Anthony Iannaccone: Orchestral Works

On this CD:

1. Waiting for Sunrise on the Sound, for orchestra
Composed by Anthony Iannaccone

Conducted by Anthony Iannaccone

2. West End Express, for orchestra
Composed by Anthony Iannaccone

Conducted by Anthony Iannaccone

3. Symphony No. 3 ("Night Rivers")
Composed by Anthony Iannaccone

Conducted by Anthony Iannaccone

4. From Time to Time, fantasias on 2 Appalachian folksongs, for orchestra Once Upon a Time, Crosscurrents Remembered
Composed by Anthony Iannaccone

Conducted by Anthony Iannaccone

5. From Time to Time, fantasias on 2 Appalachian folksongs, for orchestra Moving time, A Millennium Ride
Composed by Anthony Iannaccone

Conducted by Anthony Iannaccone

6. Divertimento, for orchestra I.
Composed by Anthony Iannaccone
Performed by Bohuslav Martinu Philharmonic Orchestra
Conducted by Anthony Iannaccone

7. Divertimento, for orchestra II.
Composed by Anthony Iannaccone
Performed by Bohuslav Martinu Philharmonic Orchestra
Conducted by Anthony Iannaccone

Tracks:

Tuning Up
Amques (Original Version)
Po ectronique
Arcana
Nocturnal
Un Grand Sommeil Noir (Orchestral Version)

Tracks:

Un Grand Sommeil Noir (Original Version)
Offrandes: Chanson de laut
Offrandes: La Croix du Sud
Hyperprism
Octandre: Assez lent
Octandre: Trvif et nerveux
Octandre: Grave - Animt jubilatoire
Intales
Ecuatorial
Ionisation
Density 21.5
Drts: 1st Episode
Drts: 1st interpolation of organized sound
Drts: 2nd episode
Drts: 2nd interpolation
Drts: 3rd episode
Drts: 3rd interpolation
Drts: 4th episode
Dance for Burgess

Amazon.com essential recording

For a composer who is (now) recognizably part of the 20th-century classical canon, the French émigré Edgard Varèse's output was astoundingly meager. Just 15 compositions from his entire life (he destroyed the compositions from his early years, and was a merciless editor of his own material in general) made it out to the listening world. Varèse was caught in the chasm between the music of yesterday and the music of tomorrow: scoring music for modified theremin, steamboat whistles, or air sirens, all balanced with the force of a large orchestra; writing pieces based on the flows of water and wind because that's what shapes the earth; using the concepts of chemical reactions and specific gravity as a basis for his music. Using extremes of contrast, dissonance, and variety in sound, Varèse's pieces had power in the way he attacked and shaped the sound he imagined. From Ionisation (1929), scored almost entirely for unpitched percussion, to the electronic-only, three-dimensionally produced Poeme Electronique (1958), he's provided a foundation that many genres, musicians, and composers were to build from not only for the next 40 years, but inevitably beyond. --Robin Edgerton

Customer Reviews:

Superb with just one reservation.......2006-11-10

This complete works of Varèse, superbly performed and recorded, is a fine accomplishment. My only disappointment was its version of Poème Elèctronique being the sole representation of that ground-breaking work that still holds up for me today as one of the finest pieces of electronic music yet created. It is interesting to be able to hear the version in this collection, which appears to be a loving restoration of what must have been primarily the raw, performing version, to be further enhanced during its performances in a very large space? What I miss in the present version is the more clearly heard textures of its huge sound palette; the resonant and often humerous interplay between them, and its dramatic sweep as it was presented on a sparcely documented stereo mix that first appeared on a Columbia Records LP, later reissued on a CD, now out of print. That one is surely more like an actual performance, presumably mixed to re-create as well as possible then what it might have sounded like over its four hundred loudspeakers in the Philips Pavillion. I hope there will be further reissues. To me the CBS version's drama and energy are more like that of the performances of the other pieces in this wonderful Complete Works set. -Curt Wittig

Go ahead, test your intelligence..........2006-06-18

Frank Zappa used to play Varese to test the intelligence of his friends, and most of them used to look at him like he was "out of his f---ing mind" as he put it. As a major Zappa fan, I bought this compliation, and I love every minute of it. This 2 CD set contains all of Varese's work (needless to say, Edgar wasn't very prolific). You really hear Varese's influence in Zappa's work. Some favorite pieces are Deserts, Poem Electronique, and Un Grand Sommeil Noir (Original Version). Varese's music reminds me of universes being created, in all their violence, beauty, and glory. Instruments crashing down upon one another. This music is reminiscent of Zappa's Weasels Ripped My Flesh and his orchestral work especially. Varese is one of the great American composers, like Aaron Copland, John Cage, and Conlon Nancarrow. Superb....

The definitive recordings........2005-11-09

Riccardo Chailly once said Varèse was going to be the Brahms of the XXI Century. I really don't know if he will be right or wrong, specially because of the very conservative auditoriums we have all around the world, but it should be this way, as the french composer has died too many years ago and his music should be understood but most of the public. It's sad to know that composers, like the own Mahler said, use to be years, decades, even centuries in advance to the general public .

Anyway, it's very important for the popular knowledge of this composers to have recordings like this, in which everything works perfectly as if it was a clock. After many years having some good recordings conducted by Boulez (Sony) and Nagano (Erato) mainly, we have now the possibility of listening one of the most musical and technical orchestra & baton of this time: The Concertgebouworkest and Riccado Chailly.

Most of the versions in this 2CDs set are the best I know, specially the orchestral works, played with conviction and precision by the Concertgebouworkest, an orchestra that had some problems with Mr.Chailly when they begin to play this, for them, `rare' music. The way Arcana sounds its incredible, full of power, mistery and perfection, the performing of Ameriques is breathtaking and I can only compare it with the truly outstanding version by Pierre Boulez with the CSO for DG. Deserts is a new dimension in Chailly's hands, really terrible and full of dark emotions.

Of course, there are little things that could be a bit better, like the Spanish sung in Ecuatorial, better sung in Nagano's version, but generally the performing is marvellous and the instrumental and ondes Martenot's playing in this piece is perfect in Chailly's version.

The ASKO Ensemble versions are outstanding too, showing a very modern Varèse. The performing of Ionisation, that great jewel, listened with a good Hi-Fi system is a experience not to be lost.

The recordings are very good, not outstanding, as it sounds like distant sometimes, but clear and with good definition, of course better with good electronics.

Booklet and presentation of the box is marvellous too; as it has to be in real event in recorded music in the last decades.

Sound Splitting Music.......2002-06-25

First, let me state that I am a long-time Varese fanatic. I first heard Ionisation live at a contemporary music concert in my town when I was 12, and I was hooked. I immediately bought the old Robert Craft double album on Columbia and played it until there were scratches on the scratches. So I was overjoyed to see a modern "complete" recording with up to date sonics. For the most part, I haven't been too disappointed with the performances either.

Chailly is great on much of this music. Ameriques and Arcana are sonic extravagazas. And this is the best recording I've heard of Nocturnal and Ecuatorial. Chailly does a good job with the chamber pieces of the 20s and 30s, though I agree with other reviewers, Boulez is much clearer on Ionisation. Chailly misses some of my favorite parts, and I find it hard to hear the first snare drum theme. (I'm also quite partial to Craft's version, but I don't think it's available anymore.)

I also must add to the chorus of exceptions on the questionable material. The orhestrated version of the solo song has no place on this CD. It doesn't sound like Varese, more like Debussy, and though the song is quite impressionistic, I think we presume too much to orchestrate it and pass it off as "complete" Varese. And neither Tune Up nor Dance for Burgess really add much to our understanding of Varese, and are of questionable value. I suspect that Varese would have destroyed them completely had he been able. Much better to have a recording of the revised version of Ameriques. The revision is so extensive, that a side by side comparison would be illuminating.

All in all, I like this CD. Chailly's take on Varese is big and passionate, something that I think both Boulez and Craft miss. Abravanel comes close to this passion, but Chailly wins because of the gorgeous sonics. I highly recommend this CD to those interested in exploring the unique sound world of Varese.

An aural knockout.......2002-02-01

Here are two discs with some of the most exciting 20th-century music around. Chailly and the Concertgebouw give definitive readings of Varèse's complex pieces, some written for a huge orchestra, and recorded in typically opulent London sound.

My favorites are, without a doubt, "Ameriques" and "Arcana," two explosive showpieces that will give your sound system quite a workout. But far from being merely loud, the scores have many beautiful textures (including quiet ones) scattered throughout the orchestra, and Chailly captures much of the glittering detail.

I even like "Tuning Up," which may seem like a less substantial work to most ears. To be fair, if the piece is not the last word in Varèse's imagination, it is clever enough for its short duration, and as with everything on this disc, the orchestra sounds superb and totally undaunted. Their virtuosity is both satisfying and thrilling, especially in such seldom-performed music.

Make sure your neighbors are away before turning up the performance of "Ameriques," though - the last few pages will blow your roof off.

Tracks:

Bol - Tempo di Bolero moderato assai
Rapsodie espagnole: Prde a Nuit: TrMod
Rapsodie espagnole: Malaguena: Assez Vif - Assez Lent
Rapsodie espagnole: Habanera: Assez Lent et d'un Rythme Las
Rapsodie espagnole: Feria: Assez anim Trmod - De plus en plus anim
Valses nobles et sentimentales: Mod
Valses nobles et sentimentales: Assez lent
Valses nobles et sentimentales: Mod
Valses nobles et sentimentales: Assez Anim
Valses nobles et sentimentales: Presque Lent
Valses nobles et sentimentales: Assez Vif
Valses nobles et sentimentales: Moins Vif
Valses nobles et sentimentales: Epilogue: Lent
Ma M L'Oye: Prde: TrLent - Anim
Ma M L'Oye: Danse du Rouet et Sc: Allegro - TrLent
Ma M L'Oye: Pavane De La Belle Au Bois Dormant: Lent
Ma M L'Oye: Les Entretiens de La Belle et de La B - Mouvement de Valse Mod
Ma M L'Oye: Petit Poucet: Trmod
Ma M L'Oye: Laideronnette, Imptrice des Pagodes Mouvement de Marche
Ma M L'Oye: Le Jardin Fique: Lent et Grave

Tracks:

Menuet antique - Maestoso
Le tombeau de Couperin: Prelude: Vif
Le tombeau de Couperin: Forlane: Allegretto
Le tombeau de Couperin: Menuet: Allegro moderato
Le tombeau de Couperin: Rigaudon: Assex vif Moins vif - Assex vif
La Valse
Alborada del Gracioso
Une Barque sur l'Ocean
Pavane pour une infante defunte
Daphnis et Chloe
Daphnis et Chloe
Daphnis et Chloe

Customer Reviews:

Wonderful interpretations of Ravel music.......2006-03-16

This double decker DG release of the Ravel Orchestral works with Seiji Ozawa and the Boston Symphony are first rate recordings. This was my first exposure really to Ravel as a child and have since amassed recordings of various works by great conductors of his music including Abbado, Boulez, Martinon, and Previn. This collection still remains to be a favorite of mine.

I suspect that they are a favorite of mine in large part due to the fact that Mr. Ozawa was fresh in Boston having recently taken the helm there in the early 1970's. They are light, dynamic, fast-paced, exciting, not to mention the incredible recording techniques of the DG engineers.

My favorites in this collection include Alborada, La Valse, Rhapsodie, and of course Daphnis et Chloe Suite No.2. What I especially love about this Daphnis is that Seiji did not opt out of the chorus for the suite like so many conductors do. It really adds to the impressionistic sound that Ravel was so famous for.

As a percussionist myself , i found the section to be played cleanly - and these recordings bring out all the nuances without overpowering. The section simply sparkles. On the whole - the BSO (in my opinion) really stand up to their European counterparts.

I highly recommend this set - treat yourself and pick it up.

Everything is good but Le Tombeau de Couperin.......2001-04-30

I had never heard of Seiji Ozawa before I purchased this double-CD set. I can't say that I am awe-struck, but I am not disappointed.

Tracks:

Water Music: Suite In F Major, HWV 348: Ouverture ( Largo - Allegro)
Water Music: Suite In F Major, HWV 348: Adagio e staccato
Water Music: Suite In F Major, HWV 348: (Allegro) - Andante - (Allegro da capo)
Water Music: Suite In F Major, HWV 348: (Menuet)
Water Music: Suite In F Major, HWV 348: Air
Water Music: Suite In F Major, HWV 348: Menuet
Water Music: Suite In F Major, HWV 348: Bourree
Water Music: Suite In F Major, HWV 348: Hornpipe
Water Music: Suite In F Major, HWV 348: (Andante)
Water Music: Suite In D - G Major, HWV 349 - 350: (Ouverture)
Water Music: Suite In D - G Major, HWV 349 - 350: Alla Hornpipe
Water Music: Suite In D - G Major, HWV 349 - 350: (Menuet)
Water Music: Suite In D - G Major, HWV 349 - 350: Rigaudon
Water Music: Suite In D - G Major, HWV 349 - 350: Lentement
Water Music: Suite In D - G Major, HWV 349 - 350: Bourree
Water Music: Suite In D - G Major, HWV 349 - 350: Menuet
Water Music: Suite In D - G Major, HWV 349 - 350: (Andante)
Water Music: Suite In D - G Major, HWV 349 - 350: (Country Dance I - II)
Water Music: Suite In D - G Major, HWV 349 - 350: Menuet

Tracks:

Music For The Royal Fireworks, HWV 351: Overture (Adagio - Allegro - Lentement - Allegro)
Music For The Royal Fireworks, HWV 351: Bourree
Music For The Royal Fireworks, HWV 351: La paix
Music For The Royal Fireworks, HWV 351: La rejouissance
Music For The Royal Fireworks, HWV 351: Menuet I
Music For The Royal Fireworks, HWV 351: Menuet II
Concerto a due cori No. 2 In F Major, HWV 333: (Pomposo)
Concerto a due cori No. 2 In F Major, HWV 333: Allegro
Concerto a due cori No. 2 In F Major, HWV 333: Al tempo giusto
Concerto a due cori No. 2 In F Major, HWV 333: Largo
Concerto a due cori No. 2 In F Major, HWV 333: Allegro ma non troppo
Concerto a due cori No. 2 In F Major, HWV 333: A tempo ordinario
Concerto a due cori No. 3 In F Major, HWV 334: Ouverture
Concerto a due cori No. 3 In F Major, HWV 334: Allegro
Concerto a due cori No. 3 In F Major, HWV 334: Allegro ma non troppo
Concerto a due cori No. 3 In F Major, HWV 334: Adagio
Concerto a due cori No. 3 In F Major, HWV 334: Adante larghetto
Concerto a due cori No. 3 In F Major, HWV 334: Allegro

Tracks:

6 Concerti grossi op. 3: Concerto No. 1 In B Flat Major, HWV 312: Allegro
6 Concerti grossi op. 3: Concerto No. 1 In B Flat Major, HWV 312: Largo
6 Concerti grossi op. 3: Concerto No. 1 In B Flat Major, HWV 312: Allegro
Concerti grossi op. 3:Concerto No. 2 In B Flat Major, HWV 313: Vivace - Grave
Concerti grossi op. 3: Concerto No. 2 In B Flat Major, HWV 313: Largo
Concerti grossi op. 3: Concerto No. 2 In B Flat Major, HWV 313: Allegro
Concerti grossi op. 3: Concerto No. 2 In B Flat Major, HWV 313: (Menuett)
Concerti grossi op. 3: Concerto No. 2 In B Flat Major, HWV 313: (Gavotte)
6 Concerti grossi op. 3: Concerto No. 3 In G Major, HWV 314: Largo e staccato - Allegro
Concerti grossi op. 3: Concerto No. 3 In G Major, HWV 314: Adagio
Concerti grossi op. 3: Concerto No. 3 In G Major, HWV 314: Allegro
Concerti grossi op. 3: Concerto No. 4 In F Major, HWV 315: Andante - Allegro
Concerti grossi op. 3: Concerto No. 4 In F Major, HWV 315: Andante
Concerti grossi op. 3: Concerto No. 4 In F Major, HWV 315: Allegro
Concerti grossi op. 3: Concerto No. 4 In F Major, HWV 315: Minuetto. Allegro
Concerti grossi op. 3: Concerto No. 5 In D Minor, HWV 316: (Without tempo indication)
Concerti grossi op. 3: Concerto No. 5 In D Minor, HWV 316: Allegro
Concerti grossi op. 3: Concerto No. 5 In D Minor, HWV 316: Adagio
Concerti grossi op. 3: Concerto No. 5 In D Minor, HWV 316: Allegro ma non troppo
Concerti grossi op. 3: Concerto No. 5 In D Minor, HWV 316: Allegro
Concerti grossi op. 3: Concerto No. 6 D Major, HWV 317: Vivace
Concerti grossi op. 3: Concerto No. 6 D Major, HWV 317: Allegro

Tracks:

Concerto grosso In C Major 'Alexander's Feast', HWV 318: Allegro
Concerto grosso In C Major 'Alexander's Feast', HWV 318: Largo
Concerto grosso In C Major 'Alexander's Feast', HWV 318: Allegro
Concerto grosso In C Major 'Alexander's Feast', HWV 318: Andante ma non troppo
12 Concerti Grossi Op. 6: Concerto No.1 In G Major, HWV 319: A Tempo giusto
12 Concerti Grossi Op. 6: Concerto No.1 In G Major, HWV 319: Allegro
12 Concerti Grossi Op. 6: Concerto No.1 In G Major, HWV 319: Adagio
12 Concerti Grossi Op. 6: Concerto No.1 In G Major, HWV 319: Allegro
12 Concerti Grossi Op. 6: Concerto No.1 In G Major, HWV 319: Allegro
12 Concerti Grossi Op. 6: Concerto No.2 In F Major, HWV 320: Andante larghetto
12 Concerti Grossi Op. 6: Concerto No.2 In F Major, HWV 320: Allegro
12 Concerti Grossi Op. 6: Concerto No.2 In F Major, HWV 320: Largo
12 Concerti Grossi Op. 6: Concerto No.2 In F Major, HWV 320: Allegro, ma non troppo
12 Concerti Grossi Op. 6: Concerto No.3 In E Minor, HWV 321: Larghetto
12 Concerti Grossi Op. 6: Concerto No.3 In E Minor, HWV 321: Andante
12 Concerti Grossi Op. 6: Concerto No.3 In E Minor, HWV 321: Allegro
12 Concerti Grossi Op. 6: Concerto No.3 In E Minor, HWV 321: Polonaise. Andante
12 Concerti Grossi Op. 6: Concerto No.3 In E Minor, HWV 321: Allegro, ma non troppo
12 Concerti Grossi Op. 6: Concerto No.4 In A Minor, HWV 322: Larghetto affetuoso
12 Concerti Grossi Op. 6: Concerto No.4 In A Minor, HWV 322: Allegro
12 Concerti Grossi Op. 6: Concerto No.4 In A Minor, HWV 322: Largo e piano
12 Concerti Grossi Op. 6: Concerto No.4 In A Minor, HWV 322: Allegro

Tracks:

12 Concerti Grossi Op. 6: Concerto No 5 In D Major, HWV 323: Larghetto e staccato
12 Concerti Grossi Op. 6: Concerto No 5 In D Major, HWV 323: Allegro
12 Concerti Grossi Op. 6: Concerto No 5 In D Major, HWV 323: Presto
12 Concerti Grossi Op. 6: Concerto No 5 In D Major, HWV 323: Largo
12 Concerti Grossi Op. 6: Concerto No 5 In D Major, HWV 323: Allegro
12 Concerti Grossi Op. 6: Concerto No 5 In D Major, HWV 323: Menuet. Un poco larghetto
12 Concerti Grossi Op. 6: Concerto No 6 In G Minor, HWV 324: Largo affettuoso
12 Concerti Grossi Op. 6: Concerto No 6 In G Minor, HWV 324: A tempo giusto
12 Concerti Grossi Op. 6: Concerto No 6 In G Minor, HWV 324: Musette. Larghetto
12 Concerti Grossi Op. 6: Concerto No 6 In G Minor, HWV 324: Allegro
12 Concerti Grossi Op. 6: Concerto No 6 In G Minor, HWV 324: Allegro
12 Concerti Grossi Op. 6: Concerto No 7 In B Flat Major, HWV 325: Largo
12 Concerti Grossi Op. 6: Concerto No 7 In B Flat Major, HWV 325: Allegro
12 Concerti Grossi Op. 6: Concerto No 7 In B Flat Major, HWV 325: Largo
12 Concerti Grossi Op. 6: Concerto No 7 In B Flat Major, HWV 325: Andante
12 Concerti Grossi Op. 6: Concerto No 7 In B Flat Major, HWV 325: Hornpipe
12 Concerti Grossi Op. 6: Concerto No. 8 In C Minor, HWV 326: Allemande
12 Concerti Grossi Op. 6: Concerto No. 8 In C Minor, HWV 326: Grave
12 Concerti Grossi Op. 6: Concerto No. 8 In C Minor, HWV 326: Andante allegro
12 Concerti Grossi Op. 6: Concerto No. 8 In C Minor, HWV 326: Adagio
12 Concerti Grossi Op. 6: Concerto No. 8 In C Minor, HWV 326: Siciliana. Andante
12 Concerti Grossi Op. 6: Concerto No. 8 In C Minor, HWV 326: Allegro

Tracks:

12 Concerti grossi op.6: Concerto No. 9 In F Major, HWV 327: Largo
12 Concerti grossi op.6: Concerto No. 9 In F Major, HWV 327: Allegro
12 Concerti grossi op.6: Concerto No. 9 In F Major, HWV 327: Larghetto
12 Concerti grossi op.6: Concerto No. 9 In F Major, HWV 327: Allegro
12 Concerti grossi op.6: Concerto No. 9 In F Major, HWV 327: Menuet
12 Concerti grossi op.6: Concerto No. 9 In F Major, HWV 327: Gigue. Allegro
12 Concerti grossi op.6: Concerto No. 10 In D Minor, HWV 328: Ouverture - Allegro
12 Concerti grossi op.6: Concerto No. 10 In D Minor, HWV 328: Air. Lentement
12 Concerti grossi op.6: Concerto No. 10 In D Minor, HWV 328: Allegro
12 Concerti grossi op.6: Concerto No. 10 In D Minor, HWV 328: Allegro
12 Concerti grossi op.6: Concerto No. 10 In D Minor, HWV 328: Allegro moderato
12 Concerti grossi op.6: Concerto No. 11 In A Major, HWV 329: Andante larghetto e staccato
12 Concerti grossi op.6: Allegro
12 Concerti grossi op.6: Largo e staccato
12 Concerti grossi op.6: Concerto No. 11 In A Major, HWV 329: Andante
12 Concerti grossi op.6: Concerto No. 11 In A Major, HWV 329: Allegro
12 Concerti grossi op.6: Concerto No. 12 In B Minor, HWV 330: Largo
12 Concerti grossi op.6: Concerto No. 12 In B Minor, HWV 330: Allegro
12 Concerti grossi op.6: Concerto No. 12 In B Minor, HWV 330: Aria. Larghetto e piano
12 Concerti grossi op.6: Concerto No. 12 In B Minor, HWV 330: Largo
12 Concerti grossi op.6: Concerto No. 12 In B Minor, HWV 330: Allegro

Customer Reviews:

Delightful music from the very great G. F. Handel played by the very fine English Concert.......2006-03-15

This is a terrific set of disks. The recordings make great listening for those who just want the pleasure of some fine 18th century music, but they also are valuable for more sophisticated listeners who love Handel's music and want to enjoy his orchestral works.

Most modern concertgoers do not realize the complications that go into assembling a performance version of these works. They were not created whole and new with the intention of concert performance in our present method of experiencing instrumental concerts. The Water Music was for a special occasion in July 1717 for George I and his noble friends as the traveled by barge from Whitehall to Chelsea and back. The music was such a hit it was performed three times during the trip. However, it wasn't until years later that Handel began performing it for the public. The Royal Fireworks music was created for celebrating the signing of a Peace of Aix-la-Chapelle of 1748 and was performed in 1749. The king wanted only martial instruments, but Handel insisted on strings as well. And it seems that the authorized publication may have had other alterations from the public performance for the celebration or the public rehearsals in the Vauxhall Pleasure Gardens.

The six Concerti Grossi Opus 3 were published at a time of financial need that Handel experienced as his opera enterprises collapsed in 1734. They are pieces the composer had used as introductions or entr'actes for his operas, anthems, or oratorios. Some movements do appear to be freshly composed, others are clear borrowings from his own works, and others owe a clear debt to Corelli whose Opus 6 Concerti Grossi were so successful and immensely influential. These concerti do have oboes.

The twelve Opus 6 Concerti are for strings only and were originally used as music before and between the movements of his various oratorios. Scholars have studied the issue and believe they know which music is matched with which oratorio, but it hardly matters to the general listener. That Handel also used earlier themes is also interesting and a wonderful topic for debate (did the composer intend his public to recognize his reuse of popular themes or not), but, again, it is a topic of only passing interest to present audiences.

The "two-choir" concerti are quite interesting. They each have three groups, one of strings, and the two wind choirs. Music is re-used from his oratorios including "Messiah", "Esther", "Judas Macabeus", and others. Modern audiences will certainly recognize "Lift up ye gates", but the others will require especially aware lovers of Handel's music.

These performances are well done and are a constant delight. Some recordings might be more mannered or extreme. However, I delight in this kind of joyful, intelligent, and clean playing.

Recommended for all to enjoy.

You cannot go wrong with Pinnock.......2005-03-17

These are very nice recordings of Handel's Orchestral Works. If you compare this set with some other sets of the works, you may think this set is missing some things. However, the only difference is that some of the other sets include organ concertos and such, which are not strictly orchestral works, so really, this set is complete. All of the performances are very nice, typical of Pinnock and the English Concert, and on period instruments, of course. Sound quality is very good. Highly recommended.

Beautifully done.......2004-02-21

I bought the third Opus 6 individual disc on a whim, many years ago and soon discovered that it and its two siblings are quite impossible to find. This set at last brings together an excellent volume from the English Concert - all of Handel's orchestral works. Some of them, such as the Op.6, were very hastily written and cast aside; nevertheless they are beautiful. All of it is a refreshing break from the Italian style opera that Handel is known for. The more famous Water Music and Music for the Royal Fireworks are excellent versions that are worth having too.

The performances here are beautifully made on period instruments and possess a combination of fluidity, soul and precision making them very memorable. They may date from the earliest days of all-digital recording but the sound is beyond reproach... The performances are consistent from disc to disc making this a true Volume and not a hurriedly-cut compilation from different eras and orchestras as typically found at lower prices. For anyone that is serious about Handel, this set is excellent value.

It has all the perfect balance of English Concert performance and Deutsche Gramophon tonmeister touch. I wish all classical records could be this good.

A fine collection of English Concert Handel.......2000-03-08

This six disc set encompassing most of Handel's concertos (including the big Op. 3 and Op. 6 sets) consists of recordings made from 1981 to 1984. It's well worth having for the excellent Op. 6 set alone, which was previously available only in the form of three separately-packaged, full-priced CDs. Pinnock and the English Concert play with smoothness and finesse, and the recordings collected here range from very good to excellent. The Royal Fireworks Music, like the Op. 6 set, is on the excellent side; the Op. 3 perhaps less sparkling but never dull or below par. The Water Music was (understandably) a best-seller in its original release. At this kind of price, and with this kind of playing, the English Concert set should be a cornerstone of any Handel-lover's CD collection.

Pinnock Excels in Handel!.......2000-01-13

Oddly, this is currently available (at least in the UK) in two packages and at different prices. Pinnock's style might not be to everyone's taste (you can't please allthe people all the time ...etc), but it is mine. These are generally superb performances of sublime music. I would rank them as my "period" recordings of choice, along with Marriner's on Decca for "non-period". Enjoy!

Average customer rating:

Cezanne: Music of His Time

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
ASIN: B000BP1EFY
Release Date: 2006-01-17

Tracks:

Prelude - San Diego Symphony Orchestra
Pastorale - Slovak Philharmonic Orchestra
Melancolie - Georges Rabol
Improvisation - Georges Rabol
Chanson Triste - Paul Groves
Le Manoir De Rosemonde - Paul Groves
Elegie - Paul Groves
Gavotte - RTE Sinfonietta
Pastorale - RTE Sinfonietta
Finale: Allegro - Karoly Botvay
Gymnopedie No.1: Lent Et Douloureux - Klara Kormendi
Prelude A L'Apres-Midi D'un Faune - Jan van Reeth
Epitaphe - Simon Lindley
Nuages - BRT Philharmonic Orchestra
Noctuelles - Francois-Joel Thiollier
Oiseaux Tristes - Francois-Joel Thiollier

The Life and Works of Pyotr Il'yich Tchaikovsky

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A fascinating look at a tortured genius

The Life and Works of Pyotr Il'yich Tchaikovsky
Antoni Wit , Gerhard Markson , Kenneth Jean , Michael Halasz , Ondrej Lenard , Philippe Entremont , Stefan Sanderling , CSSR State Philharmonic Orchestra , National Symphony Orchestra of Ireland , National Symphony Orchestra of Polish Radio and Television , National Symphony Orchestra of Ukraine , Polish Radio Symphony Orchestra , Royal Philharmonic Orchestra , Slovak Philharmonic Orchestra , Slovak Radio Symphony Orchestra , Wiener Kammerorchester , Bernd Glemser , Oxana Yablonskaya , Takako Nishizaki , and Vladimir Grishko
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Life & Works

ASIN: B0000669V2
Release Date: 2002-07-16

Tracks:

Tchaikovsky In Early Childhood
Music: Glinka: Overature To A Life For The Tsar
Enforced Separation From His Mother
Music: Tchaikovsky: Dumka, Op. 59
Death Of His Mother
Music: Reverie Du Soir
Early Manhood: The Spendthrift Civil Servant
Music: Minuet From Mozartina
Dismissive Opinions Of Other Composers
Music: The Storm
Journey To A Breakdown
Music: First Symphony
Abortive Engagement
The Advent Of Balakirev
Music: Romeo And Juliet
Travels And A Wounded Friendship
Music: First Piano Concerto

Tracks:

Reforming The Ballet
Music: The Rose Adagio From The Sleeping Beauty
Bizet's Carmen Has A Major Effect On Tchaikovsky's Music
Music: Francesca Da Rimini
A Compositional Paradox
Music: Rococo Variations
The Struggle Of Despair And Hope: He Decides To Marry
Music: The Tempest
The Advent Of Nadezhda Von Meck
Music: The Sleeping Beauty Waltz
The Disastrous Road To Matrimony
Music: Romeo And Juliet
Marriage, Trauma, And A Fairy Tale Annuity
Letter To Mme Von Meck
Music: Romeo And Juliet

Tracks:

Recorvery And Creativity
Music: Fourth Symphony
The Creation Of His Favorite Opera
Music: Lensky's Aria From Eugene Onegin
The Return To Compositional Health
Music: Violin Concerto In D
He Experiences Distressing Relapses
Music: Capriccio Italien
Psychological Disturbances And A Long Fallow Period
Music: Piano Trio In A Minor
Sufferings For Mme Von Meck; He Decides To Settle Down
Music: Manfred Symphony
Conducting Tours And Domestic Bliss
Music: Fifth Symphony
More Conducting Tours, And A Working Holiday In Italy
Music: Souvenir De Florence

Tracks:

The Rift With Mme Von Meck
Music: Sixth Symphony (Second Movement)
His Obsession With 'Bob' Davydov; Adventures In America
Music: Fifth Symphony
Further American Adventures
A Trip To Niagara
Music: Dance Of The Sugar Plum Fairy (The Nutcracker)
A Darker Episode
Music: Voyevode
Portrait Of A Conductor
A Hero's Return
Music: Sixth Symphony
The Mystery Surrounding His Death
Music: First Piano Concerto

Customer Reviews:

A fascinating look at a tortured genius.......2002-08-21

Naxos continues to do a wonderful job with its "Life and Works" series. Quite some time ago, we had a Life/Works of Mozart, one of Chopin and then two more, Liszt and Beethoven. he latter are even better packaged than are the earlier sets, with a thick booklet that offers us essays on the historical background, the position of the composer in his time, a look at the major works, a listening plan, recommended readings, personalities, a calendar of the artist's life, a glossary, and a discography. This booklet is worth the price of the set alone.

Now we have two more entries in this amazing series, again written and narrated by Jeremy Siepmann: "Pyotr Il'yich Tchaikovsky" (8.558036-39) with a playing time of 4 hrs. 5 min. and "Johann Sebastian Bach" (8.558051-54) with a playing time of 4 hrs. 34 minutes. (Please see my comments on the Bach set on its webpage.)

Was there ever a sadder composer than Tchaikovsky? Siepmann practically introduces us to the child in his cradle and covers his 53 or so years of torment over his music, his sexuality, his impossibly hopeless marriage his strange relationship with Mme von Meck, and above all his music.

Tracks:

A German Requiem, No. 45: Selig sind, die da Leid tragen
A German Requiem, No. 45: Denn alles Fleisch, es ist wie Gras
A German Requiem, No. 45: Herr, lehre doch mich (With Baritone Solo)
A German Requiem, No. 45: Wie lieblich sind deine Wohnungen, Herr Zebaoth!
A German Requiem, No. 45: Ihr habt nun Traurigkeit
A German Requiem, No. 45: Denn wir haben hie keine bleibende Statt
A German Requiem, No. 45: Selig sind die Toten, die in dem Herren sterben

Tracks:

Academic Festival Overture, Op. 80
Tragic Overture, Op. 81
Song Of Destiny, Op. 54
Rhapsody, Op. 53
Variations On A Theme By Haydn, Op. 56A

Customer Reviews:

Good Requiem....Excellent overtures.......2001-04-21

One does not normally associate Sawallisch to Brahms. At the same time, Vienna Symphony Orchestra (not to be confused with the Vienna Philharmonic Orchestra) is hardly a world-class orchestra. However, these recordings remind us how careful we must be when making such broad generalizations.

Unfortunately, Sawallisch's German Requiem faces strong competition from Klemperer, Karajan, and Gardiner (among many others). While Sawallisch's version ultimately falls short among such esteemed company, it is still quite good. Like the Klemperer, Sawallisch's tempi are quite fast. In that sense, I find this recording to be a good addition to the slower, more contemplative versions out there, like the Karajan on DG Galleria. Unfortunately, the weakest point of the recording is its soprano Wilma Lipp, whose wide vibrato does not suit such a glorious choral work well. Another possible flaw lies with the chorus, which sounds a bit too tepid at times. Also, the chorus is a bit inaccurate in some of the more challenging passages. The recording, however, is excellent. I could not detect much distortion (if any) even at climaxes. Incidentally, distortion during loud passages is probably the only thing that keeps me back from recommending the Klemperer recording wholeheartedly. For some reason, these distortions happen more frequently in choral recordings than purely orchestral ones. No matter, Philips did a great job with this recording, and one cannot hear such distortions (though there IS still some audible tape hiss).

The 2nd disk is the true bargain here. The two vocal pieces are very good, especially the Alto Rhapsody. The overtures tend to be on the brisk side but are nonetheless convincing. My absolute favorite here is the Haydn Variations. The all-important wind lines are properly highlighted without losing the warmth of the strings. The result is a crystal clear portrayal of the Variations that is yet full of the Brahmsian flavor.

Tracks:

Dance From 'The Caliph'
Three Miniatures: Andante
Three Miniatures: Allegretto
Three Miniatures: Allegro
Three Preludes: Night At Sea
Three Preludes: Snowdrift
Three Preludes: White Meadows
The Sunlit Pool
Invocation, Op. 205
Variations On A Folk Song For String Orchestra, Op. 192
Arioso For String Orchestra
Concert Piece For Trumpet And Strings
Prelude

Amazon.com

Anthony Louis Scarmolin (1890-1969) was a well-educated musician who served as a high-school bandmaster in New Jersey for 30 years. His compositions show a thorough grasp of developments in music up to the turn of the century (and occasionally a bit beyond), and an excellent command of orchestration. He also apparently had no gift for memorable melody, a distinct liability in his chosen style. A few of these pieces stand out for their interesting touches, like the exotic opening dance from the opera The Caliph. And in brief works, Scarmolin is less tedious than in his previously recorded symphonies. But generally even these fine performances don't persuade the listener that Scarmolin's neglect in music circles is unjust. --Leslie Gerber

Customer Reviews:

Worth the price! And worth the listening!.......2006-02-28

The other reviews critical of Scarmolin must have been written by the serialist pagans who do not like romantic melodies, because these small orchestral pieces of Scarmolin are all pretty good and worthy of a good listening for classical music lovers. They sound like a mixture of American film music with a touch of Latinisms, Rota, Strauss and the old Schoenberg. Some of the music is expressionistic, some chromatic, and some simply romantic. Scarmolin is a unique blend of styles, and the music could have sounded even better with a first rate orchestra. Worth the price and worth the listening.

Average customer rating:

Spirit of Spain

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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

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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000029RI
Release Date: 1996-06-18

Tracks:

La Torre Bermeja
Fantasia
The Millers Dance
The Carnival Of Veice
Prelude No.5
Etude No.7
El Colibri
Suite Castllana
Suite Catellana Cntinued
Suite Castellana Finale
Sevilla
Sonatina
Sonatina Part 2
Sonatina Part 3
Spain
La Fiesta
Fandanguillo

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Lou Harrison: Works 1939-2000

Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

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English | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music
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ASIN: B00008NRJ2
Release Date: 2003-05-06

Average customer rating:

A good mixture of Cage's orchestral work

John Cage, Orchestral Works 1

Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000000NYU
Release Date: 1995-02-07

Tracks:

John Cage Speaks About 101 - John Cage
101 - New England Conservatory Philharmonia
Apartment House 1776 - Walter Buckingham/Darrell Dunn/Semenya McCord/Chiam Parchi
Ryoanji - Fenwick Smith/Anthony D'Amico/Michael Miller/Petur Eiriksson

Customer Reviews:

A good mixture of Cage's orchestral work.......2003-11-19

This disc, recorded over ten years ago now, was one of the early discs in Mode Records' exemplary series of Cage recordings. It features three contrasting orchestral works from the latter stages of Cage's life, and can be considered a good summary of his mature styles.

101 is one of the late 'number pieces'--the title merely indicates the number of performers. In it, while the notes played by the orchestra--and their order--are fixed, the performers have a considerable latitude as to when to play them. Unlike many of the 'number pieces', which are exclusively quiet and meditative works, 101 opens with crashing discords before settling into a more gentle phase. After about nine minutes, the crashing discords re-emerge, and the work then concludes with a near-silent epilogue involving softly-rumbling percussion.

Apartment House 1776 was a Cage contribution to the bicentennial celebrations of the USA. It is one of Cage's anarchic 'musicircus' pieces, where a bewildering variety of performers all play at the same time, with little or no co-ordination between their parts. The musical material is diverse and intended to represent the culture of the USA at the time of independence: distorted versions of contemporary hymns, modified Moravian church chants, drum marches, variations on military melodies, and songs from the Protestant, Sephardic, African-American and Native American traditions. This rendition plays for 25 minutes--it can last as long as the performers wish--and while it is entertaining for a while I find it eventually wears thin.

The third and last work on the disc is one of many versions of Ryoanji, a work where solo instruments trace slow glissandi against a percussive rhythmic backdrop. Here, the four solo instruments are flute, oboe, string bass and a rumbling bass trombone. The backdrop is built from 20 orchestral instruments each reiterating the same note--but slightly out of time with each other so that the rhythms are blurred and the sound becomes fuzzy.

The performances here are good, and the sound surprisingly clear given that 101 and Ryoanji are live performances. Recommended to the curious.

Music Review: