Les Boreades [Import]

Track Listings
1. Ouverture/Overture/Ouverture    
2. Scene/Szene I "Suivez La Chasse, Allez"    
3. Scenes/Szenen Ii, Iii, Iv (Debut) "La Chasse A Mes Regards N'offre Plus Rien D'a    
4. Scene/Szene Iv: Danse "Si L'hymen A Des Chaines (Semire) Gavottes    
5. Scene/Szene Iv "C'est Dans Cet Aimable Sejour"    
6. Scene/Szene Iv: Rondeau Vif "La Troupe Volage" Gavottes    
7. Scene/Szene Iv "Un Horizon Serein"    
8. Contredanse En Rondeau    
9. Scene/Szene I "Charmes Trop Dangereux"    
10. Scene/Szene Ii "J'apercois Ce Mortel"    
11. Scene/Szene Iii, Iv "Avec Eclat Paraissez A Mes Yeux"    
12. Scene/Szene V "Boree, A La Clarte Dont Brillaient Mille Eclairs"    
13. Scene/Szene Vi "Chantez Le Dieu Qui Nous Eclaire"    
14. Scene/Szene Vi "Nos Peuples, Dieu Du Jour, T'offrent De Nouveaux Jeux"    
15. Scene/Szene Vi: Gavottes "C'est La Liberte" (Borilee)    
16. Scene/Szene Vi "Comme Un Zephir Qui Vole Et Jamais Ne S'engage"    
17. Scene/Szene Vi" Air Andante Et Gracieux    
18. Scene/Szene Vi "Ecoutez L'amour Qui Vous Presse"    
19. Scene/Szene Vi: Air Andante    
20. Scene/Szene Vi "C'est Des Dieux Qu'on Doit Apprendre"    
See all 58 tracks on this disc

Les Boreades, Music, Rameau, Bourdy, Monteverdi Choir, Ebs, Classical, Classical Music
Instruments of the Orchestra
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 Instruments of the Orchestra
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Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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  4. The Life and Works of Ludwig van Beethoven
  5. The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

5 out of 5 stars Instruments of the Orchestra - Great Reference Material!.......2007-04-04

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

5 out of 5 stars Beginner or Expert.......2007-03-12

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

5 out of 5 stars Very Informative and Enjoyable.......2006-11-20

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

3 out of 5 stars Frank's view.......2006-08-19

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

5 out of 5 stars Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

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

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

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

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Rameau: Une Symphonie Imaginaire
Average customer rating: 5 out of 5 stars
  • Love it!
  • Fantastic!
  • Rameau, Minkowski: an intelligent concert!
  • A beautiful bit of late Baroque Color
  • A hoot!
 Rameau: Une Symphonie Imaginaire

Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

BalletsBallets | Ballets & Dances | Classical | Styles | Music
SextetsSextets | Chamber Music | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
All Works by RameauAll Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
Ballets & DancesBallets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Similar Items:
  1. Rameau: Orchestral Suites (vol. 1)
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  3. Rameau: Ballet Suites
  4. Biber: Missa Christi resurgentis
  5. Jean-Baptiste Lully: L'Orchestre du Roi Soleil

ASIN: B000935TV8
Release Date: 2005-06-14

Tracks:

  1. Ouverture
  2. Scene Funebre
  3. Air Tendre
  4. Tambourins I & II
  5. Air Tendre Pour Les Muses
  6. Contredanse
  7. Air Gracieux
  8. Gavottes I & II
  9. Orage
  10. Prelude
  11. La Poule
  12. Musette
  13. Ritournelle
  14. Riguadons I & II
  15. Danse Des Sauvages
  16. Entre De Polymnie
  17. Chaconne

Customer Reviews:

5 out of 5 stars Love it!.......2006-11-10

Love it, love it, love it. Have not stopped playing it since it arrived and haven't gotten sick of it yet either. I bought it because I heard just one track briefly on the radio - bit of a gamble but it paid off. Great to drive to! Love the fast violin playing and the french horns. Rameau was one cool dude. Can't wait to share it with my dad. Am even wondering if I could wire the garage for sound so we can listen to Rameau while working there over Christmas! (Sorry this is not a high brow, classical music critic kind of review with lots of technical observations - I'm just a passionate classical music lover speaking from the heart).

