| 1. Hot Fun in the Summertime |
| 2. Alki Sol |
| 3. Grovin' |
Editorial Reviews
About the Artist
With their third release, Tony Gable and 206 offers contemporary jazz on the funky side – what Gable calls "the other sound of Seattle" – featuring the consistent core of players from their first two CDs, augmented by some very special guests.
This recording of music set to words by Shakespeare is not the usual olde tyme music, but rather is all from the 20th (and in at least one case, the 21st) century by well-known composers like Vaughan Williams and Frank Martin, and little-knowns like Matthew Harris and Major Alan Murray. All of it is good, some of it strikingly good (like the Martin, the RVW, and Sametz's 'When he shall die,' written in honor of Louis Botto, the late founder of America's most famous professional choir, Chanticleer, and which the choir apparently learned only two days before the recording date!)
Others have already written in some detail about the program. Let me just add that unless you hear this in SACD you're missing something. I have heard it in both formats and can tell you that the SACD is sensational, not that the plain-vanilla CD lacks anything for that medium. As Bruffy predicts in the Fanfare article, 'Once you listen on SACD you'll never go back.'
This is stunningly beautiful release that I recommend unstintingly. On my wish-list is a recording in SACD of the Phoenix Bach Choir and the Kansas City Chorale reunited to sing 'Spem in alium.' Now THAT would really be something heard in surround sound the way Tallis intended it!
TT=55:52
Scott Morrison
I heard something new, and something unexpected. Here, the Phoenix Bach Choir doesn't offer some type of trite and foolishly cheerful Renaissance romp, but instead, new settings of old texts.
First, the quality of the recording is superb - listening in 5.1 surround it feels as though the group is singing to you in your living room, albeit in a much better acoustic without the drapes, carpet and recliner. Second, the quality of the sound of the ensemble is exquisite, even in extreme dynamic ranges or technically difficult passages. Bruffy and his singers offer impeccable blend, ideal choral balance, spot-on intonation, careful attention to the ebb and flow of the text, and absolute control of technique, especially in complex polyphonic sections.
These qualities should be reason enough for anyone to buy the album, even though these attributes should be (but often aren't) par for the course for professional choral ensembles.
While the introspective interpretation of the music is an excellent quality, the innovative sounds of these (perhaps unfamiliar) composers are truly wonderful. All of the composers featured on the album have written music during the past 100 years, and the several songs are fresh and accessible. The Matthew Harris "Shakespeare Songs" are absolutely addictive - you'll find yourself humming these tunes while you make your morning muffins. The Nils Lindberg "Shall I compare thee to a summer's day?" is a mellow and jazzy piece, conjuring images of a choral ensemble around the piano at a martini bar. Alan Murray's "O Mistress Mine" is a very English-sounding anthem that, words aside, wouldn't sound out of place in an Anglican church service.
To be fair, the other selections on the disc are not as immediately pleasing. The dark, edgy pieces by Frank Martin and Steven Sametz are the best examples, full of brooding and bite. The Vaughan Williams pieces are much more bitter than one might expect from this beloved composer. Unfortunately, these melancholy, hazy selections tend to get buried together on the album, so be sure to sample things out of order as you listen. I suspect that these other pieces are like a good coffee that one must appreciate over several tastings. Perhaps this coffee needs another spoonful of sugar.
But after the SACD has stopped spinning, I realize that this music has offered me a window to profundity. As I encountered this offering of art, bringing to it all of my prior judgements and feelings, I found that this music activates a point of resonance within myself. Upon reflection, I realized what I heard was the hum of the universal experience of the human condition, the clear ring of music that is carefully laid out as a mirror before the soul.
While most of this album is dark, brooding, and edgy, there is a familiar echo in the sonorities that stays with you like a distant, bittersweet, mysterious, but much treasured, memory.
An American Icon....I will forever be a loyal fan and admirer!!
This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.
This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.
Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.
Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.
This is one of the most successful records ever performed, but if you have besides Rena Kyriakou, Guiomar Novaes and Anna Dorffman, you should not have to worry about it, because you would have the cream of the cream versions about this work.
With their third release, Tony Gable and 206 offers contemporary jazz on the funky side – what Gable calls "the other sound of Seattle" – featuring the consistent core of players from their first two CDs, augmented by some very special guests.
This sound of Seattle stems from one single musical element – the groove. This comes as no surprise when you consider Tony’s musical heritage. From the moment he heard Santana’s classic "Soul Sacrifice," Tony knew his musical direction was to propel the groove forward as a conga player. In a short time, Tony became a key member of Cold, Bold and Together, a near legendary Seattle R&B band from the 70’s. When the band augmented its horn section by adding a young saxophonist named Kenny Gorelick, Tony and Kenny G clicked immediately, and a foundation for a friendship was formed.
When Kenny G exploded to fame in the mid-80s, he called on his old bandmate for percussion. For four years, Tony toured the world with Kenny G, appeared on the multi-platinum albums Gravity, Duotones and Silhouette, and on music videos and countless television appearances. After many years on the road, and with the smooth jazz genre exploding in popularity, Tony began assembling the players who would make up 206.
On the strength of a CD made for a Japanese label, 206 secured a record contract with InterMix Records and Heads Up. By 1993, Tony Gable & 206 was released and quickly drew airplay on smooth jazz stations. The CD reached number 5 on the radio contemporary jazz charts.
Two years later, the follow-up CD Seven Hills came out, featuring Jeff Lorber and Deems Tsutakawa, among others. Like the first CD, Seven Hills charted in both domestic and international markets.
Tony Gable & 206 is regularly featured on smooth jazz stations around the country. Their song, "Catina" remains a staple on many station playlists. Jazz Flavors, the premiere jazz program on the BBC, showcased TG & 206 in a featured radio special, and 206 is the only American jazz band included on the 1999 BBC compilation CD, titled The Soul of Smooth Jazz vol. 2.
The band’s recordings have been duly noted by the jazz press as well: "With their self-titled 1993 debut, Tony Gable & 206 created an infectious, soulful yet lighthearted "alternative to alternative," reaching out from the Pacific Northwest and into the Top 5 of all New Adult Contemporary airplay charts nationwide. He gathers together some of the city’s brightest jazz players for the spirited and eclectic Seven Hills, which captures the positive aspects of the West Coast cool in a vibe that gives new meaning to the term "ensemble action."… Jazziz
Ask Tony the key to the band’s success and he quickly (and proudly) exclaims, "It’s because we share a real camaraderie and really enjoy creating and performing music together." 206 includes-Gable, keyboardist Manuel Carrillo, drummer Ben Smith, and reedman Dean Mochizuki, guitarist Glenn Lorbiecki, keyboardist Sandy Harvey and bassist Emmanuel DelCasal.
Product Description
"Summer 01" features cover of Sly and the Family Stone’s "Hot Fun in the Summertime"
Seattle-based Tony Gable & 206 - named for Seattle's area code - offers this EP CD titled "summer 01", containing three songs that reflect the boundless energy and enthusiasm found in this contemporary jazz group. A follow-up to the band’s first two albums, "Tony Gable & 206" and "Seven Hills", "summer 01" features the band's funky and jazzy cover of Sly’s "Hot Fun", featuring guest vocals by Seattle's Total Experience Choir. "Alki Sol" (track 2) is a follow-up to the popular "Catina" from the group's second album "Seven Hills" and features premier (and former Santana) percussionist Pete Escovedo as guest artist. Track 3, "Grovin'" is a soulful dedication to the late Grover Washington, Jr. that perfectly captures the groove that inspired every member of 206. This musical tribute features former Rippingtons saxophonist Jeff Kashiwa with a spirited performance.
Former Kenny G percussionist Tony Gable explains the EP CD concept: "The rhythms the band created in these three songs sparked the notion that an independently released EP would be a perfect soundtrack to the summer. We all felt good about our arrangement and performance of "Hot Fun", and wanted to make the most of its summer connection and put it out before the full CD is released." "We also felt that if audiences had an opportunity to hear this great song in our 206 style they would enjoy it. When someone recognizes it, you see a smile appear on their face and they start snapping their fingers to the groove".
Summer 01,Tony Gable & 206
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How the World Wags
Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD  Baroque Dance Suites
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ASIN: B00000JLKP Release Date: 1999-07-13 |
Customer Reviews:
Authentic music of the period.......2003-05-19
To sum it up: YUCK.......2000-07-03
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Peter Arnold Heise, Peter Erasmus Lange-Müller: Songs
Manufacturer: Da Capo [Naxos] ProductGroup: Music Binding: Audio CD All Works by Dussek
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ASIN: B000004674 Release Date: 1997-04-22 |
Tracks:
- Druben Geht Die Sonne Scheiden
- Trube Wird's, Die Wolken Jagen
- Auf Geheimem Waldespfade
- Sonnenundergang
- Auf Dem Teich, Dem Regungslosen
- Til En Veninde
- Ved Huset
- Henrykkelse
- Skovensomhed
- Advarsel
- Bergmanden
- Dengang Jeg Var Ung Og Elskovsfuld
- Min Skat
- Arnes Sang
- En Sommernat
- Glenten
- Ingeborg, Min Sjael, Mit Hjerte
- Verzogen, Verflogen
- Die Du Bist So Schon Und Rein
- Nimm Mich Auf, Uralte Nacht
- Der Zimmermann
- Die Heil'gen Drei Konige
- Kaempens Sang
- Himlen Ulmer Svagt I Flammerodt
- Se Blygra Sky'r Mod Blygra Sky'r Sig Vaelte
- Ved Solnedgang
- Bjornen
- Der Sta To Roser
- Alt Daekker Nattens Vide Slaengkappe Land Og Byer
- I Braendingen Ligger En Klippeblok
- En Rand Af Diset Hede
- I Skoven II
- Yderst I Slaeber, Det Lette
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Historic Organ Of Louisville
Manufacturer: Organ Hist. Society ProductGroup: Music Binding: Audio CD All Works by Arne
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ASIN: B000004AHS Release Date: 1996-12-17 |
Tracks:
- Funeral March And Humn Of Seraphs
- Sonata No.1, Op.42: III. Finale
- 'The Little Red Lark'
- Fireside Francies, Op.29
- Lord Enthroned
- Suite Folklorique: Canzona
- Lied des Chrysanthemes, Op.3, No.1
- Fantasie And Fugue In B-Flat
- We Know That Christ Is Raised
- Peer Gynt Suite I.: Ases Tod
- Andante
- Concerto No.1: Organ Solo
- Johnson Rag
Tracks:
- Sonata IV.
