Elegies

Editorial Reviews
Amazon.com
This elegiac music seems very well-suited to the dark sound of the viola. Kashkashian plays it simply and very expressively, without slides or sentimentality; glowing and shimmering, her tone is pure, warm, inflected. The program has great variety. Britten's mournful Lachrymae (Reflections on a Song of John Dowland) comes to an agitated climax and ends with an old chorale. Vaughan Williams's Romance is a peaceful pastoral; Carter's Elegy is somber, gentle, and hardly dissonant; Glasunov's Elegy is very romantic. Liszt's Romance is very rhetorical--half recitation, half lamentation--but ends serenely. Kodály's Adagio, solemn and inward, comes to a passionate climax; the opening returns in the highest register. Vieuxtemps's romantic virtuoso piece has musical substance as well as passion, rhetoric, a big climax, and a wild, brilliant ending. --Edith Eisler --This text refers to the Audio CD edition.

Elegies, Music, Benjamin Britten, Elliott Carter, Alexander Konstantinovich Glazunov, Zoltan Kodaly, Franz Liszt, Ralph Vaughan Williams, Henri Vieuxtemps, Robert Levin, Kim Kashkashian, Chamber, Chamber Music & Recitals, Classical, Classical Artists, Classical Music, Fusion, Single String Instrument with Keyboard/Continuo, Viola with Keyboard, Violin with Keyboard

Elegies - A Song Cycle by William Finn
Average customer rating:

Enfin, Finn

Poignant.

Elegies: A Nasal Song Cycle

A Light Beyond Death

what more can i say...?

Elegies - A Song Cycle by William Finn
William Finn , Carolee Carmello , and Betty Buckley
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009V7TL
Release Date: 2003-06-24

Tracks:

Looking Up Quintet
Mister Choi & Madame G - Christian Borle, Carolee Carmello, Keith Byron Kirk
Mark's All-Male Thanksgiving - Michael Rupert
Only One - Betty Buckley
Joe Papp - Keith Byron Kirk
Peggy Hewitt & Mysty del Giorno - Carolee Carmello
Passover - Carolee Carmello
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Monica & Mark - Christian Borle, Keith Byron Kirk, Michael Rupert
Anytime (I Am There) - Carolee Carmello
My Dogs - Christian Borle
Venice - Michael Rupert
14 Dwight Ave., Natick, Massachusetts - Christian Borle, Betty Buckley
When the Earth Stopped Turning - Christian Borle
Goodbye/Boom Boom - Carolee Carmello, Keith Byron Kirk
Looking Up - Betty Buckley
Goodbye (Finale)

Amazon.com

William Finn's career in the musical theater is pretty remarkable considering that he doesn't write traditional show tunes--much less traditional shows. But Finn has a gift for catchy melodies and his emotionally engaging work has a way of intimately connecting with audiences (during the initial run of Elegies, hardened New Yorkers could be seen trying to hide their tears). Though no storyline links these songs, they are united by the underlining idea of loss; in turn funny, tender, witty, biting and quietly devastating, they form a unified tapestry. Musically, Finn can turn out perky little numbers and powerful ballads--"Anytime (I Am There)" could conceivably be a hit if some contemporary pop diva did it. Led by Betty Buckley and Carolee Carmello, the cast is completely in sync with the material. Some of the narrative-heavy pieces recall Michel Legrand's sung-through work (and there are Legrand-like flourishes on "Monica & Mark"), but in the end Finn is very much his own man: There's nobody quite like him in the American musical-theater world, and Elegies just brings more evidence of that. --Elisabeth Vincentelli

Customer Reviews:

Enfin, Finn.......2006-03-08

A friend has been pushing Finn's work at me for a while now, especially extracts from Putnam County Spelling Bee and Elegies. I finally ordered the Elegies CD (from Amazon), received it and have listened to it a few times now, some tracks more often than others. The concept of the cycle is wonderful, and as many others have stated, one is left with an ache that somehow contains optimism. Each song is a polished gem, though some shine more than others. I would have to list "Dogs" as a low point, and "Mark and Monica" as the high point for me. All 6 performers are wonderful-----the 5 singers and the amazing pianist. As a pianist myself, I can hear how much work went into preparing to play this music, and feel that the gentleman is not given enough credit.

The most haunting moments (for me) occur when ensemble singing is heard, such as the opening quintet, the wordless male trio interludes in "Mark and Monica", and the finale. The vocal writing at these moments is absolutely brilliant, taking advantage of each singer's strong points.

My only criticism (and it is perhaps just that I am unused to Finn's aesthetic) is that everything is is so self-referential. We do not have the memories that he does of his family and friends, and although these songs bring them to life for us to some extent, they are impressionistic portraits drawn from a cohesive whole that only he knows deeply. Writing this cycle must have been very cathartic for Finn.

That said, I am sure that repeated listenings of this work will allow me to hear things that are as yet not noticed. It would also be wonderful to see a live performance of Elegies, adding a new dimension to the overall experience.

Bottom line, then: Bravo, Mr. Finn! Thanks for sharing your world and the people it contain(ed).

Poignant........2005-03-29

The work here is about more than simple aesthetics of the voice. Hello...it's called ELEGIES for a reason. Trust me, if you want to be touched by some of William Finn's most personal work, then give it a listen.

Elegies: A Nasal Song Cycle.......2004-07-07

I love the pianist.

I was a fan of Finn's "A New Brain" (thanks, mostly, to it being Kristen Chenoweth's B'way debut) and was excited to purchase this album. However, I couldn't focus much on the music as all three of the male performers (who have the brunt of the music to sing) were incredibly nasal and very irritating to listen to. Most of the time I found myself skipping a track (aspecially "Mark and Monica" and "All Male Thanksgiving") because the performers' voices were soo obnoxious and nasal that I started getting a headache.

The only people I would recommend this album to are fans of the divine Carolee Carmello and Betty Buckley. Both are in excellent voice (although Carolee seems to have started pushing her voice since "Parade") and sing their songs with as much conviction as they have in all of their other works.

Except for the last song, I was not impressed by the material--what few rhymes there are are trite and commonplace, and Finn is even audacious enough to put praise forhimself in one of the lyrics. Sure he struck gold with "Falsettoland" and (well not so much) "A New Brain", but Finn's "Elegies" are less reminiscent of good times as they are whining about the unfairness of losing someone and how shocking everything is when someone you love is gone forever. Blah blah blah.

Mediocre at best.

A Light Beyond Death.......2004-01-04

I was initially concerned that an entire score about the passing of loved ones would be painful and dreary. And don't get me wrong, I like painful and dreary, but not for an entire cd. So I was greatly relieved when I listened to Elegies for the first time. I had already heard Anytime (I am There), Infinite Joy, and Turning on the Infinite Joy cd, so it's lovely to hear that the rest of the score lives up to those numbers, with the possible exception of the song about the dogs. The cast is vocally strong, and their passion comes through on the recording. Standouts are Keith Byron Kirk on "Mr Choi and Madame G", and with Carolee Carmello on "Goodbye", Betty Buckley on "14 Dwight Ave., Natick Massachussetts, Carolee on "Anytime" and "Passover", Michael Rupert on "Mark's All-Male Thanksgiving" and Christian Borle on "Turning". Overall, Elegies celebrates the lives of the departed with joy and light, and most importantly, the idea that life goes on.

what more can i say...?.......2003-12-03

if i were to summarize the experience of listening to this CD, it would be in a very simple sentence - great. now that's such a hollow and meaningless word as a response to "how are you?'s" casually asked of acquaintances. but it is the truth - this CD is great.

it evoked a myriad of emotions ranging - the lightness of the song "My Dogs", the mysterious depth of "Infinite Joy", and the peek into the singer's and the composer's soul in "Anytime".

Amazon.com

Sàndor, still active at 90 as this reissue appears, was a student of Bartók and a preferred interpreter of his music. Since this set appeared on nine LPs in the early 1960s, it has been the standard for Bartók's piano music; in this fine-sounding reissue, it still is. Sàndor can hit hard enough for such virtuoso pieces as the Piano Sonata and "Out of Doors," but he also retains the romantic element heard in the composer's own playing which tempers the harsher qualities of the music. While this collection isn't quite as complete as advertised (some early, insignificant piano music by Bartók is omitted), it includes all of Bartók's significant piano music, including such relatively obscure gems as the Bagatelles, eight Improvisations, and many delectable folk arrangements which will appeal even to listeners who think Bartók is too challenging for them. Vox's recorded sound, superbly remastered, resists obsolescence as effectively as Sàndor's performances. Even with the inclusion of the early books of "Mikrokosmos," which will appeal mostly to piano students, this set is worth several times the asking price. --Leslie Gerber

Customer Reviews:

Microcosmos.......2007-03-08

Sándor was a champion not only of Bartók's music but also of Bartók's style of playing. He often complained that people were too quick to see Bartók as ultra-modern, and to fail to appreciate the rich seam of lyricism that also runs through his music.

The piano music is dominated by short pieces, many of them written for piano students, notably the collections "Microcosmos" and "For Children". These, together with suites of folk dance arrangements, make up the bulk of the solo piano output.

Sandór plays these short, and often simple pieces, with neither too much nor too little art. As a gifted teacher, he knew unerringly how much music each of these small vessels held. The result is beguiling - but be warned: no-one can listen to the 153 short pieces of Microcosmos end-to-end. This is an anthology to be dipped into, not swallowed whole.

The remastering is pretty successful (fortunately - some of Vox's CD reissues are plagued by severe deterioration of the original tapes). And it's for half nothing-what's not to like?

Great value with a few flaws.......2006-07-28

I am not a Bartok expert by any scale, but I do like the way these pieces, without exception, are played. There are, however, a couple of other problems.

As mentioned by an earlier reviewer, very few of the works are split into tracks - Mikrokosmos is divided into 7 for each of its six volumes, and to accomodate for a full CD. In these seven tracks there are 121 songs. I would have much preferred if the songs had been split into tracks. Almost the entire CD set is this way - Fifteen Hungarian Songs is one track, Fourteen Bagatelles, etc. It is very annoying when one wants to hear a particular song in those tracks and not the others.

Another detriment to the collection is the recording quality. It is decent most of the time, but in loud sections the piano buzzes. One might be able to ignore it, but I think that it detracts from the passion of the forte quite a bit.

Overall, for $18 it is pretty decent, but if you are like me and like to keep your music library neatly organized (and aren't extremely cheap), I would not recommend this set.

eeh, I guess I don't like Bartok that much.......2006-07-25

I like the fact that Bartok is into the folk tradition and all, but he just tends to forget the fact that melody has to be SOMEWHERE in the music. I'm all for creative expression when you're sitting alone at the piano, but abstract music should be reserved for performance art. I like playing some of your stuff Bela, but I just don't want to listen to you.

Best classical value out there.......2005-10-05

To put this set in perspective, for months I would go to my local Tower Records fishing for worthwhile classical CDs at least once a week. One of the discs that sat in the bins the longest was a single CD of Bartok piano music, played by Zoltan Kocsis. It was Volume 7 of a complete series. This CD listed for $17.99, and as long as I went to that Tower Records, it did not budge an inch, nor was its price amended.

Now, Kocsis is one of the greatest pianists alive, and if anyone is worthy of commanding a premium, it is him. And to be fair, that CD is going to be re-released on October 11 as part of a Collector's Edition - eight CDs, $63.97 MSRP. But it's already going up against this little gem, which contains five CDs with all of the truly great solo-piano works by an internationally recognized Bartok specialist for $21 - not much more than the cost of one CD from the other set. This kind of value is not to be taken lightly.

I came to this set with my impression of Sandor informed by his complete Prokofiev - ultra-hard, sometimes rhythmically slack, always melodically lacking in some way or another. But he held a very special feeling for Bartok, and saved his best playing for the great Hungarian. In passages like the first of the Three Csik Dances, the opening of the Improvisations Op. 20, or in the Ten Easy Pieces, there is a simplicity, charm and wistful homesickness that is quite touching. In pieces like the Out of Doors suite, the Sonata, or the Burlesques, there is a vicious, impulsive energy, a wicked sense of humor and an overabundance of overtones. It is never mindless, inappropriate or even overly harsh - it's just very, very loud.

In this set I like best the endless landscape of the Sonatina, the unusual colors and fragrances in the Etudes, the brilliantly conceived Bear Dance (the last of the Ten Easy Pieces), and the multifaceted, complex, gorgeous Improvisations. Any fan of Bartok should hear these.

5 Stars for the music and performance.......2005-04-04

This is a fantastic deal, but the problem with this Collection stems from the fact that the pieces are often not separated by tracks. This is especially annoying for the Children's Pieces and Mikrokosmos. There are so many pieces, one wears out the fast forward button and still may miss the particular piece one is looking for. The booklet is fairly insightful, and the performer is widely hailed as the supreme interpreter of Bartok's piano music. So aside from this slightly annoying at times and ridiculously annoying at other times flaw, this is one of the best deals in Classical music. Don't hesitate. Add it to the cart.

Average customer rating:

Masterful interpretation of Bartok's piano works

Zoltán Kocsis plays Bartók

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-10-11

Customer Reviews:

Masterful interpretation of Bartok's piano works.......2005-10-21

Without a doubt Bartok is one of the most influential composers of the 20th century. Combining a deep understanding of the possibilities of eastern European folk music - particularly Hungarian and Romanian - with an extremely advanced harmonic and rhythmic vocabulary, Bartok composed some of the greatest works of the last century.

Although Bartok wrote some sublime orchestral music (The Music for strings, percussion and celeste comes instantly to mind), it is in the realms of string quartet and solo piano music that Bartok reigns supreme among 20th century composers in the humble opinion of this reviewer.

So. Here is an 8 CD set of all of Bartok's solo piano music by (argueably) the pre-eminent interpreter of his piano music. These are insightful, passionate performances beautifully recorded.

I for one am thrilled to have this set - particularly since many of these CDs were unavailable up till now. The box is also very reasonably priced compared to the separate CDs.

Highly recommended - modern music begins here.

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Songs for Winter Solstice
Sensitive Playing

Romances & Elegies for Viola & Piano

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Six Cello Suites performed on viola

ASIN: B0000261H6
Release Date: 2000-04-18

Tracks:

Lacrymae op.48
Romance
Elegy
Elegie op. 44
Romance oubliee
Adagio
Elegie op.30

Amazon.com

This elegiac music seems very well-suited to the dark sound of the viola. Kashkashian plays it simply and very expressively, without slides or sentimentality; glowing and shimmering, her tone is pure, warm, inflected. The program has great variety. Britten's mournful Lachrymae (Reflections on a Song of John Dowland) comes to an agitated climax and ends with an old chorale. Vaughan Williams's Romance is a peaceful pastoral; Carter's Elegy is somber, gentle, and hardly dissonant; Glasunov's Elegy is very romantic. Liszt's Romance is very rhetorical--half recitation, half lamentation--but ends serenely. Kodály's Adagio, solemn and inward, comes to a passionate climax; the opening returns in the highest register. Vieuxtemps's romantic virtuoso piece has musical substance as well as passion, rhetoric, a big climax, and a wild, brilliant ending. --Edith Eisler

Customer Reviews:

Songs for Winter Solstice.......2005-12-21

Perhaps none of the composers of this lovely set of works for viola and piano had in mind the death theme surrounding the winter solstice, the end of the season of growing, a time for pause and even sleep to prepare for the rumblings of rebirth, but that is what comes to mind while listening to this very well chosen collection of elegies.

Violist Kim Kashkashian and pianist Robert Levin seem extensions of each other, so well melded are these performances. While most will be familiar with the gorgeous Benjamin Britten 'Lachrymae, reflections on a song of Dowland', there are enough unfamiliar works to spark even the most experienced listener. Some highlights are the Vaughn Williams 'Romance', the Adagio of Zoltan Kodaly, and the Vieuxtemps 'Elegie'. The spectrum even manages to include Elliot Carter's 'Elegy' so you can rest assured there is a wide spread of periods and oddly enough they all create a cohesive program.

Kashkashian's tone is never forced, always refined, and never pushing towards heart on the sleeve. This is a beautiful recording, especially for winter nights. Highly recommended. Grady Harp, December 05

Sensitive Playing.......2000-09-01

I was pleased to see this recording By Kim Kashkashian. The interplay between the viola and the piano is exceptional and it is clear these two performers have a fine sense of the music. The typical ECM recording excellence adds to this effect. This is twentieth century and somber music. The warmth of Kashkashian's viola makes this recording the perfect match for a fine bordeaux and a quiet evening of listening.

Liszt: Mephisto Waltzes; Two Elegies; Grosses Konzertsolo

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Liszt to the Future

Liszt: Mephisto Waltzes; Two Elegies; Grosses Konzertsolo

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000NTPAM6
Release Date: 2007-05-29

Customer Reviews:

Liszt to the Future.......2007-06-07

With the present recording and this future release Liszt: Verdi Opera Transcriptions, it would appear Naxos is once again focusing on the stellar Complete Liszt Piano series, one that might eventually rival Leslie Howard's discography on the Hyperion label. Part of the unique appeal to Naxos's own series, however, is its variety of performers: Arnaldo Cohen, Jeno Jando, Konstantin Scherbakov, and Philip Thomson, to name a few. This time, Giuseppe Andalaro, who won the 2005 International Ferruccio Busoni Piano Competition, makes his debut. Andaloro has his work cut out for him: not only does he tackle the immensely difficult Mephisto Waltzes, but also the Sonata in B minor junior, the Grosses Konzertsolo. In the wrong hands, these can become smeared and overly bombastic; fortunately, they are in the right hands here.

I really think Andaloro's Mephisto Waltzes are superlative. I'll concede that with the dozens of recordings of the First Mephisto Waltz, (Bolet, Berman, Brendel and Wild) Andaloro is not my favorite, but that doesn't mean his interpretation is lacking. In the last three Mephisto Waltzes is where Andaloro truly shines, though. The second MW was written in 1880 originally for orchestra and then transcribed to piano. Both versions are fittingly dedicated to the composer of the Danse Macabre, Saint-Saens. Liszt's second MW is truly a dazzling and grand piano composition, full of demonic weirdness and 20th century dissonances. Andaloro's combination of expert technique, savage attack and a surprising attention to dynamic details make his interpretation outstanding.

Humphrey Searle calls the Third Mephisto Waltz "one of Liszt's finest achievements." Alan Walker observes: "There is nothing in the chord-structures from the aforementioned Third 'Mephisto' Waltz that Schoenberg was not to introduce in his First Chamber Symphony (1906)." Indeed, this piece is a striking and futuristic work. Needless to say, Andaloro's performance is clean, lyrical, and explosive. The Fourth Mephisto Waltz wasn't actually published until the middle of the 20th century, and it's an unfinished work. According to Searle, "Liszt left some sketches for a contrasting section which he intended to interpolate towards the end, and so one cannot speak of the work as properly finished." Clearly, though, this piece can be played independently from the others, and for a three minute work, Liszt condenses plenty of substantial and dramatic ideas. Andaloro, again proves his mettle with this wicked tour-de-force.

The two Elegies make a fine contrast with the devilishly virtuosic Mephisto Waltzes and are filled with tremendous Romantic melancholy. They show no evidence of a knuckle-breaking showman, as Liszt's reputation tended to be and still is. The first is dedicated to one of Liszt's pupils and oozes a morose and nostalgic mood. The second, dedicated to Liszt's first biographer, Lina Ramann, is more passionate and songful. Saving perhaps the best for last, Andaloro makes fine work out of the Grosses Konzertsolo. Too many pianists have tried and failed to create music out of this monster. Clara Schumann hated this piece (probably because she couldn't play it) and Henselt, whom the composition is dedicated to, confessed to having problems playing it as well. Andaloro, however, while not matching the apotheosis that Leslie Howard's rendition reaches, still wins in the end. His interpretation favors a slower tempo in most thematic sections. He also treats one of the cadenzas with an excessive use of dynamics, balancing pianissimo and fortissimo with notable results. I like Leslie Howard's robust interpretation better, but Andaloro still makes it work: the tender phrases are crisp and the bravura passages are full of wild energy.

Bottom line: This is another successful addition to Naxos's Complete Piano Music enterprise. Giuseppe Andaloro's interpretations might not please everyone, but his heart and virtuosity are applied to this music in full. Liszt's Mephisto Waltzes are brilliant exhibitions; the two Elegies are emotional gems; Andalaro's Grosses Konzertsolo is moving and articulate, but I encourage those interested in the Grosses Konzertsolo to check out Leslie Howard's recording (Liszt: Fantasy, Variations, Funeral Odes, Concert Solo).

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My intro to 20th century music....
A Collection of Music Apropos of our Time
Pleasant, But Uneven
Not the best Ives
Might as well be in a cemetery~!

American Elegies

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Customer Reviews:

My intro to 20th century music...........2005-11-16

When I was in Dr. Knowles music appreciation class in college, I questioned the validity of modern 'art' music, because I didn't understand it (then). Silly me. He recommended John Adams. The local music store, which was stocked heavily with rap and techno and the like, was very limited in their classical selections. This was the only one they had, so I took a chance and bought it. Talk about opening my eyes (and ears).... the vocal works are absolutely mind blowing. Fog Tropes was a little creepy, but it definitely grew on me. You can call this my gateway CD, because I've been searching out 20th century since then. Thanks Dr. Knowles. :)

A Collection of Music Apropos of our Time.......2003-04-18

With this country once again stunned by a yet another war, we find ourselves in a place where solace and nurturing are necessary and deeply needed. This collection of American composers' works that span a century has been lovingly assembled by John Adams and is performed by the usually conductorless Orchestra of St Lukes here under Adams' direction. The disc opens with the hauntingly beautiful Charles Ives' THE UNANSWERED QUESTION and proceeds with five of his best loved songs for voice and small orchestra performed with subtle clarity and undersatement by Dawn Upshaw in tandem with the orchestra. The last of these songs 'Serenity' blooms into the Ingram Marshall moody and exspansive exploration of fog and foghorns in FOG TROPES. Morton Feldman's quietly simple elegy for his piano teacher 'MADAME PRESS DIED LAST WEEK AT NINETY' is followed with John Adams own 'EROS PIANO', a work written as a memoriam/elegy at the death of Morton Feldman. The disc closes with David Diamond's plangent orchestral work 'ELEGY IN MEMORY OF MAURICE RAVEL'. Only on a CD could such programming exist and we are indebted to John Adams for creating this tenderly profound concert which, though recorded in 1989, seems immensely suitable for listening to today.

Pleasant, But Uneven.......2001-01-18

The major work on this CD in terms of length is John Adams' Eros Piano, approximately 15 minutes. As a solo piano work, it is somewhat more purcussive than his orchestral compositions, but, nonetheless, well worth the listen.

The five Charles Ives songs sung by Dawn Upshaw are a treat, as she brings fine musicianship to anything she approaches. The works by Feldman and Diamond are interesting, new experiences, but I find that I will have to expend considerable effort to be able to come to terms with and appreciate the work by Marshall.

Not the best Ives.......2000-01-31

If you want to find out about Charles Ives this isn't the best CD to start out with. Try, "Charles Ives: Quarta sinfonia" or a recording of "The Unanswered Question" these are the works that caused me to fall in love with Ives and only then did his songs make any sense.

Might as well be in a cemetery~!.......1998-10-24

This CD is GREAT. It's moody, almost creepy, but never boring. It would be the perfect music for Halloween or to listen while taking a stroll in the cemetery. I've played it a number of times over the years, and I never get tired of listening to it. Adams and Ives are wonderful composers!

The Piano Works of Nikolai Medtner, Vol. 7

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The Piano Works of Nikolai Medtner, Vol. 7

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059LXA
Release Date: 2001-03-27

Tracks:

Three Dithyrambs, Op.10: III. Andantino Innocente
Two Fairy Tales, Op.20: I. Allegro Con Espressione
Two Fairy Tales, Op.20: II. Pesante. Minaccioso, Sempre Al Rigore Di Tempo E Sostenuto
Four Lyric Fragments, Op.23: I. Allegretto Commodamente
Four Lyric Fragments, Op.23: II. Andantino Gracile
Four Lyric Fragments, Op.23: III. Tempo Di Valse
Four Lyric Fragments, Op.23: IV. Andantino Tenebroso - Animato
Four Fairy Tales, Op.26: I. Allegretto Frescamente - Giocoso - Tempo Primo
Four Fairy Tales, Op.26: II. Molto Vivace
Four Fairy Tales, Op.26: III. Narrante A Piacere - Piu Mosso - Tempo Primo
Four Fairy Tales, Op.26: IV. Sostenuto
Theme And Vars, Op.55: Theme. Allegretto Grazioso (Tempo Di Menutto)
Theme And Vars, Op.55: Var I
Theme And Vars, Op.55: Var II. Allegro
Theme And Vars, Op.55: Var III. Allegro (Al Rigore Di Tempo)
Theme And Vars, Op.55: Var IV. Intermezzo. Allegro Leggierissimo E Giocoso - Meno Mosso - Tempo...
Theme And Vars, Op.55: Var V. Largamento, Lugubre, Ma Non Ritadare
Theme And Vars, Op.55: Var VI. Allegro Molto
Two Fairy Tales, Op.48: Elf Tale. Con Moto Flessible
Two Elegies, Op.59: Andante Largamento - Tranquillo - Andante
Two Elegies, Op.59: Andante Con Moto, Sempre Cantabile

Aaron Copland: Music for the Theatre, Two Ballads for Violin and Piano, Elegies for Violin and Viola, El Salon Mexico, and Appalachian Spring Suite for 13 Instruments: Performed by the Harmonie Ensemble/New York

Average customer rating:

Aaron Copland: Music for the Theatre, Two Ballads for Violin and Piano, Elegies for Violin and Viola, El Salon Mexico, and Appalachian Spring Suite for 13 Instruments: Performed by the Harmonie Ensemble/New York

Manufacturer: Bridge Records, Inc.
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Easy Listening | Pop | Styles | Music
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The Copland Collection: Orchestral Works, 1948-1971

ASIN: B0001XAQFK
Release Date: 2004-04-01

Tracks:

Music for the Theatre - Prologue
Music for the Theatre - Dance
Music for the Theatre - Interlude
Music for the Theatre - Burlesque
Music for the Theatre - Epilogue
Two Ballads for Violin and Piano - Andante: Simple and Direct
TWo Ballads for Violin and Piano - Moderato
Elegies for Violin and Viola
El Salon Mexico
Appalachian Spring Suite for 13 Instruments

Album Description

This disc presents superb new recordings of two Copland masterpieces-the original version of the "Appalachian Spring Suite" and the jazz-influenced "Music for the Theater". Conductor Steven Richman and His Harmonie Ensemble/New York have a long history with these two works. In 1980, in celebration of his 80th birthday, Aaron Copland conducted the Harmonie Ensemble in the "Appalachian Spring Suite" and worked closely with conductor Richman and the Harmonie Ensemble on a performance of "Music for the Theater". In 1957, Copland began work on a violin concerto for Isaac Stern. The project never reached fruition, but in 1986, Phillip Ramey and Bennett Lerner, with the composer's assistance, found that the sketches yielded the "Two Ballads" with almost no changes. Eugene Drucker, violinist of the Emerson Quartet, performs, accompanied by pianist Diane Walsh. Mr. Drucker is then joined by fellow Emerson Quartet member, violist Lawrence Dutton, in a reading of Copland's rarely performed and unpublished "Elegies". This somber work, composed in Mexico in 1932, was written in response to the suicide of the poet Hart Crane. Perhaps the most unusual recording on this disc is legendary conductor Arturo Toscanini's own transcription of Copland's popular "El Salón México", given its premiere recording here. Made in 1942, undoubtedly to familiarize the conductor with the piece, Toscanini's manuscript was given to Copland by Walter Toscanini, the conductor's son, in 1961. Mr. Richman discovered the arrangement while researching in the Toscanini Archive in New York.

Elegies for Angels, Punks and Raging Queens (Original London Cast)

Average customer rating:

Nearly as good
Nearly as good
Deeply moving...and a Celebration

Elegies for Angels, Punks and Raging Queens (Original London Cast)
Bill Russell , Janet Hood , and Kim Criswell
Manufacturer: First Night
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music
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The Jason Robert Brown Collection: 24 Selections from Shows and Albums

ASIN: B000026YP3
Release Date: 1996-04-29

Tracks:

Angels, Punks, and Raging Queens - Kim Criswell
I'm Holding on to You - Miquel Brown, Kim Criswell, Simon Green, Kwame Kwei-Armah
And the Rain Keeps Falling Down - Simon Green
I Don't Do That Anymore - Simon Green, Kwame Kwei-Armah
I Don't Know How to Help You - Miquel Brown
Celebrate - Miquel Brown, Kim Criswell
Heroes All Around - Miquel Brown, Kim Criswell, Simon Green, Kwame Kwei-Armah
My Brother Lived in San Francisco - Kim Criswell
Learning to Let Go - Co., Kwame Kwei-Armah

Customer Reviews:

Nearly as good.......2002-04-16

The music of Ellegies is some of the most moving I have ever heard. The premise of the musical was that the monologues were from the perspective of those who had died from AIDS and the songs were those who were still alive (only the songs are featured on the album).

The only problem with this album is that it isn't as good as the newer version (which I also have). The newer version has the monologues and stars of the stage that are more famous. However, the orginal cast album does stand on its own and is the perfect addition to any collection.

In addition, if you go to First Knight, the label's, webpage you can get more information.

Nearly as good.......2002-04-16

Deeply moving...and a Celebration.......2002-03-20

This recording by the Original London Cast of 1993 has been largely overlooked. It is quietly moving and stands the passage of time.

Of course the flamboyant Miss Kim Criswell leads the cast with her opening of Angels, Punks and Raging Queens. Her performance is exquisite and emotional, never coming across as over-the-top.

Miquel Brown and Simon Green and Kwanme Kwei-Armah take the story further with their quiet,powerful deliveries...

My Brother Lived In San Francisco told by Miss Criswell never fail to move me to tears.

Although the Live Concert Recording from USA is full of gusto and good-meaning, it comes across as a little forward. But as a live tribute concert, it is what all the artistes have put in with their heart and soul.

I highly recommend the London Cast Recording which has the composer Miss Janet Hood on piano. The cast is solid, although English.

Tracks:

Let Me Entertain You (Gypsy)
Blame It On The Summer Night (Rags)
Raise The Roof! (The Wild Party)
I'd Rather Leave While I'm In Love (The Boy From Oz)
On My Own (Les Miserables)
Colored Lights (The Rink)
I'm The Greatest Star (Funny Girl)
Who Are You Now? (Funny Girl)
They All Laughed (Shall We Dance?)
Sex (Skirts)
Maybe This Time (Cabaret)
I Enjoy Being A Girl (Flower Drum Song)
Anytime (I Am There) (Elegies: A Song Cycle)

Customer Reviews:

What's happened to Debbie?.......2005-04-15

I am not a staunch Gibson fan like most of the drooling 5-star reviews here. But I loved her in the 80's and think her to be a talented singer-songwriter who puts modern pop moppets to shame. I thought it was awesome when she broke into Broadway and made a steady career of it.
Then I heard 'Colored Lights'.
I ask, Debbie!(sorry, DEBORAH), what has happened to you??
Like others here, I applaud her choice to include lesser-known songs. But in doing so, it really behoves her to SELL them as great songs, not rework them for her own interpretation. I felt like I was listening not to the pure-toned, crystal voice of our favourite teen idol, but someone doing a bad impersonation of her. There is hardly a single line she sings which isn't punctured by bad ennunciation, poor phrasing or a lack of respect for the intent of the composers.
There were no gravelly growls(meant to sound sexy, no doubt, but too overdone to succeed), breathy sighs, uneven tone, lacklustre dynamics, excessive scooping, wavery pitch and lack of top range in the Debbie Gibson I remember. But her voice on this album is such a mere shadow of its youthful self that she resorts to these irritating vocal bandaids to get through the song. Any track that had a 'big finish' invariably caused her to run out of steam long before she got there. A belter, Deb is not.
(and I know what I'm talking about, I'm a trained singer myself. If Deborah has a singing teacher, he/she should be shot).

This album was a huge disappointment for me. I love Broadway, but Deb fails terribly to give these songs the great renditions they deserve.
I should add, I have never had the fortune to see Deb sing live, so for all I know, maybe she COULD have done these songs justice had she avoided the pop slant. But this album shows neither the songs nor any talent she still has to advantage at all.

Listen to some Idina Menzel if you want a pop-feel voice that can also out-Belt them all.

A Taste of Broadway.......2004-10-13

I've been a fan of her since God only knows. I know she's not just talented but she is very passionate of (her) music. Knowing that she moved herself into broadways, it's rather of a challenge for me to listen to the songs especially when I'm too familiar with her pop genre. But after a while, I'm used to it coz Debbie is still Debbie to me. She's not afraid of re-arranging the original song to her style, at least she knows what she's doing and again she's proven it. My most favourite track is "Colored Lights", it's light, cheerful, somewhat witty and, in a way, brings up my imagination of seeing her (and the casts) on stage performing the song. All in all, Debbie still has a class and style for us to share.

OUCH!.......2004-08-23

Deborah Gibson is a talented rock star. With a good musical director, she has proved herself to be a wonderful musical theatre performer. This album, however, is a very uneasy marriage of the two genres. She sings every showtune on the album as if it's a pop tune with horrendous bubble gum arrangements. I have seen Miss Gibson in two musicals and have heard her sing showtunes live on other occasions- she knows how to sing showtunes. On this album, however, she's trying to pander to her pop audience and in the process, she created an album that fails as a pop album and as a showtune album. I can only hope that Miss Gibson finds a better musical director the next time she decides to record showtunes.

(Deborah Gibson ) AT HER BEST!!!!.......2004-04-23

Deborah really sing's her heart out on this cd
and it is a must for all of Deborah's Fan's.
Please take the time out and listen to some clip's
of some of the song's from the album. Thank's.

Love You Deborah!!!!
You are the Best!!!!

Deborah delivers deliciously.......2004-02-13

After more than 15 years in the business, Deborah Gibson has learned many lessons and fulfilled many dreams. After 2001's horrifyingly misguided "M.Y.O.B.," she returns to the adult contemporary sound that landed her two number one hits on the Billboard charts, and turns that up a couple of notches. By selecting 13 showtunes from varying Broadway musicals, Gibson satisfies immensely, and delivers a unique compilation worthy of at least one full listen.

"Colored Lights" is not meant to be a showcase of hit tunes; many of the songs on this opus aren't radio hits. Instead, Gibson puts together a delicious smorgasbord of rhythmic melodies and heartfelt ballads that complement her voice (that, strangely enough, hasn't seemed to change that much after more than a decade in the industry).

What is also important to consider in one's evaluation of "Colored Lights" is that, while comparison with the original works/performers is inevitable, we should also take the time to consider that Gibson's pop sensibilities will always shine through. Perhaps it is for that reason, that Gibson has had the best of both pop stardom and Broadway success, that she gives new dimension to these melodies.

The standouts on this collection include "I'd Rather Leave While I'm in Love," which radio would do well to pick up, as the soothing melody and heartfelt delivery will find AC audiences easily; "On My Own," off "Les Miserables," where Gibson as Eponine sounds both heartbroken yet hopeful; the playful title track, from "The Rink," which features some of the most whimsical lyrics I've heard off Broadway thus far; "Raise the Roof," which is truly enjoyable in its pseudo-Latino reincarnation in Gibson's hands (yes, it does beg for a house remix; Gibson's gay audience will see to its success), and "Anytime (I Am There)," which is heartbreaking in its stark delivery, and is easily one of my top five Gibson tracks of all time.

Admittedly, Gibson can't overcome comparisons to the definitive versions of some of the songs. Let's face it: Debbie ain't no Barbra. Her versions of "I'm the Greatest Star" and "Who Are You Now?," while stellar on their own, just fall flat when compare to Streisand's. "Let Me Entertain You," off "Gypsy," ironically, isn't very entertaining, and "Blame It On The Summer Night" drags on.

All in all, "Colored Lights" puts together a collection of songs that are quite distinct and classy, and is easily one of the more worthy albums in Ms. Gibson's discography. She would do well to continue producing albums along this line instead of trying to fight the Britney's and Christina's, because those fads fade, and only the classics remain. Trust in "Colored Lights" to earn a well-deserved place in that section of your record collection.

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