5 out of 5 stars Fantastic!.......2006-07-15

Great,I heard this piece on ABC Classic fm yesterday,the 14th of July....Amazon is a day late.Thank you to the programmer,they often use the savage dance as a theme.I must have this CD the thumping tympani and the tambourine really brightens up my day.I didn't even know there was a fugal bassoon movement!
The true french baroque is far better than any thing Handel could wright or borrow.Vivre Rameau!Beautifully played by all,the tempo and ornamentation's are perfect in all parts.Vivre Les Musciens du Louvre!Vivre Motorola for having a camera on their phones so I don't have to remember how to spell in french.
I do not work for any party mentioned.

5 out of 5 stars Rameau, Minkowski: an intelligent concert!.......2006-04-14

Minkowki dedicated this album to his father, Dr. Alexandre Minkowski. The symphony imaginaire recorded live, is for him a personal intimate selection. This is intelligent, sensitive and extremely well played music by Rameau.
I stumbled upon this recording after being impressed by the last Bartoli recording with Les Musiciens du Louvre. Happy me!
The SACD is worth it.

5 out of 5 stars A beautiful bit of late Baroque Color.......2005-09-12

I plan to give copies of this CD to my friends whose musical taste froze 35 years ago and who think of Baroque music as just so much "sewing machine music". Rameau was an imaginative instrumental colorist, and these dance pieces, taken from several of his operas and ballets, show him at his best in that regard.
While the conceit of calling this a "symphony" may seem strange, the pieces are arranged to form a nice sequence and, most importantly, are engagingly played by this early music ensemble. The interpretation is lively and the playing stylish. The sonics are detailed without being analytical.
I would recommend this to anyone as an introduction to the joys of French Baroque, but would encourage a follow-up purchase of one of the full operas.

5 out of 5 stars A hoot!.......2005-08-20

Within a few seconds after pressing the "play" button for this CD, the sound of a percussionist beating the tar out of the tympani emergeged from my speakers. The waps and thumps are intermittenly interrupted by an orchestra on steroids. From there this production goes on a musical romp that I regret hearing come to an end. I'm not sure if this is authentic French baroque; but as a musical listening experience it is a blast. Great sound. Great energy. Wonderful music.
Beatles Baroque
Average customer rating: Not rated
    		Beatles Baroque

    Manufacturer: Atma Classique
    ProductGroup: Music
    Binding: Audio CD

    Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
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    ASIN: B000056UP1
    Release Date: 2001-02-13

    Tracks:

    1. Eleanor Rigby
    2. Norwegian Wood
    3. Piggies
    4. Martha My Dear
    5. Yesterday
    6. The Fool On The Hill
    7. Lady Madonna
    8. Because
    9. She's Leaving Home
    10. Dear Prudence
    11. Good Day Sunshine
    12. Blackbird
    13. Penny Lane
    14. Mother Nature's Son
    15. Lucy In The Sky With Diamonds
    Rameau: Orchestral Suites (vol. 1)
    Average customer rating: 4.5 out of 5 stars
    • Some of the best Rameau, but...
    • Rameau: Orchestral Suites (vol. 1)
    • Lively, spirited introduction to the French Baroque
    		 Rameau: Orchestral Suites (vol. 1)

    Manufacturer: Naxos
    ProductGroup: Music
    Binding: Audio CD

    BalletsBallets | Ballets & Dances | Classical | Styles | Music
    All Works by RameauAll Works by Rameau | Rameau, Jean Philippe | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
    Ballets & DancesBallets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
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    ASIN: B00000147V
    Release Date: 1996-12-17

    Tracks:

    1. La naissance d'Osiris (Suite For Orchestra): Overture
    2. La naissance d'Osiris (Suite For Orchestra0: Musette
    3. La naissance d'Osiris (Suite For Orchestra): Premier et deuxieme gavotte
    4. La naissance d'Osiris (Suite For Orchestra): Rondeau graceiux
    5. La naissance d'Osiris (Suite For Orchestra): Air de musette
    6. La naissance d'Osiris (Suite For Orchestra): Premier et dexieme tambourin
    7. La naissance d'Osiris (Suite For Orchestra): Air gracieux
    8. La naissance d'Osiris (Suite For Orchestra): Musette tendre
    9. La naissance d'Osiris (Suite For Orchestra): Marche gaye
    10. La naissance d'Osiris (Suite For Orchestra): Premiere et deuxieme gavotte
    11. La naissance d'Osiris (Suite For Orchestra): Air majesteux et gracieux
    12. La naissance d'Osiris (Suite For Orchestra): Air vif
    13. La naissance d'Osiris (Suite For Orchestra): Contredanse
    14. Abaris ou les Boreades (Suite And Dances): Overture
    15. Abaris ou les Boreades (Suite And Dances): Menuet
    16. Abaris ou les Boreades (Suite And Dances): Allegro
    17. Abaris ou les Boreades (Suite And Dances): Entree
    18. Abaris ou les Boreades (Suite And Dances0: Rondeau vif
    19. Abaris ou les Boreades (Suite And Dances): Contredanse en rondau
    20. Abaris ou les Boreades (Suite And Dances): Premier et deuxiemen rigaudon
    21. Abaris ou les Boreades (Suite And Dances): Gavaotte pourles Fleures et les Zephirs
    22. Abaris ou les Boreades (Suite And Dances): Premiere et deuxieme contredanse

    Amazon.com

    Baroque opera in France was very different from the Italian "opera seria" form that prevailed elsewhere in Europe at the same time. While the Italian tradition preferred a succession of detachable arias that provided a showcase for star singers, French opera consisted of an equal measure of song and dance, with the vocal parts integrated into a much more continuous musical structure. Rameau's ballet music is the finest of the period--it has a really physical quality of movement, and the most interesting and pronounced rhythmic definition. All of which is a complicated way of saying that it really sets your toes tapping. Check it out; with excellent performances and a budget price, you've nothing to lose. --David Hurwitz

    Customer Reviews:

    3 out of 5 stars Some of the best Rameau, but..........2007-07-11

    I prefer Bruggen's interpretations and recordings whenever possible.

    The Naxos recordings here are a little on the dull side, from a sound-quality and energy/vitality perspective. Bruggen's are richer and more dance-like - they are simply more musical performances.

    5 out of 5 stars Rameau: Orchestral Suites (vol. 1).......2006-07-15

    Rameau: Orchestral Suites (vol. 1)~ Jean-Philippe Rameau is simply put it a wonderful and stupendous recording from one of the masters of French Baroque music. The Baroque time period was an amazing time for music in my opinion and produced such great composers such as Bach, Vivaldi, Purcell to mention a few. Whilst not being as accomplished as Bach, Rameau is right on par with composers such as Vivaldi and Purcell. The book-let is well done with a wonderful painting on the front and the essay on Rameau is well written and not over-long or verbose. I highly recommend this splendid recording to fans of Baroque music and to people that fancy good music in general and give this 5 out of 5 stars.

    5 out of 5 stars Lively, spirited introduction to the French Baroque.......2002-12-01

    Rameau at his best. Flutes, tambourines and strings in wonderful arrangement. Oboes in the slow movements played with infinite precision. Tubas and horns adding contrast. Embellishment with the greatest of delicacy. Rhythm is created by stress on the strings and overlay of the other instruments. A tribute to the 18th century and the royal court of Louis XV. Here, the ensemble Capella Savaria, led by Mary Terey-Smith, a Hungarian who became an accomplished academician in the United States and Canada, uses original instruments to create the authentic sound of the royal court in Baroque France. This is supposed to be "opera", but it is far from the "operas" two centuries hence and, controversally, the Italian operas of the day. The libretto is not disclosed nor is it significant. Polyphony is restrained but very much evident in multi-instrument dialogues and duets. The interplay of the flutes with the strings and other instruments is very satisfying. It all culminates in a rousing finale in 6/8 time.
    Beatles Baroque III
    Average customer rating: Not rated
      		Beatles Baroque III

      Manufacturer: Atma Classique
      ProductGroup: Music
      Binding: Audio CD

      Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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      ASIN: B000K2Q7N2
      Release Date: 2007-01-02

      Tracks:

      1. Here Comes the Sun
      2. Across the Universe
      3. This Boy
      4. Here, There and Everywhere
      5. Oh Darling
      6. In My Life
      7. Sun King
      8. And I Love Her
      9. All You Need Is Love
      10. Mother
      11. Long and Winding Road
      12. Why Don't We Do It in the Road
      13. If I Fell
      14. Happiness Is a Warm Gun
      15. Hey Jude
      16. I Want You
      17. Good Night
      18. Her Majesty
      Rameau: Une Symphonie imaginaire [Hybrid SACD]
      Average customer rating: 5 out of 5 stars
      • RAMEAU - MINKOWSKI & Les Musiciens du Louvre: sur le Ouvre posthume
      		 Rameau: Une Symphonie imaginaire [Hybrid SACD]

