| 1. This Here |
| 2. Spontaneous Combustion |
| 3. Hi Fly |
| 4. You Got It |
| 5. Bohemia After Dark (Aka B |
| 6. Straight No Chaser |
Editorial Reviews
Product Description
Japanese Version featuring an LP Style Slipcase for Initail Pressing.
Throughout the album, all three guitar players (incidentally only playing in pairs on the three first tracks) perform on acoustic guitars, and for an early 80's live recording, the sound quality is surprisingly good (rich acoustics, no feedback, no distortion.) What ruins a lot of the listening experience, however, are the audience members who yell and scream and whistle and clap over some of the music as if they were high on all that currently is illegal to get high on. The wildness of the audience participation on track #2 is especially bothersome; as soon as the guitar players play a fast lick, an unusual effect, anything technically advanced or anything in unison, these people go crazy, and when recognizing an obvious installment of the theme from Pink Panther you can hear them wearing their anuses on their sleeves as they burst from rapture.
But the audience aside, this is an important recording for a lot of obvious reasons - a recording that you definitely should own or at least listen to if you have ever enjoyed any music performed or written by any of these three guitarists. Incidentally, Hal Leonard has produced a book of transcriptions of all titles from this recording.
When you get a bunch of guitar virtuosos together, that usually adds up to a real snoozefest of lots of technical proficieny and zero tunefullness. So an all acoustic session would be even worse right? Wrong!
People can go on about the technical proficiency demonstrated by messrs. McLaughlin, Di Meola, and Delucia. But technical proficiency alone is not music. This, my friends, is music. Nominally, this is labeled as a jazz album but it really defies any genre. If you have even the slightest affinity for great guitar playing, plunk down your ten bucks and listen.
Donald Lindsey
Who can say what is beatiful? Look at faces of Gene and Stan during the shooting on the set: whole concentration and attention for everything.
This is a unique moment in their story, and in the story of cinema.
Unforgettable.
Third Symphony (with which this CD ends and just the third movement).
I grew up with E. Power Biggs, Virgil Fox, et al. and had never heard of Michael Murray (okay, it's been a while). I bought this delightful CD when it first appeared and before Amazon had been invented.
Upon hearing that most famous work with which Murray begins, I confess I was just this side of hysterical -- I was laughing with pure happiness. Murray's take on is it wonderfully over-the-top in the best possible sense. I have a son-in-law who is a musician and, indeed, does play the organ (i.e., if any of them have had pipes, I don't know, but I'm here to tell you, I don't want to hear ANY but pipe organs -- okay, I'm old).
At any rate, to hear this Toccata and Fugue played with such (carefully studied) abandon so tickled me, I called Brian (the son-in-law) and demanded that he listen while I put it on my stereo.
Now I'm going to send it to my son Bruce upon learning last night that he LOVES organ music. Who knew? He's 54 years old, for goodness' sake and never mentioned that little item before.
Had me smiling all the way through, and the sound is great too.
Gershwin would have approved.
Now you are hopeful that this CD will finally explain Gershwin to you so that you can fully assimilate this piece of Americana.
You will definitely recognize the brilliant sections of this CD, as well as its originality. This is why you are giving it five stars! However, this performance will also challenge your musical thinking and it will frustrate your musical instincts. But who said that education is easy!
You like the poetic, although nervous, "Rhapsody in Blue".
The "American in Paris" is a manic-depressive performance, you feel, with the wild contrasts in tempo. The American is not strolling in Paris, but trying to get the hell out of there! His homesickness is a full-blown depression, in which the tempo comes to a virtual halt. The orchestral fireworks are executed with a super-human nano-second precision. You wish for the smoother, more relaxing, rhythmic edges.
You definitely like Garrick Ohlsson's performance of the piano concerto. He takes a steady tempo and moves nicely. First you feel that the nervous, over-expressive and sometimes too loud orchestra should match Mr. Ohlsson's clean style, but then you find a certain attraction in this yin-yang combination. In some sections violins are standing out too much with their velvety vibrato. Mr. Ohlsson performs beautifully, and you really enjoy this concerto.
You still have a long way to go to completely bond with Mr. Gershwin, but this is a good beginning!
Unfortunately, the version recorded here has a terrible fatal flaw in that the horns are so imbalanced that they overwhelm everything in the three big climaxes where the "major seven" theme is played by the full orchestra (twice in the first movement and once in the last movement). The important instruments here are the piano and the strings; the horns should be secondary. Sadly, Thomas has them blasting away as if Mahler were whispering in his ear. Because these climaxes are the crux of the concerto (certainly there are other sweet spots; the sultry and dreamy slow movement and the amazing and surprising syncopation in the finale of the first movement) the overall effect of the piece is ruined.
With due respect to the reviews below, Ohlsson's playing is wooden and Thomas' tempos are akin to metronomic. The playing does not need to be jazzy (this piece is not jazz) but the uptempo sections need to push hard, just as the slow sections need to be constantly pulled back.
For me, the disc was a huge disappointment because there seem to be so few modern recordings of this piece. One might think owning this disc is worth it to have the obviously improved audio quality offered by a modern recording, but I cannot recommend this disc due to the weaknesses of the Concerto in F and the inclusion of the two Gershwin war horses. Now, if the disc included the Second Rhapsody (which was actually orchestrated by Gershwin) it might be worth the investment. As it is, look elsewhere if you are interested in a really good recording of the Concerto in F.
Garrick Ohlsson's Concerto is just as marvelous. The orchestra is in top form, giving a wonderfully convincing reading of the American Concerto. Ohlsson's playing isn't as jazzy as others, but it is still lively and exciting.
The Rhapsody is presented in its original "big Band" form with Thomas at the keyboard. The New World Symphony gives a wonderful accompaniment to the maestro in this all too neglected rendition of the Rhapsody. Although I do prefer Groffe's orchestral version, this recording is hard to resist! Highly recommended.
In the final analysis, although the mezzo is nowhere as good, I just feel that the Blomstedt/SFSO M2 flows better from begining to end. I also like the stronger organ and firmer sounding chorus. MTT's strange tempo anomolies grow tiresome upon repeated listening too. If you want to hear darn near everything done right in this large and multi-faceted work, I recommend the recent Ivan Fischer/BFO Mahler 2nd on Channel Classics. If a more historical perspective is your interest, you can't beat Walter or Klemperer - especially his live stereo one from Munich with Janet Baker.
