Takemitsu: Chamber Music

Editorial Reviews
Album Description
Robert Aitken invited Takemitsu to Canada for performances of his chamber music in the New Music Concerts series in 1975 and 1983. Their close friendship led to the composition of a number of works which were not only personally performed for Takemitsu by the musicians on this recording but benefited from his interpretative insights. The Night from Toward the Sea, one of several works on the subject of water, a continuing theme in the composer’s works, received its first performance in Toronto in 1981 by Robert Aitken and the Cuban guitarist Leo Brouwer.

Tracks:

Asturias
Romance De Amor
Recuerdos De La Alhambra
Zapateado
Michelle
Cavatina
El Colibri
El Condor Pasa
Seis Por Derecho
Un Sueno En La Floresta
Etude No. 7
La Cumparsita
I Believe
Sakura
Spring Breeze
Anak

Customer Reviews:

Brilliant Artist!.......2007-06-01

I just received Xuefei Yang's "Si Ji" and "Romance De Amor" from Amazon. Xuefei's playing is both powerful and exquisite. Specifically, I want to mention about the piece "Romance De Amor". This is my all time favourite solo guitar piece. Xuefei's interpretation of this piece is personal and intimate, and I enjoyed it very much. She plays it as if gently caressing her lover in her arms, almost to the point of being too careful; by her playing, one can really hear that she loves the piece "Romance De Amor".

With due respect to Xue Fei's insightful performance, I have my very own reference performance of "Romance D'Amour" that is truly haunting, romantic, passionate, and nostalgic. Listening to it really gives a sense of the 1970's -- the self discovery and the lost of innocence of the period. It is the best I have heard (maybe you may feel the same if you heard it). Many other performances simply fall flat compared to the one I have.

About it's history: My father bought a classical guitar music tape in 1979 when I was living in Macao. This tape has travelled far with us, and been played many, many times. The tape is by some foreign label that probably does not exist anymore; internet searches does not bring anything up. Consequently, I cannot find a copy of this anywhere in CD format or tape. What a shame.

Last year, I bought myself an elite Nakamichi (one of the best) 3-head tape deck and a Pioneer CD recorder (not the computer kind), and transferred this music from tape to CD. Now, it is preserved and I no longer need to worry about further deteriorating the tape everytime I play it. The transfer is as ideal as I can get it, with a bit of tape hiss, but with the Nakamichi deck's purity and great sonics shining through.

Drop me an email at "kyleyyi@gmail.com" for further discussion on this rendition if you're interested. And yes, it is also called "Romance D'Amour".

Incredible technique and emotional range.......2007-05-12

Following "Si Ji" is no small task. That CD was a masterpiece of modern guitar; so different from anything else out there that it shines in a totally different light.
That being said, "Romance de Amor" showcases some of the great gems of this instrument's repertoire by one of the world's premier guitarists. Yang Xue Fei is a masterful technician, but make no mistake, emotionally she gives her all in every note. After listening to 3 of her CD's (the two already mentioned, and "Classical Guitar") I've been impressed with her passion for music. I've heard her say that she looks at the guitar as a lover. Her playing shows this by being at turns powerful, seductive, intimate, tender and even humorous. She can play incredibly fast and still retain her phrasing and subtlety.
"Asturias" has rarely been so explosive
"Requerdos de la Alhambra" breaths with a life of its own thanks to her pacing
"El Colibri" is a great example of her speed and accuracy
If you are at all a fan of classical guitar, you've heard these pieces from other artists. Part of the fun of this genre is hearing how individual artists interpret the same piece. I love the sensitivity of Ana Vidovic, the smokiness of Lily Afshar, the intelligence of the Assad brothers and the sheer artistry of John Williams, and this is just to name a few. One might think that Segovia laid down the law for pieces like Asturias (judging from Christopher Parkening's description of his studies with this great master, Segovia certainly thought so), but Yang Xue Fei is such a wonderful talent, she is a law unto herself. She displays a vitality that makes each piece uniquely hers. To take ownership of these songs with such authority across the board makes this CD a worthy addition to any collection.

Incredible Musicality and Technique!!!.......2007-03-24

Wow! I just bought this cd and have listened to it over and over again. Fantastic interpretations of the classics. I fell in love with these standards all over again. Incredible tone and technique. Buy it now!!!!

any kid can do it.......2007-03-20

just terrible makes one want to leave the room

Williams: The Five Sacred Trees (Bassoon Concerto) / Takemitsu: Tree Line / Hovhaness: Symphony No. s, Op. 132 "Mysterious Mountain" / Picker: Old and Lost Rivers

Average customer rating:

"Old and Lost Rivers" by Picker will even make the strongest of men shed tears
From Nature's Realm
MODERN MUSIC OF BEATHTAKING BEAUTY
What a nice surprise!!!
Wonderful Celebration of Trees

Williams: The Five Sacred Trees (Bassoon Concerto) / Takemitsu: Tree Line / Hovhaness: Symphony No. s, Op. 132 "Mysterious Mountain" / Picker: Old and Lost Rivers
John Williams , Toru Takemitsu , Alan Hovhaness , Tobias Picker , Judith LeClair , and London Symphony Orchestra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

John Williams: Treesong
Takemitsu: Requiem; Twill by Twilight
Yo-Yo Ma Plays the Music of John Williams
Mozart, Weber, Hummel: Bassoon Concertos
Toru Takemitsu: Quotation of Dream (20/21 series) - London Sinfonietta / Oliver Knussen

ASIN: B0000029TZ
Release Date: 1997-03-18

Tracks:

I. Eo Mugna
II. Tortan
III. Eo Rossa
IV. Craeb Uisnig
V. Dathi
Tree Line
I. Andante Con Moto
Double Fugue (Moderato Maestoso, Allegro Vivo)
Andante Espressivo
Old And Lost Rivers

Customer Reviews:

"Old and Lost Rivers" by Picker will even make the strongest of men shed tears .......2006-10-04

Caught "Old and Lost Rivers" the other day for the first time on the radio and I immediately fell in love with the piece. I went ahead and picked up this CD this weekend and, it was even more moving than the first time I heard "Old and Lost Rivers" the other day on the radio. I cannot get over how little we've heard of Tobias Picker! If he cranked out more like this, he could have easily been the next Copeland. At any rate, even the most stout hearted person will give way to tears at the touching, yet uplifting melody of "Rivers". I guess what made it even more touching was the fact that lately I have been trying to reach out to this girl in Montreal who has HIV and was emotionally negleted and possibly sexually abused when growing up. Thinking of this, along with listening to the tear-jerking melody of "Rivers", I'm not to proud to admit that I cried a whole lot of "old and lost rivers". It has to be the most saddening piece I have heard next to Samuel Barber's "Adagio". Anyway, I highly recommend this CD to anyone with an ear for touching, yet inspiring music. Well worth your time and money.