- Ave Maria, Op.104, No.2
- Allegro Maestoso And Fugue On America
- Homage To Persichetti
- Dawn Hymn, Op.138
- Sunset To Sunrise
- O God, Thou Faithful God, Op.65
- Church Cantata: b. Aria
- Hymn Interpret: Beach Spring
- Sonata V.
- Elevation, No.30
- Secondo Dialogo
- Monologue, Op.162, No.1: Fughetta On B-A-C-H
- Homeward Bound
- Prayer
- Offertoire (La madone)
- Chanson de nuit, Op.15, No.1
- Thais: Meditation
- Prelude On Pisgah
Tracks:
- Sonata No.4 In B-Flat Major: I., II.
- Fugue In A-Flat Minor
- Prelude On Hyfrydol
- L'Apres midi faune: Prelude
- The Ride Of The Walkuren
- The Last Rose Of Summer
- Laudate Dominum: O Praise Ye the Lord
- Three Pieces
- Fantasie
Tracks:
- Partita On Ein fest Burg
- A Mighty Fortress
- Sonata II.: I. Lebhaft
- Prelude And Fugue In E-Flat
- Sing Alleluia Forth
- Trumpet Tune
- Grand March In B-Flat Major
- Partita On Resonet In laudibus
- When In Our Music: Chorale
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Clarinet Carnival
Manufacturer: Asv Living Era ProductGroup: Music Binding: Audio CD Quintets
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| Mozart, Wolfgang Amadeus
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ASIN: B0000030YU Release Date: 1995-08-22 |
Tracks:
- Die Kunst (Vars On 'Colonel Bogey'): I. Intro
- Die Kunst (Vars On 'Colonel Bogey'): II. Var 1 - Ser
- Die Kunst (Vars On 'Colonel Bogey'): III. Var 2 - Sequence 1
- Die Kunst (Vars On 'Colonel Bogey'): IV. Var 3 - Fugue
- Die Kunst (Vars On 'Colonel Bogey'): V. Var.4 - Tango
- Die Kunst (Vars On 'Colonel Bogey'): VI. Var 5 - Rondo
- Adagio in B flat, K411 - Thurston Cl Qt/Philip Sibthrop
- Five English Postcards: I. Summer Parade
- Five English Postcards: II. Tea
- Five English Postcards: III. Village Dance
- Five English Postcards: IV. Sunday Afternoon
- Five English Postcards: V. Celebration
- Blue Moon
- Liza
- 5 Movts: I. Prld
- 5 Movts: II. Aria
- 5 Movts: III. Scherzo
- 5 Movts: IV. Interlude
- 5 Movts: V. Final
- Danse
- Folk Songs And Dances From Eastern Europe: I. Ej Bola Lasks (Oh, It Was Love)
- Folk Songs And Dances From Eastern Europe: II. Kemenska Ratchenitza
- Folk Songs And Dances From Eastern Europe: III. Prjdi, Janko K Nam (Come To See Us, Janko)
- Folk Songs And Dances From Eastern Europe: IV. Sebes Czardas
- Begin The Beguine
- Caprice 24
![Shakespeare in Song [Hybrid SACD]](http://ec1.images-amazon.com/images/I/31HNZS41DEL.jpg)
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Shakespeare in Song [Hybrid SACD]
Matthew Harris , Nils Lindberg , Jaakko Mantyjarvi , Frank Martin , Alan Murray , Ralph Vaughan Williams , Charles Bruffy , Carol Platt , Cassandra Ewer , Laura Inman , and Robert Comeaux Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Argento
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ASIN: B0002NRRCO Release Date: 2004-09-21 |
Tracks:
- Hark! Hark! The Lark Adagio
- Tell Me Where Is Fancy Bred. Allegretto
- I Shall No More To Sea. Largo
- When That I Was And A Little Tiny Boy. Moderato
- It Was A Lover And His Lass Gently
- O Mistress Mine! Adagietto
- When Daffodils Begin To Peer. Lilting, With A Beat
- I. Come Unto These Yellow Sands (Ariel's Song). Molto Tranquillo
- II. Full Fathom Five. Tres Calme
- III. Before You Can Say, 'Come', And 'Go'. Allegro Molto
- IV. You Are Three Men Of Sin. Allegro - Adagio - Allegro
- V. Where The Bee Sucks, There Suck I. Allegretto Grazioso
- Slowly, With Expression - Meno Mosso - Poco Meno Mosso
- 1. Come Away, Come Away, Death. Andante Moderato
- 2. Lullaby. Andante Con Moto
- Double, Double Toil And Trouble...
- Full Fathom Five. Grave
- Shall I Compare Thee To A Summer's Day?
- Molto Lento Ed Elegiaco
- O Mistress Mine! Tranquillo
- 1. Full Fathom Five. Andante Misterioso
- 2. The Cloud-Capp'd Towers. Lento
- 3. Over Hill, Over Dale. Allegro Vivace
Customer Reviews:
Beautiful, soulful and at times shiveringly wonderful.......2005-07-10
beautiful.......2005-03-21
Stunningly Good : You've GOT to Hear This in SACD!.......2005-03-03
This recording of music set to words by Shakespeare is not the usual olde tyme music, but rather is all from the 20th (and in at least one case, the 21st) century by well-known composers like Vaughan Williams and Frank Martin, and little-knowns like Matthew Harris and Major Alan Murray. All of it is good, some of it strikingly good (like the Martin, the RVW, and Sametz's 'When he shall die,' written in honor of Louis Botto, the late founder of America's most famous professional choir, Chanticleer, and which the choir apparently learned only two days before the recording date!)
Others have already written in some detail about the program. Let me just add that unless you hear this in SACD you're missing something. I have heard it in both formats and can tell you that the SACD is sensational, not that the plain-vanilla CD lacks anything for that medium. As Bruffy predicts in the Fanfare article, 'Once you listen on SACD you'll never go back.'
This is stunningly beautiful release that I recommend unstintingly. On my wish-list is a recording in SACD of the Phoenix Bach Choir and the Kansas City Chorale reunited to sing 'Spem in alium.' Now THAT would really be something heard in surround sound the way Tallis intended it!
TT=55:52
Scott Morrison
A Spoonful of Sugar.......2004-10-09
I heard something new, and something unexpected. Here, the Phoenix Bach Choir doesn't offer some type of trite and foolishly cheerful Renaissance romp, but instead, new settings of old texts.
First, the quality of the recording is superb - listening in 5.1 surround it feels as though the group is singing to you in your living room, albeit in a much better acoustic without the drapes, carpet and recliner. Second, the quality of the sound of the ensemble is exquisite, even in extreme dynamic ranges or technically difficult passages. Bruffy and his singers offer impeccable blend, ideal choral balance, spot-on intonation, careful attention to the ebb and flow of the text, and absolute control of technique, especially in complex polyphonic sections.
These qualities should be reason enough for anyone to buy the album, even though these attributes should be (but often aren't) par for the course for professional choral ensembles.
While the introspective interpretation of the music is an excellent quality, the innovative sounds of these (perhaps unfamiliar) composers are truly wonderful. All of the composers featured on the album have written music during the past 100 years, and the several songs are fresh and accessible. The Matthew Harris "Shakespeare Songs" are absolutely addictive - you'll find yourself humming these tunes while you make your morning muffins. The Nils Lindberg "Shall I compare thee to a summer's day?" is a mellow and jazzy piece, conjuring images of a choral ensemble around the piano at a martini bar. Alan Murray's "O Mistress Mine" is a very English-sounding anthem that, words aside, wouldn't sound out of place in an Anglican church service.
To be fair, the other selections on the disc are not as immediately pleasing. The dark, edgy pieces by Frank Martin and Steven Sametz are the best examples, full of brooding and bite. The Vaughan Williams pieces are much more bitter than one might expect from this beloved composer. Unfortunately, these melancholy, hazy selections tend to get buried together on the album, so be sure to sample things out of order as you listen. I suspect that these other pieces are like a good coffee that one must appreciate over several tastings. But perhaps this coffee needs another spoonful of sugar.
But after the SACD has stopped spinning, I realize that this music has offered me a window to profundity. As I encountered this offering of art, bringing to it all of my prior judgements and feelings, I found that this music activates a point of resonance within myself. Upon reflection, I realized what I heard was the hum of the universal experience of the human condition, the clear ring of music that is carefully laid out as a mirror before the soul.
While most of this album is dark, brooding, and edgy, there is a familiar echo in the sonorities that stays with you like a distant, bittersweet, mysterious, but much treasured, memory.
Spoonful of Sugar.......2004-10-07
I heard something new, and something unexpected. Here, the Phoenix Bach Choir doesn't offer some type of trite and foolishly cheerful Renaissance romp, but instead, new settings of old texts.
First, the quality of the recording is superb - listening in 5.1 surround it feels as though the group is singing to you in your living room, albeit in a much better acoustic without the drapes, carpet and recliner. Second, the quality of the sound of the ensemble is exquisite, even in extreme dynamic ranges or technically difficult passages. Bruffy and his singers offer impeccable blend, ideal choral balance, spot-on intonation, careful attention to the ebb and flow of the text, and absolute control of technique, especially in complex polyphonic sections.
These qualities should be reason enough for anyone to buy the album, even though these attributes should be (but often aren't) par for the course for professional choral ensembles.
While the introspective interpretation of the music is an excellent quality, the innovative sounds of these (perhaps unfamiliar) composers are truly wonderful. All of the composers featured on the album have written music during the past 100 years, and the several songs are fresh and accessible. The Matthew Harris "Shakespeare Songs" are absolutely addictive - you'll find yourself humming these tunes while you make your morning muffins. The Nils Lindberg "Shall I compare thee to a summer's day?" is a mellow and jazzy piece, conjuring images of a choral ensemble around the piano at a martini bar. Alan Murray's "O Mistress Mine" is a very English-sounding anthem that, words aside, wouldn't sound out of place in an Anglican church service.
