5 comments about The Bells of St. Genevieve and Other Baroque Delights.

1. The Bells of St. Genevieve CD is a great addition to any collector of great Baroque Music. Treat yourself!!!



2. I reach for this CD time and again. It is both relaxing and upbeat. I like every recording on this CD...even if they are selections and not the complete works. You cannot go wrong this this purchase!!



3. I give this album an average rating as it does what it sets out to do which is give the average listener of classical music various average samples of average performances of great classical compositions. Albums such as these are always a great way to explore various or specific classical music styles with pieces that are usually not too intrusive to the common ear. The only downside of these albums is that they unfortunately, more often than not, introduce a new listner to only the most elementary of performances and leave them believing that all others sound as the ones they just heard when such differences in most cases are huge ones. I chose to review this particular album after hearing the Sonnerie "Bells" de Ste Genevieve on this album (originally composed by the unfortunately obscure Marin Marais) as it is a perfect example of what I am trying to convey.
   
   Although some but few classical chamber pieces can be played well by pretty much any average group, some pieces such as "The Bells" require a certain expertise in instrument and style that very few musicians can properly apply to bring out all of the desired qualities of the piece. The interpretation on this album is a perfect example. Marin Marais was a French Baroque composer who was one of several royal court composers for King Louis XIV in the 17th-18th centuries. He was a soloist prodigy in the viola da gamba which actually sound as if they're being played by cellos here instead. Aside from any change in instruments, they are played with such deficiency in terms of quality, interpretation, and execution,here that it is rather sad that this would be included in an album such as this one. The viola is an instrument with a lot of range as it has more strings and is larger than the cello and the notation is made for the range of such instruments. In particular, there are literally less than five musicians today who are anywhere near proficient with this type of music and those playing here aren't anywhere near the top contenders. All of these things take out an enormous aspect of the full potential of this piece in terms of how it is supposed to sound and performances such as the one here are literally mutilations instead of transcriptions or interpretations. Such performances in many ways cheat the curious listener who is exploring this music as to the music's real potential as intended by its genius source. I recommend to those who may have heard a sample of the 'Bells' here and liked it to then compare it to the performance of this piece by Jordi Savall and Le Concert Des Nations in the soundtrack for 'All The Mornings of the World" available on Amazon. You will hear what I mean and understand how there's simply no comparison. Jordi Savall is the undisputed master in performing on authentic violas that have completely different acoustics than their modern counterparts. Savall is also an established conductor of French Baroque music unlike those here who completely misinterpret the piece as a result. Buying classical music is not as simple as just buying a certain piece by any performer thinking it's great. Unless you really don't care too much and just want to use it as background muscac in your life, classical music requires fine tuning just like playing the instruments themselves as the musicians are in a sense the instruments of the composer and the conductor's interpretatation. Don't settle for second best because the catastrophic results such a choice entails is similar to the range on the Richter scale: the difference between a No. 1 and a No. 4 best performance is exponential as the difference with the 'Bells' version I have mentioned perfectly illustrates. There are differences between symphonic and chamber groups, conductors, soloists, instruments, specialities of technique, production, etc. All of these things fine tune the performance and make the difference between epic and atrocious.
   
   In sum then, although this album is a great source of introductory material as to the range of classical styles and in some cases has reputed perfomers, it is certainly not a sample of the best performances around. These types of albums always require a closer look because you never know what you're gonna get anyway unless you know what you're looking for. Trusting record labels to find stuff for you is not always a good idea. More often than not, this is the place where mediocre professionals can make some form of living without having to wait for a major deal that's never gonna come. If you feel you like the style of music here once you've heard it, expand your horizons in terms of performances as many on this album and similar ones are often simply mediocre in one form or another and there's stuff that's so much better out there for your listening enjoyment of a particular composition and/or style. Hope this helps! Good luck!



4. Great work music, great travel music. Wonderful upbeat and get-you-going music for all things you do. Even NAXOS brand CDs don't come close to matching the preformances on this disc. Like the Masterpeice Theater theme song? Brandenburg Concerto by Bach is done PEFECTLY on this album. All songs are absolutely brilliant and masterfully done. This is a MUST HAVE CD no matter what kind of music you enjoy. Surely to inspire YOU!



5. "The Bells of St. Genevieve" is a compilation of Baroque pieces that would serve as an excellent introduction for someone who would like to hear more of the Baroque style beyond "Spring" from "The Four Seasons" or "Canon" by Pachelbel. Granted, this cd does contain "Canon" (what Baroque compilation could resist including it), but it doesn't stop there.

   I'm not an expert when it comes to Baroque music, but I am something beyond a beginner; I guess I'd consider myself a moderately knowledgable amateur. However, before purchasing this album, I had never heard the title piece, "The Arrival of the Queen of Sheba," or track # 10 "Guitar Concerto" by Vivaldi. Some of the other tracks were familiar but not well-known to me. I was also pleased to see the inclusion of the turbulent Presto from "Summer" instead of the ubiquitous "Spring."

   Compilations are often quite useful in helping neophytes get a better understanding and appreciation for classical music (I know they've helped me over the years). Not all compilations are a good mix or contain decent recordings; many seem like carbon copies of each other. This one, however, has good sound quality and great recordings from the likes of James Galway, Pinchas Zukerman, Canadian Brass, and James Levine.

   I recommend this album to anyone wishing to branch out a bit in Baroque music but who is not sure where to start. I've discovered new favorites from listening to this album.

5 comments about J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich.

1. Do you like Glenn Gould's Bach? So listen to what Martha can do baby...
   
   Ms. Argerich, you rule!



2. I was really looking forward tolisteing to this recording after have read the glowing reviews. What was really nice to hear was that she, in my mind, gets it when it comes to playing Bach. Too many pianists are tied up in the conventional, romantics, pianistic repertoire, making it hard for them to emulate the harpsichord:ish approach needed for Bach where schwung and clear polyphony is neeed to make the works sing. Gould was really the first to take this approach to the n:th degree, and he still in my mind reins supreme, even after hearing Argerich.
   Still, it's good to see Argerich approach to Bach. Another good example is Ivo Pogorelich's English suites recording - these three make the ultimate English suites suit;-). Well, Andras Schiff qualifies too, but forget about Hewitt, Pires and Perahia - too much of the smeared out, pianistic, approach for me.
   
   Ivo has excellent flow, Argerich provides great voice articulation and Gould is the swingiest with a tour de force on uptempo bounce and unrivaled microtempi precision. Play the English Suite No 2 Gigue side by side and you'll understand.



3. Martha Argerich is the best pianist I ever heard... This Bach's works are excellent.. I enjoyed this record !!! Applause !!!



4. Do you think humming along with your piano playing is charming? If not try this recording by Martha Agerich--just the right amount of sostenuto. Also for the Partitas--Richard Goode is a must-have.



5. She was so wonderful. I highly recommend it to anyone is learning or being interested in Bach keyboard work.

1 comments about Sarasate: Spanish Dances; Caprice Basque; Zigeunerweisen.

1. The excellent Hungarian performers heard on this recording were probably attracted to Sarasate's music originally because of his famous arrangements of gypsy melodies. Most of the album, however, is devoted to music based on Spanish folk styles and the results are enchanting. I played the album for some friends who visit Spain frequently, and they were simply delighted with the music. This CD offers perfect mood music for anyone, but those with an interest in Spanish culture will find it particularly rewarding. These Hungarians certainly seem to have a wonderful feel for Spanish music.

5 comments about Sumi Jo - Prayers / James Conlon.

1. The first time, I listened to this CD, I was a bit disappointed because some of the song titles on the CD did not have the familiar music that I and I suppose most musically untrained people would be familiar with; however, once I continued to listen to this CD several times over; before long the new melodies or tunes had grown on me. I now have come to appreciate and now even love very much the arrangements of some of the songs that before I was not familiar with. (examples: Caccini's Ave Maria; Faure's Pie Jesu; Gounod's Sanctus; and Preisner's Lacrimosa) Of course, Sumi Jo's voice is beautiful and only makes listening to this sacred pieces a more heavenly experience!!!! If you appreciate beautiful classical sacred music, you will love this CD!



2. Sumi Jo has a beautiful voice but her renditions of Motherless Child and Amazing Grace were not impressive at all. The vibrato was too uncontrollable. The Ave Maria was so,so. I did not hear the richeness others have declared in their assesments. Don't get me wrong, the instrument is quite beautiful but only in some selected selections.



3. 'MUSIC AND POETRY EMERGE FROM MAN'S DESIRE TO GIVE THANKS.....AND TO PRAY TO HIS GODS.'
   
   'One of the magical powers of the human voice is that it can fly, on the wings of songs (a la Mendelssohn) to heaven and appear to be in direct communication with God.' Therefore, it is no surprise that prayer is omnipresent throughout the history of music. Sumi Jo has chosen an excellent representation of songs including most styles and periods which include : Baroque (Caccini)-Classical (Mozart)-Contemporary (Preisner)-Romantic Opera (Rossini,Donizetti)-German 'Singspiel'(Schubert)-Lieder (Richard Strauss)-French church music (Gounod ,Faure)-traditional music (spiritual)-Jewish melodies (Ravel)-Viennese operetta (Johann Strauss) and the American musical (Bernstein).
   
   Sumi Jo, born in Korea,is a much sought after coloratura soprano, having triumphed on stage, and in recitals all over the world. Not being fond of coloraturas, I make an exception for her voice, because of its depth along with the very high register. She shows a great deal of sensitivity to all of her varied selections on this disc, and each delivery is a 'gem' unto itself.
   
   I must personally comment on those works that I particularly enjoy. Hearing her sing Mozart's 'Laudate Dominum' was a real treat; it doesn't matter how often one hears that lovely piece, just like all of his music, it 'wears' well. The 'Pie Jesu' was absolutely stunning as Sumi Jo sang it, and it is a pleasure for me to hear the selection from "GIGI" by Lerner & Loewe; not being a great broadway fan, I have always liked that specific musical. I think because it was well-done when I saw it years and years ago.
   
   This disc is abolutely totally enjoyable. There is something for all musical tastes, and the conductor/pianist James Conlon does a great job pulling it together.



4. One word: Lacrimosa. It haunts you and will stay with you long after you hear it. I actually forced several if my coworkers to listen to it many of which are not opera fans and even they could not argue the beauty of it. One of my coworkers was actual on the verge of tears by the end of the song.
   
   The rest of the album is enchanting as well as breath taking. I am a harsh critic when it comes to singers so I do not give those compliments very often, nor am I easily moved by singers but Sumi Jo has certainly done that with this album.
   
   My only complaint is that I would have liked to hear her take of "Ave Maria" by Schubert which, while recorded many times over, would complimented her voice perfectly due to it's simplicity. "Sing low sweet chariot" would have been another great one to hear but as far as spirtuals are concerned I was very happy with her acepella version of "Amazing Grace." I was never a huge fan of "Amazing Grace" since it's been done a thousand times over but she brought such seetness and emotion to it. Of course I am kind of biased becuase I offically hate the "belting" version of this song and that's how it's usually done. It's nice to hear a simple, straight forward version.
   
   My last comment is that it's nice to hear Sumi Jo sing less operatic pieces considering most opera singers are rarely bold enough to sing anything other than classical pieces, excluding Renee Fleming of recent.



5. It is a refreshing change to have a collection of arias on a CD with a title that actually bears some relevance to the contents. This is indeed a prayerful collection. That means, of course, that you have to be in the appropriately contemplative mood in order to appreciate it.
   
   Another nice change is that the orchestral accompaniment enhances the singing rather than just tagging along as an afterthought, which often seems to be the case. It is fitting that James Conlon gets equal billing here. This is splendid singing to splendid music.
   
   Sumi Jo is comfortable in any language and in a broad range of styles. I was uncertain how she would tackle songs like Amazing Grace and Sometimes I Feel Like a Motherless Child. I need not have worried. In the latter she reveals a soulfulness that fits the lyrics perfectly.
   
   The only track not worthy of this collection is Bernstein's Take Care of This House. I suppose, as it is a prayer, it was an obvious song to include, and Jo sings it very well, but it is just a very poor song. That still leaves 14 excellent tracks that, if you are a lover of good singing, you will want in your collection.

1 comments about Organs, Toccatas & Fantasias / Johann Sebastian Bach, Marie-Claire Alain.

1. This long-awaited presentation dedicated to Marie-Claire Alain is quite magnificent. To have from your armchair a leisurely world tour of great organs and cathedrals via Bach's towering masterworks, at the shoulder of one of his greatest living scholars and interpreters, what more could be asked?
   
   From the benchmark audio recordings that had for so long been our only access to M-C Alain, we finally unveil this priestess of Bach as she speaks to her passion and depth of understanding in these compositions, and the intricacies of the instruments they command. With a lifetime of devotion to Bach's work, little wonder she appears as thrilled to share her knowledge and insights with us as we are to receive them.
   
   Marie-Claire journeys with us from obscure villages to the major cities of Europe, conducting a study tour of the greatest organs in the world and elucidating Bach's life and genius along the way. We learn that several of these organs are considered so perfectly made they remain unmodified from the 17th century when Bach himself played them. I found Marie-Claire's comments on the building, catagorization and history of these mammoth and mysterious instruments, their peculiar uniquenesses of sonority and design, and the political/religious background of their creation to be a good part of the value of this DVD.
   
   The other, of course, is watching her play. If you ever contemplated how any one artist elicits the avalanches of sound built into the Toccata and Fugue in D Minor, the assurance and artistry of Ms. Alain's hands and feet flying nimbly over multiple keyboards, foot pedals, stoppers and levers at once is a revelation. In other moments witness the delicacy in subtle passages for which she is perhaps even more greatly renowned.
   
   Sound and picture quality are excellent. Thankfully, this production for the most part is spared the over-caffeinated video editing that has plagued classical performance DVDs of late.

5 comments about Brahms: Complete Trios.

1. Brahms's concerti, symphonies and other large works are deservedly popular. I suspect, however, that these were heavily influenced by a neo-Beethovenian messianic mantle thrust upon him by the nineteenth century German musical establishment. I wonder if the "real" Brahms is to not be found in his smaller scale works of which these Trios are excellent examples.
   
   Whilst his chamber music obviously comes from the same pen as the larger works, the "essence" of Brahms seems more tangible and transparent in the violin Sonatas, Trios and Quartets; this transparency providing a more youthful and seemingly less serious character to his music although the writing, of course, is taken no less seriously here than elsewhere in Brahms's compositions.
   
   Why the Beaux Arts Trio and Arthur Grumiaux enjoy their high reputations is evident from listening to this fine pair of CDs. The wind soloists also are of excellent calibre so in all, these performances are very satisfying and an essential part of a Brahms collection although I would not swap them for the Katchen/Suk/Starker Trios which, whilst different, are no less good.
   
   Much recommended.



2. It's nice to be able to pick up any recording by an artist and know without listening to it first that it's going to be good. This Brahms is another example of the solid consistency of the Beaux Arts Trio. Sure, there may be slightly better recordings out there, but this Trio is always right there near the top, and in some cases have the definitive version. The same could be said of Arthur Grumiaux, an under-rated violinist, whose performances are always technically flawless. Easily recommended.



3. Christopher Smith is in error in saying that the Borodin Trio's performance of Brahms's B Major Piano Trio, on Chandos CHAN 8334/5, is the original version. The Borodin Trio recorded only the revised version (unless they made a second recording I'm unaware of). So far as I can tell from the Amazon Web listings and old Penguin Guides, the original version has been recorded by the following groups: Odeon Trio, Trio Opus 8, Altenberg Trio, and Parnassus Trio. The last two groups recorded both versions. Apart from listening, one can tell from the movement designations which version one is dealing with. For instance, the first movement was originally allegro con moto and was revised to allegro con brio, and the third movement was changed from adagio non troppo to adagio. Also, I think you will find that the "great chunks" Brahms removed in his revision are from the first and third movements, not the second (scherzo) movement. Incidentally, I would have preferred not to rate this recording, as my purpose is only to make a correction and the Beaux Arts Trio recording I have is another version with a different violinist, but Amazon's system would not let me do so without including a rating, so I have provided a rating that corresponds to the average of the other ratings.



4. The three trios on the "B" CD especiall show the emotional depth of Brahms later life chamber music. The Clarinet Trio is well rendered with a supple, yet reserved, but not austere, style.



5. This set is a treat for any Brahms lover. Excellent performance, elegance, depth and profound understanding. True Brahms !!!

2 comments about Christmas with Kiri Te Kanawa.

1. I found this CD to be a great addition to a collection of quality Christmas music to be enjoyed during the holiday season. The lovely clear voice of Kiri Te Kanawa with the great back up of the fine choral music from the choirs recorded at Coventry Cathedral was what I expected. I was a bit surprised at the heaviness of Michael George's voice which I thought was really a bass, not a baritone. Overall--great!



2. Christmas songs are at its best when done in classically trained voices, espectially the soaring majesty of the lyric soprano. Why...no other performers are quite truly blessed with this category of voice; Dame Kiri Te Kanawa is no exception. She is a performer of elegance and prominence; she does not cheapens her art, but rather makes it more breath-taking and magically astounding. This brilliant recording of tradtitional Christmas Carols are remarkable examplaries of Dame Kiri's superbly performed soprano magic delight.

   Okay, I am one of her greatest fans...have you seen the pictures of Dame Kiri in the CD booklet, "Maori Songs"? At fifty-six years of age, Dame Kiri looks marvelous and yet she still radiates like a thirty-year old soprano!

   Buy this CD for Christmas and the other "Christmas With Kiri" CD for they're both grandiose artistically...you'll not regret buying them for what you'll get is immensely high-standard artistry performed by the classically trained voice, the elegant lyric soprano!

1 comments about katherine Jenkins - Live in the Park.

1. I fell in love with Hayley Westenra and Celtic Woman. I was looking for another artist who sang that type of music. In this I was very disappointed. Hayley's voice is so clear, Katherine sounded very muddy in comparison.

3 comments about Rejoice.

1. I first heard Katarine Jenkins voice on an airplane audio system enroute to Africa in May. I was mesmerized with the beauty of her sound. When in Africa, I met several couples from the UK and asked them if they knew of his British singer named Katarine Jenkins.....to which all responded in the affirmative and told me how popular she was there. A Scot pointed out that she was Welsh. Well, I ordered her CD from Amazon immediately on my return to the US and have been delighted to be able to listen to her daily in my automobile.....a wonderful range, clear, crisp, lilting voice. The songs she sings in Rejoice are wide-ranging - show tunes to neo-classical. She is magnificent.



2. katherine jenkins is not an opera singer but a pop singer who for some reason has made it big here in the uk. if you want to listen to a real mezzo please try janet baker.



3. La quinta y maravillosa entrega de la Diva Jenkins, es un album que contiene mas melodias pop pero sin perder el enfoque clasico tan caracteristico de ella; desde piezas que nos recuerdan Broadway como la dulce SECRET LOVE (mi favorita del cd) y la monumental SOMEWHERE, la solemne REJOICE, una version muy hermosa de la cancion de Seal KISS FROM A ROSE, baladas tiernas como LE COSE CHE SEI PER ME hasta culminar con la monumentalmente encantadora VIVA TONIGHT; un gran disco de una gran cantante que nunca me ha dejado de cautivar.

2 comments about Wagner: Tristan und Isolde/Parsifal/Die Meistersinger Von Nürnberg/Lohengrin/Tannhäuser.

1. I have been ravenously studying classical music for about the last two years non stop. It has been a fantastic voyage. Out of everything by everyone, to me, this is among the very best CDs. The music is beautiful, mighty and majestic. On top of that, the CD is very inexpensive, considering it's quality.



2. The original EMI Seraphim budget CD line has to be the greatest value for the money in the history of music. For half the price of other so-called budget lines, including the new version of EMI Seraphim and the Sony Essential Classics series, you get first-rate performances from the golden age of stereo by some of the greatest conductors of the century. On this particular title you get brilliant Wagner performances by Rudolf Kempe and Sir Adrian Boult. This was my first disc of Wagner Orchestral Music, and I liked it so much that I eventually upgraded in order to get more terrific Wagner performances by Kempe and Boult (see my reviews). You see, Boult has a two-disc mid-priced set collecting his Wagner recordings on EMI, while Kempe has two full-priced discs on the Testament label, which licensed his EMI recordings. Granted, most will not want to pay as much as I did for their Wagner, and if you don't, just buy this title with the loose change in your pocket.