From Nature's Realm.......2006-10-02

For those moments of reverie, escape form the frenetic pace of the world in which we live and run, for those times when space form all that is needed this stunning album of music is a must. John Williams conducts the London Symphony Orchestra in his own work as well as works by Takemitsu, Hovhaness, and Picker that at first ground us to the memory of what truly counts in life and proceeds to lift the soul out of the state of pixelation and return it to the realm of nature, the place where all things relate.

John Williams' own Concerto for bassoon & orchestra "The five sacred trees" occupies the greater part of this CD and while it may not be great classical music, it is hauntingly moody, and quite simply beautiful music. Judith LeClair plays the solo parts with exceptional balance and technical aplomb. In keeping with the concept of musically painting trees, Williams programs 'Tree Line, for chamber orchestra' by Toru Takemitsu and once again we can readily relate to this gifted composer's union with nature.

Alan Hohvaness' Symphony No.2 (better known simply as 'Mysterious Mountain') enjoys more exposure than his other works and for good reason. His chordal structure pulses his work with grandeur as well as simplicity and of the current recordings available of this work, Williams enters the arena of the fine ones.

For this listener the joy of the CD is the Tobias Picker 'Old and Lost Rivers for orchestra', a wholly tonal composition of spare beauty and superb writing. Though short, this work transports with its ability to conjure images relevant to everyone's past. It is a wondrous work. Highly recommended. Grady Harp, October 06

MODERN MUSIC OF BEATHTAKING BEAUTY.......2004-04-23

This disc contains great performances of some of the finest examples of sheer beauty in 20th century music that I've heard in some time - in a recording of exceptional quality. It's a wonderful opportunity for those who equate `20th century music' with `cacophony' and `discord' to experience how incredibly beautiful it can be. I discovered it while browsing - the Ansel Adams cover photography caught my eye, which then widened when I saw the bassoon reference prominently displayed (one of my favorite instruments).

The title piece, a concerto for bassoon and orchestra by John Williams, takes up roughly half the disc. The five-movement composition is an homage to the majestic and sacred qualities of trees. Williams says he wrote the concerto with the bassoon in mind, believing it to be `haunted' by `the spirit of the tree from which it is made'. Utilizing Celtic imagery and titles, each of the five movements evokes one of the legendary trees featured in the mythology of that ancient culture. The mood and tone of each section reflects the characteristics attributed to those trees: the sturdiness of the oak; Tortan, the mythical tree associated with witchcraft; the yew, symbol of destruction and creation; the ash, symbolic of strife; and Dathi, the tree-muse of poets and the last tree to fall in the mythological Celtic forest, appropriately placed at the end of the program. Williams translates his reverence for the forest into his music skillfully and with great feeling, and the performance by Judith LeClair and the LSO complement his vision perfectly, bringing the `personality' of each of the movements to life with sensitivity and passion.

Toru Takemitsu has long been one of my favourite modern composers - I discovered his work back in the 1970s, and I soon learned that I could count on the intelligence and quality his music. It has never failed to both challenge and reward me. Listening to the work included here, `Tree line', I'm amazed at the complexity and delicacy represented in this short (under ten minutes) example of his work - I've often compared his compositions to the work of traditional Japanese brush artists, whose works achieve so much with apparently so few strokes. The beauty of the haiku form of poetry also comes to mind. Takemitsu was a master at combining the ancient spirituality and traditions of Japan with modern classical music.

I haven't heard much by Alan Hovhaness - an oversight I plan to correct. The piece which represents this composer here, his Symphony no. 2 (`Mysterious mountain') is, I'm told by a friend who is well-schooled in classical music, one of his most widely appreciated. An American composer who pioneered the `fusion' of western and eastern ideas and traditions, his writing as showcased here is breathtakingly beautiful - I was especially taken with the layers-upon-layers sound of the strings. The notes here indicate that this piece was intended to pay homage to the great American landscape painters of the 19th century Hudson River School - and it evokes the images they captured on canvas beautifully.

The last piece on the CD is `Old and lost rivers' by Tobias Picker - another composer with whose work I am sadly unfamiliar. The shortest work on the album (under five minutes), it's a masterful exercise in tranquility and beauty. It certainly makes me want to seek out more compositions by Picker.

The four pieces presented here go together perfectly in theme and mood - and the recording is of stellar quality, made crystal clear through the full digital recording process, which utilizes the 20-bit technology. The notes are informative and well-written, and the graphics are appropriate and lovely. It's a wonderful package for multiple senses.

What a nice surprise!!!.......2004-04-15

First of all, I must confess that I noticed this album just because I found it at an incredible low price! Then, I noticed that the cover artwork was quite interesting too (forgive me, but being a designer I am an extremely visual person)! Then, I found that it had something by Takemitsu (whose work I really like)!...So, I decided to give it a try! When I got home and listened to it, I realized what a great album this really is! What a nice surprise!!!

Williams' bassoon concerto ("The Five Sacred Trees") is a very nice work! It sounds absolutely different from his film music! Don't expect any "Star Wars" or "Jaws" theme to pop up! Oh, and the soloist (Judith LeClair) plays beautifully!!!

Takemitsu's "Tree Line" is quite nice too, just as I was expecting it to be! But, the real surprises here were the gorgeous Second Symphony by Hovhaness and "Old and Lost Rivers" by Tobias Picker!!! I was curious about these two composers, and now I'm quite delighted to have finally been able to listen to their work!

This album has a very atmospheric, ethereal and somehow mystical feel about it! It is relaxing without being boring, it is modern without being difficult to listen to, it is surprising without being weird! This is a great album indeed!!!

Wonderful Celebration of Trees.......2003-09-12

Williams is profound composer of our time. Here, outside of his normal mode of soundtrack, Williams excels. His composition to the Five Trees is diverse, high arching, swaying sounds concentrated in a double-reed instrument which holds its very essence from trees, cane and maple, et al.

These five contrasts surround profound,passionate bassoon playing of Judith LeClair. Especially fond of opening "Eo Mugna" and harp featured "Eo Rossa."

In Takemitsu's "Tree Line" we have colorstudded musical idiom intermingled with Oriental and Debussy like shinings. While some reviewers are not encanted with this style, its shimmerings and stylistics tone patches capture this reviewers ear. I enjoy this.

Hovhaness excels in sublime aura sound, much what feeling of mountains provide, stark, reaching, soaring, echoing. I liked this offering very much, well done under Williams by the London Symphony Orchestra. Especially grandeur is tymp playing, which is so controlled, and creates sublimity. His use of oboe is exquisite on opening Adante..grandeur and majesty that opens up and envelopes one upon first viewing mountain rising up before one's field of vision.

"Old and Lost Rivers" images flows and tributaries and ebb/flow, gushing to the drought. From urbania to bayous to the oceans, this hydrophonic composition exhibits tranquility and dynamicism of the very fabric of life.

Tracks:

Quotation Of Dream: Day Signal
Quotation Of Dream
Quotation Of Dream: How Slow The Wind
Quotation Of Dream: Twill By Twilight
Quotation Of Dream: Archipelago S.
Quotation Of Dream: Dream-Window
Quotation Of Dream: Night Signal

Amazon.com

Sometimes, even while you are listening, it can be very difficult to understand how Takemitsu created such exquisitely beautiful music using so much dissonance. As the brief Day Signal opens the disc, for example, you're more likely to think of the glory of sunrise than of the discords. And Quotation of Dream, which quotes freely from Debussy's La Mer, is nearly as beautiful as its source. Rather than waste time figuring out how Takemitsu's spacing of notes and imaginative scoring influences our perceptions, it's much more rewarding just to relax and let the music wash over you. Knussen, who leads amazing performances here, has programmed the disc for a continuous listening experience, although the novice should probably listen only to a couple of pieces at one sitting. --Leslie Gerber

Customer Reviews:

More of the bland stagnance of Takemitsu's later symphonic work.......2007-06-03

It's inexplicable that so little of Takemitsu's extraordinary film music has been released in affordable editions outside Japan, while compilations of his boring, overtly derivative late orchestral output have enjoyed inclusion on releases by the likes of DG. Then again, DG hasn't had a good string of releases since the late '70s, so I don't expect too much from that fallen giant.

"Quotation of Dream" is easily one of Takemitsu's worst compositions and an absolute waste of time: a meandering exercise that tediously quotes Debussy's "La Mer" and recycles portions of Takemitsu's own "Dream/Window." Technically, this piece is as expertly constructed as all of Takemitsu's work, but that doesn't make it any less counterfeit of its' source material, or any less embarrassing for it. Why should I listen to this tiresome pablum when the compositions it borrows from are readily available?

"How Slow the Wind," "Twill by Twilight" and "Archipelago S." are typical examples of Takemitsu's late orchestral works: they assume a lovely sound and were composed with ingenious design, but that doesn't make them even remotely interesting or memorable.

There are a few works on this disc that are worth hearing. The aforementioned "Dream/Window" is a brilliant, beautiful twelve-tone composition that's infused with the drifting, dreamlike sonority common of his works - an aesthetic which is almost anathema to the rigorous character of most serialist compositions.
Also notable are "Day Signal" and "Night Signal," a pair of dissonant, evocative fanfares that bookend the album's content. These brass-voiced compositions seem almost facile to the ear at first listen, but repeated plays distinguish the cleverness of these little pieces as antiphonal movements.

None of the negative comments of this review should obscure the fact that Takemitsu was a truly gifted and intuitive composer. But it's inexplicable that so much of his best (and in many cases, most accessible) works of film, piano, chamber and electronic/tape music remain either out of print (often since being released on LP) or entirely unavailable for domestic consumption of his North American and European listeners when the least of his orchestral oeuvre is readily on hand.

There's nothing that I can say against these performances by Knussen conducting the LS. They're excellent, informed executions of mostly mediocre compositions. However, I'd much rather hear Knussen performing the best of his own small (but distinguished) oeuvre!

The production is decent: as transparent and pristine as most of the best digital recordings. These compositions don't demand any venture into extreme registers, but the soft passages are capably, audibly reproduced without any loss of their inherent subtlety.

Really enjoying this one.......2006-04-29

I have only recently begun listening to Takemitsu. Was introduced at a guitar recital. I have been slowly accumulating more of his compositions. For me, this is possibly the best.

Composition intrigues me perhaps more than any other aspect of music, and this fellow was clearly inspired. I would liken his music to that of Alan Hovhaness, but without some of the more brash moments of that composer. I can also hear the influence of Debussy, but Takemitsu takes the listener in many enjoyable directions throughout this CD.

The playing and recording are also top-notch.

A fine collection of late works and an ideal introduction.......2004-12-11

QUOTATION OF DREAM is the first of Deutsche Grammophon's several collections of pieces by late Japanese composer Toru Takemitsu, who thankfully has been getting ever-more attention since his untimely death in 1996. Takemitsu was a mainly self-taught composer, and because of this there seems to be little that connects him to his serialism- or minimalism-inspired colleagues. Nevertheless, Takemitsu's own path is fascinating, exploring Japanese and Western compositional principles in isolation and in combination and striving to transcend them both. These pieces, several of them related by shared thematic materials. are lovingly performed by the London Sinfonietta conducted by Oliver Knussen, who was a friend and admirer of Takemitsu.

The disc is framed by two antiphonal fanfares written in 1987, "Day Signal" and "Night Signal", together called "Signals from Heaven". They are closely related, both using dissonance to suggest the changing of the skies, but with one inverted from the other to suggest an opposite tone.