To be fair, the other selections on the disc are not as immediately pleasing. The dark, edgy pieces by Frank Martin and Steven Sametz are the best examples, full of brooding and bite. The Vaughan Williams pieces are much more bitter than one might expect from this beloved composer. Unfortunately, these melancholy, hazy selections tend to get buried together on the album, so be sure to sample things out of order as you listen. I suspect that these other pieces are like a good coffee that one must appreciate over several tastings. Perhaps this coffee needs another spoonful of sugar.
But after the SACD has stopped spinning, I realize that this music has offered me a window to profundity. As I encountered this offering of art, bringing to it all of my prior judgements and feelings, I found that this music activates a point of resonance within myself. Upon reflection, I realized what I heard was the hum of the universal experience of the human condition, the clear ring of music that is carefully laid out as a mirror before the soul.
While most of this album is dark, brooding, and edgy, there is a familiar echo in the sonorities that stays with you like a distant, bittersweet, mysterious, but much treasured, memory.
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The Essential Leontyne Price
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ASIN: B000003FWD Release Date: 1996-08-13 |
Tracks:
- Aida: Act I: Ritorna vincitor!
- Aida: Act I: E l'amor mio?
- Aida: Act I: I sacri nomi di padre, d'amante
- Aida: Act III: Qui Radames verra!
- Aida: Act III: O patria mia
- Un Ballo in Maschera: Act II: (Prelude)
- Un Ballo in Maschera: Act II: Ecco l'orrido campo
- Un Ballo in Maschera: Act II: Ma dall'arido stelo divulsa
- Un Ballo in Maschera: Act III: A tal colpa e nulla il pianto
- Un Ballo in Maschera: Act III: Morro, ma prima in grazia
- Il Trovatore: Act I: Che piu t'arresti?
- Il Trovatore: Act I: Tacea la notte placida
- Il Trovatore: Act I: Di tale amor che dirsi
- Il Trovatore: Act IV: Siam giunti
- Il Trovatore: Act IV: D'amor sull'ali rosee
- Ernani: Act I: Surta e la notte
- Ernani: Act I: Ernani! Ernani, involami
- Ernani: Act I: Tutto sprezzo che d'Ernani
- La forza del destino: Act II: Son giunta! Grazie, o Dio!
- La forza del destino: Act II: Madre, madre, pietosa Vergine
- La forza del destino: Act II: La Vergine degli angeli
- La forza del destino: Act IV: Pace, pace, mio Dio
Tracks:
- Cosi fan tutte: Act I: Come scoglio immoto resta
- Madama Butterfly: Act II: Piangi? Perche?; Un bel di vedremo
- Madama Butterfly: Act III: Tu? tu? piccolo Iddio!
- TOSCA: Act II: Vissi d'arte
- Manon Lescaut: Act II: In quelle trine morbide
- Manon Lescaut: Act IV: Sola, perduta, abbandonata
- Dialogues des Carmelites: Act III: Mes filles, voila que s'acheve
- Don Giovanni: Act I: Don Ottavio, son morta!
- Don Giovanni: Act I: Or sai chi l'onore
- Don Giovanni: Act II: Crudele? Ah, no, mio bene!
- Don Giovanni: Act II: Non mi dir
- Turandot: Act I: Signore, ascolta!
- Turandot: Act III: Tu che di gel sei cinta
- Ariadne auf Naxos: Es gibt ein Reich
- Antony And Cleopatra: Act III: Give me my robe
Tracks:
- Otello: Era piu calmo?
- Otello: Mia madre aveva una povera ancella (Willow Song)
- Otello: Ave Maria
- Fidelio: Act I: Abscheulicher! Wo eilst du hin?
- Suor Angelica: Senza mamma, o bimbo, tu sei morto!
- Carmen: L'amour est un oiseau rebelle (Habanera)
- La Traviata: Act I: E strano, e strano !
- La Traviata: Act I: Ah, fors' e lui
- La Traviata: Act I: Sempre libera
- Le nozze di Figaro: Act III: E Susanna non vien!
- Le nozze di Figaro: Act III: Dove sono
- Die Agyptische Helena: Act II: Awakening Scene
- La rondine: Ore dolci e divine
- Salome: Finale
Tracks:
- Eugene Onegin: Act II: Puskai pogibnu ya
- Eugene Onegin: Act II: Ya k vam pishu
- Eugene Onegin: Act II: Net, nikomu na svete
- Eugene Onegin: Act II: No tak i byt'!
- La rondine: Act I: Chi il bel sogno di Doretta
- VANESSA: Act I: He Has Come, He Has Come!
- VANESSA: Act I: Do Not Utter A Word
- Carmen: Act I: Pres des remparts de Seville (Seguidilla)
- Manon: Act II: Allons! il le faut!
- Manon: Act II: Adieu, notre petite table
- Macbeth: Act IV: Sleepwalking Scene: Vegliammo invan due notti
- Macbeth: Act IV: Sleepwalking Scene: Una macchia e qui tuttora
- La Boheme: Act IIII: Addio. Donde lieta usci (Mimi's Addio)
- Die Frau ohne Schatten: Act II: Empress's Awakening Scene
- Dido and Aeneas: Act III: Thy Hand, Belinda!
- Dido and Aeneas: Act III: When I Am Laid In Earth
- Don Carlo: Act V: Tu che le vanita conoscesti del mondo
Tracks:
- Otello: Act I: Gia nella notte
- Otello: Act I: Quando narravi
- Otello: Act I: Venga la morte!
- Cosi fan tutte: Act I: Ah, guarda, sorella
- Madama Butterfly: Act I: Bimba, bimba, non piangere
- Madama Butterfly: Act I: Bimba dagli occhi
- Madama Butterfly: Act I: Vogliatemi bene
- Requiem: Recordare
- Porgy And Bess: Act II: Bess, You Is My Woman
- Norma: Act III: Me chiami, o Norma
- Norma: Act III: Mira, o Norma
- Ernani: Act II: Tu, perfida!
- Ernani: Act II: Ah, morir, potessi adesso
- Cosi fan tutte: Act II: Sorella, cosa dici?
- Cosi fan tutte: Act II: Prendero quel brunettino
- Aida: Act IV: La fatal pietra sovra me si chiuse
- Aida: Act IV: Presago il core della tua condanna
- Aida: Act IV: Vedi? Di morte l'angelo
- Aida: Act IV: O terra, addio
Tracks:
- Un Ballo in Maschera: Act II: Teco io sto!
- Aida: Act III: Ciel! mio padre!
- Aida: Act III: Rivedrai le forest imbalsamate
- Aida: Act III: In armi ora si desta il popol nostro
- Aida: Act III: Padre! a costoro schiava non sono
- Requiem: Angus Dei
- Manon Lescaut: Act I: Oh, saro la piu bella!; Tu, tu, amore?
- Cosi fan tutte: Act I: Soave sia il vento
- Porgy And Bess: Act II: I Loves You, Porgy
- Aida: Act II: Silenzio! Aida verso noi s'avanza
- Aida: Act II: Fu la sorte dell'armi
- Aida: Act II: Pieta ti prenda del mio dolor
- Aida: Act II: Alla prompa che s'appresta
- Il Trovatore: Act IV: Udiste?
- Il Trovatore: Act IV: Mira, di acerbe lagrime
- Il Trovatore: Act IV: Vivra! Contende il giubilo
- Madama Butterfly: Act II: Scuoti quella fronda di ciliegio (Flower Duet)
- Carmen: Act IV: C'est toi! - C'est moi!
- Carmen: Act IV: Ou vas-tu? - Laisse-moi!
Tracks:
- Les nuits d'ete, Op.7: Villanelle
- Les nuits d'ete, Op.7: Le spectre de la rose
- Les nuits d'ete, Op.7: Sur les lagunes
- Les nuits d'ete, Op.7: Absence
- Les nuits d'ete, Op.7: Au cimetiere (Clair de lune)
- Les nuits d'ete, Op.7: L'ile inconnue
- Four Last Songs: Fruhling
- Four Last Songs: September
- Four Last Songs: Beim Schlafengehen
- Four Last Songs: Im Abendrot
- Clair de lune, Op.46, No.2: Clair de lune
- Notre amour, Op.23, No.2: Notre amour
- Au cimetiere, Op.51, No.2: Au cimetiere
- Au bord de l'eau, Op.8, No.1: Au bord de l'eau
- No.1, Cinq melodies de Venise, Op.58: Mandoline
- Main dominee par le coeur
- Miroirs brulants No.2: Je nommerai ton front
- Miroirs brulants No.1: Tu vois le feu du soir
- Ce doux petit visage
Tracks:
- Knoxville: Summer Of 1915, Op.24: Knoxville: Summer Of 1915
- Frauenliebe und -leben, op.42: Seit ich ihn gesehen
- Frauenliebe und -leben, op.42: Er, der Herrlichste von allen
- Frauenliebe und -leben, op.42: Ich kann's nicht fassen
- Frauenliebe und -leben, op.42: Du Ring an meinem Finger
- Frauenliebe und -leben, op.42: Helft mir, ihr Schwestern
- Frauenliebe und -leben, op.42: Susser Freund, du blickest
- Frauenliebe und -leben, op.42: An meinem Herzen, an meiner Brust
- Frauenliebe und -leben, op.42: Nun hast du mir den ersten Schmerz getan
- Widmung (No.1, Myrthen, Op.25): Widmung
- Mignon (No.28, Liederalbum fur die Jugend, Op.79): Mignon
- Volksliedchen, Op.51, No.2: Volksliedchen
- Schone Wiege meiner Leiden (No.5, Liederkreis, Op.24): Schone Wiege meiner Leiden
- Er ist's (No.23, Liederalbum fur die Jugend, Op.79): Er ist's
- Heiss mich nicht reden (No.5, Lieder und Gesand aus Wilhelm Meister)
- Lust der Sturmnacht, Op.35, No.1: Lust der Sturmnacht
- Allerseelen, Op.10, No.8: Allerseelen
- Schlagende Herzen
- Freundliche Vision, Op.48, No.1: Freundliche Vision
- Wie sollten wir geheim, Op.19, No.4: Wie sollten wir geheim
- Der Gartner (Morike-Lieder No.17)
- Lebe wohl (Morike-Lieder No.36)
- Morgentau (From An Old Songbook)
- Geh, Geliebter, geh jetzt (Spanisches Liederbuch No.34)
Tracks:
- Ev'ry Time I Feel The Spirit - Various Artists
- Let Us Break Bread Together On Our Knees - Various Artists
- His Name So Sweet - Various Artists
- 'Roun' About De Mountain - Various Artists
- Swing Low, Sweet Chariot - Various Artists
- Sit Down, Servant - Various Artists
- Were You There - Various Artists
- He's Got The Whole World In His Hands - Various Artists
- Deep River - Various Artists
- Honor! Honor! - Various Artists
- My Soul's Been Anchored In De Lord - Various Artists
- On Ma Journey - Various Artists
- A City Called Heaven - Various Artists
- Ride On, King Jesus - Various Artists
- I Wish I Knew How It Would Feel To Be Free - Various Artists
- Sinner, Please Don't Let This Harvest Pass - Various Artists
- Sweet Little Jesus Boy - Various Artists
- There Is A Balm In Gilead - Various Artists
- Let Us Cheer The Weary Traveler - Various Artists
- Ev'ry Time I Feel The Spirit - Various Artists
- My Way Is Cloudy - Various Artists
- Nobody Knows The Touble I've Seen - Various Artists
- I Couldn't Hear Nobody Pray - Various Artists
Tracks:
- Holy, Holy, Holy
- Lead, Kindly Light
- Blessed Assurance
- Ave Maria
- What A Friend We Have In Jesus
- Amazing Grace
- The Lord's Prayer
- Pass Me Not, O Gentle Saviour
- The Church's One Foundation
- Bless This House
- I Need Thee Every Hour
- Fairest Lord Jesus
- I Wonder As I Wander
- Ave Maria
- Porgy And Bess: Summertime
- America The Beautiful
- Lift Ev'ry Voice And Sing
- A Mighty Fortress Is Our God
- Battle Hymn Of The Republic
Tracks:
- Chants tziganes, Op. 103: He Zigeuner
- Chants tziganes, Op. 103: Hochgeturmte Rimaflut
- Chants tziganes, Op. 103: Wisst ihr, wann mein Kindchen
- Chants tziganes, Op. 103: Lieber Gott, du weisst
- Chants tziganes, Op. 103: Brauner Bursche
- Chants tziganes, Op. 103: Roselein dreie in der Reihe
- Chants tziganes, Op. 103: Kommt dir manchmal in den Sinn
- Chants tziganes, Op. 103: Rote Abendwolken
- Adriana Lecouvreur: Act I: Io son l'umile ancella
- This Little Light O'Mine
- Interview With Leontyne Price By John Pfeiffer
Amazon.com
This 11-CD set, one might say jokingly, contains all the music ever written for the soprano voice and a bit for mezzo as well. And indeed, it's a staggering collection: In addition to her great Verdi heroines (the two Leonoras, Aida, Amelia, and Elvira in Ernani), Price is heard in her Puccini roles--Manon Lescaut, Butterfly, Tosca--and at least two dozen other roles, most of which she never sang on stage. Here are her heroic, secure Leonore in Fidelio, Strauss's high-flying Egyptian Helen, Purcell's Dido, Barber's Cleopatra, Bellini's Norma, Ariadne, Verdi's Violetta and Desdemona, Bizet's Carmen, Mozart's Countess, and Fiordiligi. Some are, naturally, more successful than others; almost none are embarrassing (Carmen comes close). In addition, she sings songs by Schubert, Schumann, and Strauss--none of them as well as say, Janet Baker or Elisabeth Schwarzkopf, and Barber's Knoxville, etc.--quite beautifully. Berlioz's Les Nuits d'été is not very good, but a group of spirituals is. In all, however, this is an amazing display by one of the century's greatest sopranos. There may be no new depths plumbed here, but the singing is a knockout. --Robert LevineCustomer Reviews:
A Long Time Coming..........2006-03-30
An American Icon....I will forever be a loyal fan and admirer!!
Her Best Album.......2006-01-01
This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.
Price At Her Peak.......2005-05-02
This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.
Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.
Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.