The performance and recording of the massive work are massive, phenomenal. I have LOTS of recordings of this piece, and I've listened to each and every one of them LOTS and LOTS. Mahler is a God to me. He (and Bruckner) got me through my teenage-years... This performance is special. There is so much power, SO much beauty, SO much intensity, SO much care taken... I've never heard such ferocity (and irony, and agony, and ecstacy) in the first movement, such delicacy (and verve) in the second and third movements, and as for the last movement -- hot damn, son of a gun -- the things Michael Tilson Thomas does with it are just spectacular.
This is my favorite, my absolute favorite. Please give it repeated listenings. There are so many rewards in store for you.
The symphony begins with an arresting funeral march in dark minor. The stirring of the low string in fff is frightening as they call together the whirling activity. The movement is in sonata form, with a double development, each capped of with terribly exciting climaxes. The lovely andante is calming in its gentle swing, but is still filled with the passion of the first movement. The enigmatic scherzo, with its wonderfully vertiginous orchestration, is a dark compilation of Jewish melodies. The lovely forth movement, with its wonderful vocal writing, acts as an introduction of sorts to the dramatic and gigantic finale. The finale is a vivid journey through darkness and adversity, leading to the wonderful glory drenched ending of the symphony.
There are few faults in this consistently splendid recording of the symphony. The San Francisco Symphony is in great form, delivering a performance congruous with Mahler's idiomatic sound world. The first movement begins with tremendous energy; the lower strings really dig into their parts with the necessary vehemence. Thomas's tempo is a bit slower than usual - however, he uses the tempo to judiciously draw out aspects of the score. At times, tension sags due to heavy rubatto, but overall, the good outweighs the bad: the orchestra really delivers a dark, rich sonority; the dichotomy between the dark and light episodes is accentuated effectively; the final climax before the recapitulation has never been bettered; and Thomas immediate transition into the recapitulation after the climax maintains a great deal of tension, eliminating the awkwardness of the moment. All in all, this is not only Thomas' best conception of a sonata-form movement within the cycle, but it also stands up handsomely to the competition, including Bernstein's recording on DG, which also suffers from slow tempos and slackening tension.
The second movement goes well enough. The strings sing their part warmly, offering a plush sound which is remarkably lovely - even if it is somewhat at odds with the rustic charm of the dance. Thomas indulges his penchant for rubato in excess ever so slightly - a tighter grip would have improved this otherwise wonderful movement.
The scherzo, however, hangs fire. There are too many wonderful moments here to highlight but of particular note are the droll clarinets, Thomas's wonderful transition into the trio, and the magnificent "cry of despair" which captures the all dread and intensity frighteningly well. The clarity of texture, not to mention the top-to-bottom perfection of ensemble, is a joy.
And then there is the Urlicht, one of the finest on disc, so faithfully performed by the late Lorraine Hunt Lieberson. Never has a voice so rich, so powerful, yet so sensitive graced this movement. She draws the text from the score masterfully, highlighting all the correct emotions, while imbuing the lied with a gravitas that never sounds forced. Thomas's sensitive accompaniment only adds to this gem, this brief dream before the onslaught of the finale.
The finale is uniformly spectacular, from the opening Bb minor outburst to the final "resurrection" in Eb. All offstage effects register with immaculate clarity, the various marches all embody the correct character, the orchestra really digs into their parts, delivering the vile sounds of purgatory with utmost character while expertly contrasting that with true visions of heaven. The entrance of the chorus is hair-raising and Hunt Lieberson is just as fine here as ever. Isabel Bayrakdarian, however, is a bit more problematic. Her small voice and quick vibrato do not suite the music well, keeping her vocal line stubbornly earthbound when transcendence is so necessary. However, her part is small and is easy to overlook when compared to the closing passages, where Thomas really creates a "resurrection." Expertly paced, perfectly balanced, and magnificently captured, the final passages are astoundingly powerful, carrying a great deal of tension and gravitas. Thomas may not revel in this music like Bernstein, who really plods through the final passages, but allows this conclusion to arrive naturally, creating a thrillingly satisfying close to this symphony. A magnificent installment in the ongoing series and a highlight in the discography of Mahler seconds.
On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, at times even coquettish. The brass is rich, powerful, but not overbearing. The percussion, especially the bass drum and tam tam (wow), is astoundingly powerful. The strings have a bright sheen, but deliver some of their darkest timbres on disc here. Regardless, the real matter of interest in this recording is what is being said. Michael Tilson Thomas is quite well versed in Mahler and there is a profundity of incite here. There is no such thing as definitive when it comes to a Mahler performance. This recording, however, comes remarkably close.
I have not heard this disc because I want to keep that memory pristine in my mind. The disc, I understand, was edited from several performances (and a member of the chorus told me there was a patch session after the last performance). I just hope they took much of it from Saturday...and I wish they allowed me to buy that performance (complete with the idiot making noise backstage in the 1st mov't) separately, so I could relive it.
I hope this disc is a shadow of what I experienced that night. I honestly have never heard MTT do anything even close to that, and I'm there all the time.
Nielsen's Fifth, as performed by Blomstedt in this recording, is a stunning, miraculous, amazing, tragic, and ultimately life-affirming masterpiece. Written in the wake of the Great War when the scope of its horror had become fully apparent to the composer, it speaks profoundly and prophetically of the rise of nationalism, fascism, and the eternal conflict between a peaceful social discourse and the war-machine of the state.
The two other symphonies on this album are also noteable. The Fourth is a near great work, which was also written during the Great War and deals with the "Inextinguishable" spirit of mankind. The Sixt!h is enigmatic, iconoclastic, humorous.
Everyone interested in 20th Century classical music should purchase this complete set of Nielson symphonies. It will quickly become a treasured part of any music collection.
The Maskarade Overture has a scherzo-like feel, often playful, with a loveable and catchy opening melody, and engaging secondary melody; dramatic and witty, at 4 minutes long, the overture is a charming and fun-loving experience. The 25-minute Aladdin Suite, like the Overture, is based off of a stage work; the story taken from 1001 Arabian Nights. In seven parts, the various sections exploit dance in many forms: Oriental Festival March, Aladdin's Dance and Morning Mist Dance, Hindu Dance, Chinese Dance, Marketplace in Ispahan, Prisoner's Dance, and Negro Dance. The opening is a plodding and menacing march, very Russian sounding, while the Morning Mist Dance is quite the opposite; a fantastical waltz. Of the Hindu and Chinese dance, the former is modal and slinky, while the latter has a moderate bounce to it, but all are overshadowed by the Marketplace following. Ingeniously, Nielsen splits the orchestra in to four ensembles, each overlap each other with contrasting ideas, including a nasal wordless chorus, a chamber drone, all very exotic and unique. The final two parts feature a ragged dance and the finale, a return of the wordless chorus, and a frenetic conclusion. The works are colorful and in some cases experimental, but of a Romantic tradition.