A quip of Takemitsu was "I am self-taught, but I consider Debussy my teacher." The first major work here, "Quotation of Dream - Say sea, take me!" (1991), is a tribute to Debussy using quotations from his "La Mer" as if the composer was trying to recreate the piece he had just woken up from dreaming. The title also refers to its use of some material from "Dream/Window", an earlier composition present on this disc. "Quotation of Dream" is a lovely tribute to the composer's greatest inspiration, but the majority of the work comes only from Takemitsu. His use of a zig-zag of harmony, of orchestral colour that comes forth and recedes like waves is nothing you have ever heard before in orchestral music.

"How Slow the Wind" (1991), inspired by a poem by Emily Dickinson, is rather more brooding. It's most interesting moments occur toward the end, when cascading woodwind sounds and the faintly mechanical notes of two Swiss cowbells transform the work into something different. This is one of Takemitsu's most impressive works,

"Twill by Twillight (in memory of Morton Feldman)" (1988) is an experiment with a musical "tapestry", where a theme "weaves" through the piece. The piece is pretty music, but does little to make itself memorable and for me remains the low point of this collection.

The title of "Archipelago S." for twenty-one players (1993) refers to the landscapes of Seattle, Stockholm, and the islands of the Sato Inland Sea . The piece has an innovative stage layout, with the players grouped into five "islands": a five-person brass group, two mixed seven-piece groups, a clarinet sitting to the right, and a clarinet sitting to the left. The effect is indeed somewhat nautical and this recording exploits the space well.

"Dream/Window" (1985) is probably the most important composition on this disc. Every note of this piece is of the greatest delicacy, and the work as a whole is so crystalline and fragile that one feels one will break it just by listening to it. Though Takemitsu's later works are impressive, they have never seemed to me to acheive the perfection of "Dream/Window". What is surprising is that this work is true twelve-tone music, yet with Takemitsu's skill it does not sound dull or scientific.

If you ever think that modern-classical music is written only by dispassionate ivory-tower robots like Pierre Boulez, the works of Takemitsu will show you that contemporary techniques can, under the right hands, touch the emotions as much as the intellect. While it takes some time to get used to (nearly six months for me), this is probably the single best introduction to the music of Toru Takemitsu. And one should certainly listen to this before getting the other DG "20/21" discs, which are rather more specialised (with, for example, one having traditional Japanese pieces and the other flute and guitar works).

Another world.......2003-10-18

Toru Takemitsu was one of the late 20th century's most individual composers whose scores use primarily the traditional instruments of western classical music. Perhaps in part because he wrote film scores in addition to concert pieces, his art is highly communicative and un-academic. It has the double merit of being about as far as you can get both from gnarly, dissonant modernism and from pretty-pretty New Age ear candy.

Quotation of Dream includes seven pieces from the last decade of Takemitsu's life (he died in 1996), including the premiere recording of the title piece. The disc begins and ends with fanfares that, while perhaps effective as aural bookends, are to my ears undistinguished. The music that lies in between, however, is extraordinarily compelling.

Takemitsu's style in these works is generally meditative, with frequent slow, quiet passages, strings predominating. But there are dramatic incidents and color as well: flaring brass, rising like a mountainous island from a tropical sea; raindrops of chimes; drawn-out woodwind lines weaving sinuously through swirls of massed violins. The music sometimes pivots around silent pauses, like the empty spaces in Zen painting. In Quotation of Dream, twin pianos (played by Paul Crossley and Peter Serkin, respectively) dominate the foreground with gentle cascades of notes while orchestral clouds form in the background.

The musical language is often reminiscent of Debussy and Ravel; in mood (though not in technique) it can resemble the slowest and most mysterious moments in music of the second Viennese school (Schoenberg, Berg, Webern et al.). The subtlety and elusiveness probably owe something to the composer's Japanese heritage. But this is no cut-and-paste job; the overall impression is startlingly original.

I have not read the liner notes, and have no idea of what Takemitsu is trying to "say," or what these scores "mean." I would also suggest that those considerations are pretty irrelevant: the important thing is the sound world that he has created, which is both other-worldly and bracing.

Oliver Knussen, a contemporary British composer and a friend of Takemitsu, conducted the London Sinfonietta in these recordings. It is apparent that that he helped the players, who sound expert, get "inside" the music.

Anyone who already knows and appreciates Takemitsu's sensibility need not hesitate to acquire this disc. It can also be recommended for all but the most determinedly "mostly Mozart" classical devotees.

The presentation is not ideal. Deutsche Grammophon has never excelled at digital recordings, and the sound of this disc, while detailed and transparent, is a bit bright and clinical. The disc is contained in one of those cardboard containers that some labels are now trying to get you to accept in lieu of the standard jewel case because it's cheaper to produce (but not cheaper for you to buy). The atmospheric sepia-toned photo on the cover has a fat round sticker on it that shouts "World Premiere Recording"; if you try to peel off the sticker, it leaves ineradicable shreds. The plastic tray with the central claw ring is glued to the cardboard. Take care not to break the plastic, because there is no way you can replace it.

Takemitsu draws you into his dream world.......2002-04-07

These pieces from Takemitsu's maturity represent the pinnacle of achievement for this gifted composer. Without regard to trends and fashion in contemporary music has has created his own sound universe. A peaceful, yet oddly non-somnolent, serenity informs virtually every bar of these wonderful pieces. The music is beautiful, lush and imaginative at every turn and despite strong ties to the French impressionists it is creative and unique and infused with Takemitsu's personal stamp and his nature-mystical aesthetic. The sound and the performances are first rate and Oliver Knussen must be congratulated on doing such a fine job in bringing these excellent pieces to life. If you love Takemitsu, you will love this CD. If you are new to Takemitsu, this is a wonderful introduction to one of the 20th century's finest composers.
Recommended without reservation.

Average customer rating:

Soulful playing from the man
Brouwer and Williams at their best
One of Williams' best recordings!

Brouwer: The Black Decameron

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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ASIN: B0000062E6
Release Date: 1998-03-17

Tracks:

Concerto De Toronto (For John Williams):: Moderato, II Theme And variations
Concerto De Toronto (For John Williams):: Theme
Concerto De Toronto (For John Williams):: Variation 1
Concerto De Toronto (For John Williams):: Variation 2
Concerto De Toronto (For John Williams):: Variation 3
Concerto De Toronto (For John Williams):: Variation 4
Concerto De Toronto (For John Williams):: III, Tempo Libero. Allegro
Elogio De La Danza - Eulogy For The Dance: Lento, Obstinato
El Decameron Negro (1981): El Arpa Del Guerrero
El Decameron Negro (1981): La Huida De Los Amantes Por El Valle De Los Ecos
El Decameron Negro (1981): Balada De La Doncella Enamoradal
Hika: 'In Memoriam Toru Takemitsu' (1996)

Customer Reviews:

Soulful playing from the man.......2004-10-19

I was recommended to approach this CD with caution, as John uses his trademark "faultless and riskless" playing style to the maximum, but being a huge fan I had to explore. I was not disappointed.
The opening to Concerto Toronto is quite simply spine tingling, John's technical ability boggles the mind in what seems to be one of the hardest guitar compositions to date, and also one of the most beautiful. Brouwer's typical theme development techniques are used to great effect, and his orchestration is also very appropriate - a rare trait for a composer so dedicated to one instrument. In this first movement, I found myself rewinding and relistening many times to some of the phrases, as Williams' playing is so impeccable. The second movement, a theme and variations is also excellently presented, and especially the first variation, I'd like to hear any other guitarist play this well.
The Elogio de la Danza is also very neatly presented, if a little souless in parts, on the whole justice is done to this fine work.
El Decameron Negro promised such great things - One of Brouwers finest compositions played by a true master. However, looking beyond technical ability (which anyone would agree is here in buckets) El Arpa del Guerrero sounds as though the notes have been put into a computer and churned back out. Yes its fluid and mistakeless, but for such an estabished performer,I expected better and more original things.
His interpretation of La Huida de los Amantes por el Valle de los Ecos, however, is among the finest, if not the finest pieces of playing I have ever heard from John. The lyricism shines at every opportunity, and is strongly backed by his technique. If the gallop at the end leaves you unmoved, then see a doctor. Absolute magic.
Then the Balada de la Doncella Enmorada. This is undeniably a little rushed, and often used to show off - again its fluid and hugely impressive, but somewhat immature.(?)
The Hika is fantastic, John really brings out the agressive nature of the phrasing, and the sombre melodies - I'd like to see him do it live. He sure can play guitar.
Overall, definitely worth checking out - interpretations vary, and who am I to cuss such a legend's playing. I like this CD very much and so will you.

Brouwer and Williams at their best.......2000-02-09

Normally I do not like John Williams playing Brouwer or any other South American composer for that matter. This CD however surprised me. The music is played with, as always, technical supremacy and a lot of feeling/emotion, which I think normally lacks when he plays Brouwer. The Concerto de Toronto is great. I never knew that Brouwer composed stuff like this. The El Decameron Negro is out of this world.

One of Williams' best recordings!.......1999-11-17

In addition to the excellent premiere recording of Leo Brouwer's Concerto de Toronto (which, fortunately for Brouwer fans, includes several motifs used by Brouwer in some of his previous works), John Williams provides the listener with an outstanding rendition of the much recorded El Decameron Negro. His approach to La Huida de los Amantes por el Valle de los Ecos (The Flight of the Lovers Through the Valley of the Echoes) results in some of the most sensitive and energetic playing I have heard from Williams.

Average customer rating:

"Dreams of a World": A Dialogue...
Dreams with raw emotions.
Still a dream ...
An Elegant Journey Around The World
Simply Superb

Dreams of a World

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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Greatest Hits
Latin Romances for Guitar

ASIN: B00002DEUI
Release Date: 1999-11-02

Tracks:

Virgillo
Cancion
Danza No. 1
Fantasia
Black Is The Color Of My True Love's Hair
Darling Cora
Putney Hymn
Finale
Londonderry Air
Agua E Vinho
Romanza
Brisas Del Torbes
Canto Siboney
Preludio No. 6: Dolor
Recuerdos De La Alhambra
Four Songs: Of Sting And Honey - Tomorrow - Jerusalem Of Gold - Spy Girl
One Day In May
You Have Set My Star
Varre Vento
Dedicatoria

Amazon.com

This disc is obviously aimed at the world-music audience, if one judges from its title and the subtitle, "Folk-Inspired Music for Guitar." But that shouldn't dissuade listeners interested in more serious music. Isbin has collected original pieces and arrangements from Spain, Latin America, Appalachia, Ireland, Israel, and Greece--all of them quite lovely. It's really amazing to hear, for example, the "Londonderry Air," better known as "Danny Boy," in such a sympathetic arrangement by the late Japanese composer Toru Takemitsu. She plays with such technical mastery that you wind up taking it for granted, while appreciating her songful delivery of this highly varied program of music, which was mostly first intended for the human voice. The uncommonly attractive booklet, including photos of Isbin as a world traveler, is another asset to this fine program, as is Teldec's realistic recorded sound. --Leslie Gerber

Customer Reviews:

"Dreams of a World": A Dialogue..........2005-03-28

I was introduced to Ms. Isbin's music this winter during a trip when a friend had "Dreams of a World" on for 3 days straight, dawn to dusk. Typically, after listening to the same CD twice, one gets bored or annoyed. Yet, this was not the case; on the contrary "Dreams of a World" warmed us up --it was delicately beautiful. Ms. Isbin employs an astonishing pallet of colors, which she blends with unprecedented technical mastery and imaginative nuances throughout her oeuvre.

Cancion y danza for guitar, Agua E Vinho Mahar and Yerushala'im shel zahav are pieces which can easily be overly sentimental and languorous. Ms. Isbin keeps a pleasant balance between the melancholy in her phrasing, the underlying dynamism of her voice
and the warm character of the pieces. I can only recommend Dreams of a World to anyone in search of high quality music played by an artist, not merely a technician.

Dreams with raw emotions. .......2005-01-24

This is one of my all time favorite CD. When critics call Sharon Isbin the "Monet of the guitar" or the "preeminent guitarist of our time" they only begin do justice to her mastery of the instrument. On this CD my favorite pieces are Agua E Vinho, Cancíon y danza for guitar, Recuerdos de la Alhambra. They are superbly played; they are flawless, passionate ,very moving. I cannot help feeling transcend when listening to Dreams of a World. Ms. Isbin does more than play nice music from all over the world; in this CD she shares her heartfelt dreams of a world.

I highly recommend Dreams of a World.

Still a dream ..........2004-12-26

This has long been my favorite classical guitar recording, and I just put it on again after hearing another recent favorite recording ("Reflections of Spain") played by David Russell, who is perhaps the most gifted contemporary guitarist on record. I was inspired to do so by Russell's performance of the "Cancion y Danza No. 1" by Antonio Ruiz-Pipo, which though quite excellent, I knew right away was quite different from Isbin's take on the same piece.

First, let me say, I hope that they are good friends, because they are both landmark musicians and worthy "competitors." Both clearly play with absolute love for both the music and the instrument. In short, I prefer Isbin's recording of the Pipo "Danza," even though, overall, Russell's playing is technically cleaner and more facile (but not by much). (Across his entire CD, I recall barely any string noise from Russell, where as Isbin manages a mere dozen or so clear such imperfections across her entire and ample CD; big deal).

I think the thing that draws me to Isbin in this piece (and her CD, in general) is her incredible variety of rhythm, attack, and tone color, all of which combine to give an impression of near perfect balance between spontaneity and precision. She has a way of taking time without the slightest sense of delay or heaviness. This is probably because her tempo never changes, only the rhythm around it, which is a classic hallmark of rhythmic mastery. This means that she hears and feels, both deeply and objectively, every moment of "sound and space" (notes and rest) from beginning to end, like an unbroken line painted across a master's canvas. Combined with this, she uses the space between her bridge and finger board to elicit the most amazing contrasts in tone color (one of the great contributions of Segovia to the art).

Russell plays with equal mastery of rhythm and attack, perhaps aided by the remarkable sonic depth built into his guitar. While he makes maximum use of that wonderful guitar sound, he is somewhat less dramatic in his changes of volume and tone color between phrases, aiming for a more consistent and lyrical quality, certainly another aim of mastery in itself, but there in lies the difference. Still, his sharp shaping of phrases, especially in his choice of Spanish music on his entire CD, with that impeccable technique behind it, weaves a spell all its own.

So, even though Russell's is among the finest pure Spanish musical CDs available, and one of my favorite in that genre (musical realm), I still have to give my nod to Isbin's multi-national effort for its unmatched ability to conjure, especially today, the most sublime dreams of a better world.

An Elegant Journey Around The World.......2004-07-09

From the moment I put this CD on my player to the time the CD ended, I was transfixed. This CD is such a delight to the ears, that it is difficult to put into words the emotions experienced while listening. I attended a NY Philharmonic performance several weeks ago with guest soloist Sharon Isbin. Her live performance was mesmerizing. She did an encore performance of "Recuerdos de la Alhambra" which took my breath away. The NY Times reviewer called it a "...virtuoso encore...". How wonderful that this piece appears on Dreams of a World. A CD that will transport you around the world with the flavors of outstanding compositions interpreted by a musician who is one of the greatest living classical guitarists today. Do yourself a favor and experience the magic.

Simply Superb.......2004-07-07

You don't have to be a classical music expert to love this CD. It is accessible to both the novice as well as the sophisticated listener.

Tracks:

Haru No Umi
Nocturne
Stanza 2
Insomnia
Les Fils De Etoiles: Prelude Du Premier Acte 'La Vocation'
Cinque Piccoli Duetti: Preludio
Cinque Piccoli Duetti: Pastorale
Cinque Piccoli Duetti: Canzonetta
Cinque Piccoli Duetti: Sogno
Cinque Piccoli Duetti: Rondo
'Daphne' Etude
Six Melodies: No. 1 (Rubato)
Six Melodies: No.2 (Legastissimo)
Six Melodies: No.3
Six Melodies: No.4
Six Melodies: No.5
Six Melodies: No.6
Spiegel Im Spiegel
Il Padrino
Suite In The Old Style: Pantomime

Amazon.com

This may be one of the least abrasive albums of contemporary music you'll ever hear. On this culture-melding disc, violinist Gidon Kremer and harpist Naoko Yoshino explore the dizzying roots and offshoots of modern compositions from the Far East and Europe. Every work on Insomnia--whether written by John Cage, Arvo Pärt, or Richard Strauss--seems to share influences and similarities with the next. While Japanese composer Michio Miyagi (1894-1956) was looking to France for influences on Haru no umi, Erik Satie (1866-1925) was looking to the East on the preludes to Le Fils des Étoiles. The comparisons are fascinating, and Kremer and Yoshino make this difficult music sound easy and hypnotic. Especially effective: Pärt's gorgeous Spiegel im Spiegel and Schnittke's almost New Age-sounding "Pantomime" (from Suite in the Old Style). Great stuff for modern lovers. --Jason Verlinde

Customer Reviews:

sublime and fascinating.......2006-02-25

I could not agree more with the next reviewer: this is one of the most cohesive collections I've heard; each track segues effortlessly into the next. While the dissonance and atonality of much modern music grates on me; this CD is devoid of such things. The compositions are wonderfully luminous and the performer(s) approach rivets the listener. Excellent night-time composition music, seduction music- what have you. I strongly encourage you to take a chance on this!

Insomnia- No Way! This one is hot!.......2000-06-16

The title is misleading if not down right dubious. This is one hot album. Gidon Kremer is a performer of rare ability and he is at his best with the broad range of composers featured here. He is accompanied by an excellent harpist Naoko Yoshino who adds her own special charm to these pieces. They work well together and their skills are clearly evident. This album is not for everyone; it challenges the listener and forces you to pay attention but it is worth it.

Insomnia? No Way-This is for the living!.......2000-06-15

Gidon Kremer is at his most provocative best! The wide range of composers played here require all of his skill and he comes through. This album is not for everybody but those who want something new won't be disappointed. Naoko Yoshino's contributions on the harp are a delight in themselves and shouldn't be missed. From a musical point of view this is not for quiet nights! It gets you up and keep you up This album may challenge some people but that's one of its charms. Need a challenge go for it; its truly an adventure.

Mozart: Concerto for clarinet in A; Debussy: Première Rhapsodie

Average customer rating:

amazing
Very good Debussy but very bad Mozart
Meyer is Among the Elite
This is incredible

Mozart: Concerto for clarinet in A; Debussy: Première Rhapsodie

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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French Clarinet Art
French Portraits

ASIN: B000026D4F
Release Date: 2000-01-11

Tracks:

Clarinet Concerto In A, K. 622: l: Allegro
Clarinet Concerto In A, K. 622: ll: Adagio
Clarinet Concerto In A, K. 622: lll: Rondo (Allegro)
Premi Rapsodie
Fantasma - Cantos

Customer Reviews:

amazing.......2004-05-17

Sabine Meyer has a silky smooth tone...one you find only amoung the best clarinet players. Her third movement of the Mozart clarinet concerto is the best one i've ever heard. She makes it very light and exciting. It's really a neat recording because the Mozart concerto is on basset horn. Yes, I do agree that Sabine Meyer rushes the second movement along with some other tempos, but in my opinion she pulls it off. Even if you don't like the faster tempos, her tone is enough to distract you. I don't know much about the other selections because I've never personally played them, but they sound beautiful like Sabine Meyer always does. This cd along with other Sabine Meyer works is worth the money!

Very good Debussy but very bad Mozart.......2003-07-25

I liked Debussy's work very much and Sabine's performance is good.I liked her phrasing in the last movement of Mozart's concerto.
But the performance of the clarinet concerto is spoiled by the tempo she takes in the scond movement.It's way too fast(like they are missing the bus) and her phrasing is mechanical.On the whole the concerto is played way too fast.I think that clarinetists should play the concerto on A clarinet not basset clarinet.

Meyer is Among the Elite.......2003-02-13

This rendition of Mozart's K622 is possibly the most well known recording made by the greatest female clarinetist in history. Behind Marcellus and Shifrin, this is the top Mozart Concerto you could have in your music collection. Meyer, characterized by her famous dark German tone, plays the Rondo with such a cheery and jumpy tone that it makes this recording of the final movement unsurpassed by anyone before or after.

This is incredible.......2001-02-11

I bought this CD because of the Debussy Rhapsodie. As a serious clarinet player, I was tired of the excuse that I hadn't heard the Rhapsodie, so I bought this recording. I thought it was incredible, and after hearing more than 10 other good recordings, this is my favorite. Sabine and the BPO have injected the most excitement and lyricism in this piece. Even if Sabine's interpretation is somewhat unorthodox in terms of tempi in the scherzando and anime sections, this recording really grabs you. The Mozart is also probably the most spirited recording I have heard on a basset clarinet. Although Ms. Meyer really likes to rush her tempi, it comes off rather well. The BPO provides a firm, full, balanced support throughout. This comes off as a more powerful recording than many others. The Takemitsu was a piece I had never heard of, and I'm pleased that it is on this disk. While not being one of my particularly favorite concerti, it is quite interesting. The liner notes do an excellent job of explaining the ideas of the piece. I wish I had Stoltzman's premiere recording. This entire disk comes heartily recommended if you're looking for a little shakeup in the traditional clarinet repertoire and a little bit of new, too.

More of the Most Relaxing Guitar Music in the Universe

Average customer rating:

I rate this a perfect 10 **********

More of the Most Relaxing Guitar Music in the Universe

Manufacturer: Savoy Jazz
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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The Most Relaxing Jazz Guitar Music in the Universe

ASIN: B000AQ69OU
Release Date: 2005-09-13

Tracks:

Introduction Et Variation Sur L'Air 'Que Ne Suis-Je FougereI' Op.26 - Sor
Cinq Preludes Pour Guitare No.4 - Villa-Lobos
Variations Sur Un Theme De Django Reinhardt - Brouwer
Die Post - Schubert
Cinq Preludes Pour Guitare No.2 - Villa-Lobos
Cancion Del Emperador - Narvaez
Pavanas - Sanz
Quartet No.7 III. Adagio Cantabile Sostenuto For Violin, Viola, Cello & Gutar - Paganini
Studio In A Major, Op.6 No.12 Andante - Sor
Lagrima - Tarrega
Granada, Op.47 No.1 - Albeniz
Danza - Moreno-Torroba
Baden Jazz Suite 'Hommage A Baden Powell' III. Berceuse - Jirmal
When The Fire Burns Low - Towner
A Song Of Early Spring - Arr. Takemitsu

Tracks:

Danza Espanola - Granados
Douze Etudes Pour Guitare No.8 Modere - Villa-Lobos
Reverie, Op.53 No.1 Andante Sostenuto - Coste
Lecon In E Major, Op.31 No.23 Mouvment De Priere Religieuse - Sor
Cinq PreludesPour Guitare No.1 - Villa-Lobos
Andante Extrait De La Fantasie Symphonique De L'Auteur, Op.38 - Coste
Nocturno - Moreno-Torroba
7 Diferenias Sobre 'Guardame Las Vacas' - Narvaez
Cinq Preludes Pour Guitare No.5 - Villa-Lobos
Quartet No.1 In A Minor II. Andantino For Violin, Cello & Guitar - Paganini
El Testmento D' Amelia - Folksong Of Catalan/Arr. Lobet
Terzetto In D Major 1. Allegro For Violin, Cell & Guitar - Paganini
Valse In E Major - Sor
Cinq Preludes Pour Guitare Ne.3 - Villa-Lobos
Londonderry Air - Arr. Takemitsu

Customer Reviews:

I rate this a perfect 10 **********.......2006-02-25

A Classical guitarist and collector of the genre, I can only rave about this cd. I purchased several of these cd's for my close friends and family. The two Paganini pieces are awsome.
Hopefully, Denon will produce more of the same. This time they supply the names of their artists. Well Done! Bravo!

Average customer rating:

A welcome reissue of some early and middle-period works in historical performances

Takemitsu: Garden Rain

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Takemitsu: I Hear the Water Dreaming

ASIN: B0006VXF3C
Release Date: 2005-02-08

Tracks:

Garden Rain
Le Son Calligraphie I
Le Son Calligraphie II
Le Son Calligraphie III
Hika/Elegy
Folio I
Folio II
Folio III
Distance
Voice
Stanza II
Eucalypts I
Eucalypts II

Customer Reviews:

A welcome reissue of some early and middle-period works in historical performances.......2006-12-04

This collection of pieces by Takemitsu comes in Deutsche Grammaphon's "Echo 20/21" series of reissues of contemporary music. It's the first international release on CD, we should rejoice that these historical performances of music from several eras of Takemitsu's work are finally available once more.

Two works are fairly early. The earliest material here is "Le Son calligraphie" (1958/60), three pieces for strings written while Takemitsu was still looking to Messiaen and Webern for inspiration. Their soundworld is quite reminiscent of the "Requiem" for strings dating from the same era, Takemitsu's first big hit. The work is performed by an ensemble of Japanese players conducted by Hiroshi Wakasugi. "Hika | Elegy" for violin and piano (1966), performed here by Ida Kavafian and Peter Serkin, takes much of its musical material from the third movement of Takemitsu's early piano piece "Uninterrupted rests". That movement was titled "A song of love", and this duet is certainly one of the most passionate violin and piano pairings in modern repertoire.

Several works here date from the height of Takemitsu's modernist period around the turn of the 70s. In "Eucalypts I & II" (1970) the first piece is for flute, oboe, harp, and strings, while the second is for flute, oboe, and harp. The music is defined by the seeming separate activities of the performers, but unlike the Western contrast of sonata-allegreo form, Takemitsu seeks to show all parts organically growing from the same origin in spite of their independent existence. Jurg Wittenbacher conducts the Basel Ensemble, and the soloists here appear in several works from the same period.

"Voice" for solo flute (1971) was written for Aurele Nicolet, who performs here. What sets the work apart is Takemitsu's having the performer shout, sing, and hum into the instrument, amplifying and treating his voice. The opening, with some bold words by Japanese poet Shuzo Takiguchi, will snap you out of any trance entered from the other works. At times it sounds like flute-meets-Ligeti's "Aventures", and so comes across as rather dated, but all in all it's an innovative effort. The work has also been recorded on Naxos in performance by Robert Aiken. Nicolet gives a rougher and more primal go at it, while Aiken's is more polished.

"Stanza II" for harp and tape (1971) is a sort of sequel to a rather zany piece for small ensemble and mezzo-soprano which Takemitsu had composed a few years previously. If that first piece was oddly reminiscent of Boulez's "Pli selon pli" with its supple rhythms and soprano role, this second one foreshadows the French composer's "Repons" with its glittery metallic colours. Still, the use of bird song and the snippets of conservation briefly heard on the tape keeps it rooted in personal experience and away from total abstraction. Ursula Holliger performs on harp. "Distance" for oboe and sho (1972) features one of the most striking features of Takemitsu's modernism, the pairing of Western instruments with traditional Japanese instruments. The sho remains constantly in the backgroup, while the oboe darts here and there. The oboe soloist is Heinz Holliger, while Tadamaro Ono performs on sho.

I'm hestitant to comment on the three "Folios" for guitar (1974), since solo guitar music is the only modern-classical repertoire I really don't get. The next piece, however, is probably the best on the disc. "Garden Rain" for brass ensemble (1974) was written after Takemitsu read a poem by an Australian schoolgirl with the lines "Hours are the leaves of life. And I am their gardener. Each hour falls down slow." In thinking about the connection between tone colour and time, he has the instrumentalists play each note as slowly and softly as possible. The result is lovely, and if you like Takemitsu's "Signals from Heaven" brass fanfares, you'll enjoy this one as well.

The liner notes here are fairly uninformative. Fans of the composer would do well to seek out Peter Burt's THE MUSIC OF TORU TAKEMITSU (Cambridge University Press, paperback 2006). If you know little about the music of this great Japanese composer, the chamber music disc on Naxos makes a great introduction. And if you're drawn to further explore his intriguing body of work, the several DG reissues are a good purchase.

Average customer rating:

Nocturnal

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Together/Julian Bream & John Williams

ASIN: B000002RTP
Release Date: 2000-10-17

Tracks:

Quatre pieces breves, Prelude: Lent - Vite
Quatre pieces breves, II: Air: Lent et bien rythme
Quatre pieces breves, III: Plainte: Sans lenteur
Quatre pieces breves, IV: Comme une Gigue: Com moto
Nocturnal after John Dowland,Op 70 I: Musingly (Meditativo)
Nocturnal after John Dowland,Op 70 II: Agitated (Molto agitativo)
Nocturnal after John Dowland,Op 70 III: Restless (Inquieto)
Nocturnal after John Dowland,Op 70 IV: Uneasy (Ansioso)
Nocturnal after John Dowland,Op 70 V: March-like (Quasi una marcia)
Nocturnal after John Dowland,Op 70 VI: Dreaming (Sognanti)
Nocturnal after John Dowland,Op 70 VII: Gently rocking (Cullante)
Nocturnal after John Dowland,Op 70 VIII: Passacaglia (Misurato)
Nocturnal after John Dowland,Op 70 IX: Slow and quiet (Molto tranqquillo)
Son for Gtr Fandangos y Boleros Preambulo: Lento/ Daza: Allegretto - Coda: Beethoven visita
Son for Gtr Saravanda de Scriabin (Omaggio a Scriabin
Son for Gtr La Toccata de Pasquini (Alla Toccata):
All in Twilight: I. 1/8=80
All in Twilight: II. 1/8=68 (Dark)
All in Twilight: III. 3/32=46
All in Twilight: IV. 3/8=100 (Slightly fast)
Ach, moj Jasienko (Sostenutoo)
Hej, od Krakowa (Allegretto)
Jest drozyna (Andantino)
Patereczka (Allegretto)
Na jabloni jablka (Moderato)
Od Sieradza (Allegretto)
Panie Michale (poco sostenuto - Allegro moderato)
W polu lipenka (Sostenuto - Precipitando
Zalotny (Allegretto)
Gaik (Allegro vivace)
Gasior (Andantino)
rektor (Allegro)

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