of course world class.......2000-08-14
the greatest american soprano of the 20th century.......1999-12-12
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How the World Wags
Manufacturer: Hyperion ProductGroup: Music Binding: Audio CD Baroque Dance Suites
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D'Urfey, Thomas
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Purcell, Henry
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| Purcell, Henry
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ASIN: B000002ZG0 Release Date: 1993-09-01 |
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In Bygone Days; Songs Of The Boston School
Manufacturer: Premier Recordings ProductGroup: Music Binding: Audio CD All Works by Beach
| Beach, Amy Marcy Cheney
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All Works by Paine
| Paine, John Knowles
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ASIN: B000009LHK Release Date: 1995-11-13 |
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20th Century Wind Quintets
Manufacturer: Sony ProductGroup: Music Binding: Audio CD Quintets
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| Classical
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All Works by Barber
| Barber, Samuel
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Berio, Luciano
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ASIN: B0000027TX Release Date: 1992-09-29 |
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Mendelssohn: Songs Without Words / Grieg: Lyric Pieces
Manufacturer: EMI Records [All429] ProductGroup: Music Binding: Audio CD Grieg, Edvard
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| Mendelssohn, Felix
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Gieseking, Walter
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ASIN: B000007TKJ Release Date: 2001-04-03 |
Tracks:
- Songs Without Words: Book 1, Op.19: No. 1 in E - Andante con moto
- Songs Without Words: Book 1, Op.19: No. 6 in G minor - Andante sostenuto (Venetian Gondola Song)
- Songs Without Words: Book 2, Op.30: No. 6 in F sharp minor Allegretto (Venetian Gondola Song)
- Songs Without Words: Book 2, Op.38: No. 4 in A - Andante
- Songs Without Words: Book 3, Op.38: No. 6 in A flat - Andante con moto (Duetto)
- Songs Without Words: Book 4, Op.53: No. 2 in E flat - Allegro non troppo
- Songs Without Word: Book 4, Op.53: No. 3 in G minor - Presto agitato
- Songs Without Words: Book 4, Op.53: No. 4 in F - Adagio
- Songs Without Words: No. 1 in G - Andante espressivo
- Songs Without Words: Book 5, Op.62: No. 5 in A minor - Andante (Venetian Gondola Song)
- Songs Without Words: Book 6, Op.67: No. 6 in A - Andante grazioso (Spring Song)
- Songs Without Words: Book 6, Op.67: No. 3 in B flat - Andante tranquillo
- Songs Without Words: Book 6, Op.67: No. 4 in C - Presto (Spinning Song -The Bee's Wedding)
- Songs Without Words: Book 7, Op.85: No. 4 in D - Andante sostenuto
- Songs Without Words: Book 7, Op.85: No. 6 in B flat - Allegretto con moto
- Book 8, Op.102: No. 3 in C - Presto
- Songs Without Words: Book 8, Op.102: No. 5 in A major - Allegro vivace (Piece for Children)
- Lyric Pieces: Book 1, Op.12: No. 2 Waltz
- Lyric Pieces: Book 1, Op12: No. 7 Album - leaf
- Lyric Pieces: Book 2, Op.38: No. 1 Cradle Song
- Lyric Pieces: Book 2, Op.38: No. 3 Melody
- Lyric Pieces: Book 3, Op.43: No. 1 Butterfly
- Lyric Pieces: Book 3, Op.43: No. 2 Lonely Wanderer
- Lyric Pieces: Book 3, Op.43: No. 3 In My Native Land
- Lyric Pieces: Book 3, Op.43: No. 4 Little Bird
- Lyric Pieces: Book 3, Op.43: No. 5 Erotic
- Lyric Pieces: Book 3, Op.43: No. 6 To the Spring
- Lyric Pieces: Book 4, Op.47: No. 2 Album-leaf
- Lyric Pieces: Book 4, Op.47: No. 3 Melody
- Lyric Pieces: Book 4, Op.47: No. 4 Norwegian Dance (Halling)
Tracks:
- Lyric Pieces: Book 5, Op.54: No. 1 Shepherd Boy
- Lyric Pieces: Book 5, Op.54: No. 3 March Of TheDwarfs
- Lyric Pieces: Book 5, Op.54: No. 4 Notturno
- Lyric Pieces: Book 5, Op.54: No. 6 Bellringing
- Lyric Pieces: Book 6, Op.57: No. 6 Homesickness
- Lyric Pieces: Book 7, Op.62: No. 3 French Serenade
- Lyric Pieces: Book 7, Op.62: No. 5 Phantom
- Lyric Pieces: Book 7, Op.62: No. 6 Homeward
- Lyric Pieces: Book 8, Op.65: No. 1 From Days Of Youth
- Lyric Pieces: Book 8, Op.65: No. 2 Peasant's
- Lyric Pieces: Book 8, Op.65: No. 6 Wedding Day At Troldhaugen
- Lyric Pieces: Book 9, Op.68: No. 2 Grandmother's Minuet
- Lyric Pieces: Book 9, Op.68: No. 3 At Your Feet
- Lyric Pieces: Book 9, Op.68: No. 5 At The Cradle
- Lyric Pieces: Book 10, Op.71: No. 2 Summer Evening
- Book 10, Op.71: No. 3 Puck
- Lyric Pieces: Book 10, Op.71: No. 4 Peace Of The Woods
- Book 10, Op.71: No. 7 Remembrances
- Pictures From Life In The Country: No. 2 The Bridal Procession Passes
- Lyric Pieces: Book 3, Op.43: No. 1 Butterfly
- Lyric Pieces: Book 3, Op.43: No. 2 Lonely Wanderer
- Lyric Pieces: Book 3, Op.43: No. 4 Little Bird
- Lyric Pieces: Book 3, Op.43: No. 6 To the Spring
- Lyric Pieces: Book 9, Op.65: No. 6 Wedding Day at Troldaugen
Customer Reviews:
Piano Fan.......2007-01-20
Incorporeal pianism!.......2006-01-20
This is one of the most successful records ever performed, but if you have besides Rena Kyriakou, Guiomar Novaes and Anna Dorffman, you should not have to worry about it, because you would have the cream of the cream versions about this work.
Buy this CD !.......2004-05-11
17 Lieder ohne Worte (17 Songs Without Words).......2000-06-13
17 Lieder ohne Worte (17 Songs Without Words).......2000-06-13
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