Il Pastor Fido

Track Listings

1. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M

2. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M

3. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M

4. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M

5. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M

6. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M

7. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M

8. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M

9. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M

10. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M

11. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M

12. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M

13. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M

14. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M

15. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M

16. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M

17. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M

18. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M

19. Sonatas from il Pastor Fido, No. 5 in C Major, Op.: Sonata No. 5 in C M

20. Sonatas from il Pastor Fido, No. 5 in C Major, Op.: Sonata No. 5 in C M

See all 28 tracks on this disc

Tracks:

Allegro Moderato
Menuetto
Allegro
Andante
Menuetto
Allegro Spiritoso
Larghetto Stile Antico
Allegro Scherzoso
Allegro
Tempo Di Menuetto
Largo
Allegro Ma Non Presto
Pastorale - Con Tenerezza
Allegro
Moderato
Adagio
Rondo
Allegro
Siziliana
Allegro

Customer Reviews:

Seafaring .......2007-05-13

Can't think of a better CD for dinner in a quiet anchorage anywhere North
of 48°

Capt. Aubrey and DR. Matutin .......2007-05-12

I play this at special dinners and at special times. It is wonderful to hear music that I don't usually listen to.

Wish there was more!.......2006-08-05

Purchased this CD a while ago. A week doesn't go by without listening to it. Well recorded and the prescense of Yosif Feigelson's Cello is just wonderful. It is unfortunate that there hasn't been a follow up featuring Feigelson on the Cello. What a remarkable musician. This is such a delight to listen to.
Hopefully someday there will be more.

Wish I was there........2006-04-20

I can just see them playing in their quarters. I've always wanted to sail on a tall ship, having this Captain and crew and this music would be idealic. The music really does put in that frame of mind. Good companion the Master and Commander soundtrack.
It's not my favorite, but it's up there.

Another Triumph!!!.......2006-03-12

I have always thought the Music with the Captain series has been over orchestrated, and that the music should be boiled down to it's purest form, the violin, the cello.

Now it appears they are closer to my ideal. As good as the first two are this ,the third, goes a long way towards approximating the sound of the cabin of Aubrey as he and Maturin 'scrape, scrape away'. Maybe on the fourth they will revisit the Locatelli and play it on salt air worn, tired, strings. Ok maybe that would be too pure.

Add this one, it is a gem.

Average customer rating:

A new musical Christmas tradition
Christmas Songs from Many Nations - Flawlessly Sung

Christmas With the Trapp Family Singers
The Trapp Family
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Original Trapp Family Singers
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The Von Trapp Children, Vol. 2
Volume 1

ASIN: B0002KV296
Release Date: 2004-10-12

Tracks:

Es ist ein' Ros' entsprungen (Speierisches Gesangbuch, K 1599) - (German Chorale)
Hirrten, wachet auf!
Zu Bethlehem geboren
Deck the hall with boughs of Holly
A la nanita nana
Il est ne divin enfant
La canzone di natale
Es hat sich halt eret
Jesus Jesus Rest Your Head
Shepherds come a-running
Lobt Gott, ihr Christen alle gleich
Es wird schon glei dumpa
Nu det jul igen
Ihr Kinderlein, kommet
Der Scheibendudler
Carol of the Drum - Transcribed by C.R.W. Robertson
Deine Wangelen
Stille Nacht, heilige Nacht
Angelus ad pastores ait
In Nativitate Domini
Puer natus est nobis
Beata Viscera
Pastorale
Quem pastores - Den die Hirten
Senex Puerum Portabat

Customer Reviews:

A new musical Christmas tradition.......2004-12-14

This recording was my first experience with the Trapp Family Singers (other than knowing the story from The Sound of Music). I cannot state how pleasently surprised I was.

First of all, the technical quality of the recording is extraordinary. The selections were originally mastered between 1951 - 1953 by Deutsche Grammophon. Yet, despite the early dates, they sound like they were recorded yesterday.

The performances are even more extraordinary. The a capella settings of these traditional Christmas songs are rich in harmony and performed with a clarity rarely heard today. Of particular interest is the Michael Praetorius setting of Es ist ein Ros' entsprungen (Lo how a rose err blooming), Deck the hall with boughs of holly, and the Bach setting of Lobt Gott, ihr Christen alle gleich.

The family is conducted by Dr. Franz Wasner and the enclosed booklet offers a wonderful history of the family by writer Steven Ledbetter.

Overall, this recording has quickly become a new Christmas favorite of mine. I cannot recommend it highly enough.

Christmas Songs from Many Nations - Flawlessly Sung.......2004-10-14

The first 18 tracks on this CD are from an LP of the same name that was a family favorite of ours since the 60s. The vocals are very precise, with noticeable German accents (especially on "Jesus Rest Your Head"). The Trapps, directed by Fr. Wasner, perform songs from their native Austria, including the hauntingly beautiful Scheibendudler (a kind of solemn jodler). Some listeners may not much like their rendition of traditional English or American songs (Deck the Halls, Jesus Rest Your Head). The less familiar Latin and foreign songs are a real treat. Favorites are "A la Nanita" (Spanish), Nu ar de Jul Igen (Swedish), and "Zu Bethlehem Geboren" (German). Most songs are done a capella, although there is recorder accompaniment on one or two. A songbook containing the first 18 songs with music is available from Amazon. All in all, a fine recording and great change of pace from the more usual Christmas music.

George Szell: Decca & Philips Recordings 1951-1969

Average customer rating:

Lots of Szell Brings A Re-evaluation
George Szell is best known from his Columbia recordings

George Szell: Decca & Philips Recordings 1951-1969

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Pierre Monteux Decca & Philips Recordings, 1956-1964
George Szell Plays and Conducts Mozart

ASIN: B0009A41XS
Release Date: 2005-08-09

Customer Reviews:

Lots of Szell Brings A Re-evaluation.......2005-09-21

Kudos to Decca for bringing together in one convenient set George Szell's recordings that were made for the Decca & Philips labels from the early 1950s and to mid 1960s (minus those recordings where he acted in the role of accompanist, ie: those with pianist Curzon). These recordings are very well known and have been collector's items for many years, so to have them together in a mid-price box is self recommending.

The Philips recordings were issued a few years ago as a 2-CD set in their "Early Years" series while a few of the Decca recordings have already been released as singles in their Classic Sound series (both series saw very spotty distribution Stateside). I detect very little change in the sound quality in these new Decca Classic Sound versions, though the couplings from CD to CD are better programmed here than they were before (Philips had to cram alot of music on those 2CDs).

The most-recommendable recordings in the bunch are Szell's Mozart 34, Dvorak 8, Beethoven Egmont, Mendelssohn Midsummer's Night and Brahms 3. Here, the usual Szell trademarks are fully on display: tight rhythms, crisp articulation and finely graded dynamics. However, I was unexpectedly disappointed in two recordings long held to be top Szell & basic repertoire recommendations: the Beethoven 5 and Sibelius 2.

The Beethoven 5 has always been touted as more relaxed and in better sound than Szell's CBS 5th with Cleveland. But comparing this new Decca re-issue to Sony's recent "Original Jacket" issue of the Cleveland 5th, I didn't find that to be true at all. The Sony version now stands - to me, at least - as the better representation of Szell in this warhorse, both as an interpretation and in recorded sound. Indeed, the Concertgebouw recording suffers from an extremely lackluster and sloppy second movement that probably could have used a retake. Something just isn't right here - conductor and orchestra are not on the same page of the playbook...which is not what one expects in a recording by such a strong-willed technician as Szell. As an overall performance, this Concertgebouw recording is now easily surpassed by Szell's Sony effort, not to mention alternate versions by Kleiber, Karajan, Bernstein and others (but, again, you need to hear the Szell/Sony in the Original Jackets remastering, not the earlier Essential Classics version).

As for the Sibelius 2, we have a situation where poor intonation and hesitant execution in the orchestra knock this version off the pedestal of received opinion. And, with Szell's live Tokyo performance with Cleveland now widely available, his Concertgebouw version comes in direct competition with - Szell himself, and in a much better and much more cohesive recording. With the "if only he had recorded this with Cleveland" caveat removed, the choice is now clear - get the Cleveland version if you want Szell in Sibelius 2. That recording remains a top recommendation, though Ormandy, Maazel, Vanska and even Karajan have all brought their particular strengths to this piece as well, strengths that are much different than Szell's forte(s). There's plenty of room at the top when it comes to great recordings of great music.

Having lived with both the Beethoven and Sibelius for years, it's a bit disconcerting to have to make the above observations, but there you have it.

For the rest of the set, it is good to have Szell's interpretations of Tchaikovsky and Schubert on hand in such good sound. But truth be told, there are better versions out there of these works as well, the Tchaik 4 in particular (which in Szell's hands hangs fire in the least-expected places). The Baroque recordings included here are testament to a long-gone era when the standard Baroque works (worques?) were made acceptable to orchestral audiences by beefing them up to quasi-Wagnerian proportions. And even here, Szell is bettered by his contemporaries like Adrian Boult and Karl Richter in similar repertoire. A Baroque curate's egg if there ever was one.

Having said all of the above, I can still safely recommend this set to just about anyone interested in Szell or the repertoire on offer. Yes - work to work, there are better versions available, some from Szell himself. But *overall,* this set will provide plenty of pleasure and musical excitement to everyone save the anti-Szell wing of the classical music zealotry.

Enjoy.

George Szell is best known from his Columbia recordings.......2005-08-31

George Szell (1897-1970) is best known from his recordings made in the 1950s and 60s for Columbia records, mostly with the Cleveland Orchestra, many of which are now on Sony Classical. But he also made a number of recordings during the same period for Decca and Philips in Europe, with the Concertgebouw Orchestra, Amsterdam; Vienna Philharmonic, and London Symphony, all of which are included in this box. If you think of Szell as a cold, calculating technician - and he could be in some of his Columbia recordings - he has precision here in spades, but also warm sound, perhaps partly from the remastering for this release.

Szell's Concertgebouw Beethoven Symphony 5 is MUCH BETTER than his Cleveland recording. The precision is there, but it also sings, and is warmer than the Cleveland recording (Sony, coupled with Symphony 2). Szell's Vienna EGMONT is one of the best recordings of the work, if not THE best recording of the stereo age, even 36 years after it was recorded. The Sibelius 2 (also with the Concertgebouw) is warm and fine in every way. The Concertgebouw played beautifully for him, and it shows.

The Mendelssohn MIDSUMMER NIGHT's DREAM, Schubert ROSAMUNDE, Mozart Symphony 34, Handel WATER MUSIC and ROYAL FIREWORKS MUSIC are all excellent, too. Some may have favorite performances, but I cannot imagine anything better than Szell's Concertgebouw Mozart 34: perhaps Bohm (DG) and Krips (Philips).
The 5th disc has two classic mono recordings of the early 1950s:
Dvorak's Symphony 8, and Brahms 3, both with the Concertgebouw. The sound is just fine: beautifully remastered, and Szell's performances very solid and musical.

As you can tell, I'm very happy with this, and would advise anyone with $30.00 spare change to pick it up at their first opportunity.

Average customer rating:

old fashioned
You feel that you are there

Water Music / Overture: Il Pastor Fido
Handel , Standage , Mcnamara , Ecc , and Pinnock
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006L3IB
Release Date: 2002-10-08

Tracks:

Ouverture (Largo-Allegro)
Adagio E Staccato
(Allegro) - Andante - (Allegro Da Capo)
(Menuet)
Air
Menuet
Bouree
Hornpipe
(Andante)
(Ouverture)
Alla Hornpipe
(Menuet)
Rigaudon
Lentement
Bouree
Menuet
(Andante)
(Country Dance I/II)
Menuet
(Without Tempo Indication/Ohne Satzbezeichnung Sans Indication De Mouvement) - Lentement
Largo
Allegro
(Menuet)
Adagio
(Allegro)

Amazon.com

Nowadays, it's slightly disconcerting to hear Handel's music played by a full-size modern symphony orchestra, but when Trevor Pinnock made this recording of the Water Music in 1983, the period-instrument movement was only just beginning to escape the realms of stuffy academe and reach out to mainstream audiences. Pinnock's English Concert recordings, and this album in particular, were instrumental in persuading listeners that this music really did sound better when played "authentically" in what is at least an approximation of 18th-century performance practices.

Others had already advanced ideas about authentic bowing and articulation, but Pinnock was one of the first to translate theory into enthusiastic, vibrant music-making with a wide appeal. Here, Handel's dotted rhythms are brisk but not too rigid; the dance movements graceful but not formal; and everywhere, textures are sparklingly clear. The result was the period-instrument movement's first bestseller. Handily, it also coincided with the dawn of the CD era, making the album an essential purchase for the new format (it suffers more from the overbright early digital recording than from any flaws in the performance). Period players today may take a mellower approach, and some of the rougher edges have been smoothed, but Pinnock's pioneering performance still sounds fresh and exciting. For this reissue, The Water Music suites are accompanied by the Il Pastor Fido overture, recorded in 1985. --Mark Walker

Customer Reviews:

old fashioned.......2005-10-08

behind the fabulous cover that Archiv designed for its full priced productions hides a boring account of Water Music. The edition used is from 1962, before HIP movement gave its best efforts. The playing is quite correct, but surely follows note for note the edition. It really sounds so literal, so attached to written music, and forgets improvisation.Marriner, an "old fashioned" who uses modern instruments with warm vibrato, gave in his 3 recordings of Water Music solid accounts full of improvisation and imagination. You may like or not his approach, but it is far more entertaining to discover what does he do in a passage than listening to Pinnock. In the end Marriner sounds more period in spirit.
The playing is very polished (I never heard the "Air" with more refinement, but sorry, Horns are not prominent enough) and rythms are quite solid, not unlike Karl Richter's recordings, but in movs like Minuets he seems so HEAVY ... Lacks a complete sense of spontaneity, freshness. And playing became more virtuosic (Look the Allegro-andante -allegro with those difficult Horn passages played by TP and by J Savall and see how propulsive Savall is, compared to Pinnock).
The label says this recording was one of the first ones which showed the world a period instrument orchestra can have polished playing, not sounding scrappy. Sure it has an historical importance, but I think it has been bettered by more recent readings.
To sum up, if you browse in the net you will see this recording still has an inmense and favourable reputation. The problem with this recording is not what is done (superb, if not allways virtuosic) but what can really be done and it is not: vitality.
Pinnock gives reason to those who think HIP only tries to live and play in a "museum" style.

You feel that you are there.......2005-03-24

I have heard Handel's Water Music for many years, from the Boston Pops to old Walter Matthau movies. Occasionally I pick up some off the radio.

Time for my own copy. We may never know what Handle had envisioned; yet Trevor Pinnock's recording of the Water Music in 1983 using period instruments helps. Sometimes period instruments distract or hinder full potential. Yet with Water Music and in the house it enhances the experience.

Average customer rating:

A staple for your collection!

The Music of the Hurdy-Gurdy

Manufacturer: Saydisc
ProductGroup: Music
Binding: Audio CD

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The Hurdy-Gurdy in Eighteenth-Century France (Publications of the Early Music Institute)
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Wall of Sound
Prototyp
Canzoni e Danze: Wind Music from Renaissance Italy

ASIN: B00000452O
Release Date: 1995-07-27

Customer Reviews:

A staple for your collection!.......2002-09-02

Nigel Eaton is one of the great hurdy gurdy players of our time. He's recorded widely in popular (remember Page and Plant?) as well as classical performances. This is a well-rounded selection of 18th century and beyond--not to be missed by any music lover.

Average customer rating:

Blissful music
Great music--poor quality recording!

Beecham Conducts Handel

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

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Manfredini: CONCERTI GROSSI OP. 3 Nos. 1-12

ASIN: B000003LJG
Release Date: 1995-11-06

Tracks:

Sinfonia From 'Solomon': Arrival Of The Queen Of Sheba
Suite: The Gods Go A-Begging: Menuet, From Alcina
Suite: The Gods Go A-Begging: Hornpipe, From Concerto grosso Op. 6, No. 7
Suite: The Gods Go A-Begging: Musette, From 'Il Pastor Fido'
Suite: The Gods Go A-Begging: Sarabande, From 'Terpsichore'
Suite: The Gods Go A-Begging: Tambourine, From 'Alcina'
Suite: The Origin Of Design: Bourree (Gavotte), From 'Ariodante'
Suite: The Origin Of Design: Rondeau, From 'Ariodante'
Suite: The Origin Of Design: Gigue, From Terpischore
Suite: The Origin Of Design: Minuet, From 'Il Pastor Fido'
Suite: The Origin Of Design: Musette, From Ariodante
Suite: The Origin Of Design: Battle (Sinfonia Bellica, From 'Giulio Cesare'; Or la Tromba And Battaglia, From 'Rinaldo'); Finale: Andante allegro, From 'Ariodante'
'Israel In Egypt': Moses And The Children Of Israel
Concerto Grosso No. 3 in E Minor: Op. 6: Larghetto And Polonaise
'Israel In Egypt': But As For His People
'The Messiah': Pastoral Symphony
'Israel In Egypt': The Lord Is A Man Of War
Suite: The Faithful Shepherd From 'Il Pastor Fido': Introduction And Fugue (Overture)
Suite: The Faithful Shepherd From 'Il Pastor Fido': Adagio
Suite: The Faithful Shepherd From 'Il Pastor Fido': Gavotte
Suite: The Faithful Shepherd From 'Il Pastor Fido': Musette (Minuet)
Suite: The Faithful Shepherd From 'Il Pastor Fido': Bourree
'Triumph Of Time': Pastorale (Dryads, Sylvans)
Allegro Vivace (Ballo And March)

Customer Reviews:

Blissful music.......2006-04-12

Handel's "The Gods Go A-Begging" is one of my favorites. I have heard this conducted by Gardiner which is slightly different, but I dont believe it is available. This piece of music was unavailable for purchase for so many years, and I only could hear it when I requested it on my local classical radio station. So worth having. It absolutley speaks to my heart - as does most Bach music.

Great music--poor quality recording!.......2005-01-25

These orchestral suites by Handel are hard to find. I have a cassette tape of them conducted by Yo Yo Mah but I can't find any CD of this recording. I feel a little abashed about liking this music so much because it employs a larger orchestra than Handel ever dreamed of--they're a bit over the top. But I really like them, especially "Gods Go A'Begging." This recording, however, is very old and sounds like a 78rpm record. I give it 4 stars simply because this music is hard to find.

Handel: Water Music; Suite from "Il Pastor Fido"

Average customer rating:

Breezy music from the Thames
Light and free - Tafelmusik shines!

Handel: Water Music; Suite from "Il Pastor Fido"

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Handel: Water Music; Music for the Royal Fireworks

ASIN: B000002BZP
Release Date: 1996-02-13

Tracks:

Water Music, HWV 348-350: Overture
Water Music, HWV 348-350: Adagio e staccato
Water Music, HWV 348-350: Allegro - Andante - Allegro da capo
Water Music, HWV 348-350: (Minuet I & II)
Water Music, HWV 348-350: Air
Water Music, HWV 348-350: Minuet I & II
Water Music, HWV 348-350: Bourr
Water Music, HWV 348-350: Hornpipe
Water Music, HWV 348-350: (Andante)
Water Music, HWV 348-350: (Allegro)
Water Music, HWV 348-350: Alla Hornpipe
Water Music, HWV 348-350: (Sarabande)
Water Music, HWV 348-350: Rigaudon I & II
Water Music, HWV 348-350: Lentement
Water Music, HWV 348-350: Bourr
Water Music, HWV 348-350: Minuet - Minuet
Country Dances I & II
Water Music, HWV 348-350: Minuet
Suite From 'Il pastor fido', HWV 8c: Overture
Suite From 'Il pastor fido', HWV 8c: Ballo
Suite From 'Il pastor fido', HWV 8c: (Tambourine)
Suite From 'Il pastor fido', HWV 8c: Musette
Suite From 'Il pastor fido', HWV 8c: Minuet
Suite From 'Il pastor fido', HWV 8c: March - Pour les chasseurs - March da capo
Suite From 'Il pastor fido', HWV 8c: Ballo
Suite From 'Il pastor fido', HWV 8c: Sarabande
Suite From 'Il pastor fido', HWV 8c: Gavotte
Suite From 'Il pastor fido', HWV 8c: Gigue
Suite From 'Il pastor fido', HWV 8c: Chaconne

Amazon.com

Under the direction of their American-born leader Jeanne Lamon, the players of Tafelmusik give a bold, energetic, superbly realized account of Handel's maritime masterpiece that immediately goes to the top of the list. They offer a mixed version of the score, with the movements from the D major and G major suites interleaved, rather than sailing straight through the three published suites (in F, D, and G)--which is perfectly fine since there is no extant manuscript and no reason to assume Handel wouldn't have approved. What sets this reading apart is the liveliness of the musical interplay and the sheer virtuosity of the brass and wind playing. The recording is vibrantly engineered, with an excellent sense of space and wonderful presence. --Ted Libbey

Customer Reviews:

Breezy music from the Thames.......2001-05-18

For a long time, I enjoyed a recording of Handel's "Water Music" by Sir Neville Marriner and the Academy of St. Martin-in-the-Fields, performing on "modern" instruments. Always an enthusiast for period-instrument recordings, though, after I ran across Tafelmusik's recording of these suites, I just can't listen to Marriner anymore.

Original instruments add a breezy feel to the Water Music suites that modern instruments just don't seem to be able to do. Written in 1717 to entertain George I on his summer jaunts down the Thames, the suites were intended to be light and buoyant and refreshing. Comparing Marriner's and Tafelmusik's recordings, I can't help feeling weighed down by the instruments of St. Martin-in-the-Fields, something Händel and the king (who was crazy about the music) wouldn't have liked. In contrast to Marriner, Tafelmusik picks up the pace, accentuates the bass-line, and gives generally a much airier feel to the music. It also quiets down the brass a little, which will come as a loss to you, though, if you like blaring, royal pomposity like I do!

Another plus of this recording is the suite from "Il pastor fido", from Händel's opera of that name, written in 1712 and revived for the King's Theatre in 1734. If I had heard it on the radio, I might have had trouble recognizing some of the movements, especially the chaconne, as Händel -- they're so unlike a lot of other stuff he wrote.

Light and free - Tafelmusik shines!.......2000-08-11

Spectacular! Tafelmusik performs on period instruments, which gives the piece a lighter and airier feel than some performances of the Water Music. Vibrant and uplifting. Performed at a faster speed than you might be used to, but this simply serves to energize the album and does nothing to detract from the gorgeous playing. Il Pastor Fido is also on the album, rather than the usual "Fireworks" music, which gives exposure to this less frequently performed work. Total playing time of over 75 minutes provides excellent value. Highly recommended.

Average customer rating:

Everybody's Vivaldi

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B0007WQHXK
Release Date: 2005-04-12

Tracks:

I. Presto - The Academy Of Ancient Music
II. Adagio - The Academy Of Ancient Music
III. Allegro - The Academy Of Ancient Music
I. (Allegro Giusto) - Goran Sollscher
II. Largo - Goran Sollscher
III. Allegro - Goran Sollscher
I. Allegro - The Academy Of Ancient Music
II. Largo - The Academy Of Ancient Music
III. Allegro Molto - The Academy Of Ancient Music
I. Allegro - Anthony Pleeth
II. Largo - Anthony Pleeth
III. Allegro - Anthony Pleeth
I. Vivace-Adagio - Michala Petri
II. Alla Breve (Guga Da Capella) - Michala Petri
III. Largo - Michala Petri
IV. Allegro Ma Non Presto - Michala Petri
I. Allegro - Michael Laird
II. Largo - Michael Laird
III. Allegro - Michael Laird
I. Allegro - Anna Maria Cotogni
II. Larghetto E Spirituoso - Anna Maria Cotogni
III. Allegro - Anna Maria Cotogni

Tracks:

I. Allegro - Simon Standage
II. Largo - Simon Standage
III. Allegro (Danza Pastorale) - Simon Standage
I. Allegro Non Molto-Allegro - Simon Standage
II. Adagio-Presto-Adagio - Simon Standage
III. Presto (Tempo Impetuoso D'Estate) - Simon Standage
I. Allegro (Ballo, E Canto De' Villanelli) - Simon Standage
II. Adagio Molto - Simon Standage
III. