4 comments about Grieg: Piano Concerto; Schumann: Piano Concerto; Konzertstück.

1. I have to say I absolutely love Entremont, though at first he took some time for me to get used to. He pounds it out, yet he has a great sense of the melody and sensitivity to the dynamics. He can be surprisingly quiet with just the right touch after all the slam-dunk. He can be fast, but he has restraint-not too flashy where he loses substance. He also doesn't get too loud to show off, he pulls back in the nick of time. I like his powerful, restrained drama. I get the feeling that he loves the melodic line. He really subdues other parts of a piece to make the accents on the melody shine. This gives things a dance-like flowing quality. Yet, the underlying runs are played very precisely, he makes each note count individually. To me, he is a player who is deeply concerned about multiple levels of the composition. He has overall scope and precise detail. I get the feeling that he analysis the pieces from a theory standpoint and has a very high regard for the composers and their art.



2. Pure elegance Yes, this music can be compared to Rachmaninoff pianoconcerto 1 and 4. Of that record I own an EMI registration from Mariss Jansons and St Petersburg Philharmonic and Mikhail Rudy. Very much tension and intense music. Elegance simply everywhere.



3. La introducción del primer movimiento del concierto para piano de Grieg es una clara señal de lo que este CD nos entregara, es soberbio de principio a fin, Entremont lo hace denuevo es totalmente genial, es una esplendida interpretación que le erizara la piel, este concierto en si es una maravilla, una introducción que junto con la del 1º concierto para piano de Tchaikovsky son para no olvidar, un tema musical inusitado, extenuante, energizante, supremo. Ormandy hace su trabajo a la perfección y la orquesta de Filadelfia suena a plenitud, vibrante, riquisima, es un concierto de concierto, no puede un amante de la música quedar fuera, es inevitable tener que apreciarlo y atesorarlo, simplemente grandioso.
   El concierto de Schumann es mas simple en estructura, pero para los oídos, para los que adoran la música es de una belleza enternecedora, magnifico, claro, sutil, hermoso. Rudolf Serkin se hace cargo de este concierto y logra a plenitud todos los objetivos musicales que se propone, se desliza en el piano dando lo mejor de si en beneficio del auditor, es sublime y electrizante. Serkin tambien tiene a su cargo otra obra de Schumann, ahora es el turno de Introducción & allegro apassionato, menos sútil que el concierto es una obra llena de fuerza, de vigor y por cierto de gracia y alegría. Es un final fastuoso en música, pero nada pomposo para los oídos.
   Ormandy y la orquesta de Filadelfia logran como siempre hacer que el solista resalte y la música sobresalga más aún.



4. In the 1950s and 60s, CBS/Columbia (now Sony Classical) had the great fortune to have three of America's best orchestras and their conductors on its recording roster -- Leonard Bernstein and the New York Philharmonic, Eugene Ormandy and the Philadelphia Orchestra, and George Szell and the Cleveland Orchestra. Nearly a half-century later, only Leonard Bernstein remains a name that even the non-classical music world knows well. But in the world of the compact disc, this is a wonderful thing, because while Leonard Bernstein analog stereo recordings sell at mid-price, classic performances by Ormandy and Szell are regulated to the budget line. Well, my friends there is justice in the world because the vast majority of these "budget line" recordings are simply amazing. This particular disc features Ormandy and the Philadelphians with the great pianists Philippe Entremont on the Grieg Piano Concerto, and Rudolf Serkin on Schumann's Piano Concerto and Konzertstuck. The Grieg/Schumann coupling is a frequent one -- both composers only wrote one concerto for the instrument, they are both from the romantic period, and mostly both concertos are written in A Minor. There are many great recordings out there -- Kovacevich/Davis, Lupu/Previn, Perahia/Davis, Rubinstein, even classic mono performances by Lipatti and Michelangeli -- but they are all midline, and even without price as a factor this would be my first choice. Enjoy!

No comments about Mendelssohn In Words And Music.

5 comments about Mendelssohn/Brahms: Violin Concertos.

1. If you haven't heard these recordings, you have a nice surprise ahead of you. The Mendelssohn dates from 1981 and the Brahms from 1982. Because of the recording dates, you've got the young protege, Anne-Sophie Mutter, firmly under the leadership of the old master, Herbert von Karajan, with that marvelous orchestra to draw on for generous support.
   