The three symphonies, each just over thirty minutes, show Nielsen's growth as a composer. Symphony No. 1 has an oscillating texture that is carried throughout the work; from the boisterous opening Allegro, to the second movement string chorale, with its murky undertone, to the gently rocking third movement, exhibiting exotic, Russian sounding modes and brass chorales, to troubled, but brash finale, Nielsen's first symphonic outing shows his musical moodiness, but love of varying colors and melodic styles. Symphony No. 2 "Four Temperaments" is based on a painting Nielsen saw at a village inn. Depicting the four human characteristics: Impetuous, indolent or lazy, melancholy, and naïve, each movement describes and combines these states of being. The fiery opening, featuring unexpected syncopations and outbursts, is both heroic and romantic, but the sudden mood changes are expounded through dynamics and texture. The lumbering, flowing second movement has a slight lilt, not to mention occasional humorous orchestrations; while the third movement is set as a funeral ode, tragically serious with throbbing motives. The final movement is like a pioneer dance, with unbridled joy, athletic optimism, and rhythmic vitality, ending the work brilliantly. The Third Symphony, subtitled "Sinfonia Expansiva", uses ideas surrounding the word expansive. The bold orchestra hits open the work, an athletic leaping melody is used in various settings and textures. The second movement calls for soprano and baritone soloists, a calm evocation. A moody scherzo makes up the third movement, and a stuffy procession brings the work to a close. Altogether, the works display ingenious melodies, old forms (such as fugue), Russian orientalism, occasional jazzy inflections, and swiftly changing mood conflicts and shifts.
This compilation performed by Herbert Blomstedt and the San Francisco Symphony is considered the definitive performances of Carl Nielsen's orchestral works. Enthusiastic performances all around, good ensemble work, and a swaggering brass sound make these performances first class. The Decca digital sound from the late 80's to 90's is pretty good, with clear, balanced sounds. The chorus is good, although it is slightly overmiked, and the vocal soloists, although a small role, perform well. At a 2 for1 price, 130 minutes of music, and stellar performances, this is a super bargain. If you like late Romantic sounds, with great melodies and interesting harmonic settings, the CD is a steal. Highly Recommended!
Japanese Version featuring an LP Style Slipcase for Initail Pressing.
In San Francisco,Cannonball Adderley,Jvc Victor,Jazz
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Friday Night in San Francisco
Mclaughlin , Di Meola , and Delucia Manufacturer: Sony ProductGroup: Music Binding: Audio CD  Spain
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ASIN: B000002AHM Release Date: 1997-09-23 |
Tracks:
- Mediterranean Sundance/Rio Ancho
- Short Tales Of The Black Forest
- Frevo Rasgado
- Fantasia Suite
- Guardian Angel
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This live recording from 1980 matched fusion guitar heavyweights Al DiMeola and John McLaughlin with Spanish guitar whiz Paco DeLucia. The result, a dazzling technical display, also earned jeers as the international summit of world-class finger-wigglers by critics who felt it was long on chops and short on heart. John McLaughlin's importance to the development of the jazz fusion scene can't be overestimated: as the guitarist on Miles Davis's seminal Bitches Brew and A Tribute to Jack Johnson, he was the first significant guitarist of the electric jazz era; on his own, he brought power rock, spiritualism, and lush orchestration to the scene via his Mahavishnu Orchestra. DiMeola, the most commercially successful next-generation fusion guitarist, achieved stardom with Chick Corea's group Return to Forever and on his own records. DeLucia, virtually unknown in the U.S., is a fine flamenco guitarist, and it is that orientation more than anything that colors Friday Night: even when playing straightforward non-flamenco compositions, the phrasing and sensibility lurks behind every note. Still, the passion of the music is frequently marred by the participants' inability to play at anything but the most breakneck pace. --Fred GoodmanCustomer Reviews:
WoW.......2007-04-25
The masters unite.......2007-03-11
Throughout the album, all three guitar players (incidentally only playing in pairs on the three first tracks) perform on acoustic guitars, and for an early 80's live recording, the sound quality is surprisingly good (rich acoustics, no feedback, no distortion.) What ruins a lot of the listening experience, however, are the audience members who yell and scream and whistle and clap over some of the music as if they were high on all that currently is illegal to get high on. The wildness of the audience participation on track #2 is especially bothersome; as soon as the guitar players play a fast lick, an unusual effect, anything technically advanced or anything in unison, these people go crazy, and when recognizing an obvious installment of the theme from Pink Panther you can hear them wearing their anuses on their sleeves as they burst from rapture.
But the audience aside, this is an important recording for a lot of obvious reasons - a recording that you definitely should own or at least listen to if you have ever enjoyed any music performed or written by any of these three guitarists. Incidentally, Hal Leonard has produced a book of transcriptions of all titles from this recording.
Not a fan.......2007-02-06
Subtly sweet,blazingly fast, and refreshing overall........2007-01-11
Guitar heaven.......2007-01-03
When you get a bunch of guitar virtuosos together, that usually adds up to a real snoozefest of lots of technical proficieny and zero tunefullness. So an all acoustic session would be even worse right? Wrong!
People can go on about the technical proficiency demonstrated by messrs. McLaughlin, Di Meola, and Delucia. But technical proficiency alone is not music. This, my friends, is music. Nominally, this is labeled as a jazz album but it really defies any genre. If you have even the slightest affinity for great guitar playing, plunk down your ten bucks and listen.
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Friday Night in San Francisco (Stereo SACD)
Paco de Lucia Manufacturer: Sony ProductGroup: Music Binding: Audio CD Spain
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ASIN: B00004KD6V Release Date: 1999-09-07 |
Tracks:
- Mediterranean Sundance/Rio Ancho
- Short Tales of the Black Forest - Paco de Luc Al di Meola, Al di Meola, John McLaughlin
- Frevo Rasgado - Paco de Luc Paco de Luc , Al di Meola, John McLaughlin
- Fantasia Suite for Two Guitars: Viva la Danzarina/Guitars of the ...