      Manufacturer: Archiv Produktion
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      ASIN: B00083FYQE
      Release Date: 2005-07-12

      Customer Reviews:

      5 out of 5 stars RAMEAU - MINKOWSKI & Les Musiciens du Louvre: sur le Ouvre posthume.......2006-12-28

      Before Rameau (1683-1764) there was instrumentation; after Rameau, there was orchestration. Then came Mozart, Beethoven, von Weber, Berlioz, Fry, Lizts, Gottschalk, Wagner, Lèfébure-Wélly, Franck, Bruckner, Mahler, and the rest is part of the world's music history.

      In the beginning, Rameau was an expert organist intensely interested with the exploration of new instrumental possibilities in music which he had already explored with organ music both as an instrumentalist and composer. He treated the organ as a great symphonic instrument rather than a polyphonic instrument. What we have here is what we call now "homophonic" music. He was not the only one to enter this form of thinking and composing; indeed there were others, but that does not take any away from his enormous accomplishments and advances in music theory.

      Rameau was throughly contemporary with François Couperin Le Grand (1668-1733), Johann Sebastian Bach (1685-1750), Georg Philipp Telemann (1681-1767), Antonio Vivaldi (1678-1741), Giussepe Tartini (1692-1770), Christoph Willibald Gluck (1714-1787) and many other very well known composers of the early and mid 1700's. There is no doubt that for the most part all of the above knew in great detail about each other's whereabouts and current musical developments; assimilation of each other's theoretical and compositional ideas and forms was a widely accepted practice during that time period.

      Rameau as a matter of fact did not discover anything whether in music and/or instrumental sound acoustics but formally stated sound and acoustic "combinations" which if and when executed by composer and instrumentalists added to the clarity of the whole.

      As our old friend Mr. Plato (428-347 BC) remarked (I hope more than once), the foundation of anything in this universe (music included) in itself is indifferent to the existence of our universe. Indeed, indifferent to our minds and evanescent existence. Put it another way, music would exist even if musicians and/or we the listeners did not. I know this could be a debatable philosophical point for some but that's a theme for another discussion somewhere else.

      With his compositions Rameau explored first at the organ and then with opera, ballet and overtures orchestral and musical methods, and acoustic forms which in the end provided other musicians/composers in general with highly idealized representations of the real world, whatever the real world of acoustics in reality can be said to be.

      There is so much music (of all kinds), and composers which to this date knowingly or not, having adopted and assimilated Rameau's dictums have achieved such a mastery of acoustic "combinations" with effects of space, sonority, tone placement, antiphony, echo, silence, etc., etc, that have made this a wonderful world. One that Rameau re-discovered and which now-a-days is an integral and essential part of recognized music theory.

      Rameau wrote a number of "treatises" and books on music theory; the two most important are "Traité de l'harmonie" and "Gènération harmonique." In these two studies he described or "explicated" exhaustively all known to him blends of timbres/tones, space and reverberation combinations; to this day no musician could do without them! His main point was that melody and harmony are not independent of each other. These musical combinations were known by many, but Rameau was the first to write about them and put them to practice in a formal fashion - again - as far as we know now.

      I may add here that organists in general knew what Rameau knew; organistis knew very well how to score and employ acoustics and concomitant specific reverberation times and silences to obtain desired sound effects with their organ compositions. J.S. Bach was a master of this technique incidentally. It was and still is part of every good organist to "have the knowledge" and the skills to partake with organ music in such way; we also intuitively know when an organist is not for whatever reason applying these acoustic principles during a performance, generally to everybody's dislike.

      We must add here that Archangelo Corelli, Giuseppe Tartini and J.S. Bach for example scored "in scordatura" for string instruments, especially for viola da gambas but also for violins. Scoring "in scordatura" basically produces the same acoustical effects and results as those organists obtained with their organs;"in scordatura" in plain musical language means "mis-tuning." Scoring in this manner was a common practice during the 1600 and 1700's because it produced acoustical effects of the desired kind, that is, natural sound effects.

