Returning

1. My Funny Valentine

2. Reserve

3. Let's Pretend

4. Free Bowing

5. Free One

6. Stride la Congo

7. I'm Old Fashioned

8. Past Finding Out

9. On the Road With Jazz

10. Free Two

11. Sweet Georgia

12. Last Time Through

13. Free Three

14. Toby and Tina

15. Blue in Green

16. Bongo Bass

17. Dancing With My Daughter

18. Return

19. Amazing Grace

Returning,David Friesen,Glen Moore,Burnside,Jazz,Pop,Post-Bop

Jazz

Music

jazz

music

Average customer rating: Hauntingly Beautiful Beautiful Awesome recording Beautiful, Transformative Chant Transformative inner journey

Returning Jennifer Berezan Manufacturer: Edge of Wonder ProductGroup: Music Binding: Audio CD General | Folk | Styles | Music General | New Age | Styles | Music Meditation | New Age | Styles | Music Similar Items: Praises for the World Water Birth End of Desire She Carries Me Dakshina ASIN: B00005NC32 Release Date: 2001-08-02

Customer Reviews:

Hauntingly Beautiful.......2007-05-07

The first time I heard this artist was on an instructional DVD for hot stone healing. I couldn't believe how hauntingly beautiful her voice and the music was. I wanted more and had to find out who she was. I did and immediately purchased the CD. The same song repeats throughout the entire CD, with minor variations and for some that may not be what you are looking for. It is very nice for a healing practice or meditation or if you are looking for beautiful vocals that follow you through your day.

Beautiful.......2007-02-28

I first heard this CD in my prenatal yoga class -- it was perfect for our meditative portion of the class. I loved it so much I used it during the birth of our son and it became his favorite cd for getting to his restful place before bedtime. At 2, he now asks for his "yoga music" almost nightly which gives me a chance to enjoy it and take me to a peaceful place with him as I rock him to sleep.

Awesome recording.......2007-01-21

I like Jennifer Berezan's recordings. "Returning" is something I stumbled on when purusing used CDs at a store. I often listen to it when I'm going to sleep at night. I have also played it during gatherings of people for contemplative and shared prayer. It helps me center myself and connect to the energy of life and love.

Beautiful, Transformative Chant .......2007-01-09

This beautiful CD was recorded partially in Malta, in a man-made underground chamber designed exclusively for its perfect acoustics. The result is a warm, ethereal drone that reverberates throughout the hour-long chant, perfectly complemented by the goddess chants recorded over it.

Each chant comes from a different religion and culture. There is a song to Yemaya, the Yoruba goddess of the sea and rebirth; a Navajo chant to Mother Earth (my personal favorite); A Buddhist mantra to the Bodhisattva of Compassion; and a beautiful line of Alaap singing, a form of Hindi song-prayer. Each voice in this recording is pure and emotionally on-target, and nothing about any of their roles in this piece seems tacked-on or forced.

The combination of all of these elements is soothing and nurturing, just the way a piece centering on "returning to the mother of us all" should be. I recommend it to anyone with a meditation practice, healers, and even just anyone who needs help relaxing at night.

Transformative inner journey.......2007-01-06

Returning is a magical experience. As the chants echo, you are transported on a transformative inner journey. I use this CD for healing work, ritual and ceremony, and women's circles. It is hypnotic and profoundly beautiful. It reminds us all that what we long for is a return to the Earth Mother. This music cradles you in Her embrace.

Average customer rating: Ring introduction critique FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE Welcome back to a classic analysis Essential for Understanding Wagner's Ring Cycle Very Functional

An Introduction to Der Ring des Nibelungen Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra Manufacturer: Decca ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baritones | Voices | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Wagner's Ring: Turning the Sky Round Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti Decoding Wagner: An Invitation to His World of Music Drama (includes 2 CDs) Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle) Ring of the Nibelung ASIN: B00000424H Release Date: 2005-09-13

Tracks:

1. Of All Great Musical Compositions... (Examples 1-4)
2. The Fundamental Symbol... (Examples 5-11)
3. Returning Now To The Nature Motive... (Examples 6, 12-16)
4. A Number Of Further Motives... (Examples 5, 17-21)
5. A Second, Much Smaller Family... (Examples 22-25)
6. So Much For Nature. (Examples 26-38)
7. The Cause Of The Deterioration... (Examples 39-44)
8. The Other Transformation... (Examples 45-48)
9. Several Other Motives... (Examples 49-52)
10. Two Further Motives... (Examples 41, 53-61)
11. The Basic Motive Associated With The Spear... (Examples 62-68)
12. Along Another, More Complex Line... (Examples 69-72)
13. In Act Two Of Walkure... (Examples 69, 73-75)
14. Returning Now To Act Two Of Walkure... (Examples 76-79)
15. Love Is Another Of The Central Symbols... (Examples 80-83)
16. Later In The Same Scene... (Examples 84-87)
17. Freia's Motive Has Two Independent Segments... (Examples 88-91)
18. The Label 'Flight'... (Example 92)
19. When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
20. A Little Later In The Interlude... (Examples 99-103)

Tracks:

1. The Other New Motive... (Examples 104-109)
2. There Are Several Independent Love-Motives... (Examples 110-114)
3. The Characters In Whose Lives... (Examples 115-120)
4. One Further Motive Belongs... (Example 121)
5. The Sword Motive Recurs... (Examples 122-130)
6. Ironically, This Phrase... (Examples 131-135)
7. Closely Associated With Gutrune's Motive... (Examples 136-140)
8. Here We Come To The End... (Examples 141-146)
9. Complemtary To This Symbol... (Examples 147-149)
10. One Last Central Symbol... (Examples 150-157)
11. One Further Motive Connected... (Examples 158-161)
12. There Are One Or Two Motives... (Examples 162-168)
13. These Motives Of Alberich And Mime... (Examples 169-171)
14. Quite A Number Of The Subsidiary Motives... (Examples 172-176)
15. Besides This Family Of Motives... (Examples 177-180)
16. Our Final Example... (Examples 10, 181, 182)
17. In The Final Scene Of Gotterdammerung... (Examples 181-183)
18. Even More Masterly... (Examples 184-188)
19. Now If We Return... (Examples 189-191)
20. This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Average customer rating: Instruments of the Orchestra - Great Reference Material! Beginner or Expert Very Informative and Enjoyable Frank's view Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra Various Artists Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Hungarian National Philharmonic Orchestra | ( H ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Moscow Philharmonic Orchestra | ( M ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Rap & Hip-Hop | Styles | Music General | Soundtracks | Styles | Music General | Instructional | Miscellaneous | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Hungarian National Philharmonic Orchestra | ( H ) | Performers, A-Z | Classical Music Blowout | Stores | Music London Philharmonic Orchestra | ( L ) | Performers, A-Z | Classical Music Blowout | Stores | Music Moscow Philharmonic Orchestra | ( M ) | Performers, A-Z | Classical Music Blowout | Stores | Music National Philharmonic Orchestra London | ( N ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4 What to Listen for in Music Study of Orchestration, Third Edition The Life and Works of Ludwig van Beethoven The Life and Works of Frédéric Chopin ASIN: B00006O0NT Release Date: 2002-12-03

Tracks:

1. Overture To 'Tannhauser'
2. Domna, Pos Vos Ay Chausida
3. We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
4. Hungarian Dance No.7
5. The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
6. Violin Concerto In D Major (Adagio)
7. But For A Long Time It Was Seen As The Instrument Of The Devil.
8. The Soldier's Tale: Triumphal March Of The Devil
9. The Manipulative Seductiveness Of The Gypsy Violin.
10. Csardas Music
11. The Violin And The Initiation Of Nature
12. The Four Seasons (Spring, Mvt 1)
13. Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
14. The Four Seasons (Summer, Mvt 1)
15. Like The Devil, The Violin Is A Master Of Disguise.
16. Old Viennese Dance No.3 'Schon Rosmarin'
17. The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
18. Tzigane
19. Do We Now Have The True Measure Of This Instrument? Not Just Yet.
20. Caprice No.24
21. The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
22. Variations On A Theme Of Frank Bridge (No.7)
23. Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
24. Romeo And Juliet: Act IV
25. Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
26. The Four Seasons (Winter, Mvt 1)
27. The Violin Muted
28. Clair De Lune
29. The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
30. Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
31. The Pizzicato Violin
32. Pizzicato Polka
33. In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
34. Violin Concerto No.2 In G Minor (Slow Mvt)
35. Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
36. The Planets (Mars - The Bringer Of War)
37. The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
38. Hungarian Dance No.4
39. Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
40. The Four Seasons (Autumn, Mvt 1)
41. Now The Same Technique, But The Sound Might Have Come From Another World.
42. Bolero
43. Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
44. Cadenza To The Violin Concerto By Brahms
45. Now Compare That With A Real Violin Duet.
46. Forty-Four Duos (No. 1: Teasing Song)
47. Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
48. Forty-Four Duos (No.2: Maypole Dance)
49. And Now What May Be The Most Beautiful Accompanied Violin Duet In History
50. Concerto In D Minor For Two Violins (Largo)
51. The Soul Of The Violin Is In Song; But What About This Weird Passage?
52. Violin Concerto No.1 In D Major (Mvt 2)
53. The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
54. Symphony No.1 'Titan' (Mvt 1, Opening)
55. Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
56. The Sleeping Beauty (Act II, No.15: Entr'Acte)
57. Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
58. Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
59. Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
60. The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
61. Also Sprach Zarathustra (Of The Afterworldsmen)
62. Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
63. Variations On A Theme Of Frank Bridge (No. 4)
64. Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
65. Four Sea Interludes (Dawn) From 'Peter Grimes'
66. To End This Outing With The Violins, A Charming Little Elfin Dance
67. Elfenreigen

Tracks:

1. Introduction To The Viola
2. Viola Concerto (Mvt 1)
3. Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
4. Gayane Suite No.1 (Armen's Solo)
5. Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
6. Passacaglia, Op.33b From 'Peter Grimes'
7. The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
8. Harold In Italy (Mvt 4)
9. The Muted Viola: Intimate, Gentle, Poignant In Dvork
10. Cypresses (No.9)
11. The Massed Violas Of The Modern Symphony Orchestra In Mahler
12. Symphony No.4 (Mvt 3)
13. The 'Period' Viola In Bach
14. Brandenburg Concerto No.6 (Last Mvt)
15. The Cello: A Voice Of Unique Nobility
16. Suite No.1 For Unaccompanied Cello (Prelude)
17. Brahms And The 'Soul' Of The Cello
18. Piano Concerto No.2 In B Flat Major (Mvt 3)
19. Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
20. Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
21. In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
22. Symphony No.3 'Eroica' (Finale)
23. But The Cello Is Not Condemned To Spend Its Life In The Basement.
24. Elfentanz, Op.39
25. Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
26. The Protecting Veil (Opening)
27. A Cello With An Identity-Crisis: The Pizzicato Flamencan
28. Flamenco
29. Double-Stopping In The Lower Reaches Of The Cello's Range
30. Solo Suiet For Cello And Piano (Sardana)
31. It's In The Middle Register That The Cello Really Comes Into Its Own.
32. Oriental Dance, Op.2 No.2
33. It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
34. Symphony No.9 (Finale)
35. Introduction To The Double-Bass
36. The Carnival Of The Animals (The Elephant)
37. But The Double-Bass Can Be Intensely Expressive And Graceful.
38. Elegy No.1 In D Major
39. The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
40. Capriccio Di Bravura
41. Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
42. The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
43. Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

1. The Antiquity And Magic Of The Flute
2. Prelude A L'Apres-Midi D'Un Faune
3. The Versatility And Agility Of The Flute
4. Orchestral Suite No.2 In B Minor (Badinerie)
5. The Flute In Fifteenth-Century Spain
6. Sa'Dawi
7. Other Flutes: The Bass And Alto
8. Chamber Music No.II
9. The Piccolo - Aptly Named
10. La Naissance D'Osiris (Mvt 6)
11. From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
12. Suite No.1 For Small Orchestra (Valse)
13. A Variety Of Techniques
14. Chamber Music No.II
15. Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
16. The Nutcracker (Act II, No.2: Scene)
17. From The Transverse To The Vertical: The Baroque Recorder
18. Recorded Suite In A Minor (Menuet II)
19. An Unfamiliar, Early Vision Of The Instrument
20. Naelden, Naelden
21. The Bachian Oboe
22. Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
23. Introduction To The Cor Anglais Or 'English Born'
24. Symphony No.9 'From The New World' (Mvt 2)
25. The Loneliness Of The Cor Anglais
26. The Swan Of Tuonela
27. The Cor Anglais Joins The French Horn In Haydn.
28. Symphony No.22 'The Philosopher' (Opening)
29. Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
30. Bolero
31. The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
32. Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
33. As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
34. Gayane Suite No. 1 (Mvt 5)
35. The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
36. The Range Of The Normal Clarinet Parts Goes Quite High...
37. The Snow Maiden (Scene 5: Melodrama)
38. ...And Quite Low.
39. Peter And The Wolf (The Cat)
40. The Clarinet As Concerto Soloist
41. Clarinet Concerto In A Major (Rondo)
42. But That's Not The Instrument Mozart Wrote It For; This Is:
43. Clarinet Concerto In A Major (Rondo)
44. Introduction To The Saxophone
45. Hary Janos Suite (Mvt 4)
46. The Soprano Saxophone Has Quite A Different Feel To It.
47. L'Arlesienne Suite No.1 (Minuet)
48. The Little Sopranino Sax Goes Even Higher.
49. Bolero
50. The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
51. Pictures At An Exhibition (The Old Castle)
52. The Saxophone Can Be Quite Contagiously Good-Humoured.
53. Sax-O-Phun
54. The Puffa-Puffa Image Of The Bassoon
55. Peter And The Wolf (Grandfather)
56. The Bachian Bassoon, In Accompanimental Mode
57. Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
58. Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
59. And Ravel, Also In Spanish Mode, Does Likewise.
60. Bolero
61. The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
62. Symphony No.3 (Opening)
63. The Eerie Bassoon In Its Highest Register
64. The Rite Of Spring (Opening)
65. Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
66. The Firebird Suite (1919, Berceuse)
67. The Bassoon As Concerto Soloist, Avoiding All Exaggeration
68. Bassoon Concerto In G Minor (Finale)
69. The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
70. Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
71. The French Horn Under Its Woodwind Hat
72. Wind Quintet, Op.43 (Last Mvt)
73. Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
74. Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
75. The Horn In Harmonious Blend With Strings In Another Quintet
76. Horn Quintet, K.407 (Finale)

Tracks:

1. The Trumpet As Virtuoso Soloist
2. Brandenburg Concerto No.2 (Last Mvt)
3. The Special Brillance Of Paired Trumpets
4. Concerto In C For Two Trumpets, RV537 (Mvt 1)
5. The Ceremonial Trumpet
6. Fanfare For The Common Man
7. Trumpets And Drums - An Incomparable Alliance
8. Messiah (The Trumpet Shall Sound)
9. The Versatility Of The Trumpet, From The Most Public To The Most Lonely
10. Piano Concerto In F (Slow Mvt)
11. The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
12. Carmen Suite No.2 (Habanera)
13. The Trumpet As The Voice Of Strength And Courage
14. Carmet Suite No.2 (Toreador's Song)
15. The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
16. Billy The Kid
17. The Trumpet As Character Actor
18. Pictures At An Exhibition (No.6)
19. The Trumpet As The Voice Of God
20. Mass In B Minor ('Et Exspecto')
21. The Birth Of The Trombone
22. Aenmerckt Nu Hier
23. The Birth Of The Brass As A Family
24. Canzon 12 In Double Echo
25. The Trombone In The Eighteenth Century
26. Trombone Concerto In B Flat Major (Finale)
27. The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
28. Hosannah
29. The Trombones Become Part Of The Orchestra.
30. Symphony No.5 (Finale)
31. The Wagnerian Trombone:/Overture To 'Tannhauser'
32. The Trombone As Caricaturist
33. Pulcinella (No.19: Vivo)
34. The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
35. The Horn And The Hunt
36. Horn Concerto No.4 In E Flat, K.495 (Finale)
37. The Challenging Horn Of The Baroque
38. Abaris Ou Les Boreades (Menuet)
39. The Scarcity Of First-Rate Players In Handel's Time
40. Walter Music (Minuet 1)
41. The Horn As Magician/The Firebird Suite (1919, Finale)
42. Horns And The Sound Of Nobility
43. Overture To 'Tannhauser' (Opening)
44. The Special Sound Of The Horn In Its Higher Register
45. Mass In B Minor ('Quoniam Tu Solus Sanctus')
46. The Trumpet-Like Sound Of Massed Horns
47. Symphony No.3 (Mvt 1, Opening)
48. The Tuba - Unfairly Maligned?
49. Symphony No.6 (Mvt 3)
50. The Tuba Perfectly Cast By Ravel
51. Pictures At An Exhibition (Bydlo)

Tracks:

1. Introduction. And We Begin With A Bang.
2. Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
3. At The Opposite Extreme Is The Triangle.
4. Piano Concerto No.1 In E Flat (Scherzo)
5. Categories Of Percussion: Tuned And Untuned. The Side Drum
6. Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
7. The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
8. The Tambourine. One Of The Oldest Instruments In The World
9. Den Hoboecken Dans
10. Even Older Is The Originally Oriental Gong.
11. Ma Mere L'Oye - Mother Goose (Laideronette)
12. No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
13. Gymnopedie No.2
14. The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
15. Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
16. More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
17. Rodeo (Hoe-Down)
18. Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
19. Scherzi Musicali (Damigella Tutta Belle)
20. A Still Earlier Example From Fifteenth-Century Spain
21. Yo M'Enamori D'Un Aire
22. The Birth Of The Bongo
23. Symphonic Dances From 'West Side Story'
24. From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
25. Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
26. From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
27. Onwards To The Tuned Percussion. First, The Timpani
28. Also Sprach Zarathustra (Introduction)
29. But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
30. Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
31. Taking Advantage Of Tunability
32. Music For Strings, Percussion And Celeste (Mvt 2)
33. The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
34. Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
35. Saint-Saens And The Xylophone
36. The Carnival Of The Animals (Fossils)
37. Ravel And The Xylophone
38. Ma Mere L'Oye - Mother Goose (Laideronette)
39. Introducing The Marimba/Carmen Suite (First Intermezzo)
40. Introducing The Vibraphone
41. The Treasure Of The Sierra Madre (Narange Dolce)
42. The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
43. Introducing The Hungarian Cimbalom
44. Folk Dances
45. The Cimbalom And The Symphony Orchestra
46. Hary Janos Suite (Mvt 3)
47. Introducing The Tubular Bells
48. Hary Janos Suite (Viennese Musical Clock)
49. A More 'Up-Front' Approach From Rodion Shchedrin
50. Carmen Suite (Introduction)
51. But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
52. Introducing The Celeste
53. The Nutcracker (Dance Of The Sugar Plum Fairy)
54. Magic, In The Use Of Collective Percussion
55. Miroirs (La Vallee Des Cloches)
56. Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
57. A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
58. The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
59. Brandenburg Concerto No.2 (Slow Mvt)
60. The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
61. Petrushka (Russian Dance)
62. The Anti-Romantic Piano As An Integral Part Of The Orchestra
63. Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

1. Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
2. Symphony No.3 'Organ' (Finale)
3. But Things In Handel's Day Were Very Different.
4. Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
5. The Organ Is Difficult To Classify.
6. An Unexpected, Organ-related Guest
7. Concerto Pour Zampogna (Last Mvt)
8. Peasant-Fancying... And A Touch Of The Roaming Cowboy
9. Les Miserables (Drink With Me)
10. Outside Artefacts And The Power Of Association
11. Mahler's Sleighbells
12. Symphony No.4 (Opening)
13. A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
14. Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
15. Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
16. Don Quixote (Variation VIII)
17. National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
18. And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
19. And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
20. The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
21. The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
22. The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
23. The Sitar Of India/Evening Raga: Bhapoli
24. The Accordion For France (Especially Paris)/Paris Canaille
25. The Zither For Vienna/The Third Man (Theme)
26. The Cimbalom For Hungary/Folk Dances
27. The Guitar As An Integral Part Of The Orchestra/Rondena
28. There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
29. The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
30. Nocturnes
31. Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
32. The Carnival Of The Animals (The Cuckoo)
33. The Flute As An All-purpose Aviary
34. The Carnival Of The Animals (The Aviary)
35. The Oboe As Duck
36. Peter And The Wolf (The Duck)
37. The Recording Of Reality. Does It Work As Well?
38. The Pines Of Rome (The Pines Of The Janiculum)
39. The Recording Of Reality Electronically Reborn In New Guises
40. Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
41. Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
42. Symphony No.6 'Pastoral' (Andante Molto Mosso)
43. Some Improbable Casting: The Violin As Braying Donkey
44. The Carnival Of The Animals (Persons With Long Ears)
45. A Truly Orchestral Hee-haw To Be Reckoned With
46. Overture To 'A Midsummer Night's Dream'
47. A Thunderstorm In A Million
48. Symphony No.6 'Pastoral (Allegro-Allegretto)
49. the Instrumental Depiction Of A Silent World
50. The Carnival Of The Animals (The Aquarium)
51. Saint-Saens' Menagerie Takes A Curtain Call.
52. The Carnival Of The Animals (Finale)

Tracks:

1. The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
2. Forty-Four Duos (No.4)
3. A Great Contrast, Of Both Pitch And Character: Violin And Viola
4. Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
5. Arrival Of The Standard String Trio: Violin, Viola, And Cello
6. String Trio In B Flat (Menuetto)
7. The String Quartet: Two Violins, Viola, And Cello
8. String Quartet In F, Op.18 No.1 (Mvt 3)
9. The String Quintet - When The Extra Instrument Is A Second Viola
10. String Quartet No.5 In D, K.593 (Adagio)
11. The String Quintet - When The Extra Instrument Is A Second Cello
12. String Quintet In C (Mvt 3)
13. The String Sextet: Two Violins, Two Violas, And Two Cellos
14. String Sextet In B Flat (Mvt 2)
15. The String Octet: The Standard String Quaret Times Two
16. Octet In E Flat, Op.20 (Mvt 1)
17. Double The String Octet: A Fully Fledged String Orchestra
18. String Symphony No.2 (Finale)
19. The Massed Strings Of A Symphony Orchestra
20. Fantasia On A Theme Of Thomas Tallis
21. Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
22. Wind Quintet In A Minor, Op.100 No.5 (Theme)
23. In The First Variation It's The Horn That Gets The Lion's Share.
24. Wind Quintet In A Minor, Variation 1
25. In Variation Two The Torch Is Handed To The Bassoon.
26. Wind Quintet In A Minor, Variation 2
27. In Variation Three The Oboe Leads.
28. Wind Quintet In A Minor, Variation 3
29. Variation Four: Conversation Before Returning To A Solo-dominated Texture
30. Wind Quintet In A Minor, Variation 4
31. And Variation Five is Dominated By The Clarinet.
32. Wind Quintet In A Minor, Variation 5
33. The Next To Be Featured Is The Virtuoso Flute.
34. Wind Quintet In A Minor, Variation 6
35. Individual Farewells And A Closing Chorus
36. Wind Quintet In A Minor, Variation 7
37. A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
38. Octet In F (Mvt 3)
39. The Early Classical Symphony Orchestra Of Haydn And Mozart
40. Symphony No.29 In A, K.201 (Finale)
41. Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
42. Canzon 28
43. Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
44. Symphony No.5 (Finale)
45. From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
46. Beethoven Changed The Face Of The Symphony And The Orchestra Forever
47. Symphoy No.6 'Tragic' (Mvt 1)
48. The Cult Of Orchestral Elephantiasis Reaches Its Peak.
49. Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
50. When Large Doesn't Necessarily Mean Loud: Debussy
51. Images (Gigues)
52. A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
53. Turangalila Symphony (Chant D'amour 1)
54. The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
55. Balle De Xerxes (Gavotte En Rondeau)
56. Computer And Synthesiser: Friends Or Foes?
57. Concerto In D Minor For Two Violins (Largo)
58. A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

Average customer rating: Awesome Returning: Pieces for Guitar 1970-2004 what else can be said very nice Returning to the Past

Returning: Pieces for Guitar 1970-2004 Will Ackerman Manufacturer: Decca U.S. ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music General | New Age | Styles | Music Meditation | New Age | Styles | Music Solo Instrumental | New Age | Styles | Music General | Adult Contemporary | Pop | Styles | Music Adult Alternative | Pop | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Conferring with the Moon: Pieces for Guitar Sound of Wind Driven Rain Imaginary Roads A Windham Hill Retrospective Past Light ASIN: B0002RQ2R6 Release Date: 2004-09-28

Tracks:

1. Bricklayer's Beautiful Daughter
2. Anne's Song
3. The Impending Death Of The Virgin Spirit
4. Pictures
5. Hawk Circle
6. Barbara's Song
7. Unconditional
8. Visiting
9. Processional
10. In A Region Of Clouds
11. Last Day At The Beach

Amazon.com

Guitarist Will Ackerman has often re-recorded his own songs, coming back years later with new interpretations and perhaps more refined techniques. Returning, however, consists entirely of new recordings of songs from the Ackerman archives. The founder of Windham Hill records, this is his first recording off the label since founding the company in 1976. He sold it in 1992, but has continued on it as an artist until now. Cynics might view this as a ploy to retain control of his catalogue, a common practice for artists who jump labels.

Returning is thus a greatest hits CD, albeit of all new performances. The playing and recording are sharper here than on those old Windham Hill favorites and Ackerman's compositions have rarely sounded more poignant. "Unconditional" appears even more classical and ruminative than it's original, while the new version of "The Bricklayer's Beautiful Daughter" makes the 1977 version sound antique, like a dusty slack-stringed balalaika from the attic. Drawing from his more plaintive repertoire, Ackerman leaves songs like the bluegrass-tinged "The Pink Chiffon Tricycle Queen" and collaborations with Buckethead behind. What remains are songs that have become old-friends to Will Ackerman fans, newly polished and slightly refurbished. --John Diliberto

Customer Reviews:

Awesome.......2007-03-09

If you like accustic guitar, this is one of the best releases out there, but then again Will Ackerman has been a pilar in New Age music for a long, long time. You won't be disappointed with this release.

Returning: Pieces for Guitar 1970-2004.......2007-02-22

This is the highest quality recording of acoustic guitar that I have ever heard. Will Ackerman's guitar playing is very pretty and is a nice change from Leo Kottke and John Fahey.

what else can be said.......2006-11-20

the music speaks from his heart, it has a manner of calming us before it opens our own hearts... it breaks barriers of wonder, fear and confusion so that we can just enjoy it... immeasurably.. it's only got one place to be--> in our collection of top cd's of all time.

very nice.......2005-12-19

Will Ackerman may not be the fastest gun in the West. He may not paint with the greatest variety of colors. And he may not be the most imaginitive guitar player in the world. But Will doesn't need to be any of these things.

Will Ackerman writes acoustic guitar songs that are lyrical, songs that fully take advantage of the instrument's resonant qualities, songs that embrace not only the notes themselves, but the silence into which those notes disappear. In these crazy, tense times, Will Ackerman plays music that is relaxed, calm, and unhurried.

These songs are old favorites for Will's fans, re-recorded, re-interpreted, and delivered with perspective that only decades of performance can bring. This CD would serve as a very nice starting point for anyone unfamilar with Will.

A worthy effort!

Returning to the Past.......2005-11-12

I was prompted to buy Will Ackerman's "Returning" CD after hearing it featured on NPR. I already was a casual fan, enjoying his gorgeous touch on the acoustic.

The interview they featured as well touched on Ackerman's coming to terms with sexual abuse he suffered as a kid, and how the guitar was a sort of therapy for him. If you can transfer that kind of pain to guitar and make something good out of it, that's amazing to me.

Ackerman's classical touch, along with the other influences he's picked up in life make for a great style amongst the "new age" musical crowd, and his is pretty easy to pick out. Hearing "The Bricklayer's Beautiful Daughter" and "Visiting" under the new conditions doesn't diminish the compositions at all--either the old or the new, they're still remarkable works.

Several other tracks from Ackerman's past get a fine updating. "Hawk Circle" and "The Impending Death of the Virgin Spirit" aren't that much different, but still very good to hear again.

Few artists take the time to re-record and update their best, such as Gordon Lightfoot. Perhaps most are satisfied with what they've done, or the record company just won't go for it. But Ackerman took a step, I think important for him, and not just as a performer. To go back over these pieces and to hear them again, sometimes more than 30 years after they were first recorded is an introspective exercise, but also perhaps a needed one.

Average customer rating: I waited for this for five years Excellent collection but BIG PUBLISHING MISTAKE! ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS SUCH MAGICAL MUSIC OF THE NIGHT! A Must Have for Sir Andrew fans

Andrew Lloyd Webber: Now & Forever Various Artists Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music Contemporary Musicals | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music Broadway & Musicals | Broadway & Vocalists | Box Sets | Stores | Music The Decca Records Store | Specialty Stores | Music General Christmas | Holiday Music | Special Features | Music Similar Items: Gold: The Definitive Hits Collection The Very Best Of Andrew Lloyd Webber: The Broadway Collection Evita (Original London Cast) Andrew Lloyd Webber - The Royal Albert Hall Celebration Andrew Lloyd Webber - Masterpiece (Collector's Edition) (Bonus CD) ASIN: B00005R5UJ Release Date: 2001-11-20

Tracks:

1. Jesus Christ Superstar: Overture - Andrew Lloyd Webber
2. Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
3. Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
4. Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
5. Jesus Christ Superstar: Superstar - Murray Head
6. Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
7. Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
8. Evita: Another Suitcase In Another Hall - Barbara Dickson
9. Evita: Don't Cry For Me Argentina - Julie Covington
10. Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
11. Cats: The Jellicle Ball - Andrew Lloyd Weber
12. Cats: Memory - Elaine Paige
13. Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
14. Cats: Mr Mistoffelees - Paul Nicholas
15. Song And Dance: Take That Look Off Your Face - Marti Webb
16. Song And Dance: Tell Me On A Sunday - Marti Webb
17. Song And Dance: Unexpected Song - Sarah Brightman
18. Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
19. Song And Dance: Introduction - Andrew Lloyd Webber
20. Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

1. Starlight Express: Starlight Express - El Debarge
2. Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
3. Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
4. Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
5. Starlight Express: Light At The End Of The Tunnel - The Company
6. Requiem: Hosanna - Placido Domingo
7. Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
8. The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
9. The Phantom Of The Opera: The Music Of The Night - Michael Crawford
10. The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
11. The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
12. The Phantom Of The Opera: Masquerade - The Company
13. The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
14. Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
15. Aspects Of Love: Love Changes Everything - Michael Ball
16. Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
17. Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
18. Aspects Of Love: Anything But Lonely - Sarah Brightman
19. Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

1. Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
2. Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
3. Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
4. By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
5. By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
6. By Jeeves: Half A Moment - Sarah Brightman
7. Sunset Boulevard: With One Look - Glenn Close
8. Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
9. Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
10. Sunset Boulevard: Sunser Boulevard - Alan Campbell
11. Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
12. Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
13. Whistle Down The Wind: Cold - Everly Brothers
14. Whistle Down The Wind: No Matter What - Children/Adult Chorus
15. Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
16. The Beautiful Game: Overture - Andrew Lloyd Webber
17. The Beautiful Game: The Beautiful Game - The Company
18. The Beautiful Game: Our Kind Of Love - Hannah Waddingham
19. The Beautiful Game: Dont Like You - Josie Walker/David Shannon
20. The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

1. Oh What A Circus - David Essex
2. Memory - Betty Buckley
3. The Phantom Of The Opera - Sarah Brightman/Steve Harley
4. All I Ask Of You - Sarah Brightman/Cliff Richard
5. Love Changes Everything - Michael Ball
6. Any Dream Will Do - Donny Osmond
7. Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
8. As If We Never Said Goodbye - Barbra Streisand
9. The Perfect Year - Dina Carroll
10. With One Look - Petula Clark
11. You Must Love Me - Madonna
12. The Heart Is Slow To Learn - Kiri Te Kanawa
13. A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
14. Whistle Down The Wind - Tina Arena
15. No Matter What - Boyzone
16. The Vaults Of Heaven - Tom Jones
17. Try Not To Be Afraid - Boy George
18. Pie Jesu - Charlotte Church

Tracks:

1. Make Believe Love - Wes Sands
2. Down Thru' Summer - Ross Hannaman
3. I'll Give All My Love To Southend - Ross Hannaman
4. Believe Me I Will - Sacha Distel
5. Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
6. Try It And See - Rita Pavone
7. Come Back Richard Your Country Needs You - Time Rice And The Webber Group
8. Goodbye Seattle - Paul Raven
9. John 19:41 - The Andrew Lloyd Webber Orchestra
10. What A Line To Go Out On - Yvonne Elliman
11. Disillusion Me - Gary Band
12. The Ballad Of Robert And Peter - Tim Rice
13. Christmas Dream - Maynard Williams
14. It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
15. It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
16. Magdalena - Tony Christie
17. Buenos Aires - The Roja Rockers
18. Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
19. Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
20. I Could Have Given You More - Petula Clark
21. I've Been In Love Too Long - Marti Webb
22. Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.


Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Average customer rating: Excellent album from one of the very best BARRY ECHOES ETERNALLY Dispensable "open up your heart to Eternal Echoes ~ Barry" John Barry's current state of mind

Eternal Echoes John Barry Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Pop | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Beyondness of Things John Barry: The Collection John Barry Moviola (Film Score Re-recording Compilation) Somewhere In Time (1998 Re-recording) Themeology: The Best of John Barry ASIN: B00005QC23 Release Date: 2002-10-01

Tracks:

1. Eternal Echoes
2. Returning Home
3. Crazy Dog
4. Slow Day
5. Fred & Cyd
6. Blessed Illusion
7. Lullabying
8. Winning
9. Get Over It
10. First Steps
11. Elegy

Album Details

Another Feather in John Barry's Soundtrack Cap! the Master Produces Another Gem.

Customer Reviews:

Excellent album from one of the very best.......2004-08-16

Firstly, a couple of moans about the packaging. I cannot see the
point of the slip cover. It contains nothing that is not on the
inserts. The CD will not fit into my storage racks with it on and so
it has been taken off and stored in a draw with others.

The slipcase and the inserts also contain at least one piece of
misinformation. According to Decca, Barry wrote 10 Bond scores when
in fact it is 11.A small point but it's as easy to get it right as
wrong.

Some have said, it would be fair to call this Beyondenss 2. The
idea of Barry using moments from his own life as inspiration is
continuued here together with a number of tracks which appear to be
directly inspired by John O'Donohue's book 'Eternal Echoes'.

Of the 11 tracks, two didn't work for me at first but grow on you with repeated listens.
These are 'Get Over It' and 'First Steps'. Somehow these tracks seem to lack the strong melody lines and emotional inspiration of the rest of the album.

The opening track 'Eternal Echoes' reminds me a little of 'Dances
with Wolves', with the synthesised choir and particularly the scene
where the Buffalo carcasses are seen spread over a plain ( can't
remember the name of the track). That for me is good, as IMO Dances
is one of Barry's finest and anything in that style will always play
well with me.

'Returning Home' is a wonderful track with a beautiful sax melody
laid over a glorious string backing. Would have made a good vocal had
appropriate lyrics been added. Was this inspired by Barry returning
home to Oyster Bay or does it come from earlier, perhaps returning to
his parents home in York after being away with JB7?

Crazy Dog, clearly inspired by his dog back at Oyster Bay and seen in
the Omnibus Documentary. A pleasing string melody reminds me a little
of 'Elsa at play' though taken at a slower pace. Wasn't too keen on
this intially but it grows big time!.

'Slow Day' is another wonderful track with Tommy Morgan's marvellous
playing of a strong Barry melody agin supported by a bed of strings
which is punctuated with a goldfingerish brass interlude.

On the Omnibus documentary this was seen being performed with a flute
solo by an attractive female member of the English Chamber Orchestra.
I really liked that version as well and it's a pity that we couldn't
have had 'Slow Day' parts 1 and 2' particularly as the vocal tracks
were abandoned.

'Fred and Cyd' is the track that many people seem to be raving about
and saying that Barry can break out of 'romantic mode'. It is a great
track. A lovely sax melody, which has the sharpeness and clarity of
early tracks such as 'Cutty Sark' is interspersed with another
stunningly good 'Goldfingerish' brass interlude. Is this inspired by
Fred Astaire and Cyd Charise who Barry must often have seen at the
Rialto in York.

Blessed Illusion would appear to be directly inspired by John
O'Donohue's book. Again, Barry presents a strong melody, initially
performed by solo trumpet and then taken up by strings though still
punctuated by brass figures. A more meditative track that gets better
with repeated listening.

'Lullabying', apparently inspired by the time soon after the birth
of Barry's son 'Jon Patrick' in the the mid 90s. I love this track.
The joy and love that Barry feels for his his son is expressed so
clearly and wonderfully by yet another knockout melody performrd by
flute and strings (I think). It's really very moving and possibly my
favourite track on the album. I suspect that one day Jon Patrick will
look back with a lot of pride at this wonderful track that he
inspired his Dad to write. This was used on the Omnibus documentary
for scenes of John and Jon Patrick fishing at Oyster Bay and over the
closing credits.

'Winning', not sure what inspired this one. Was it picking up the
Oscar for Dances after being ill for two years?. Whatever, it's yet
another
..... er.. winner!

Lovely initial string melody dissolves into glorious bridge. (As a
non musician it's difficult using words to describe music so I hope
you bear with me!!.)

'Get Over It', maybe inspired by the loss of his parents or elder
brother, I struggle with this one. It seems to lack the strength of
melody apparent elsewhere on the album. Reminds me of one two of the
later tracks on 'Beyondness'. Flute riff is taken up be strings.
Certainly not unpleasant and it may grow on me.

'First Steps' another track which doesn't seem to have the impact of
many others on this album. Again the melody is apparently not as
strong as several others. Really can't seem to get into this one.
Will stick with it, it may grow!

'Elegy' another track apprently inspired directly by the themes in
John O'Donohue's book.At 5.37, the longest track on the album.Used in
the Omnibus documentary when Barry is seen at work at Oyster Bay.
Very reflective and not one for the Hans Zimmer boys but this track
really works for me. So peaceful and beautiful with Barry yet again
producing a wonderful emotional melody.

It's a real pity that none of the vocals made it to the album.
Peronally I would have finished the album on an upbeat note as he did
with 'Beyondenss', possibly with 'Fred and Cyd' or 'Slow Day'. No
matter the album is here and is a great companion piece
to 'Beyondness'

Nine strong tracks out of eleven isn't a bad average. With 'Eternal
Echoes' and 'Enigma' John Barry shows that he is still at the top of
the tree and very much able to 'do the business'.

The bottom line is 'Eternal Echoes' contains long passages of really
lovely music that I will reguarly listen to.
EE is not Bond music but it deserves to be judged on it's own merits
and not against 60s Bond soundtracks.

Well worth buying!.

BARRY ECHOES ETERNALLY.......2003-09-05

John Barry's Eternal Echoes is a marvelous addition to any collection of his numerous soundtrack offerings.

My first exposure to Barry's music came with Out of Africa. It was shortly thereafter that I happened to be watching one of my favorite movies, The Lion in Winter and discovered that the soundtrack was composed by none other than John Barry.

Since then I have added a wide variety of Barry's music to my collection and find that Eternal Echoes is just what the title implies: brilliant echoing music of the sort that any John Barry fan would love.

Dispensable.......2002-12-20

The music on this CD is well recorded and makes very agreeable listening. There are, however, no outstanding melodies or themes. I would categorize what I heard as "sonic doodling." Quite frankly, I would not encourage anyone to purchase this album. Much superior choices would be John Barry's "Moviola" and "Moviola II."

"open up your heart to Eternal Echoes ~ Barry".......2002-12-15

Much of a film's success can be attributed to its fantastic score by John Barry. Brilliantly straddling the line between the demands of the onscreen action and the subtext, the music not only perfectly matches the film, but at times brings it to a new level. This new album by Mr. Barry ~ "Eternal Echoes", takes the listener to places with sounds that exist everywhere without you knowing it. According to legend the writings of a friend John O'Donahue inspired Barry to compose the selections that appear on this one-of-a-kind album. Like Barry's last album "The Beyondness of Things" (460-009-2), time stands still within a realm of subconscious dreamlike-passages into ones life.

Our legendary composer has crafted a brilliant movement of cues that innate cinematic illusions, thus capturing our thoughts and memories that seem to linger above with joy and sadness. Barry himself arranged and conducted the English Chamber Orchestra with his signature reflective style. The whole pace of this album is sedate with more of a mellow tone that will creep into your very musical soul. A good example of this is "SLOW DAY", featuring a solo by Tommy Morgan on harmonica , as the strumming of the orchestra blends into a counter-balance. The echoes of heavy brass resounding sends a message of triumphant appeal to all fans of this film music storyteller.

Much of Barry's score is variations of themes, sometimes touching on the visuals that only music can express. One such cue is "BLESSED ILLUSION", brass and strings create obsessive musical phrases tending to repeat themselves, very effective. One favorite of mine is "GET OVER IT", the opening chords have so much merit, completely a full bloom of the English Chamber Orchestra under the baton of John Barry is nothing less than spellbinding, the tempo and performance takes your breath away.

Believe this is one of the most important albums in Barry's career. Each cue is to be savored like a fine glass of wine, unforgettable compositions are within this rare gem of musicial genius. This is a must have, a keeper for all the fans of movie music and is a "film-score-buffs' delight, gotta love it.

Total Time: 43:34 on 11 Tracks ~ Decca 289-466-765-2 ~ (2001)

John Barry's current state of mind.......2002-10-09

This album is a continuation of Barry's recent style heard in "The Beyondness of Things". It has that mellow easy listening quality that at first glance sounds repetitious of his recent work. Of his recent compositions, I would recommend "Playing by Heart". The classic Barry sound can also be heard in the recent recordings of "Last Valley" and "Robin and Marian". Finally, "Moviola" still stands out as an excellent compilation of his finest themes.

Average customer rating: Best from movie soundtracks

Star Trek: The Astral Symphony Manufacturer: Paramount ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music Star Trek | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: The Best Of Star Trek: 30th Anniversary Special! Original TV Soundtrack [Enhanced CD] Star Trek III: The Search For Spock - Original Motion Picture Soundtrack ASIN: B00000E0MU Release Date: 1991-01-01

Tracks:

1. Life Is a Dream [From Star Trek V]
2. Meld [From Star Trek: First Contact]
3. Returning to Vulcan [From Strak Trek III]
4. Battle in the Mutara Nebula [From Star Trek II]
5. Enterprise Clears Moorings [From Star Trek II]
6. Chekov's Run [From Star Trek IV]
7. Ilia's Theme [From Star Trek: First Contact]
8. Without Help [From Star Trek V]
9. Enterprise [From Star Trek: First Contact]
10. Prologue/Main Title [From Star Trek III]
11. Hospital Chase [From Star Trek IV]
12. Whaler [From Star Trek IV]
13. Angry God [From Star Trek V]
14. Genesis Countdown [From Star Trek II]
15. Katra Ritual [From Star Trek III]
16. Home Again: End Credit [From Star Trek IV]

Customer Reviews:

Best from movie soundtracks.......2006-01-23

Historic compilation of memorable music from the original soundtracks of all five Star trek movies to charge the senses and expand your listening pleasure.

Average customer rating: Roman Twilights One Man: Two Musics Astralwerks mastering errors Sounds like a collection of unfinished work. Mastering Mistakes

More Music for Films Manufacturer: Astralwerks ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Electronic | Instruments | Classical | Styles | Music | Computer Ambient | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music Britain | British Isles | Europe | International | Styles | Music General | New Age | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Pop Rock | Pop | Styles | Music Experimental Music | Miscellaneous | Styles | Music Similar Items: Music for Films, Vol. 3 Music for Films Another Day on Earth The Equatorial Stars Apollo: Atmospheres & Soundtracks ASIN: B0007GFFVG Release Date: 2005-03-22

Tracks:

1. Untitled
2. The Last Door
3. Chemin De Fer
4. Dark Waters
5. Fuseli
6. Melancholy Waltz
7. Northern Lights
8. From The Coast
9. Shell
10. Empty Landscape
11. Reactor
12. The Secret
13. Don't Look Back
14. Marseilles
15. The Dove
16. Roman Twilight
17. Dawn, Marshland
18. Climate Study
19. Drift Study
20. Approaching Taidu
21. Always Returning (II)

Customer Reviews:

Roman Twilights.......2006-08-11

I read all the reviews on amazon for this cd and went ahead and bought it about a year ago. I have to agree with most of the comments. This is not for someone new to Eno as it is made up of out takes from some of his best albums. However, if you are an Eno fan it is definitely worth buying. It has actually become one of my favorites. True, many of the tracks sound like different versions of previously released tracks. For instance, Reactor, Chermin de Fer and Dark Waters sound like songs that were on Another Green World. Always Returning sounds like something from Apollo. And From the Coast is Quartz from Music For Films, Fuseli is Patrolling Wire Borders. Some of the others were new to me but sound like they could have been quite at home on earlier albums. The Dove and Roman Twilight sound like tracks from The Pearl. Empty Landscape, Drift Study and Dawn, Marshland sound like aural landscapes from On Land. My only complaint is that the pieces are too short. Many could be extended to twice their length and still hold my interest. And it would be nice if the retitled repeats (Fuseli and From the Coast) could be replaced with new pieces. Still, if you enjoy On Land, The Pearl, Apollo, Another Green World and the original Music For Films you will probably like this one as well.

One Man: Two Musics.......2005-07-03

I don't know if my CD vesrsion of Music for Films is AstralWorks; all I know is that the CD version rearranged the sequence of songs which is a sacrilidge - this is one of the reasons I still keep a high qualty turn-table in operating shape for listening to original vinyl releases.

At my age, I consider myself a fully competent commentator on Brian Eno's Music. Having first "discovered" my liking when I first heard "No One Receiving" and its David Bowid/Carlos Alomar style bomp, I was hooked. (I was in a Bowie phase in 1974-77).

Then my pure interest in Eno's music was the concretely sealed upon hearing "Another Green World" - That LP changed the way I listened to music. All of this on vinyl, at the time in which it was released.

My current opinion of Brian and his music is that he isn't interested in his own back-catalog very much or his re-issues. I am not even sure he owns the rights to much of his pre-OPAL material. Sure he gets royalties. But maybe not say-so in editing, I don't know. I'd be guessing

but, if you have been folowing the Oddities Volumes, you will also know he has a vault of things he (or his record company at the time) never released.

Eno has never been about the past. I consider him one of the greatest Futurists of the modern day.

EnoShop does a great job as distributing his current works which are almost all totally "Installation" music for rooms and enviroments he creates in museums etc.

Installations are Eno's primary "solo" medium. Actually, I think he's rather be raising his daughters or lecturing on a variety of theories and subjects, than making music. Not that he dismisses the fans of his music, but he has always just seemed to shun the lime light.

Eno could have been a great rock-star and he always went out-of-his-way to dodge this categorization.

Back to his current music - (I was fortunate enough to experience the Neroli exhibit in Madrid, over a decade ago.)...

From Neroli forward, Eno has pressed towards "experiential pieces" (in a way, like Stockhausen; These pieces, I feel do not translate well to the home stereo "Active listening mode". These works stil make for very good ambient music (in his defintion of the word) not the current translation of the ambient genre, which I would call "easy-listing techno".

On many great occasions, he has made collaborative musice that is much more extroverted and relative to the Eno we like to associate with the his first 7 solo albums ("The passage of my life is measured out in shirts"). But the lone Eno is a different animal.

His work with John Cale, Jah Wobble, Peter Schwalm and most recently and superbly again with Robert Fripp, brings out the very best of Eno's external musical self. He collaborates extremely well. He composes for himself, I believe.

I also see him faithfully applied as the "5th Beatle" in the music of James, The Talking Heads and of course U2. The song "We're all going to miss you" - on the James album with the pig on the cover - (at over 40 my places and names get foggier)is an excellent example.

This song could be dropped into "Here comes the warm jets" and fit right in; Farfisa Organ and Eno singing one complete refrain and all the backing vocals in his old reminscent style.

His new album, Another day on Earth" is very good. Eno has said it many times himself, he doesn't like to sing and doesn't think he sings well or likes the sound of his own voice.

To me, his singing is is like pure peace ( the second side of "Before and after Science" is just a vocal masterpiece.

Eno's voice is an under-used intstrument. But my opinion about his new vocal Album is that it feels forced; like so many fans wanted him to sing that he felt he had to put and album of songs together, even though this is not his current interest and subsequently resulted in not his best vocal album.

Maybe,I'll write a book, or a blog, because so many younger Eno fans may not have the same time-frame of perspectibeve that older Eno fans might have; I'm nealy his age and have everyting he's ever released and some he didn't release. (Those boot-leg vinyl's from the 70's were pretty rough.

Any way, this is not a criticism, I just think you have to separate the motive of the musician from the motives of the record company and try to figure out who is benefiting and calling the shots.

I personally did not need a re-issue of Another Green World or Before and After Science. But Somebody, EG or Island or Warner/AOL thought it would be a good idea; I don't know if Eno even had a say in it.

That's my 2-cents for the night.

Good night

Ambient American

Astralwerks mastering errors.......2005-06-30

Does anyone have the final word on the degree to which Astralwerks (sic) have screwed up these Eno 'remasters'?

'Another Green World' has the first bars of 'Everything merges with the night' missing, 'Climate Study' is missing from this release (More Music For Films), and someone on the Amazon review of 'Music For Films' states that the intro to 'Quartz' on that album is also truncated. Are Astralwerks just a bunch of amateurs or something? Eno must be well pleased with this mess..

Sounds like a collection of unfinished work........2005-06-15

I find it hopelessly ironic that of all the material in the dozen reissues thus far, the one I was most wanting to get my hands on is the one that I find completely extraneous. "More Music For Films", essentially material from the "Music For Films Director's Edition" promo and "Music For Films, Volume 2" (and evidentally largely released on a boxed set some time back) is mostly an uninteresting effort. Quite simply, it feels like a collection of leftovers.

The album sounds like it was recorded in several batches, with material from each session adjacent to each other. This gives a small feeling of unity to each section, but all of the pieces have this unfinished feel about them, as though this was the raw material from which Eno would typically construct his actual pieces.

Its not that its all that bad, "Chemin de Fer" early on is a nice piece featuring some superb fretless bass playing (from Percy Jones), "Reactor" is a nice percussion loop-driven piece with a sublimely irritating lead guitar (although at 1:40, it ends before it starts).... I could go on, but overall, this is a completely unsatisfying listen.

My advice, if you're an Eno fan, get ahold of this, you'll want it. If you're anyone else, digest the proper albums before coming to this one.

Mastering Mistakes.......2005-05-03

No, I haven't purchased this yet as I'm waiting for Virgin/Astralwerks to correct their mastering mistakes. As has already been pointed out "Climate Study" is not on here but is in fact "Approaching Taidu". Also "Fuselli" unless it's a different mix that I can't detect from the sound sample is "Patrolling Wire Borders" and "From The Coast" is in fact "Quartz", both from MUSIC FOR FILMS. Let's hope they replace these repeats with "Dover Beach", the long version of "Signals" and both versions of "Always Returning". On a positive note the actual audio quality sounds promising from the samples I listened to (finer detail).

Average customer rating: Tim Bowness & Steven Wilson's Utterly Emotive Project # 1 So beautiful...

Returning Jesus No-Man Manufacturer: Hidden Art ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Experimental Rock | Rock | Alternative Styles | Alternative Rock | Styles | Music Alternative Dance | Alternative Styles | Alternative Rock | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music Rock | Imports | Stores | Music Similar Items: Flowermouth Together We're Stranger Speak Stupid Dream Fear of a Blank Planet ASIN: B00008J2RB Release Date: 2003-03-18

Tracks:

1. Only Rain
2. No Defence
3. Close Your Eyes
4. Carolina Skeletons
5. Outside the Machine
6. Returning Jesus
7. Slow It All Down
8. Lighthouse
9. All That You Are

Product Description

1. Only Rain
2. No Defence
3. Close Your Eyes
4. Carolina Skeletons
5. Outside The Machine
6. Returning Jesus
7. Slow It All Down
8. Lighthouse
9. All That You Are

Format: CD

Customer Reviews:

Tim Bowness & Steven Wilson's Utterly Emotive Project.......2005-02-11

No-Man is the side project of Porcupine Tree mastermind Steven Wilson (instruments) and the multi-dimensional artist Tim Bowness (vocals). You may have heard of No-Man only recently (due to Porcupine Tree's success in prog circles) but No-Man is no newcomer. The project has been active for over ten years now, and Returning Jesus is their much accomplished fourth studio release. Vocalist Tim Bowness plays a very integral role in No-Man, as he writes all the lyrics and half of the songs. Steven Wilson is responsible for the music, instrumentation, mix, and production. As previous No-Man albums, there are several guests contributing to this album (Robert Fripp guested on the band's Flowermouth album), among whom are Ian Carr of Miles Davies fame on trumpets, Colin Edwin (Porcupine Tree) on bass, Steve Jansen (David Sylvian) on drums, and some others I'm not familiar with. Here's the exact lineup: Ben Christophers - acoustic guitar, Ian Dixon - trumpet and flugelhorn, Rick Edwards - percussion, David Kosten - synths, and Theo Travis - saxophone, flute. That said, whilst the guest performers certainly give this album an extra edge, they don't seem to have contributed to the music's structural substance.

It should be noted that No-Man sounds absolutely nothing like Steven Wilson's other bands/projects. This is a very slow-paced disc, with strong emphasis on ambience, multi-textured song arrangements, introspective songs that are shaped by pop sensibilities, and additional non-rock instruments (violin, trumpet, horn, etc). Touches of soul music, classical, light jazz, and trance abound the compositions never sticking out too much and taking away from the songs' ambient textures. Tim Bowness' lyrics create the focal point for the band's romantic love songs, whilst Steven Wilson is the one who carefully composes the gorgeous and somewhat mournful music. Tim Bowness has a warm voice which is often laid over the delicate synth sounds like a soft blanket. He sings in a very low tone most of the time, kind of like he whispers the words, but the timbre in his voice is full of intensity and emotion.

The songs are essentially (80's) pop but they draw upon jazz and experimental influences. The tunes are embellished with saxophone, trumpet, jazz piano, acoustic and electric guitars, and percussion. Slow cadences combine with Floyd-like guitars with slowly descending melodies as Bowness relays his sad, romantic lyrics and lulls the listener into a deep, bittersweet dream-like trance. When you listen to songs like "No Defence" or "Outside the Machine", you'll hear him engaging in utterly emotive vocal melodies (and lyrics), whilst multi-instrumentalist Steven Wilson creates spacey atmospheres and lays down restrained minimalist instrumentation. The eight-minute "Lighthouse" could be the musical apex of Returning Jesus; it's so beautiful I don't even know what to say. Sustained notes are joined by the use of horns and a nice freeform improvisation provides a refreshing tapestry of sound. "Slow It All Down" is the album's only instrumental piece. It's a great song with a rich hypnotic backdrop.

It could be argued that Returning Jesus is too monochromatic, too slow and mellow. It may be the kind of music you might want to hear before you go to sleep or put on as a very relaxing piece while reading or working on your computer. However, if you can get into its inner depths like it's meant to be, you can also listen to it on a set of good headphones and get lost in its sheer aesthetic beauty. I once read that Steven Wilson said Returning Jesus, of all the albums he's done so far, is by far his most favourite work. I think this album might be a good point to get into No-Man, but I also highly recommend Flowermouth (because of Robert Fripp guesting on a couple of tracks). Wild Opera, well, I still need time to digest it. These are the three No-Man discs I own so far, and they're all certainly very wide musically and extremely diverse.

# 1.......2004-02-04

What a pleasure to hear an album as refreshing as this one. S Wilson and P bowness keep plowing away w amazing music. Let s say that Wilson, making most of the musical efforts at writing the 'music' side of the songs has grown and matured like I never thought before. Bowness still keeps growing as well with his beautiful words. I think Wilson and Bowness have no other compatible mates for making music, other than the Porcupine tree for SW and Henry fool for PB.

At first listen I was taken by the beautiful trumpet of Ian Carr on the opening song.

The rest of the album flows perfectly as a mamoth musical genius that pours out of your speakers and begs you to make birthday and holiday gifts for friends of this album.

One of the best releases in 2002.

anonymous

"Every silver lining has a Touch of Grey"

R. Hunter

So beautiful..........2003-10-28

Of the 1000+ cds I own, this is one the most beautiful things I've ever heard. So simple, but so intricate and sweeping... this is the music of my heart.

Average customer rating: Expecting More- Getting Less nice sampler of Horner's work James Horner as Best Movie Composer James Horner and John Williams are the best!! James Horner joins John Williams as the 2 greatest composers

Titanic And Other Film Scores Of James Horner (Film Score Anthology) Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music Star Trek | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: Legends Of The Fall: Original Motion Picture Soundtrack Film Music Masterworks: Original Soundtracks Titanic: The Essential James Horner Film Music Collection (Film Score Re-recording Compilation) A Beautiful Mind: Original Motion Picture Score Apollo 13: Music From The Motion Picture ASIN: B000009QKY Release Date: 2000-10-10

Tracks:

1. Titanic: Distant Memories/Rose/Take Her To Sea. Mr. Murdoch - John Debney, Royal Scottish National Orchestra & Chorus
2. Apollo 13: The Launch - Joel McNeely, Royal Scottish National Orchestra & Chorus
3. Casper: Casper's Lullaby - Joel McNeely, Royal Scottish National Orchestra & Chorus
4. Courage Under Fire: Theme - Joel McNeely, Royal Scottish National Orchestra
5. Once Around: A Passage Of Time - James Horner
6. Cocoon: The Return: Returning Home - James Horner
7. Star Trek II: The Wrath Of Khan: End Credits - Cliff Eidelman, Seattle Symphony Orchestra
8. Aliens: Futile Escape - Cliff Eidelman, Royal Scotish National Orchestra
9. Brainstorm: Michael's Gift To Karen - James Horner, London Symphony Orchestra & The Ambrosian Singers
10. Braveheart: End Credits - Joel McNeely, Royal Scottish National Orchestra & Chorus

Customer Reviews:

Expecting More- Getting Less.......2006-03-16

The sound quality is excellent. The choice in music is disappointing. I can name FOUR Horner movie scores or background music that is breath-taking enough that they should have merited inclusion (but alas were not recorded here).

I don't know the dates when these music pieces were released, but it could have been within a couple of years apart. Why? Because this collection has a few tracks that sound VERY SIMILAR. Hence, this CD does NOT fully explore the extent of this great composer's talent.

nice sampler of Horner's work.......2005-08-15

I had most of these tracks on other CDs, but this is a good sampler of Mr. Horners career on a single CD. There are some tracks which are from Original soundtracks in the Varese back catalogue, but most of hte tracks are re-recorded by the Royal Sottish National and Seattle Symphony Orchestras conducted by Cliff Eidelman, Joel McNeeley and John Debney. Also check out Heart of the Ocean (Sonic Images) and Titanic: Essential James Horner Collection (Silva America) for other overviews on Mr. Horner's career.

James Horner as Best Movie Composer.......2000-02-05

To say that James Horner is the most talented soundtrack composer would be an understatement. To my count he has written more than 10 scores. The score for Titanic is as exciting as it is relaxing. This soundtrack is so well made, that I bought the second one! Like the movie, each peice on the soundtrack builds up to the climax. If I had it in front of me, I would be sure to give specific examples, but unfortunetly, I don't. However, I will say that the peice, Rose, which I believe is #4, captures the true meanig of this outstanding movie, and therefore proves how well a composer James Horner has proven to be.

James Horner and John Williams are the best!!.......1999-04-08

At one time I belived the one and only great modern day film composer was John Williams, this album proved me wrong. James Horner, to me is still not as good as John Williams, but dangerously close. Horner in this album has basically summed up sum of his gratest songs ever written. The greatest song in this album is either Star Trek 2: The Wrath of Kahn End Titles, the Courage under Fire Theme, or Apollo 13 (The Launch). Some other honorable mentions include Aliens (Futile Escape), Titanic(Southampton,Rose , Take Her to Sea Mr. Murdoch,and Braveheart's End Credits, and Cocoon: The Return (Returning Home). Mr. Horner has done a fabulous job in expressing emotion almost as good as John Wiliiams. These 13 collabarations dsisplay emotions such as hope, fright, compassion, and courage. This albums only problem's were the fact it left out the music of some other of Horner's best work(Land Before Time, Glory, and An American Tale). The album ignored Horner's "Rock" titles which include Red Heat, Commando, and Gorky Park. This has to be one of the must buy's of the year. Two Very Honest Thumbs Up For James Horner and Royal Scottish National Orchestra and Chorus.

James Horner joins John Williams as the 2 greatest composers.......1999-04-07

I have thought John Williams was the number one film composer, but now I think he has met his match (Williams is still number 1). James Horner can display different emotions in all of his music. From the martial tone of Courage Under Fire (one of my favorites) to the mystical feeling of Casper and Cocoon: The Return. There is heart pounding Futile Chase from Aliens, and of course the heart wrenching melodies of Titanic. Braveheart gives you the tone of Scottish (the bagpipes, you can't miss them) victory. Both Brainstorm and Once Around, to me, give the feeling of hope. How do you forget the feeling of sucess in Apollo 13 or the intergalactic victory in Star Trek II: The Wrath of Kahn. This is the perfect album if you want to hear just the great songs. Horner brings out the true emotion in films just the same way that John Williams does. The only change I would make is to add a couple songs from Land Before Time in this album. Those songs would put this album to a 5. Two Thumbs Up!

Jazz Music:

1. Rise
2. Roots
3. Ruby Braff & His New England Songhounds, Vol. 1
4. Say What
5. Sentimental Swing: 12 Hits
6. Shades of New Orleans
7. Slow But Sure
8. Solid State
9. Soul Samba
10. Sounds of New Orleans

Jazz Music

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