- Guardian Angel [Studio Recording]
Album Description
Featuring John McLaughlin, Al DiMeola and Paco DeLucia on acoustic guitar. The Great Guitar Trio's Classic Original Recording! Great photos of the trio in performance! 20 BIT digitally remastered. Superb new sound!Customer Reviews:
Gorgeous Recording with Playful Musicians.......2006-08-16
Stereo SACD, not Multichannel!.......2003-10-13
"Too Many Notes...".......2002-11-29
If you think this is some sort of super-charged California Guitar Trio or a Narciso Yepes-type forray into flameco-guitar, forget it. That is not to say most every review you see here is wrong. In fact, they are all correct about these guys being virtuoso guitarists.
However, songs that consist almost entirely of 32nd and 64th notes are at first impressive, but very quickly become tiresome. And this isn't an album full of "songs" so much as it is a forty-some-odd-minute-long jam session featuring testosterone-fueled duels and improvs with a Flamecan flare.
So if you're a guitarist who thrills to the repeated use of the same techniques over and over for close to an hour, this is a great album for you. If you're a normal guy just trying to find some high-fi SACD pyrotechnics, maybe this is still for you. But if you're just someone looking to be entertained, this may disappoint.
Amazing, amazing, amazing.......2002-09-03
I was lucky enough to be introduced to this album by a cousin many years ago, and after having treated myself to it, I played it on at least a weekly basis for months. Far from getting sick of it eventually, I found myself noticing new things almost every time I played it. Of course it's wonderful to listen to yourself, but there is also a profound pleasure to be had in introducing a novice to the album. Watch their eyes widen and their jaw drop as they turn to you and say, "Who IS this? I gotta have this!"
All three men share composition credits on the album. "Mediterranean Sundance/Rio Ancho," the song that opens the album, is a Spanish-influenced piece that sends notes scattering like raindrops on a sunny day--the aural effect is one of sparkling light. Chick Corea's song "Short Tales of the Black Forest" gets a work-out here, and McLaughlin and DiMeola do it proud as they build the musical tension to an almost unbearable point before exploding into the heart of the song a minute or two into the piece. "Frevo Rasgado," an Egberto Gismonti piece, is a complex song which swings effortlessly back and forth between major and minor keys, and McLaughlin and DeLucia go along for the ride with a kind of manic joy in their playing.
The three men don't all play together until the final two songs. On "Fantasia Suite," a DiMeola composition, they follow the notes but go further into that realm where they are in their own little universe, egging each other on and on until the music reaches an almost sublime climax. On "Guardian Angel," much the same thing happens and it's a privilege to hear this kind of creative collaboration in action. If you haven't already, make room on your CD shelf for this outstandingly great album!
SACD SUPERIOR to redbook CD.......2002-04-29
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Rachmaninoff for Romance: Passionate Music for Love and Desire
Manufacturer: Philips ProductGroup: Music Binding: Audio CD General
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ASIN: B0000041DX Release Date: 1995-10-17 |
Tracks:
- Vocalise For Orchestra
- Rhapsody On A Theme By Paganini - 18th Variation: Rhapsody On A Theme By Paganini - 18th Variation (Excerpt)
- Symphony No. 2 in E minor: Symphony No. 2 In E Minor - Adagio
- Piano Concerto No. 2 In C Minor: Piano Concerto No. 2 In C Minor - Adagio sostenuto
- Prelude In D
- Piano Concerto No. 3 In D Minor: Piano Concerto No. 3 In D Minor - Intermezzo (Adagio)
- Symphonic Dance: Symphonic Dance - I. Non Allegro (excerpt)
- Piano Concerto No. 1 In F - Sharp Minor: Piano Concerto No. 1 In F - Sharp Minor - Andante
- Prelude In E-Flat
- Piano Concerto No.4 In G Minor: Piano Concerto No.4 In G Minor - Largo
- Piano Concerto No. 2 In C Minor: Piano Concerto No. 2 In C Minor - Allegro scherzando (Excerpt)
Customer Reviews:
Tear Time.......2007-05-09
Donald Lindsey
The Beauty of Rachmaninoff.......2006-11-10
Applause.......2002-03-12
Beautiful.......2001-05-21
Rachmaninoff for Romance.......2000-04-25
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Singin' in the Rain (1952 Film Soundtrack) (Deluxe Edition)
Nacio Herb Brown , Gene Kelly , and Arthur Freed Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B00006JOF3 Release Date: 2002-10-01 |
Tracks:
- Main Title/Singin' In The Rain - Gene Kelly
- Fit As A Fiddle (And Ready For Love) - Gene Kelly
- Tango (Temptation) - MGM Studio Orchestra
- All I Do Is Dream Of You - Debbie Reynolds
- All I Do Is Dream Of You (Outtake) - Gene Kelly
- Make 'Em Laugh - Donald O'Connor
- Beautiful Girl Montage - MGM Studio Orchestra & Chorus
- Beautiful Girl - Jimmie Thompson
- You Were Meant For Me - Gene Kelly
- You Are My Lucky Star (Outtake) - Debbie Reynolds
- Moses - Gene Kelly
- Good Morning - Gene Kelly
- Singin' In The Rain - Gene Kelly
- Would You? - Betty Noyes
- Broadway Melody Ballet - MGM Studio Orchestra & Chorus
- Would You? End Title - Gene Kelly
- Singin' In The Rain (In A-Flat) - Debbie Reynolds
- Finale - Gene Kelly
- Main Title (Alternate Version) - MGM Studio Orchestra
- Beautiful Girl (Alternate Version/Tempo Track) - Gene Kelly
- Would You? (Unused Version) - Debbie Reynolds
- Would You (Duet) (Unused Version) - Gene Kelly
- Beautiful Girl (Unused Original Version) - Jimmie Thompson
- Singin' In The Rain (Alternate Vocal) - Gene Kelly
- Should I (Unused Instrumental) - MGM Studio Orchestra
Tracks:
- The Broadway Melody - Charles King
- You Were Meant For Me - Charles King
- The Wedding Of The Painted Doll - James Burroughs
- Singin' In The Rain - Cliff Edwards
- Should I - Charles Kaley
- Beautiful Girl - Sam Ash
- All I Do Is Dream Of You - Gene Raymond
- Broadway Rhythm - Frances Langford
- I've Got A Feelin' Your Foolin' - Robert Taylor
- You Are My Lucky Star - Marjorie Lane
- Would You - Jeanette MacDonald
- Good Morning - Judy Garland
- Singin' In The Rain - Judy Garland
- All I Do Is Dream Of You - Judy Garland
- Dignity - MGM Studio Orchestra
- Stunt Montage (Extended Version) - MGM Studio Orchestra
- First Silent Picture (Extended Version) - MGM Studio Orchestra
- Have Lunch With Me - MGM Studio Orchestra
- Dancing On A Rainbow - Arthur Freed
- Singin' In The Rain (Radio Broadcast) - Arthur Freed
- Broadway Melody Ballet (Original Version) - Gene Kelly
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A vibrant tribute to MGM's legendary confluence of brains, talent, hard work, ambition--and dare we say it?--massive egos, Singin' in the Rain long ago took its rightful place among the first rank of the studio's dizzying catalog of film musicals. This double-disc, 46-track 50th-anniversary edition features all of the film's familiar songs, as well as numerous outtakes and extended versions, many culled directly from the film's original recording masters. Its second disc also chronicles the film's clever--if studio imposed--self-referential musical gambit of recycling a slate of Arthur Freed/Nacio Herb Brown songs from Metro's first decade by including 14 of the originals, including performances by Jeanette McDonald, Judy Garland, Mickey Rooney, and Freed himself. Featuring a dozen previously unreleased recordings and an illustrated booklet containing the insightful reminiscences of the film's original writers, Betty Comden and Adolph Green, it's the ultimate musical companion to one of cinema's magical, enduring masterpieces. --Jerry McCulleyAlbum Description
The complete 50th Anniversary Edition and a bonus disc featuring the original recordings that inspired the 1952 MGM classic! Includes 12 previously unreleased tracks 'Would You?' (duet) (unused version), 'Beautiful Girl' (unused original version), 'Singin' In The Rain' (alternative vocal), 'Should I' (unused instrumental), 'You Were Meant For Me', 'All I Do Is Dream Of You', 'Broadway Rhythm', 'You Are My Lucky Star', 'Would You?', 'Dancing On A Rainbow' plus 'Broadway Melody Ballet' (original version). Rhino. 2002.Customer Reviews:
the perfect movie.......2007-03-10
Who can say what is beatiful? Look at faces of Gene and Stan during the shooting on the set: whole concentration and attention for everything.
