Classical Legends [Import]

Track Listings

1. Spring

2. Heart Asks Pleasure First/Promise (The Piano)

3. Dome Epais (Flower Duet)

4. Flute & Harp Concerto In C

5. L'amour Est Un Oiseau Rebelle (Habanera) (Carmen)

6. Cello Concerto In E Minor

7. 'moonlight' Sonata

8. Lamb

9. Violin Concerto No. 1 In G Minor Op. 26 - Ii: Adagio

10. Swan Theme (Swan Lake)

11. O Mio Babbino Caro (Gianni Schicchi)

12. La Donna E Mobile (Rigoletto)

13. Jupiter (The Planets)

14. E Lucevan Le Stelle (Tosca)

15. Pie Jesu (Requiem)

16. Clair De Lune (Adapt. & Arr. Batt)

17. Summertime (Porgy And Bess)

18. Adagio For Strings

19. Ave Maria (Adapted Peterson)

20. Waltz No. 6 In D Flat 'Minute'

See all 39 tracks on this disc

Customer Reviews:

Must buy.......2006-05-16

Superlative seven-CDS hyper-bargain bid from BMG can't never beat that!!Over-all an allround best buy If you snooze you lose

Simply great Sibelius.......2006-05-15

At less than 20GBP, this set offers a most excellent initiation to the world of Johan Sibelius s'masterly work. A nice collection, that includes the symphonies (1--7) with important compositions such as the ever fascinating Kulervo and myriads of "TonePoems". The L.S.O play together with dedication, the sound and direction by sir Colin Davis increase the impression of greatness in the music. I was a little skeptical of the new Davis Kulervo "live", of which I prefer this one on rca, but been of course amazed by the L.S.O.Live powerful versions of symphonies 3 & 7. Otherwise, I generally love this uniformly excellent set, even more so than the earlier cycle in Boston of which I still like, above all, symphonies 5&6. Here, with this rca set, the "highlights" are to be found in symphonies 1, 3, 4, 5 and 6, as well as in a bracing and quite dramatic Kulervo. Among the poems, En Saga and Pohjola really shine along with a wonderful Suite Karelia. Of course everything is not perfection, but who will pretend to be anyway? I recommend highly this important box set, even more than the competitive 5CD Naxos however very good it is. Davis is a master Sibelian, no doubt about that. Kind regards. m.vuriling

Splendid Performances from LSO and Sir Colin Davis.......2004-12-31

This 7 CD set includes all of Sir Colin Davis' second Sibelius symphony cycle recorded with the London Symphony Orchestra in the 1990's, along with almost all of Sibelius' other major orchestral works, most notably his tone poems (Some of these were recorded as recently as 2000 or 2001.). These are impressive, vibrant performances replete with exquisite playing by the London Symphony Orchestra. Critics have praised Davis' first Sibelius symphony cycle with the Boston Symphony Orchestra as among the best; without question, his second symphony cycle is not only just as fine, but comes with better quality digital sound (However, with respect to sound, the best Sibelius symphony cycle that he's recorded may be the recent one with the LSO Live CD label.). I especially enjoyed the recordings of Sibelius' 2nd, 5th and 7th symphonies, and the tone poem En Saga, but all of Sibelius' works in this CD set are quite fine. Those interested in hearing music made by Sir Colin Davis, widely regarded as our foremost interpreter of Sibelius, with one of the world's greatest orchestras, the London Symphony Orchestra, will not be disappointed with this CD set.

Average customer rating:

Time Marches On, But...
A Truly Legendary Recording
The night of nights?

Verdi: Don Carlo

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

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ASIN: B000CHYH3C
Release Date: 2007-01-30

Customer Reviews:

Time Marches On, But..........2007-07-08

A dwindling few of us who listen to this 1958 Covent Garden performance will be able to imagine, let alone claim to recall, a time when Verdi's DON CARLO/S was an obscurity that begged for special advocacy. No other Verdi opera, not even the 1881 revision of SIMON BOCCANEGRA, came so far in the second half of the twentieth century, and today it would be the odd Verdi buff or academic who does not place CARLO/S near the top of the composer's life's work. The decade that set the ball rolling in the CARLO/S renaissance, as it were, was the 1950s, with a revival at the Met and another at Salzburg both playing parts in raising the opera's profile. The Covent Garden run from which the present recording came was the most influential and legendary production of all. (One listener who names CARLO/S as his favorite Verdi is Lord Harewood, the former director of the ROH and one of those who *can* vividly recall when the opera was all but unknown. The octogenarian sits for a 20-minute interview included as a bonus here, sharing his recollections of conductor Giulini, producer Visconti, and the cast members, most of whom are no longer with us.)