      Never-the-less, Rameau was apparently the first one to write and compose music following "natural" sound combinations without the need for scordatura. This is Rameau's legacy for the ages.

      He was (again, probably) the first to describe, justify and explain harmonic practice in music whithin a coherent system derived from the "nature" of sounds. It had been there all the time and Rameau just "nurtured" the idea. Again, we have here another example of "nature" and "nurture." Remember Mr. Plato's dictum?

      Very few composers before Rameau had conciously exposed and/or utilized that knowledge aside for the ocassional "in scordatura." We must resort here to Nikolaus Harnoncourt's "The Musical Dialogue - Thoughts on Monteverdi, Bach and Mozart" and Paul Bekker's "The Orchestra" to fully understand the inner works of this process. I highly recommend lecture of these two capital books as well as Dr. Philip Gossett's English translation of Rameau's "Traité de l'harmonie."

      With this SACD Marc Minkowski and his Les Musiciens de Louvre amply succeed in the representation of Rameau's orchestral music.

      Rameau never wrote a symphony as such; let's consider that for a moment. At about the same time J.S. Bach was calling some of his compositions "Symphonias", but it was not ultil his son Carl Philipp Emmanuel Bach (1714-1788) threw away the traditional polyphonic media (instrumentation) or subordinated them to the dominant idea of harmonic development that a "formal" symphonic form appeared; we call this "homophonic" music incidentally.

      There were no symphonies until that time (C.P.E. Bach's time) but only "concertos" of the "grosso" kind. Concerti grossi (Italian for big concerts) were a popular form of Baroque music whereby an orchestra ensemble passed musical material between an small group of soloists (the concertino) and the full orchestra (the ripieno).

      That's the main reason for the added title to this SACD: "...un symphonie imaginaire." This SACD is about symphonies; symphonies which were never formally scored by Rameau. We are asked here and now to think about this music as being an imaginary symphony...or pieces of symphonies, or opera...ballets. Indeed not an easy proposition but, just after the first few bars of the the first track we realize that Rameau had a new perspective in music; his music was all about orchestration.

      Did Minkowski and his group succeed in their mission? Obviously the answer is a resounding yes! Minkowski and his musicians created these imaginary symphonies out of some orchestral music originally written for operas and ballets, and some specific overtures. These were orchestral parts composed during the last thirty years of Ramaeau's life. Previously he had only composed keyboard music mostly for organs.

      Presently, the question might be as follows: where do we begin with this SACD?

      The instruments: the instruments are all original period instruments
      and tuned to a prevalent a'= 415 Hz (so it's stated in the notes and my chromatic tuner corroborates exactly that) and that's very different than today's a'= ~ 440 Hz. The instrument's sound in this recording is different, totally different, and the tuning of the strings bespeaks well of the mastery of this orchestra's players. Remarkable, it's all I can say!

      Minkowski, the conductor. There is no doubt in my mind that he, along with Nikolaus Harnoncourt and Andrew Manze, is the dominant figure in Baroque music at the present time. You can not do better than this or these if we include the other two conductors.

      The musicians. What can I say about them? That they have perfect pitch? Yes. That they play all the notes? Yes. That their string instruments had to be re-strung to a'= 415 Hz instead of playing "in scordatura"? I think so. Can they play in harmony? This is a great rendition of musical harmony at it's purest form.

      I think Rameau with this music and specially it's orchestration showed to the future the shape of things to come. This was the beginning of the end of the Baroque and the start of a new era.

      There are no words that could possibly describe the level of excellence which is achieved in this and the other Baroque recordings this conductor and musical group have been involved with. We do know this is the normal state of affairs with Minkowski and the musicians that subordinate to him. This is absolutely perfect.

      The sound, again, Archiv has produced another SACD reference recording. It's a true 5.1 DTS recording which means the sound will be coming out of six speakers if played in an SACD player. The total surround sound is as real as one could get and much better and more realistic than the same version in just plain stereo. In my opinion the SACD is far superior than the stereo version.

      I would not hesitate for a moment in recommending this SACD or any other that Minkowski and his musicians throw at us. Please hit us again and again with recordings of this caliber.

      FINAL WORDS: B U Y I T - NOW.


      Karina Gauvin sings Purcell
      Average customer rating: Not rated
        		Karina Gauvin sings Purcell

        Manufacturer: Atma Classique
        ProductGroup: Music
        Binding: Audio CD

        Purcell, HenryPurcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
        Incidental MusicIncidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
        GeneralGeneral | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
        GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
        Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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        GeneralGeneral | Chamber Music | Classical | Styles | Music
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        ASIN: B000IZJ3MI
        Release Date: 2007-02-13
        Les Boreades
        Average customer rating: 5 out of 5 stars
        • See this at BAM in June!
        		 Les Boreades
        Rameau , Bourdy , Monteverdi Choir , and Ebs
        Manufacturer: Wea International
        ProductGroup: Music
        Binding: Audio CD

        GeneralGeneral | Classical | Styles | Music
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        4. Rameau - Dardanus / Ainsley, Gens, Naouri, Delunsch, Courtis, Kozena, Les Musiciens du Louvre, Minkowski
        5. Charpentier - Medee / Hunt, Padmore, Deletre, Zanetti, Salzmann, Les Arts Florissants, Christie

        ASIN: B000009INY
        Release Date: 2002-08-12

        Tracks:

        1. Ouverture/Overture/Ouverture
        2. Scene/Szene I "Suivez La Chasse, Allez"
        3. Scenes/Szenen Ii, Iii, Iv (Debut) "La Chasse A Mes Regards N'offre Plus Rien D'a
        4. Scene/Szene Iv: Danse "Si L'hymen A Des Chaines (Semire) Gavottes
        5. Scene/Szene Iv "C'est Dans Cet Aimable Sejour"
        6. Scene/Szene Iv: Rondeau Vif "La Troupe Volage" Gavottes
        7. Scene/Szene Iv "Un Horizon Serein"
        8. Contredanse En Rondeau
        9. Scene/Szene I "Charmes Trop Dangereux"
        10. Scene/Szene Ii "J'apercois Ce Mortel"
        11. Scene/Szene Iii, Iv "Avec Eclat Paraissez A Mes Yeux"
        12. Scene/Szene V "Boree, A La Clarte Dont Brillaient Mille Eclairs"
        13. Scene/Szene Vi "Chantez Le Dieu Qui Nous Eclaire"
        14. Scene/Szene Vi "Nos Peuples, Dieu Du Jour, T'offrent De Nouveaux Jeux"
        15. Scene/Szene Vi: Gavottes "C'est La Liberte" (Borilee)
        16. Scene/Szene Vi "Comme Un Zephir Qui Vole Et Jamais Ne S'engage"
        17. Scene/Szene Vi" Air Andante Et Gracieux
        18. Scene/Szene Vi "Ecoutez L'amour Qui Vous Presse"
        19. Scene/Szene Vi: Air Andante
        20. Scene/Szene Vi "C'est Des Dieux Qu'on Doit Apprendre"
        21. Scene/Szene Vi: Loure
        22. Scene/Szene Vi: Gavotte Vive - Gavotte
        23. Scene/Szene Vi "Ciel, Quels Accords Harmonieux"
        24. Scene/Szene Vi "Espere Tout De Ce Trait Enchante"
        25. Scene/Szene I, Ii "Songe Affreux, Image Cruelle"
        26. Scene/Szene Iii "Triomphe Hymen, L'amour T'applle"
        27. Scene/Szene Iii "Dans Cees Beaux Lieux"
        28. Scene/Szene Iii: Air Un Peu Plus Gai "Eh! Pourquoi Se Defendre?"
        29. Scene/Szene Iii: Menuets
        30. Scene/Szene Iii "Jouissons De Nos Beaux Ans"
        31. Scene/Szene Iii: Gavottes
        32. Scene/Szene Iii: Aimez, Aimez A Votre Tour
        33. Scene/Szene Iv "Regnez, Belle Alphise"
        34. Scene/Szene Iv "Boree En Fureur"
        35. Entracte: Suite Des Vents
        36. Scene/Szene I, Ii "Nuit Redoutable!"
        37. Scene/Szene Iii "Nous N'implorons Que Vous"
        38. Scene/Szene Iv: Entree
        39. Scene/Szene Iv "Commandez Aux Tendres Zephis"
        40. Scene/Szene Iv: Gavottes Pour Les Heures Et Les Zephirs Rigaudons
        41. Scene/Szene Iv "Parcourez La Terre"
        42. Scene/Szene Iv: Airs Tres Gais
        43. Scene/Szene Iv "Mon Pouvoir Doit Servir Au Bonheur Des Huhmains"
        44. Scene/Szene Iv: Air Pour Les Saisons Et Les Zephris
        45. Scene/Szene Iv "Je Cours Flechir Un Dieu Severe"
        46. Scene/Szene Iv "Volez, Que L'amour Vous Seconde!"
        47. Scene/Szene I "Obeissez, Quittez, Quittez Vos Cavernes Obscures"
        48. Scene/Szene Ii "Ne Suivez Plus Mes Pas, Vous Irritez Ma Peine"
        49. Scene/Szene Iii "Venez Punir Son Injustice"
        50. Scene/Szene Iv "Que Vois-Je?"
        51. Scene/Szene Iv "Trop Superbes Rivaux"
        52. Scene/Szene Iv "Quel Eclat!"
        53. Scene/Szene V "Je Rends Pour Ce Heros Ma Tendresse Eclatante"
        54. Scene/Szene V "Delices Des Mortels"
        55. Scene/Szene V "Que Ces Moments Sont Doux"
        56. Scene/Szene V: Air Andante - Pas De Deux - Menuets
        57. Scene/Szene V "Que L'amour Embellit La Vie"
        58. Contredanses Tres Vives

        Customer Reviews:

        5 out of 5 stars See this at BAM in June!.......2003-05-11

        Delightful musical surprises await you in this "lost" opera by Rameau. If you are in the NYC area, do not miss the few June performances at BAM. I saw William Christie's production (dir. Robert Carsen & dance by Edouard Lock) 3 times here in Paris and it was superb.
        Discover Music of the Baroque Era
        Average customer rating: 5 out of 5 stars
        • Fulfilling Overview of the Baroque Era in Music and Words
        • An Excellent Introduction to the Music of the Baroque Era
        		 Discover Music of the Baroque Era

        Manufacturer: Naxos
        ProductGroup: Music
        Binding: Audio CD

        All Works by AllegriAll Works by Allegri | Allegri, Gregorio | ( A ) | Featured Composers, A-Z | Classical | Styles | Music
        All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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        Gabrieli, GiovanniGabrieli, Giovanni | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
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        All Works by Alessandro ScarlattiAll Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
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        Character PiecesCharacter Pieces | Short Forms | Forms & Genres | Classical | Styles | Music
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        GeneralGeneral | Telemann, Georg Philipp | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
        GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
        GeneralGeneral | Keyboard | Instruments | Classical | Styles | Music
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        CompilationsCompilations | Classical | Styles | Music
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        EnglishEnglish | Languages | Opera & Vocal | Styles | Music
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        OratoriosOratorios | Opera & Vocal | Styles | Music
        AnthemsAnthems | Vocal Non-Opera | Opera & Vocal | Styles | Music
        CantatasCantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
        MotetsMotets | Vocal Non-Opera | Opera & Vocal | Styles | Music
        OratoriosOratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
        PassionsPassions | Vocal Non-Opera | Opera & Vocal | Styles | Music
        PsalmsPsalms | Vocal Non-Opera | Opera & Vocal | Styles | Music
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        Gabrieli, GiovanniGabrieli, Giovanni | ( G ) | Composers, A-Z | Classical Music Blowout | Stores | Music
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        Purcell, HenryPurcell, Henry | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music
        Rameau, Jean PhilippeRameau, Jean Philippe | ( R ) | Composers, A-Z | Classical Music Blowout | Stores | Music
        Scarlatti, AlessandroScarlatti, Alessandro | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music
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        ASIN: B0007ORDYK
        Release Date: 2005-03-22

        Customer Reviews:

        5 out of 5 stars Fulfilling Overview of the Baroque Era in Music and Words.......2005-05-09

        Yet another great bargain-priced package from Naxos effectively provides an overview of the rich Baroque period with two discs containing more than 2 ½ hours of music and a comprehensive, 140-page primer booklet. Compiled by music historian Clive Unger-Hamilton, the collection is well-chosen to represent the many different facets of the era without recycling the more obvious candidates like Vivaldi's "The Four Seasons". The quality of the playing and singing is top-notch throughout, and the program contains quite a smorgasbord of pieces from dramatic opera arias to harpsichord pieces (sometimes played on authentic instruments, other times on modern grands) to full-blown choruses. Standout tracks include Allegri's "Miserere mei" with an ethereal boy treble soloist; two arias sung by soprano Ingrid Kertesi, in particular, Almirena's lament, "Lascia ch'io pianga" from Handel's "Rinaldo"; and a lovely "When I am laid in earth" from Purcell's "Dido and Aeneas" performed by soprano Kym Amps. The choral pieces can be astounding from Bach's "St Matthew Passion (BWV 244)" performed by the large Hungarian Festival Chorus and full symphony orchestra to the eight voices that wrap themselves around "For unto us a child is born" from Handel's "Messiah".

        The booklet itself provides great value as you listen to the selections. There is a well written 85-page essay by Unger-Hamilton, who manages to encapsulate an enormous amount of information about this period which leaves a novice like me with a more solid basis of understanding the music of the Baroque era. In fact, what is quite valuable is that Unger-Hamilton provides a specific historical reference for each piece on the recording in his essay. There is also a very helpful glossary and an intriguing timeline which covers musical milestones relative to similar milestones in history, arts and architecture and literature. Moreover, there is an alphabetical list of the key Baroque composers and an accompanying map of Europe with important music centers and the composers associated with these cities. The thoughtful presentation of this package really makes the $8.98 price tag one of the great bargains here.

        5 out of 5 stars An Excellent Introduction to the Music of the Baroque Era.......2005-04-04

        This is one of a series of the 'Discover ...' 2 CD sets -- at super-budget price -- from Naxos that makes use of complete movements of music from the era in question. It is accompanied by an excellent booklet - a thick one! - with an explanatory essay that gives background on the music as well as blow-by-blow descriptions of the music being presented. All the selections (from such composers as Monteverdi, Handel, Bach, Scarlatti, Schütz, Purcell, Corelli, Pachelbel, Charpentier, et al.) are from Naxos's extensive library of recorded music and as far as I can tell all the performances are top-notch.

        In addition there is a Timeline of the Baroque Era that includes material about the music, history, art, architecture and literature of the times. There is a map of Europe that shows where various composers lived and worked. There is a list of composers (more than just those whose music provides the audio examples) with their dates and locations. There is a glossary of common musical terms. There is also an extensive list of music suggested for further listening. I can easily imagine this set being the springboard for a newcomer to baroque music to begin a lifetime of enjoyment of these and similar works.

        The presentation is thoughtfully done and the whole thing is in a slipcase that will preserve the CDs as well as the booklet for years to come.

        Scott Morrison
        Journey [Includes Atma Classique Catalog 2006/2007]
        Average customer rating: Not rated
          		Journey [Includes Atma Classique Catalog 2006/2007]

          Manufacturer: Atma Classique
          ProductGroup: Music
          Binding: Audio CD

          BalletsBallets | Ballets & Dances | Classical | Styles | Music
          Clérambault,Louis-NicolasClérambault,Louis-Nicolas | ( C ) | Featured Composers, A-Z | Classical | Styles | Music
          Purcell, HenryPurcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
          Rebel, Jean-FéryRebel, Jean-Féry | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
          All Works by SchmelzerAll Works by Schmelzer | Schmelzer, Johann H. | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
          Telemann, Georg PhilippTelemann, Georg Philipp | ( T ) | Featured Composers, A-Z | Classical | Styles | Music
          ConcertinosConcertinos | Concertos | Forms & Genres | Classical | Styles | Music
          GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
          Incidental MusicIncidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
          Ballets & DancesBallets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
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          GeneralGeneral | Telemann, Georg Philipp | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
          GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
          Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
          GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
          ViolinViolin | Strings | Instruments | Classical | Styles | Music
          GeneralGeneral | Symphonies | Classical | Styles | Music
          GeneralGeneral | Classical | Styles | Music
          GeneralGeneral | Chamber Music | Classical | Styles | Music
          GeneralGeneral | Opera & Vocal | Styles | Music
          Baroque (c.1600-1750)Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music
          ItalianItalian | Languages | Opera & Vocal | Styles | Music
          ASIN: B000O78HMW
          Release Date: 2007-04-03

          Music Review:

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          4. Mahler: Symphony #2 "¿Resurrection"; Auger, Baker, Rattle
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