral music. I'm not a big fan of the "stylized" singing of the shape-note pieces (with the nasal voices), but that is my only complaint. My favorite piece is Steven Stucky's "Whispers" which is an artfully crafted homage to Orlando Gibbons' "Drop, Drop, Slow Tears" and William Byrd's "Ave Verum Corpus." Joseph Jennings and Chanticleer effectively demonstrate that there is no "defining" American choral music and it is this rich panoply of variety which is so enchanting!

5 comments about Musical Evenings With The Captain.

1. I bought these (both CD's) simply to play while reading the Aubrey series. Did it help...yes! I not only enjoyed having the music in the background, it put me more in the mood. The music was great. The series, even more awesome knowing the Doc and the Captain might be playing while I was reading...



2. If you are a really follower of Jack Aubrey adventures you must have the 2 Volumes. The best companion for you reading every evenings. A must have.
   Enjoy it.



3. I bought this as an accompaniment while I read Patrick O'Brian's Aubrey-Maturin series of books, and it goes very well. I've enjoyed every piece on this album, and recommend it for music lovers and readers alike.



4. It is dead-on excellent. Perfectly in tune with the entire series and spirit of Patrick's work. A simply joy to listen to time after time. You grasp the character of the age in crisply performed versions of various collection.



5. As a child growing up in the city of Salem, known for it's working class backbone, I was the only kid I knew who had been to Symphony Hall more than Fenway Park. Going in to Boston for the symphony's open practices was what I lived for. It gave me a true appreciative, although untrained ear. The one lasting lesson is that while you may not notice good classical music, EVERYONE notices bad classical music. And this is NOT bad classical.
   
   I have been a reader of the Aubrey Maturin Novels for 8 years (only two a year for dramatic suspense) and while I am a huge fan of Patrick O'Brian's writing, I find that with the addition of the music he scored his work to, I stand in awe. The music is well grounded to the situations and feelings in the book. Either Mr. O'Brian was a very well rounded, or he did his homework.
   
   The CD is a wonderful insight to the author, and the characters he created. Pour a glass of claret, listen to the cd, read the books...
   
   but pay no heed to Killick's "scrape, scrape , scrape..never a song you could dance to.."

5 comments about Brahms: Complete String Quartets, Quintets & Sextets.

1. This is merely the best recording I have purchased this year, a magnifical reason of happiness and spell, since it re-collects the finest masterworks of Brahms's chamber music in 5 cds with the devoted art of Amadeus Quartet and of clarinetist Karl Leister, who surely reaches in the extraordinary Quintet op. 115 the zenith of his career. Excellent. Five stars.



2. Ok, I am going to admit that I purchased this cd boxed set because I truly enjoy chamber music. There is a simplicity and beauty inherent to music played by a select few. Please don't misunderstand me, I enjoy all forms of classical music. Still-trios, quartets, and quintets hold a special place in my music collection.
   
   If your taste is similar, let me say that this is a must have! The playing is superb! This is a cd that can be played over and over and a new discovery is made each time. I give this boxed cd set my highest recommendation!



3. Everything was as expected,the product was factory sealed and shipped and delivered in good order



4. Overall, I really enjoy these pieces. The playing is good, and the sound is quite live, which I enjoy. My favorite piece is the Quintet in G Major Op.111, though the sextet in Bb is a close second. I am a perfectionist, and my familiarity with these pieces led me to be a little dissapointed, which is why there is only 4 stars. My dissapointment stems from two facts:
   1. In the first movement of the Brahms G Major Op.111, the string quintet elects not to take the repeat in m.56, so you will never hear the first ending on this recording and thus only get one shot at the awesome cello opening. I haven't listened closely enough to the other pieces on this set to discern if they avoided other repeats or not, but for the most part, they appear to be there.
   
   2. There are technical printing problems. Though the recording is so live that you can hear the breath of the musicians and their fingers fall on the strings, there are some actual technical pops in the recording. Perhaps it was a transfer problem from analog to digital, as the recordings are old. Most of these pops are minor, but they are dissapointing for an audiophile such as myself. My CDs are pristine (no scratches at all), and even the first time playing them these pops were there. So, here's the list of what I've found thus far:
   
   CD 3:
   Track 6: Pops & clicks at 1:19 & 1:22.
   
   CD 5:
   Track 1: Pops at 6:01.
   Track 2: Pops & clicks at 0:13, 3:56, & 6:16.
   Track 5: Pop at 12:07.
   Track 7: Pop & clicks at 6:11, 7:45, 7:51-7:52 (these are quite noticable), 7:59, 8:03, 8:11.
   Track 8: Pop at 7:34.
   
   It is a well-played set; hopefully they will get the printing correct on the next batch.



5. There isn't much to say about this set, but I'll say what there is to say: These players play the Brahms chamber music here with such emotion, musical understanding, and overall perfection that this set should be made into a must for all Brahms chamber music lovers. The Amadeus quartet, along with all of the other performers, including Eschenbach on the piano and Leister on the clarinet, really know what they're doing and play it so beautifully that the listener will want to hear the pieces again and again until the CD player is practically worn out. These Brahms works are some of the most sublime works of the later 19th century. For such quality music and great sound, especially for having been recorded in the 1960's, the price is also great. I recommend this set very highly, and hope you decide to get and enjoy it as much as I do.

3 comments about Itzhak Perlman's Greatest Hits, Vol. 2.

1. this cd demonstrates the fabulous technique that perlman has. he is truly a master of the violin and makes it sing. it is a total pleasure to listen to this cd many times.



2. I don't play violin, and I can't even read music, but as a classical music amateur I find this CD outstanding. Even an incompetent like myself can easily understand why Perlman is regarded as one of the greates violinists ever. This is a marvellous collection of pieces. The rendition of "Chanson Russe" by itself is, in my opinion, worth more than the price of the CD. If you listen to the audio samples on Amazon's pages and you like violin you will surely understand why I like this CD so much. I am grateful to People like Perlman, who make this world a better place to live in.



3. All I can say to this CD is it's the best I've ever heard. In this CD, Itzhak Perlman truly demonstrates his best performances of the past years. I have always been a great admirer of Perlman, but since I own this CD, it's all I've listened to for the past three months. I myself play the violin and Perlman has become an inspiration to me, almost a musical idol. For any of those violinists out there, especially young musicians, who don't feel any excitement about playing the violin, listen to this CD and I promise you, you will strive to being able to play like this man does. He is truly the best musician I've ever known.

4 comments about Vanessa Mae Ultimate Collection.

1. I found Vanessa-Mae's music about 15+ years ago as an assignment for a job in a music store and I have been hooked ever since. She is absolutely amazing! I never really cared for classical before but she lets me enjoy it without being put to sleep. I have been introducing her to friends ever since and as far as I know, no one has been able to walk away from her!



2. My daughter loves the Vanessa Mae CD which I purchased. We plan to buy more Vanessa Mae music in the future.



3. I 'found' Vanessa-Mae a few years ago. I am so blown away by her unusual talent in classical violin. My all time favorite is Toccata and Fugue. As a classical music lover, this gives me goosebumps. I am wondering why I am not hearing her in this year-2007. It is as if she made these awesome tracks and then no media news about her. That to me is a shame, for we need more real artists, not these talentless pop stars in rehab! This CD is a charm, you will love it!



4. she is an Excelent and great violin player, her music is unique, if you love instrumental music, you can't miss it.