   Ms. Mutter has never been closer since then to the gentler ways of performing these pieces as she is here. The accompaniment is very well balanced and perfectly complements the solos.
   
   Being used to a lot of fire from Ms. Mutter, some may complain that these performances aren't sizzling enough.
   
   I found that her interpretation of Mendelssohn was delightfully restrained which allowed for the heavenly aspects of the piece to emerge. I was equally pleased with her Brahms where her violin seems to literally sing to us in a beautiful human voice. Beneath the surface, you can feel the controlled power of Mutter, von Karajan, and the Berlin Philharmonic. It's like watching heavyweights delicately dancing ballet to exquisite chamber music. You know there's the power there to blow us away, but that they want to enrapture us instead.
   
   This recording will appeal most to people who like to hear classic pieces of the repertoire performed in ways that aren't the typical fare.



2. Herbert von Karajan's smooth orchestral sound was much more suited to some composers than others; unfortunately the composers that it was not suited to comprise the majority of the standard Teutonic repertoire. In particular the music of Brahms becomes flat, lifeless and boring under his approach, when in the hands of many other conductors it is inuered with a profound lyricism unsurpassed by any other composer. I don't think there was any other composer who Karajan was so awful at conducting, and so any of his Brahms recordings should be avoided. If you want recordings by Karajan go for late romantic and modern music where the greater orchestral complexity and amount of dissonance counteract the smooth superficiality evident in his classical and early romantic performances, and presents the music with clarity of texture.
   
   Ms. Mutter is one of the best violinists in the world, with both a remarkable attention to detail as well as perceptive musical insight, and plays extremely well here in spite of Karajan's interpretation of the score. I haven't heard her recording of the Brahms Concerto with Kurt Masur but that would probably be were to look for a performance of this concerto by her.
   
   The Mendelssohn Concerto also suffers from the same lacklustre conducting from Karajan, although he is not quite as bad with this concerto as with the Brahms.



3. Even though I consider Karajan the greatest maestro of his generation, as an accompanist he tended to exhibit faults I don't find when he's on his own. In both these concertos there's a concern for overall smoothness, mellow tone, and precise balance. Karajan's lovely young protegee, Mutter, matches his approach perfectly. She spins one of the most consistent tones of any violinist and shows no desire to crowd the spotlight. The result wins admiration for being harmonious, but where's the individuality and drama?
   
   In the Mendelssohn concerto we get dreamy melodic lines but no real delight and magic--it's all rather charmless, without joy. Mutter is careful not to show off with brilliant pyrotechnics, which is too bad--if you're going to dazzle, this is one work that will take off into ethereal heights. The Brahms finds Karajan developing a broad sound picture that's simply too bland. The rugged, struggling temperament of this composer has been carefuly suppressed, and at no times does Mutter seem to throw caution to the wind. Having said that, I much prefer this reading to the celebrated EMI recording with Perlman and Giulini--it's even more faceless and correct.
   
   Of course, tastes differ, and I must confess that Mutter never went on to make any recordings I really love, so perhaps I should be discounted as a non-fan. If you value precise technique and clean tone without much 'intervention" on the soloist's part, here you are. I will stick with Menuhin/Furtwangler, Heifetz/Reiner, and Mullova/Abbado, among quite a few that shine with more vibrancy than this CD.



4. I know that both anne-sophie mutter and hilary hahn are both exceptional musicians, but i personally think that hilary hahn has the better mendelssohn recording. the first movement just has more energy... as well as more motion and dynamics that make it so beautiful to listen to.



5. Protege Anne-Sophie Mutter has made yet another excellent CD. The Mendelssohn concerto is truly one of the greatest concertos, and has been well met by Anne-Sophie Mutter. She has a very clear and pronounced style, that not only makes for an excellent piece to listen to, but would be a bonus for a student studying either of the concertos.

5 comments about Claude Bolling: Suite for Cello & Jazz Piano Trio.

1. We're fans of Claude Bolling. If your into a mix of classical music and jazz mix then this disc is for you! We've listened to it many times and have even had comments from guests who ask who was playing during a recent gathering or ours. Purchase this, it's great!!!!!



2. My fourth album from Bolling, and I'm still constantly entertained and mesmerized by the music. Bolling's specialty lies in his ability to fuse "mainstream" (arguably so) melodies with little surprises here and there which never fails to please and entertain. I also highly recommend the Violin and Piano album, and the flute and piano albums.



3. I was delighted to discover the Claude Bolling collection available on Amazon. I used to play the flute suite but didn't know he had written for other instruments. I purchased this CD for a cellist grandson.



4. I echo the comments of other reviewers in praising the music. It's very creative, very interesting, and the combination of instruments gives it a depth that it might not otherwise have. However, I found the quality of the recording to be poor. I admit I have a cheap audio system, but other recordings with similar instruments sound much better. Hence 4 stars instead of 5.



5. Bolling has left the rather confined world of the Jazz trio (piano, flute, bass + percussion - that's a quartet isn't it?) and expanded into other areas. The cello seems an odd choice for a jazz adventure but somehow it seems absolutely correct in these circumstances.

   Ma has traveled from the beautiful solitude of the solo Bach Sonatas to the ravishing sensuousness of the Tango to "modern" chamber music and now to sophisticated jazz settings. Each of these pieces seems written with him in mind (and maybe that was the case) and if not, it is as near a perfect fit as one can imagine. The yearning of the cello combines with the other instruments to produce some of the most beautiful sounds around. This is a winner.

5 comments about Piano Favorites.

1. These days many music fans with grounding in good ol' rock and roll have bent their ears to light, melodic jazz standards. Here's a challenge: pick up this low-priced CD, take note of the famous names and that each track averages about 3 minutes in length - that's what us rockers have been raised on.
   A little crass, but....check this one out. I can't imagine any heavy metal fan turning away from the exquisite, haunting "Waltz No. 15 in A-flat, Op.39" by Brahms, or "La fille aux cheveux de lin..." by DeBussy; factor in *5* compositions by Chopin, and you've got a keeper. Maybe just beneath Zep on the carousel (but it's all in the proverbial family).
   Note that Chopin is next sectioned off, as one might expect in a Classical compilation. So the flow of the music is regenerative to the senses, as well.
   Dame Moura Lympany plays with breathtaking sensitivity and delivers one for the ages.



2. Moura Lympany, Dame Commander of the British Empire (a title not given to just anyone, and her ability deserves such note from the Brits), performs this selection of pieces beautifully. She was (she passed in 2005 at the age of 88) a talented concert pianist known throughout the world. Here, you have 20 pieces for solo piano performed by the virtouso.
   The recording is exceptional with only one minor flaw; apparently Dame Moura had a heavy foot on the pedals and her tapping can be heard from time to time, but this is a minor issue and hardly noticeable. I mention it only because it took a couple of listens to figure out what that soft thumping sound was.
   This gifted pianist gave her first concert performance at the age of 12, Mendelssohn's Piano Concerto in G minor, with (also knighted) Basil Cameron conducting. Cameron suggested that she "glamorise her name" and so she changed from her birth name, Mary Gertrude Johnstone, to Moura Lympany (Lympany an adaption of her mother's maiden name, Limpenny, and rhyming with timpani).
   From this point forward, she pursued music and piano with a controlled passion. On practicing, she once said "None of this eight hours a day stuff. If you can't get it right in four you never will". She was known in her early years to have left the podium in tears after performing becaue "of worry over the wrong notes she had played".
   She recieved the title of Commander of the British Empire in the 1970's and the title Dame Commander in the 1990's. She was the first to record all of Rachmaninoff's Preludes, certainly no small feat. She toured in to her 70's.
   Suffice it to say that this woman had a gift and used it to great effect and success.
   I ordered this disc primarily for the pieces by Debussy (my favorite composer) and the one by Liszt (one of my favorite pieces for solo piano), but all pieces are wonderful and I have gained a new appreciation for all of the composers and the pieces because of this CD.
   Her performances on this CD are amazing, passionate and beautiful. Each piece is performed as well as any other performance I have heard and it is all here on 1 CD to be enjoyed. The bargain price is a bonus and you must buy this before Seraphim decides to raise the price from the budget bin price of about $4.00. This is definitely worth every penny and then some.
   Buy this CD with confidence.



3. I don't listen to classical music very often, but there is some that I like, so every once in a while I get a CD like this. Personally, some of the pieces sound like a little kid playing with the keys. I skip them. I guess Yanni and Enya are more my style. They flow better. There are plenty here that I do like, so I am happy enough with the CD, especially because of the low cost.



4. I grew up listening to Moura Lympany's playing, especially Litolff's Scherzo. Never could understand how a person could play with absolute control at high speed. In this recording, most (though not all - the Etude in C# minor an obvious exception)of the music is more laid back, and played with great grace and with the controlled touch of a pianist at the peak of her career.
   The ambience of the recording is a wide open one, giving us the full clear sound that makes listening to a grand piano to enjoyable.
   If you enjoy listening to good piano music, this is a recording that you will enjoy a great deal.



5. Dame Moura is my favourite pianist. Her great style and sublety of expression comes out in all her recordings. this CD is the best value for money ever!!

2 comments about Ego sum Resurrectio: Gregorian Chant for the Dead.

1. This is an recording of the Matin of the Dead and the First Mass of All Soul's Day of the Tridentine Liturgy and the Breviary.
   
   Like all studio recording, there is a sense of sterility. These pieces were meant to be used in divine worship not as performance pieces.



2. From the foreword: ''the chants of the liturgia dufunctorum (Liturgy of the dead) originate from two celebrations: the Order of Burial and All Souls' Day on 2nd November. Nothing is known about these chants before the eight and ninth cnturies, because the manuscripts of that period only recorded the verbal texts of the readings and prayers. Yet, starting from the 10th century, music manuscripts reveal the existence of a repertoire that will consist of more than a hundred chants.''
   This was some information. But now I must say that this cd is brilliant, excellent, of immense emotional power! It is one of the best gregorian chant recordings I've ever heard. So clean, pure almost ''otherworldly''. Featured inside are the complete lyrics in latin.
   Technically the chants are sung by a cantor (Alessio Randon) and a female choir (Aurora Surgit).
   But enough talking, just listen to the Requiem Aeternam and Epistula samples to be convinced of its beauty/greatness/ability to reach and quake your heart....

5 comments about Sephardic Romances.

1. This disc had a good cross section of the type of music I was looking for !!!



2. Interesting and highly listenable collection of Sephardic music from Spain and the environs. If you've never heard this type of music before, it can press some uncomfortable buttons until you just let it roll over you. I've enjoyed both micro tonal and untempered scale music for decades and this just fits the bill perfectly.
   
   A suggestion - as convenient as it is to buy MP3 downloads, this (and other albums like it) almost beg to have some form of a discography and instrumental explanation. The liner notes were good and gave enough clues to further explore this remarkable genre of music. I liked it, and I'm not Spanish, Sephardic or Jewish. Good music is good music.



3. The Sephardim were the Jews of Spain. They picked up many musical elements on their journey there. The sum is very much an alchemy of antiquity. It's got Greek modes, North African percussion, Turkish/Arabic melodies and a bit of Western European refinement. The original Jewish component is the lyrical text which was first sung by women around the house. After being steeped in the culture of Andalusian Spain for a few centuries it allowed more and more instrumental phrases. And since this was secular music, it was acknowledged and enjoyed by everyone at this place in time -- Muslims, Jews and Christians. The ensemble who performed these pieces did a great job, utilizing completely acoustic and culuturally-respective instruments. You can't beat the price either!



4. Note, however, that Sephardic music is NOT verifiably medieval, having been recorded only in the 20th century. Also note that Sephardic songs are/were rarely accompanied by instruments (all the arrangements here are instrument-heavy). Nonetheless, the fact remains that Michael Posch, Marco Ambrosini, Riccardo Delfino, and Thomas Wimmer are among the very few truly brilliant early music players at large. Their names may never be trumpeted by early music critics, but that's because said critics tend to be desiccated scholars instead of impassioned musicians (rather like most of the performers they critique). This CD features lots of compelling improvisations and extended solos -- including one, "kavaldulka", that's just from another world. Purists be damned: the musicianship is too good to be missed! btw, the ensemble is also known as Unicorn and Oni Wytars.



5. Of all the Ladino/Sephardic music I have come across, this is one of the most lovingly crafted compilations. The ensemble treats every song with respect and care, and plays them with great spirit. The songs chosen were also organized in a way that helps to reflect the beauty of the music. Absolutely enchanting!

5 comments about Bruckner: The Complete Symphonies.

1. The words of praise I have about this set are innumerable.
   
   This was my first Bruckner cycle...I grew up with it. It accompanied me in all my times...it changed my life, possibly saved my life...
   
   Jochum understands Bruckner, and his love for him shines out of every Symphony in this incredible set.
   
   Still and always the gold standard for me in Bruckner interpretation!



2. This box set a must-have. Actually, Eugen Jochum recorded all Bruckner twice. First one with Berliner Philharmoniker for Deutsche Grammophon at 60's, the second is that one with Staatskapelle Dresden for EMI, 70's. Well, it's a little complicated to choose one, because both of them have different qualities. But, I suppose, that Dresden version is more transparent, dramatic and intensive than Berliner version.
   
   Eugen Jochum is a master on the music of Bruckner. His reading way is totally opposite of Celibidache. Celibidache has the majesty, the sustaining of time in the manner of Zen On the other hand, Jochum has spontaneity, dramatic intensity. You will not bore in any little moment when you're listening Jochum's Bruckner. The Staatskapelle Dresden sound is so precise, clear in every minimal detail, you can hear all the counterpointal subjects and parts, very deep and satisfying bass sound, touching strings (just check the Adagio of 9th) and glorious brass section (check the complete 7th).
   
   The most interesting points that I shall say are: the 4th is really very interesting, I haven't listen any version just like that, it is not similar to any reading. One hour long that symphony moving on just like a few minutes. Especially the last movement has an enigmatique intensity. The 7th is one of the best available. The majesty of the firs movement, the solemn and desolate Adagio which is written for death of Wagner, the Shcerzo which will make your tension up and again, a majestic mood, Finale.
   
   The 9th! I think, this is the best ever! How Jochum make that music such dramatic, you can imagine a master composer now near to death and hardly working on finish his last symphony... The string tremolos at the very beggining sounds like nothingness. And then 8 horns coming just like the meaning of life. The sarcastic and devilish Scherzo, may be the best Scherzo of all Bruckner. And "farewell" Adagio, begins with full singing-strings, and time is now sustaining, there is nothing going on,just the end of everything and waiting for the last breath. And there is a huge climax includes a dissonant chord, just like the dissonant chord of Mahler 10th. But then, fade away...
   
   If you're searching for a really defenitive Bruckner performances, you should get that. Highly recommended.



3. Bruckner è sempre stato il compositore che mi affascinava di più sebbene
   fino a poco tempo fà avessi sentito solamente la nona sinfonia all'interno di una raccolta della Reference Recordings. Ho successivamente comprato la nona appunto (RR) e la sesta che ho trovato ad un prezzo stracciato (Edizioni Telarc diretta da Jesus Lopez-Cobos). Se la nona della RR è veramente superba sia dal punto di vista dell'esecuzione che dell'incisione la sesta della Telarc è sicuramente superiore in quanto dinamica rispetto l'incisione che stiamo analizzando della EMI ma la qualità della ripresa e l'esecuzione sono assolutamente sotto tono!
   Devo riconfermare ciò che ho letto più volte su Eugin Jochum e la sua maestria nel riprodurre il messaggio musicale di Bruckner.
   Sono rimasto veramente stupito dalla qualità generale dell'incisione EMI anche considerando il prezzo a dire poco incredibile, in Italia penso sia impossibile trovare un cofanetto di nove sinfonie di questo valore musicale ed artistico ad un simile prezzo. Assolutamente consigliatissimo!



4. I have listened to Bruckner for more years than I'd care to admit, but these recordings by Eugen Jochum are like hearing him for the first time. It is startling how good these recordings are, and what freshness Jochum brings to the more familiar Bruckner offerings...the 3rd, 4th, 7th, 8th and 9th. Electrifying is not too strong a word to describe them. In addition, these EMI recordings are an astonishing value. Buy and listen for yourself. I dare you not to be transfigured by the music-making.



5. Bruckner fans can find other recordings of certain symphonies that might reveal some aspect of the music that this set does not. But I think those recordings are far and few. I know there are Jochum fans (and I am one)who find his DG recordings to be superior. Except for the Fourth with the Berlin Philharmonic I have not listened to any of them.So they may be better. But it is a little hard for me to conceive of that being the case because I have found that Jochum has pulled off something nearly miraculous here.I first bought this set back in the very early Nineties when it first was released on CD. I was swept up in the sheer passion,exuburance and religous devotion that is on display. Like other reviewers I think a lot of the credit goes to Staatskapelle Dresden.I find them so involved with Bruckner's music and the thought world he inhabited that any point of criticism would be nearly useless. "The petty cavils of petty minds",as Samuel Johnson said of some of Shakespeare's critics.Yes this will be a set I could live with for some time( I already have!) And I would still recomend getting this remastered version because it is superior to the first version and the box takes up far less room. I don't have the same problem that some people have with the Nowak versions. I do prefer the 1877 version of the 3rd symphony to be superior to Nowak's. But I find Georg Tintner's recording on Naxos to be interesting but it is too ungainly and sprawling. So I would prefer the Nowak,though I don't care for some of the cuts. But even if you have reservations about versions I would still urge you to check out Jochum. I think he will convince you.Enjoy!

5 comments about The Many Moods of Christmas (1963 RCA Victor Version) Robert Shaw Chorale and Orchestra.

1. My father bought this LP when I was 15 and played it on his Heath Kit stereo. It wowed us then and it still does. I set up my old record player just to play this album this Christmas and it was worth it! I've bought a ton of Christmas albums over the years, trying in vain to find something as good as this. No go. This is a BIG orchestra with a BIG string section, with a BIG sound and a BIG organ, backed up by a BIG chorus. There are four passages that still bring tears to my eyes when I turn the volume way up which I always have to do. I just play them over an over. Just magnificent! Powerful! Lots of quiet passages but Shaw knows how to sneak into full tilt. This album is the antidote to weenie Christmas records by pop stars who can't really sing! I'm buying the CD to replace my skipping record because I cannot live without this album. If you're disappointed in this album you're from another planet. It DEFINES Christmas music.



2. I first heard this recording as a kid at a friend's house back in the 60's as we sat enjoying the changing colors of the light wheel on their aluminum Christmas tree. I was delighted to find it on cd a couple of years ago, and it is the first and last recording I listen to each Christmas season and will be for all my life. People who care about crystalline recording quality and digital perfection miss the point entrely. The arrangements are wonderful and the orchestra and chorus bring passion to their performances. Give me the spirit of this recording over the "perfection" of any other.



3. The Robert Shaw Chorale for me is the most enjoyable "classic" Christmas music available. I recommend it highly.



4. I really like the performance here. It beats the Atlanta Symphony Orchestra redo on Telarc hands-down, but the sound quality is disappointing, to say the least. Being RCA, I figured it would sound as good as their 90's Living Stereo releases, although I didn't expect it to be as great as the new hybrid series (those are incredible). The original tapes must be lost, or damaged beyond repair, and this was the best that could be offered of this historic recording. If you're not picky about sound, don't pay this review any mind - you'll like it just fine.



5. Most that are familiar with this album rank it amongst the best Christmas recordings of all time. That said I strongly suggest purchasing Robert Shaw's "A Festival of Carols" instead. Why? Because it contains ever track on this album + 11 others, including the best version of Carol of the Bells ever recorded, for about the same price.

5 comments about Bach: Greatest Hits.

1. Good good CD with all Bach's greatest hits in good arrangements.
   The different songs give a good impression of Bach's great works.



2. I purchased this for track #10, which I'd happened to hear on the radio...it stayed in my head until I tracked down the CD. I have a relatively basic working knowledge of classical music, so this long playing collection was an excellent and surprising introduction to several of Bach's diverse works...both well known and more obscure. Certainly a worthwhile addition to your classical collection.



3. This CD is an excellent introduction to the works of Johann Sebastian Bach. It's certainly not exhaustive, but it's a start. It also includes pieces from Johann Michael Bach, as well as another composer (whose name escapes me at the moment) whose work was once mistakenly attributed to JSB. This entire series of CDs is perfect for those who wish to learn more about the Classical Masters. Start with this series, and then by all means, delve deeper into their respective repetoires. You won't be disappointed.



4. I don't want to repeat what has been said already but this is a great indroduction to Bach. The variety on this release is good, but like has been said numerous times before, the amount of variety fails to set a single mood. But with a low price and a great deal of variety this is a great CD for those who want to start getting into Bach. Recommended.



5. A smattering of short excerpts -- many not on their native instruments -- to introduce the great literature left to us by J.S. Bach. Some of the versions are truly inspired, a few are not.

   If you like what you hear here, by all means seek out the full-length, original instrument versions!