Few operas this side of Offenbach's LES CONTES D'HOFFMANN (which at least has the excuse of the composer having died before its completion) present as many thorny textual questions and viable performing alternatives as Verdi's much-revised masterpiece, and one can attend two performances or buy two recordings of CARLO/S and hear very dissimilar things. The edition performed for the Covent Garden audience this night in 1958 was a responsible and even generous edition...for 1958. What we have come to think of as the "real" first act, the one set at Fontainebleau, is included, albeit with a tightening up of the choral celebration at the close. Such time-saving cuts prove typical over the course of the evening, and some are more bothersome than others. Nips and tucks in the ceremonial music of the auto-da-fé scene are almost expected by veteran CARLO/S recording collectors, especially in live performances of this era, but denying Gré Brouwenstijn the second verse of the farewell to the Countess of Aremberg was a miscalculation. A good Elisabetta, and here we have one who was more than good, can achieve one of the evening's most poignant effects if allowed to savor the repeat in that lovely little piece, with its strange harmonic turns. (And yet there was time for both verses of Eboli's delightful but dramatically irrelevant Veil Song?) Lord Harewood in his interview says it was Giulini's decision to cut the entire insurrection scene, a decision with which Lord Harewood disagreed. Act IV thus ends with Rodrigo's death rattle. As Lord Harewood notes, this deprives us of a scene crucial to the opera's "church over state" theme -- that in which the Inquisitor is able to terrify the rebellious people into submission, whereas they had been fearless in defiance of their king. On a more plot-mechanistic level, not noted by Lord Harewood, it also rather makes nonsense of Eboli's fiery vow in "O don fatale" to save Carlo, as she disappears from the opera, denied the brief reappearance in which she urges Carlo to flee during the insurrection.

So far I have largely dealt with what is missing. Obviously, anyone with an interest in this recording will have a greater concern with what is there, and what is there is often highly distinguished. If the recording missed the mark in every other respect, it would be worth having for preserving the work of the tenor and soprano, who did not record these roles commercially (in fact, the soprano recorded distressingly little commercially). It is a pleasure to hear Jon Vickers in fresh and youthful vocal estate, and with a directness of utterance that may come as a surprise to those who have listened mainly or only to his later work. I often have felt when listening to his idiosyncratic performances of Verdi (e.g., Radamés for Solti) that I'd rather be hearing him sing Wagner or Britten -- not the case here. He is well partnered by Gré Brouwenstijn's sensitive, suitably patrician Elisabetta. Tito Gobbi remains, in my estimation, dramatically unmatched in the role of Rodrigo. He has nothing like Bastianini's beauty of tone, nor Cappuccilli's breath control and ease on high; and in purely technical terms, he does not sing the role nearly as well as they or many others have. Where he leaves them all far behind is in his ability to achieve a balance between the character's nobility and his fanaticism; to suggest that while there is much good and decent about this character, there is also something a little disturbing. Gobbi's exquisite subtleties in this role can be tasted elsewhere, but better here than on his EMI commercial recording of the part, done in by the flaccid conducting of one (and thank goodness there was not more than one) Gabriele Santini.

I will confess that Boris Christoff is a taste I have never managed to acquire, least of all in Italian opera -- the monotonous phrasing and tendency toward melodramatic overstatement keep me from more than briefly enjoying the arresting timbre -- but his fans will be pleased with his performance, and he is more tasteful than could sometimes be the case. As he was the Filippo on *two* sets conducted by the aforementioned Santini, my comment about Gobbi's commercial recording applies to him too. Michael Langdon's Grand Inquisitor makes an adequate foil for Christoff, and the Monk/Charles V (Joseph Rouleau) is above-average in a part often entrusted to weak singers. The hardest day at the office is had by the great Fedora Barbieri. It was late in her career, this role lay too high for her in any event, and she simply cannot sing the opera's biggest crowd-pleaser, "O don fatale," without omitting a fistful of high notes. To actually hear that aria sung properly, one must turn to Verrett, Cossotto, Bumbry, or Baltsa. But if Barbieri's showing over the course of the evening is a battle between will and means, it can at least be said that her will puts up a tenacious fight. When the music is within her reach, as more of it is than not (the whole of the garden scene in Act III, for example), her trademark intensity and her native sense of the style hold her in very good stead.

Returning to this after a period of time, I had expected to hear a greater difference in the way Giulini conducted CARLO/S here than on his famous EMI studio recording of 1971. I thought the later recording would be revealed as a good deal more laid-back, slower, perhaps over-refined. I really cannot say that my expectation was fulfilled by what I heard. More stayed the same than changed; and here and there, his approach is actually *more* languid, less well shaped in 1958 than it would be in 1971 (the short, dreamy orchestral prelude to Act III, a reminiscence of Carlo's arietta at Fontainebleau, is "savored" to such a degree in 1958 that it threatens to wither on the vine). Frankly, as a souvenir of Giulini's view of the opera (without getting into role-by-role comparisons of the singers), I believe the studio recording is superior. The interpretation had not greatly evolved, and on EMI we can hear it better recorded (not insignificant when sonority/texture is so much a conductor's forte as it was Giulini's) and more accurately played by the same orchestra. It must be said that the 1958 has its share of the common pitfalls of single-performance live recording: singers going through patches of poor coordination with the orchestra, occasional flubbed entrances and moments of dicey intonation in the pit that would surely be patched up in the studio, and the like. (Incidentally, while I can neither verify nor dispute the claim that this ROH "official" release has better sound than any previous issue by other labels, I can say the sound favorably impressed me for its age and provenance. The level of surface hiss does go through many rises and falls, though -- more noticeable via headphones. The packaging and notes, including a libretto, are excellent.)

The standard choices for newcomers who are amenable to hearing CARLO/S in the Italian translation remain Giulini/EMI and Solti/Decca, both with all five acts, from the two of which one can imagine creating the ideal set that neither is (importing Solti's Filippo and Inquisitor into Giulini's set, for example, would be a good start). The most consistently strong cast is to be found on Karajan/EMI, which is also the most orchestrally spectacular set; but there, one has not only the Italian translation to contend with but also the four-act abridgement (Karajan, though a great DON CARLO/S evangelist, never got the five-act religion). The field of recordings sung in French is weaker; if your inclination runs that way, hold your nose and go with Abbado/DG or de Billy/Orfeo. The 1958 Giulini live recording, though flawed and not inclusive of enough music to be anyone's first choice, is to be appreciated as an historic recording in every sense -- a window on a time when great artists came together to shine a light on an unaccountably underappreciated work by one of their art form's greatest creators, and did much to clear the path for continuing illumination over succeeding decades. There are times when one senses that much of the ROH audience is encountering music that is new to it, as when Brouwenstijn concludes her massive Act V aria, the orchestra's last note dies away, and the audience waits just a little longer than we expect before erupting into rapturous applause, as if wanting to make sure they do not trample on something -- it would still be a while before DON CARLO/S applause protocol would be as ingrained in them as, say, AIDA protocol was. When a document of a live performance has such palpable excitement of new discovery about it, on the part of the musicians and on the part of the audience, it goes a long way toward covering whatever blemishes and imperfections there might be. Excitement -- even secondhand and at the remove of some 50 years -- is an infectious thing.

A Truly Legendary Recording.......2007-06-23

This the definitive recording of the legendary 1958 Covent Garden performance of Don Carlo that put the opera back in the repertory. Although Giulini would record this in the studio for EMI many years later with Domingo, this is actually the superior performance -- more lively, vibrant and with Vickers in the title role and Christoff as Philip, both at their peak. It is also one of Bastianini's best performances as Rodrigo (not as vocally distinctive as Gobbi or Fischer-Dieskau, but warm and characterful). The Swedish soprano Gre Brouwenstein is a superb Elisabeth and Barbieri is a great Eboli.The new BBC re-mastering is very clean and full. Along with Santini on DG (extremely hard to find on CD) and Solti on Decca, this is the best of the 5-act Italian versions.

The night of nights?.......2007-06-23

I've posted a short review of this set on the UK site: please type 'don carlo' and 'vickers' in the search field to track it. Thanks.

Re the review above, Posa is sung by Gobbi, not Bastianini (I wish it were the latter!). I thought Brouwenstijn was Dutch, not Swedish.

Average customer rating:

breakdown by cd.
I'm not a music expert

Dvorák: The Masterworks [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLJW
Release Date: 2004-11-30

Customer Reviews:

breakdown by cd........2007-01-14

CD1-7:SYMPHONIES 1-9

CD8:PIANO CONCERTO

CD9:VIOLIN CONCERTO & CELLO CONCERTO

CD10-11:REQUIEM

CD12-13:STABAT MATER

CD14:PIANO TRIOS OP.90 "DUMKY" & 21

CD15:PIANO TRIOS OP.65 & 26

CD16:PIANO QUARTETS

CD17:PIANO QUINTETS

CD18:STRING QUINTETS

CD19-20:MUSIC FOR VIOLIN AND PIANO

C21:SERENADE/HAUSMUSIK

CD22-31:THE COMPLETE STRING QUARTETS

CD32:SLAVONIC DANCES OP.46 & 72

CD33:PIANO DUET SLAVONIC DANCES

CD34:PIANO DUET LEGENDS FROM THE BOHEMIAN FOREST

CD35:PIANO WORKS

CD36-37:RUSALKA

CD38-40:SYMPHONIC POEMS

I'm not a music expert.......2005-08-25

I don't know too much about music. I own over 700 cds, but I don't play music and I don't have much experience with this music. My only point of reference was the ninth symphony, seeing as every other piece in this box set was new to me. It sounds fine, nothing wrong with it as far as I can see.

Now, here's what you'll get in this box set, seeing as Amazon does not give it a description. 40 cds! no joke, you get 40 cds in this box set. It features:
1. Complete symphonies
2. Complete symphonic poems
3. Cello concerto
4. Piano concerto
5. Violin concerto
6. Requiem
7. Stabat Mater
8. Slavonic Dances
9. Complete String quartets
10. Chamber music
11. Piano Works (solo and duet)
12. Rusalka

As far as I can tell, the only things missing are The Spectre's Bride and Jacobin. Seeing as it is 40 cds, i have not had an opportunity to listen to it, however what i have heard i have been quite satisfied with.

Sibelius: Finlandia; En Saga; Valse triste; Karelia Suite; The Swan of Tuonela

Average customer rating:

Is this the greatest Sibelius recording ever?

Sibelius: Finlandia; En Saga; Valse triste; Karelia Suite; The Swan of Tuonela

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AQACWU
Release Date: 2005-09-13

Tracks:

En Saga Op.9
The Swan Of Tuonela
I: Intermezo
II: Ballade
III: Alla Marcia
Finlandia Op.26
Valse Triste Op.44
Tapiola Op.112

Customer Reviews:

Is this the greatest Sibelius recording ever?.......2005-12-14

Is this the greatest Sibelius recording ever?

It may well be.

This particular CD combines Karajan's 1976 analog recordings of four Sibelius tone poems with his 1981 digital recordings of Valse Triste and the Op 11 Karelia Suite. The analog material - Finlandia, The Swan of Tuonela, En Saga and Tapiola - have always been demonstration-quality recordings. This particular CD marks the SEVENTH time I've purchased these recordings: first in their initial USA Angel LP & cassette issues, then as a British LP import, next as a German LP import, again in their initial EMI Studio CD release, once more in their second EMI CD release, and now in their almost-always-better-sounding Great Recordings of the Century series (there are exceptions to that particular rule, BTW).

Why all the copies? Simple: I was constantly seeking out a version that did full justice to the sound that one could tell was inscribed on the original tapes, and I think that finally, finally EMI have got it just about right.

First off, these recordings are very lifelike. They very much represent the Berlin Phil under Karajan that I heard in live performances at Carnegie Hall. And - except for a few intonation problems here and there that were previously buried in various degrees of sonic mush - the execution of the BPO is near immaculate (no clams in the brass!), matching American orchestras in their typical note-perfect playing.

The recorded ambience is also very easy on the ear, but - and this is a big but - the listening perspective on these recordings has now been shifted forward from second row orchestra to the conductor's podium. What I mean by that is that there is much more clarity and transparency in the orchestra than I recall from previous issues (it also helps if you listen to the CD at a slightly boosted volume level). It's a bit like the difference one gets when auditioning a recording on headphones rather than through speakers (in fact, I could swear that I can now hear Karajan - or someone - humming at certain points or urging on the orchestra).

There has also been a re-sequencing of the tracks themselves. Previous issues all opened with Karajan's massive version of Finlandia - an opening track that was sure to grab a listener by the gonads and pull him into the recording. This time around the CD opens with En Saga with Finlandia buried down the track listing. If you've never heard this disc and want to hear what it's all about, you'll play Finlandia first, trust me!

On the subject of this recording of Finlandia, it surely gains from Karajan opting for doubled winds who maintain their sound and texture over the massive strings and brass (augmented by VERY present timpani). Here, Karajan and the BPO launch what has to have set the all-time record for gravitas in Finlandia openings. This is slow, ballsy and brilliant. I can think of no greater compliment to give both Karajan and his orchestra than to say that they here play Finlandia as if it were the most important piece of music ever composed by anyone, ever.

The same "greatest piece ever" philosophy also inhabits the other works on this CD. The Swan, in particular, is hauntingly beautiful, no more so than in the huge string phrases that take over before the English horn's final, plaintive utterances. This is music making on such a high level that one might miss it for the emotional involvement of all concerned. You may find yourself - as did I - immediately replaying this track just to convince yourself that it really was that good.

Likewise, Karajan's 1981 Valse triste surpasses his previous efforts (not to mention those of most others). This is a slow but enervated version of a piece that I just never tire of hearing. However, I will say that the digital sound is slightly less fulsome than that captured on the analog tracks. The Karelia Suite is also of digital origin and reflects the same caveat, though this is picking nits - the recordings are all fabulous.

The real revelation on the disc is Tapiola. Karajan recorded it a few times, and I find this one to be his best if not THE best recording of the piece ever made. If you want to know what the term "heavy classic" means, seek no further. It was once opined that Sibelius' fame could have rested on Tapiola alone, and it may well be that Tapiola recordings may come down to this one and this one alone. It is just that impressive as a recording and as an interpretation.

Seventeen years after his death, it's becoming quite clear to me that Karajan went through something of a golden age in the 1970s. His recordings from that period - particularly his EMI recordings - showcase an orchestra and conductor at the absolute summit of their powers, fully in tune with each other and the music at hand. These Sibelius recordings rank with the very best from that period and are well deserving of the Great Recordings of the Century moniker.

I'd urge you to purchase this disc before EMI consigns this issue to deletion status.

It simply doesn't get any better.

Average customer rating:

Legends of Broadway
Angela Lansbury
Manufacturer: Sony Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000KHX7A8
Release Date: 2006-12-26

Tracks:

Parade in Town [From Anyone Can Whistle]
It's Today [From Mame]
If He Walked into My Life [From Mame]
I Don't Want to Know [From Dear World]
Kiss Her Now [From Dear World]
And I Was Beautiful [From Dear World]
Some People [From Gypsy]
Small World [From Gypsy] - Barrie Ingham, Angela Lansbury
You'll Never Get Away from Me [From Gypsy] - Barrie Ingham, Angela Lansbury
Everything's Coming Up Roses [From Gypsy]
Rose's Turn [From Gypsy]
Worst Pies in London [from Sweeney Todd, The Demon Barber of Fleet Stre
Wait [From Sweeney Todd, The DeMon Barber of Fleet Stree]
Little Priest [From Sweeney Todd, The DeMon Barber of Fleet Stree] - Len Cariou, Angela Lansbury
By the Sea [From Sweeney Todd, The DeMon Barber of Fleet Stree] - Len Cariou, Angela Lansbury
Not While I'm Around [from Sweeney Todd, The Demon Barber of Fleet Stre - Ken Jennings, Angela Lansbury

Average customer rating:

Kunzel does it yet again!
Movie Music
More than Beautiful!!
This is the one you should own
You'll never get tired of this!

Beautiful Hollywood
Erich Kunzel , and Cincinnati Pops Orchestra
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003D24
Release Date: 1997-09-23

Tracks:

Feather Theme From Forest Gump
Main Theme From A River Runs Through It
Robert and Mary From Rob Roy
'We Meet Again' From Jerry McGuire
The Ludlows From Legends Of The Fall - Paul Patterson
'You Must Love Me' From Evita
Love Theme, 'Doe Eyes' From The Bridges Of Madison Couny
Colors Of The Wind From Pocahontas
'On Earth As It Is In Heaven' From The Mission
Suite: I. 'Whale Play'/II. 'Farewell And Freedom' From Free Willy
Love Theme From Forever Young
Love Theme From Cinema Paradiso
Main Theme From Rudy
Main Theme From Chaplin
End Credits From Grumpier Old Men
'Act Of Faith' From Bugsy
Main Theme From Schindler's List - Alexander Kerr
Reunion And Finale From Gettysburg

Customer Reviews:

Kunzel does it yet again!.......2004-11-23

Kunzel & The Cincinnati Pops do a great job everytime, and this is no exception. I'm telling you, if you ever thought that purely intrumental/orchestral was unattractive, this will change your mind. Never a disappointment!

Movie Music.......2002-12-12

If you love that music from all those movies you've seen, then this is the CD you want! It is fantastic!! I want more!! I hope Erich Kunzel will come out with some music from older movies and maybe some TV programs. Listening to his music is better than watching the movie.

More than Beautiful!!.......2002-12-11

This is the absolute best CD they ever put together! And that is saying a lot as we are very picky about what music we like. This is the kind of music that makes you 'feel' deeply. It encourages you to dream big and love living! Forget the grooves, drums and bangs and listen to something incredibly beatiful! You won't be sorry for the money invested in this one bit of sanity in such a hectic world.

This is the one you should own.......2002-10-27

If you are looking for just one solid collection of memorable movie themes, this is it. Other CDs mix marches and fanfares with quieter tracks, which makes for a jarring listening experience at times. This CD, however, has a consistent feel all the way through. Melodic, calming, and, best of all, interesting. These movie tracks weren't selected simply for their sound, but also because they are GOOD. You get the best of the best: James Horner, Alan Silvestri, Jerry Goldsmith, John Williams, Ennio Morricone, and Randy Edelman.

You'll never get tired of this!.......2001-05-30

This CD is absolutely one of the best of Eric Kunzel! I have a passion for movie scores/soundtracks and i must say he did a really good job on this. Listen to this and close your eyes and you'll find yourself immersed in the movies from which the music was taken from. I had my friends listen to this and they all got copy or will get a copy. If you're into this kind of music, believe me you'll keep on playing it, again and again.

Average customer rating:

An Excellent Recording By Two Great Artists
One of the best Celtic albums
LEGENDS
Touching and very beautiful pieces!
Super sounds, super tranquility, Great music

Legends
James Galway & Phil Coulter
Manufacturer: RCA Victor
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003G93
Release Date: 1997-02-25

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Riverdance
Harry's Game
Believe Me If All Those Endearing Young Charms/The Gentle Maiden
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Music For A Found Harmonium
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My Lagan Love
Ashokan Farewell
An Cail N Fionn (Natasha)
Hoedown

Amazon.com

Flutist James Galway and pianist Phil Coulter seek to present a handful of the most widely recognizable Celtic melodies in Legends. "Danny Boy" gets an intimate flute and piano treatment, while the famed "Riverdance" gets a full orchestral background and uillean pipes solo. There's the evocative, sweet expanse of "Harry's Game," and the classic "Mna na h-Eireann (Women of Ireland), with which Sean O'Rioda helped rekindle Irish interest in the country's musical history. Galway and Coulter go beyond the Celtic border to pay Henry Mancini tribute with the lush television miniseries theme, "The Thornbirds," thus crossing into easy listening and certain radio hit territory. This isn't the blazing traditional Celtic music of the post-1960s generation, nor is it the polyethnic mix of today's young Celtic artists. Instead, Legends is a listener-friendly mix of Celtic moods and lite classical, something for all ages to hum along with. --Andrew Bartlett

Customer Reviews:

An Excellent Recording By Two Great Artists.......2005-12-10

I first heard LEGENDS while touring Ireland in the summer of 1998. The bus we traveled on played a cassette tape of it over and over again, and I thought I'd never want to hear it again. As soon as I returned to my home outside of Boston, MA, I wanted to be back in Ireland, revisiting the places I grew to love in an all too short a visit. So as soon as I could, I purchased the CD and I listened to it over and over again just like on the bus in Ireland. As I traveled the roads of Boston, I was thinking of The Cliffs of Moher or the Ring of Kerry.

This CD was the first collaboration between Phil Coulter, a name better known in Ireland at the time, and internationally acclaimed flutist James Galway. As musicians, the two are more similar than different. Both are serious, skilled and versatile musicians who also know how to entertain without sacrificing musical quality. The CD contains a variety of music from Irish standards such as "Danny Boy" and "The Kerry Dances" to contemporary favorites such as the music from RIVERDANCE. There are some original works by Coulter as well as some Coulter arrangements. The one piece that is not Celtic per se, but the listener would never know it's not from the arrangement, is Aaron Copeland's "Hoedown" from RODEO. Each piece has a part for Coulter and Galway, who at times uses traditional Irish flutes to give the music a true Celtic flair.

While I enjoy this disc for the music, there is something else I appreciate about this set and it's follow up WINTER'S CROSSING. In both collaborations, there is a sense of collaboration where the talents of both artists shine. It's been a favorite of mine since 1998 an I'm sure it will be for years to some.

One of the best Celtic albums.......2001-02-18

I have to admit that when I first heard of this album, I pictured it as just haveing piano and flute. But when I got this album for Christmas I discovered it was more than music with pianist Coulter and flutist Galway. It is a collection of some of the best music of Ireland. It has traditional tunes like "Believe Me", "Danny Boy", and "Lagan Love". It also included modern contempory hits like the great dance "Riverdance", the classic "Hoedown", "Women of Ireland"(which makes one think of big stars like Sinead O' Conner, Mary Black, and Enya), and a remake of Clannad's hit "Harry's Game". It also includes compositions by Phil Coulter, such as "Battle at Kinsale", "Lament For Wild Geese", and "An Cailin Fionn". There are many excellent musicians accompanying Coulter and Galway, who include Frank Gallagher, David Downes(who has played and recorded with Clannad), and David Cooke on keyboards. The music often contains many traditional sounds with drums, guitar, fiddle, and uillean pipes. There also are many beautiful orchestrations, which brings so many wonderful exciting sounds! Sometimes the music had a male chorus chanting haunting vocals. All of these songs are really good and each one deserves its own praise. "Riverdance" has as much rythm and beauty as the original. "Harry's Game" sounds so enticing with uillean pipes and traditional sounds. "Believe Me/Gentle Maiden" sounds like a lullaby(if only it included the poetic lyrics!). "Women In Ireland" is very up beat with a mix of pop and traditional sounds. "The Valley of Tears" is very poignant with the piano and flute. The two tracks "Thornbirds" and "Lannigan's Ball/Kerry Dances", bring dancing rythm with sounds of traditional jigs. "Danny Boy", fits perfectly with piano and flute. "Music for a Found Harmonium" is one of my favorites, because it has a lot of energy on the piano, flute, and all of the other instruments. "Lament For Wild Geese" is very sad, beautiful, and touching. "Lagan Love" is the best version of this song I have every heard! I never would of thought I would hear that song with drums and chorus. "Ashkon Farewell" is a good reflection of how the American and Celtic cultures have come together. Many Irish and Scots fought in the Civil War. "An Cailin Fionn" is my favorite, for it is one of the most beautiful melodies Ireland has to offer. Phil Coulter composed the tune for Natasha Richardson, the wife of Liam Neeson who is a good friend of Coulter. "Hoedown" brings sounds of the past to the present with folk melodies and orchestrations.

So if you love Celtic music, you will really love this album. This is some of the best music Ireland has to offer.

LEGENDS.......1999-12-03

One of my favorite Celtic CD's..the haunting melodies of the flute..accompanied with the piano as it unravels Ireland's past and hope of a better future...My favorite is "Battle of Kinsale"(The Valley of Tears)it certainly does brings tears to me...The theme to "Thornbirds" is beautiful..as well as every song....a sheer join....a must for any collector of Irish music...

Touching and very beautiful pieces!.......1999-11-04

I'm a big fan of Galway, but never had a chance to listen to Phil Coulter before. Their collaboration is just perfect. I enjoy it as much as Galway's solo effort. It just brings back memory of ancient time when things are less noisy. In fact, I'm thinking of buying another piece of their work.

Super sounds, super tranquility, Great music.......1999-08-24

I was introduced to this duo while traveling in Ireland. I became thorougly enchanted with their sound. The haunting melodies and tranquility that these two men can produce are incredible. Keep including their CDs in your inventory.

Average customer rating:

Dennis Brain is superb
As Good As It Gets!
The Best Recording of the Best Horn Player Ever Born
Once again an unforgettable cd!
Horn's fans BUY this cd!

Brain

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Mozart: Horn Concertos Nos. 1-4
Horn Concertos
American Horn Quartet
London Horn Sound
Take 9

ASIN: B00004WJMI
Release Date: 2000-10-10

Customer Reviews:

Dennis Brain is superb.......2005-10-03

My mother bought this CD for me because I play the French Horn. Listening to a legendary horn player like Dennis Brain is a wonderful experience. I rate this product so highly because of the fine quality of the songs on the CD. I highly recommend this product for any brass player.

As Good As It Gets!.......2004-11-15

This album and Brain's other recordings are a must for any French Horn player. His performance on this album is stunning.

The Best Recording of the Best Horn Player Ever Born.......2003-06-08

This CD is - Thank God! - a re-release of a BBC Records Recording from 1974 Titled simply, "Dennis Brain (1921-1957)". When I was a horn student in Highschool back in the 80's, my parents brought it back for me from Europe. I have been looking for this recording on CD ever since then because I completely wore the record out. It is absolutely the best horn playing you will EVER hear. I used to play the record at least ten times a day - it inspired me to practice four hours a day and to despair that I would never play half as well as this genius. It brought tears to my eyes to hear it again and to remember what it was like to fall in love with Horn music and to spend so many happy hours rejoicing in the sound this man made with this wonderful instrument. The music is completely miraculous. What a tremendous loss he was, God rest his soul.

Once again an unforgettable cd!.......2002-02-25

As with all of Brain's performances, satisfaction is guaranteed! Not to dwell on a point brought up by the other reviewers, but the Villanelle is exceptionally spectacular. Forget the fact that he missed the high C at the end, it only spotlights the fact that this was a live performance, and unedited as such. It also shows us that we are all human, and even a missed note does not detract from the glory of his musicianship and virtuosity! This album (like others) really captures the magnificence of Brain's musiciality, from his seemingly unplayable pianissimos to his flawless and perfectly clean articulations. Nothing will help you to appreciate horn music better than this cd (and the Mozart cd) and few others will have you running to the practice room quicker. A must buy for any horn student or anyone that just appreciates horn playing at its finest.

Horn's fans BUY this cd!.......2001-09-18

I think this should be an essential recording for all the horn's players or fans.
Here we have some of the most important and beautiful chamber music for horn (Beethoven, Mozart and Brahms) and one of the most exciting solo piece for horn (Dukas's Villanelle).
The star of the cd is (of course) Dennis Brain, who in my humble opinion IS the best horn player ever.
Since the legendary recording of Mozart's concerti (that every serious horn's fan should own) you can hear how the technique and the musicianship in Dennis's playing are both wonderful.
Here we have something more to prove this (if it was necessary...)
The Villanelle is outstanding, as said. The finale is rushed so fast that is almost unbelievable. The only little complaint (?) is that if I remember, he first bars are written for "hand-horn" that means to be played without using the valves but using instead the right hand in the horn's bell to perform the notes that are otherwise not possible to obtain using the lips only.
Here it seems not to be the case, but as I said it's a very little remark.
But the piece I like the most is the Mozart's quintet, that is the most difficult and virtuoso piece for horn written by the great composer. Especially in the last movement the horn has to compete in technique and articulation with the first violin, but never forgetting the elegance and grace characteristics of Mozart's music.
The second movement is, for this point of view, exemplary; each phrase is played with extraordinary musicianship and beauty.
The Beethoven quintet is maybe better here than in the other recording with Walter Gieseking and the Philarmonia winds (another essential cd for Dennis's fans) and the Brahms's trio (a wonderful piece of music) shows as Dennis was perfectly suited even with a romantic piece like this (he was somehow "accused" to be without nerves...).
In conclusion, I think that after purchasing the Mozart's concerti, this should be your next horn's cd.

Average customer rating:

Van Eps is stellar
intro to guitar greats to grandson
A pleasant surprise
Johnny Smith is THE greatest of all time
Two masters display their artistry of solo jazz guitar.

Legends: Solo Guitar Performances
Johnny Smith , and George Van Eps
Manufacturer: Concord Records
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music

General | Classical | Styles | Music
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Solo Guitar

ASIN: B0000006NE
Release Date: 1994-08-24

Tracks:

I'm Old Fashioned - Johnny Smith
Macho's Lullaby - Johnny Smith
'round Midnight - Johnny Smith
Wally's Waltz - Johnny Smith
Black, Black, Black - Johnny Smith
Golden Earrings - Johnny Smith
Romance De Los Pinos - Johnny Smith
Nortena - Johnny Smith
The Maid With The Flaxen Hair - Johnny Smith
Waltz - Johnny Smith
The Old Castle From 'Pictures At An Exhibition' - Johnny Smith
Sevilla - Johnny Smith
Cheek To Cheek - George Van Eps
A Foggy Day - George Van Eps
Tangerine - George Van Eps
Sunny - George Van Eps
Why Was I Born? - George Van Eps
I Didn't Know What Time It Was - George Van Eps
Tea For Two - George Van Eps
The Man I Love - George Van Eps
For You - George Van Eps
I Hadn't Anyone Till You - George Van Eps
I Could Write A Book - George Van Eps

Customer Reviews:

Van Eps is stellar.......2006-11-30

This is an excellent album. The first twelve tracks are Johnny Smith, and he is a powerful guitar player. That being said, when the first Van Eps track, Cheek to Cheek, comes on, I am in heaven. If you like a clean, electric guitar sound that is extremely rich and full thanks to an added seventh string, the second half of the album will do you well. Van Eps makes lush, intricate music, and I can't get enough of it.

intro to guitar greats to grandson.......2006-11-05

GREAT CD GOT THIS TO LET GRANDSON HEAR SOME GREAT GUITAR MUSIC AS HE IS LEARNING TO PLAY THE GUITAR HIMSELF.

A pleasant surprise.......2006-08-04

As a guitarist, curiosity lead me to this recording. I have always been a fan of Johnny Smith. The surprise came when I discovered what a remarkable guitarist George Van Eps is. His style is so smooth and fluid and his use of the seven string adds a dimension few guitarists attain. The Johnny Smith half of the recording was a bit too neo-classical for my tastes but the George Vam Eps portion made up for it.

Johnny Smith is THE greatest of all time.......2006-07-13

This albumm is another vintage GREAT PERFORMANCE by Johnny Smith who easily is the greatest guitar player of all time. Frankly, I hardly ever listen to the other half of the album but I do listen and thoroughly enjoy the GREAT Johnny Smith. If you love guitar YOU WILL LOVE THIS ALBUM!!!

Two masters display their artistry of solo jazz guitar........1999-03-06

Taken from two separate sessions from legendary jazz guitar greats Johnny Smith and George Van Eps, this CD presents solo performances with unequaled technical mastery and harmonic sophistication. Johnny Smith plays a mixed selection of jazz standards, original tunes and classical pieces. His approach consistantly swings with spirit, precision and articulation. George Van Eps, arguably the father (grandfather?) of modern jazz guitar, reads through such tunes as 'A Foggy Day' & 'I Could Write a Book' before he completely (and amazingly) reconstructs them harmonically and melodically. For this disc to offer either of these two great players would have made it highly recommended, but to feature both, it becomes essential.

Average customer rating:

Absolutely Superb!!
A little comment !
Let's call it fifty/fifty.
Brilliant #2...The Remainder of These 2 CD's are Worthless
Not essential for Sibelians

Sibelius: Orchestral Works

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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
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ASIN: B0000029YV
Release Date: 1997-11-18

Tracks:

Symphony No. 1 In E Minor, Op. 39: Andante, ma non troppo; Allegro energico - National Philharmonic Orchestra
Symphony No. 1 In E Minor, Op. 39: Andante (man non troppo lento) - National Philharmonic Orchestra
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Symphony No. 1 In E Minor, Op. 39: Finale (Quasi una fantasia). Andante - National Philharmonic Orchestra
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Violin Concerto In D Minor, Op. 47: Allegro moderato - Zino Francescatti
Violin Concerto In D Minor, Op. 47: Adagio di molto - Zino Francescatti
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Tracks:

Finlandia, Op. 26 - London Symphony Orchestra
Symphony no. 2 in D major, op. 43: Allegretto - New York Philharmonic
Symphony no. 2 in D major, op. 43: Tempo Andante, ma rubato - New York Philharmonic
Symphony no. 2 in D major, op. 43: Vivacissimo - New York Philharmonic
Symphony no. 2 in D major, op. 43: Finale: Allegro moderato - New York Philharmonic
Valse Triste From Kuolema, Op. 44 - Philadelphia Orchestra
Karelia Suite, Op. 11: Intermezzo. Moderato - Philadelphia Orchestra
Karelia Suite, Op. 11: Ballade. Tempo di menuetto - Un poco piu lento - Philadelphia Orchestra
Karelia Suite, Op. 11: Alla marcia. Moderato - Philadelphia Orchestra

Customer Reviews:

Absolutely Superb!!.......2005-11-04

An excellant recording of the most popular pieces by this wonderful composer. The performance of each and every piece is truly stunning and the sound quality of the recording---excellant. A very good introduction to Sibelius.

A little comment !.......2004-08-31

The Second Symphony is a real issue of that overwhelming who was Thomas Schippers . Even if i do not agree with the timings due I consider extremely contemplative , it has personality and expressiveness .
The jewel of the crown is the first symphony , one of the best in the market .
The Sibelius violin concerto remains in the top list of the ten greatets performances in any age . Warmth and poetic rendition .
Finlandia is irrelevant .
So consider this buying worthable for the expossed reasons.

Let's call it fifty/fifty........2003-06-12

Like some of the other reviewers, I am inclined also to rate this compilation mixed fare. I would consider purchase of this two cd set only if it was available at a bargain price. To begin with, I find Thomas Schippers' Sibelius Second hard to take seriously. It seems to be an exercise in theatrics more than anything else. On the other hand, Stokowski's Sibelius First is one of the best performances this work has ever been given. He demonstrates tautness and clarity and an attention to detail that is extremely satisfying. There is also boldness and adventuressness, and not least of all a very pleasing sense of atmosphere. My only disappointment comes in the second movement, where in the quieter pastoral sections I find Stokowski's pace a little too slow, though I still appreciate the attractiveness he displays. In the Sibelius Violin Concerto, Francescatti and Bernstein offer some pleasing moments, though the idiomatic and atmospheric elements are a little shortchanged. Despite this, Francescatti realizes some nicely expressive tonal shadings and accents. A different sort of performance from Heifetz and Oistrakh, but one that stands well on its own merit. Otherwise, I find Hickox's Finlandia presentation somewhat wayward. We should have been given Ormandy's solid and moving version with the Mormon Tabernacle Choir, although I could have done without his views here on Valse Triste and the Karelia Suite, especially the latter, which would have benefitted from a livelier, more atmospheric approach.

Brilliant #2...The Remainder of These 2 CD's are Worthless.......2001-02-06

Sony should have re-released only the Schippers on a single CD. This is the most brilliant reading of this difficult symphony I have ever heard. As for #1...Stokowski hit his high point as a conductor with the pap from "Fantasia"...it was all downhill for him after that. The best recording of Finlandia is Sir Colin Davis/Boston Symphony. Richard Hickox is a nullity and his conducting shows that in ample display with this reading. As for Eugene Ormandy and his Karelia...Stravinsky said it best..."Ormandy is an ideal conductor of Strauss waltzes." The Violin Concerto is serviceable, but nothing special...Good playing by Francescatti, but an indifferent accompaniment by Bernstein and his charges.

Not essential for Sibelians.......2000-04-04

I have heard countless recordings of the Sibelius symphonies, so from my perspective as a listener and as a conductor, I would recommend other recordings of these works. Firstly, the tempi in the recordings of the 1st and 2nd Symphonies are generally wrong. Sibelius was one of those composers who was particular about interpretations of his music, with only a slight flexibility. What Stokowski achieves, on the other hand, is a beautiful musical and emotional thread, as he always did. He brought out interesting harmonic balances and shadings in the "Swan of Tuonela" recording that many other recordings of the work lack. The Swan is obviously music that is perfectly suited to Stokowski's typical poetic treatment and wizardry. Zino Francescatti's recording of the Violin Concerto is actually quite good. Bernstein's accompaniment is lovingly dedicated. Bernstein ignores less of Sibelius's tempi here than he usually did. Francescatti is really in top form in this recording, and even though I'm not a big fan of mid-20th century styles of violin playing, I think that Francescatti displays a great deal of integrity, coupled with an obvious Mediterranean passion. This aesthetic is not too far removed from Sibelius's intent, since the composer frequently visited Italy around the time he wrote the work (The 2nd Symphony was actually composed in Italy). However, there's much of the Northern temperament in this work as well.

The recording of the 2nd Symphony is just wrong. Thomas Schippers had little understanding of Sibelius's music, in my opinion. The tempi are mostly incorrect, and the orchestral playing here is dull.

Overall, the recordings are interesting though.

Music Review:

Music Review

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