This is a unique moment in their story, and in the story of cinema.
Unforgettable.
I LOVE MY FAVORITE SONG, AND THANKS TO THIS CD I CAN LISTEN TO IT ALL DAY LONG!!.......2007-01-28
Wonderful Soundtrack to a Wonderful Movie.......2006-06-16
Great CD.......2006-03-20
musical memories.......2006-03-14
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A Night in San Francisco
Van Morrison Manufacturer: Polydor / Umgd ProductGroup: Music Binding: Audio CD General
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ASIN: B000001E3L Release Date: 1994-05-17 |
Tracks:
- Did Ye Get Healed?
- It's All In The Game/Make It Real One More Time
- I've Been Working
- I Forgot That Love Existed
- Vanlose Stairway/Trans-Euro Train/Fool For You
- You Make Me Feel So Free
- Beatiful Vision
- See Me Through/Soldier Of Fortune/Thank You Falettinme Be Mice Elf Agin
- Ain't That Loving You Baby?
- Stormy Monday/Have You Ever Loved A Woman?/No Rollin' Blues
- Help Me
- Good Morning Little School Girl
- Tupelo Honey
- Moondance/My Funny Valentine
Tracks:
- Jumpin' With Symphony Sid
- It Fills You Up
- I'll Take Care Of You/It's A Man's, Man's, Man's World
- Lonely Avenue/4 O' Clock In The Morning
- So Quiet In Here/That's Where It's At
- In The Garden/ You Send Me/Allegheny
- Have I Told You Lately That I Love You?
- Shakin' All Over/Gloria
Amazon.com
The Belfast Cowboy is one of the most mercurial and gloriously inconsistent live performers of his generation, as notorious for his onstage sulks and autopilot off-nights as he is justly celebrated for incandescent live sets that burn in the memory. This 1994 double-CD set, Van Morrison's third solo live album, doesn't surpass either his mid-'70s triumph, It's Too Late to Stop Now, or his Belfast homecoming on 1984's Live at the Grand Opera House, but a generous set and a typically taut, virtuosic stage band are tempting inducements, as is a repertoire that mixes both old and more recent Morrison originals with some shrewd covers. With Georgie Fame his staunch right hand (on organ and backing vocals), and his overexposed band singers, Brian Kennedy and James Hunter, Morrison digs into some particularly ripe medleys, interpolating King Pleasure, Sly Stone, T-Bone Walker, Sam Cooke, Jimmy Witherspoon, Gene Vincent, Roy Orbison, Sonny Boy Williamson, and Doc Pomus along the way. --Sam SutherlandCustomer Reviews:
WOW!!!!!!!!!.......2007-06-09
Got to be his best!.......2007-04-26
top ten ever!!!.......2007-02-25
To "mr. I'm not impressed".......2006-09-25
I'm not impressed.......2006-09-02
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An Organ Blaster Sampler
Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B000003CXP Release Date: 1991-02-10 |
Tracks:
- Toccata And Fugue In D Minor
- Toccata
- Toccata
- The Emperor's Fanfare
- Beaucoup Plus Largement
- Dieu Parmi Nous
- Finale
- Rigaudon
- Fanfare
- Maestoso
Customer Reviews:
"Blasted" away.......2006-09-27
Wow!.......2006-06-07
Third Symphony (with which this CD ends and just the third movement).
I grew up with E. Power Biggs, Virgil Fox, et al. and had never heard of Michael Murray (okay, it's been a while). I bought this delightful CD when it first appeared and before Amazon had been invented.
Upon hearing that most famous work with which Murray begins, I confess I was just this side of hysterical -- I was laughing with pure happiness. Murray's take on is it wonderfully over-the-top in the best possible sense. I have a son-in-law who is a musician and, indeed, does play the organ (i.e., if any of them have had pipes, I don't know, but I'm here to tell you, I don't want to hear ANY but pipe organs -- okay, I'm old).
At any rate, to hear this Toccata and Fugue played with such (carefully studied) abandon so tickled me, I called Brian (the son-in-law) and demanded that he listen while I put it on my stereo.
Now I'm going to send it to my son Bruce upon learning last night that he LOVES organ music. Who knew? He's 54 years old, for goodness' sake and never mentioned that little item before.
For those who like BIG organ works.......2005-09-04
Pure Majestic Power!.......2003-07-20
A word of caution - this CD requires a capable stereo (think subwoofer) to sound its best. Trust me - if you listen to this CD on a good stereo and if you like organ music, you'll sit there with a big grin on your face and tears in your eyes as you listen to this CD.
Excellent Performance by Murray.......2001-11-09
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Gershwin: Rhapsody in Blue; Concerto in F; An American in Paris
Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Gershwin
| Gershwin, George
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ASIN: B0002DD5UM Release Date: 2004-07-13 |
Tracks:
- Rhapsody In Blue - Michael Tilson Thomas
- An American In Paris
- Allegro
- Adagio
- Allegro Agitato
Customer Reviews:
WOW!!!.......2007-03-15
Had me smiling all the way through, and the sound is great too.
Gershwin would have approved.
Lively and Jazzy.......2006-11-03
Bonding with Gershwin.......2006-09-24
Now you are hopeful that this CD will finally explain Gershwin to you so that you can fully assimilate this piece of Americana.
You will definitely recognize the brilliant sections of this CD, as well as its originality. This is why you are giving it five stars! However, this performance will also challenge your musical thinking and it will frustrate your musical instincts. But who said that education is easy!
You like the poetic, although nervous, "Rhapsody in Blue".
The "American in Paris" is a manic-depressive performance, you feel, with the wild contrasts in tempo. The American is not strolling in Paris, but trying to get the hell out of there! His homesickness is a full-blown depression, in which the tempo comes to a virtual halt. The orchestral fireworks are executed with a super-human nano-second precision. You wish for the smoother, more relaxing, rhythmic edges.
You definitely like Garrick Ohlsson's performance of the piano concerto. He takes a steady tempo and moves nicely. First you feel that the nervous, over-expressive and sometimes too loud orchestra should match Mr. Ohlsson's clean style, but then you find a certain attraction in this yin-yang combination. In some sections violins are standing out too much with their velvety vibrato. Mr. Ohlsson performs beautifully, and you really enjoy this concerto.
You still have a long way to go to completely bond with Mr. Gershwin, but this is a good beginning!
. . . but a subpar Concerto in F.......2006-08-22
Unfortunately, the version recorded here has a terrible fatal flaw in that the horns are so imbalanced that they overwhelm everything in the three big climaxes where the "major seven" theme is played by the full orchestra (twice in the first movement and once in the last movement). The important instruments here are the piano and the strings; the horns should be secondary. Sadly, Thomas has them blasting away as if Mahler were whispering in his ear. Because these climaxes are the crux of the concerto (certainly there are other sweet spots; the sultry and dreamy slow movement and the amazing and surprising syncopation in the finale of the first movement) the overall effect of the piece is ruined.
With due respect to the reviews below, Ohlsson's playing is wooden and Thomas' tempos are akin to metronomic. The playing does not need to be jazzy (this piece is not jazz) but the uptempo sections need to push hard, just as the slow sections need to be constantly pulled back.
For me, the disc was a huge disappointment because there seem to be so few modern recordings of this piece. One might think owning this disc is worth it to have the obviously improved audio quality offered by a modern recording, but I cannot recommend this disc due to the weaknesses of the Concerto in F and the inclusion of the two Gershwin war horses. Now, if the disc included the Second Rhapsody (which was actually orchestrated by Gershwin) it might be worth the investment. As it is, look elsewhere if you are interested in a really good recording of the Concerto in F.
Best American in Paris, better than Bernstein.......2005-01-21
Garrick Ohlsson's Concerto is just as marvelous. The orchestra is in top form, giving a wonderfully convincing reading of the American Concerto. Ohlsson's playing isn't as jazzy as others, but it is still lively and exciting.
The Rhapsody is presented in its original "big Band" form with Thomas at the keyboard. The New World Symphony gives a wonderful accompaniment to the maestro in this all too neglected rendition of the Rhapsody. Although I do prefer Groffe's orchestral version, this recording is hard to resist! Highly recommended.
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Mahler: Symphony 2
Gustav Mahler , Isabel Bayrakdarian , Lorraine Hunt Lieberson , Michael Tilson Thomas , and San Francisco Symphony Manufacturer: San Francisco Sym ProductGroup: Music Binding: Audio CD All Works by Mahler
| Mahler, Gustav
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ASIN: B0006A9F5A Release Date: 2004-11-09 |
Customer Reviews:
Hunt-Lieberson and symphony's ending steal the show.......2006-12-27
In the final analysis, although the mezzo is nowhere as good, I just feel that the Blomstedt/SFSO M2 flows better from begining to end. I also like the stronger organ and firmer sounding chorus. MTT's strange tempo anomolies grow tiresome upon repeated listening too. If you want to hear darn near everything done right in this large and multi-faceted work, I recommend the recent Ivan Fischer/BFO Mahler 2nd on Channel Classics. If a more historical perspective is your interest, you can't beat Walter or Klemperer - especially his live stereo one from Munich with Janet Baker.
OH MY GOD!.......2006-06-19
The performance and recording of the massive work are massive, phenomenal. I have LOTS of recordings of this piece, and I've listened to each and every one of them LOTS and LOTS. Mahler is a God to me. He (and Bruckner) got me through my teenage-years... This performance is special. There is so much power, SO much beauty, SO much intensity, SO much care taken... I've never heard such ferocity (and irony, and agony, and ecstacy) in the first movement, such delicacy (and verve) in the second and third movements, and as for the last movement -- hot damn, son of a gun -- the things Michael Tilson Thomas does with it are just spectacular.
This is my favorite, my absolute favorite. Please give it repeated listenings. There are so many rewards in store for you.
Mahler 2-wow !!.......2005-10-24
Absolutely Thrilling.......2005-05-19
The symphony begins with an arresting funeral march in dark minor. The stirring of the low string in fff is frightening as they call together the whirling activity. The movement is in sonata form, with a double development, each capped of with terribly exciting climaxes. The lovely andante is calming in its gentle swing, but is still filled with the passion of the first movement. The enigmatic scherzo, with its wonderfully vertiginous orchestration, is a dark compilation of Jewish melodies. The lovely forth movement, with its wonderful vocal writing, acts as an introduction of sorts to the dramatic and gigantic finale. The finale is a vivid journey through darkness and adversity, leading to the wonderful glory drenched ending of the symphony.
There are few faults in this consistently splendid recording of the symphony. The San Francisco Symphony is in great form, delivering a performance congruous with Mahler's idiomatic sound world. The first movement begins with tremendous energy; the lower strings really dig into their parts with the necessary vehemence. Thomas's tempo is a bit slower than usual - however, he uses the tempo to judiciously draw out aspects of the score. At times, tension sags due to heavy rubatto, but overall, the good outweighs the bad: the orchestra really delivers a dark, rich sonority; the dichotomy between the dark and light episodes is accentuated effectively; the final climax before the recapitulation has never been bettered; and Thomas immediate transition into the recapitulation after the climax maintains a great deal of tension, eliminating the awkwardness of the moment. All in all, this is not only Thomas' best conception of a sonata-form movement within the cycle, but it also stands up handsomely to the competition, including Bernstein's recording on DG, which also suffers from slow tempos and slackening tension.
The second movement goes well enough. The strings sing their part warmly, offering a plush sound which is remarkably lovely - even if it is somewhat at odds with the rustic charm of the dance. Thomas indulges his penchant for rubato in excess ever so slightly - a tighter grip would have improved this otherwise wonderful movement.
The scherzo, however, hangs fire. There are too many wonderful moments here to highlight but of particular note are the droll clarinets, Thomas's wonderful transition into the trio, and the magnificent "cry of despair" which captures the all dread and intensity frighteningly well. The clarity of texture, not to mention the top-to-bottom perfection of ensemble, is a joy.
And then there is the Urlicht, one of the finest on disc, so faithfully performed by the late Lorraine Hunt Lieberson. Never has a voice so rich, so powerful, yet so sensitive graced this movement. She draws the text from the score masterfully, highlighting all the correct emotions, while imbuing the lied with a gravitas that never sounds forced. Thomas's sensitive accompaniment only adds to this gem, this brief dream before the onslaught of the finale.
The finale is uniformly spectacular, from the opening Bb minor outburst to the final "resurrection" in Eb. All offstage effects register with immaculate clarity, the various marches all embody the correct character, the orchestra really digs into their parts, delivering the vile sounds of purgatory with utmost character while expertly contrasting that with true visions of heaven. The entrance of the chorus is hair-raising and Hunt Lieberson is just as fine here as ever. Isabel Bayrakdarian, however, is a bit more problematic. Her small voice and quick vibrato do not suite the music well, keeping her vocal line stubbornly earthbound when transcendence is so necessary. However, her part is small and is easy to overlook when compared to the closing passages, where Thomas really creates a "resurrection." Expertly paced, perfectly balanced, and magnificently captured, the final passages are astoundingly powerful, carrying a great deal of tension and gravitas. Thomas may not revel in this music like Bernstein, who really plods through the final passages, but allows this conclusion to arrive naturally, creating a thrillingly satisfying close to this symphony. A magnificent installment in the ongoing series and a highlight in the discography of Mahler seconds.
On a side note, I think it is important to discuss the nature of the sound of the San Francisco Symphony in these recordings. The winds are quite lively, playful, at times even coquettish. The brass is rich, powerful, but not overbearing. The percussion, especially the bass drum and tam tam (wow), is astoundingly powerful. The strings have a bright sheen, but deliver some of their darkest timbres on disc here. Regardless, the real matter of interest in this recording is what is being said. Michael Tilson Thomas is quite well versed in Mahler and there is a profundity of incite here. There is no such thing as definitive when it comes to a Mahler performance. This recording, however, comes remarkably close.
The final performance was the greatest.......2005-03-05
I have not heard this disc because I want to keep that memory pristine in my mind. The disc, I understand, was edited from several performances (and a member of the chorus told me there was a patch session after the last performance). I just hope they took much of it from Saturday...and I wish they allowed me to buy that performance (complete with the idiot making noise backstage in the 1st mov't) separately, so I could relive it.
I hope this disc is a shadow of what I experienced that night. I honestly have never heard MTT do anything even close to that, and I'm there all the time.
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Nielsen: Symphonies no 4-6 / Blomstedt, San Francisco Symphony Orchestra
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Nielsen
| Nielsen, Carl
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ASIN: B00001X5A3 Release Date: 1999-10-12 |
Tracks:
- Symphony No. 4, FS 76 'The Inextinguishable': Allegro - Carl Nielsen
- Symphony No. 4, FS 76 'The Inextinguishable': Poco allegretto - Carl Nielsen
- Symphony No. 4, FS 76 'The Inextinguishable': Poco adagio quasi andante - Carl Nielsen
- Symphony No. 4, FS 76 'The Inextinguishable': Con anima - Allegro - Carl Nielsen
- Symphony No. 5, FS 97: I Tempo giusto - Carl Nielsen
- Symphony No. 5, FS 97: Adagio non troppo - Carl Nielsen
- Symphony No. 5, FS 97: II Allegro - Carl Nielsen
- Symphony No. 5, FS 97: Presto - Carl Nielsen
- Symphony No. 5, FS 97: Andante un poco tranquillo - Carl Nielsen
- Symphony No. 5, FS 97: Allegro - Carl Nielsen
Tracks:
- Symphony No. 6, FS 116 'Sinfonia semplice': I Tempo Giusto - C. Nielsen
- Symphony No. 6, FS 116 'Sinfonia semplice': II Humoreske: Allegretto - C. Nielsen
- Symphony No. 6, FS 116 'Sinfonia semplice': III Proposta seria: Adagio - C. Nielsen
- Symphony No. 6, FS 116 'Sinfonia semplice': IV Tema con variazioni - C. Nielsen
- Little Suite For Strings, FS 6: I Praludium - C. Nielsen
- Little Suite For Strings, FS 6: II Intermezzo - C. Nielsen
- Little Suite For Strings, FS 6: III Finale - C. Nielsen
- Hymnus amoris, FS 21: I Amor mihi vitam donat - C. Nielsen
- Hymnus amoris, FS 21: II Amor est dolor meus - C. Nielsen
- Hymnus amoris, FS 21: III Amor est pax mea - C. Nielsen
Customer Reviews:
5 stars all the way!!!!!.......2005-04-17
One of the greatest symphonies ever.......2001-04-22
Nielsen's Fifth, as performed by Blomstedt in this recording, is a stunning, miraculous, amazing, tragic, and ultimately life-affirming masterpiece. Written in the wake of the Great War when the scope of its horror had become fully apparent to the composer, it speaks profoundly and prophetically of the rise of nationalism, fascism, and the eternal conflict between a peaceful social discourse and the war-machine of the state.
The two other symphonies on this album are also noteable. The Fourth is a near great work, which was also written during the Great War and deals with the "Inextinguishable" spirit of mankind. The Sixt!h is enigmatic, iconoclastic, humorous.
Everyone interested in 20th Century classical music should purchase this complete set of Nielson symphonies. It will quickly become a treasured part of any music collection.
Nielsen rocks!.......2000-07-21
More Great Music!.......2000-07-01
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Nielsen: Symphonies no 1-3 / Blomstedt, San Francisco Symphony Orchestra
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Nielsen
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ASIN: B00001X5A0 Release Date: 1999-10-12 |
Tracks:
- Symphony No. 1, FS 16: I. Allegro orgoglioso - Carl Nielsen
- Symphony No. 1, FS 16: II. Andante - Carl Nielsen
- Symphony No. 1, FS 16: III. Allegro comodo - Carl Nielsen
- Symphony No. 1, FS 16: IV. Finale: Allegro con fuoco - Carl Nielsen
- Symphony No. 2, FS 29 'The Four Temperaments': I. Allegro collerico - Carl Nielsen
- Symphony No. 2, FS 29 'The Four Temperaments': II. Allegro comodo e flemmatico - Carl Nielsen
- Symphony No. 2, FS 29 'The Four Temperaments': III. Andante malinconico - Carl Nielsen
- Symphony No. 2, FS 29 'The Four Temperaments': IV. Allegro sanguineo - Carl Nielsen
Tracks:
- Symphony No. 3 'Sinfonia espansiva': I. Allegro espansivo - C. Nielsen
- Symphony No. 3 'Sinfonia espansiva': II. Andante pastorale - C. Nielsen
- Symphony No. 3 'Sinfonia espansiva': III. Allegretto un poco - C. Nielsen
- Symphony No. 3 'Sinfonia espansiva': IV. Finale: Allegro - C. Nielsen
- Maskarade - Overture - C. Nielsen
- Aladdin, FS 89 - Suite (1919): I. Oriental Festive March - C. Nielsen
- Aladdin, FS 89 - Suite (1919): II. Aladdin's Dream And Dance Of The Morning Mist - C. Nielsen
- Aladdin, FS 89 - Suite (1919): III. Hindu Dance - C. Nielsen
- Aladdin, FS 89 - Suite (1919): IV. Chinese Dance - C. Nielsen
- Aladdin, FS 89 - Suite (1919): V. The Marketplace In Ispahan - C. Nielsen
- VI. Dance Of The Prisoners - C. Nielsen
- Aladdin, FS 89 - Suite (1919): VII. Negro Dance - C. Nielsen
Customer Reviews:
Definitive Danish Music.......2006-04-05
The Maskarade Overture has a scherzo-like feel, often playful, with a loveable and catchy opening melody, and engaging secondary melody; dramatic and witty, at 4 minutes long, the overture is a charming and fun-loving experience. The 25-minute Aladdin Suite, like the Overture, is based off of a stage work; the story taken from 1001 Arabian Nights. In seven parts, the various sections exploit dance in many forms: Oriental Festival March, Aladdin's Dance and Morning Mist Dance, Hindu Dance, Chinese Dance, Marketplace in Ispahan, Prisoner's Dance, and Negro Dance. The opening is a plodding and menacing march, very Russian sounding, while the Morning Mist Dance is quite the opposite; a fantastical waltz. Of the Hindu and Chinese dance, the former is modal and slinky, while the latter has a moderate bounce to it, but all are overshadowed by the Marketplace following. Ingeniously, Nielsen splits the orchestra in to four ensembles, each overlap each other with contrasting ideas, including a nasal wordless chorus, a chamber drone, all very exotic and unique. The final two parts feature a ragged dance and the finale, a return of the wordless chorus, and a frenetic conclusion. The works are colorful and in some cases experimental, but of a Romantic tradition.
The three symphonies, each just over thirty minutes, show Nielsen's growth as a composer. Symphony No. 1 has an oscillating texture that is carried throughout the work; from the boisterous opening Allegro, to the second movement string chorale, with its murky undertone, to the gently rocking third movement, exhibiting exotic, Russian sounding modes and brass chorales, to troubled, but brash finale, Nielsen's first symphonic outing shows his musical moodiness, but love of varying colors and melodic styles. Symphony No. 2 "Four Temperaments" is based on a painting Nielsen saw at a village inn. Depicting the four human characteristics: Impetuous, indolent or lazy, melancholy, and naïve, each movement describes and combines these states of being. The fiery opening, featuring unexpected syncopations and outbursts, is both heroic and romantic, but the sudden mood changes are expounded through dynamics and texture. The lumbering, flowing second movement has a slight lilt, not to mention occasional humorous orchestrations; while the third movement is set as a funeral ode, tragically serious with throbbing motives. The final movement is like a pioneer dance, with unbridled joy, athletic optimism, and rhythmic vitality, ending the work brilliantly. The Third Symphony, subtitled "Sinfonia Expansiva", uses ideas surrounding the word expansive. The bold orchestra hits open the work, an athletic leaping melody is used in various settings and textures. The second movement calls for soprano and baritone soloists, a calm evocation. A moody scherzo makes up the third movement, and a stuffy procession brings the work to a close. Altogether, the works display ingenious melodies, old forms (such as fugue), Russian orientalism, occasional jazzy inflections, and swiftly changing mood conflicts and shifts.
This compilation performed by Herbert Blomstedt and the San Francisco Symphony is considered the definitive performances of Carl Nielsen's orchestral works. Enthusiastic performances all around, good ensemble work, and a swaggering brass sound make these performances first class. The Decca digital sound from the late 80's to 90's is pretty good, with clear, balanced sounds. The chorus is good, although it is slightly overmiked, and the vocal soloists, although a small role, perform well. At a 2 for1 price, 130 minutes of music, and stellar performances, this is a super bargain. If you like late Romantic sounds, with great melodies and interesting harmonic settings, the CD is a steal. Highly Recommended!
Nielsen - a much neglected composer .......2005-04-17
These be the symphonies, this be the conductor.......2004-03-10
Although the "Inextinguishable" (No. 4 on the second set in this series) is the most well-known of the six symphonies, Symphony No. 3 "Sinfonia espansiva" deserves a more prominent place in the repertory. In this performance it yelps and leaps with delight all the way to a dramatic conclusion.
Herbert Blomstedt led the San Francisco Symphony for a happy decade before turning over the reins to Michael Tilson Thomas. This is a world-class orchestra and Herb channels his inner Nielsen in this set. It's hard to believe that a better Nielsen cycle exists--or will ever exist.
Part One Of Blomstedt's Great Nielsen Symphony Cycle.......2002-04-17
Some of the 20th Century's Finest Symphonism.......2001-08-13
For years, all I knew of Nielsen's work was the brilliant clarinet concerto. I can't give a good answer to the question, "Why haven't you sought ought his other music sooner?" Especially now that I have heard all six symphonies, and the other concerti.
This two-disc set I have found resiliently re-visit-able, from the impressively-assured first symphony, to the effulgent Sinfonia espansiva. And particularly the colorful "Aladdin" Suite, which features the Western orchestra producing marvelous Mid-Eastern effects.
Jazz Music: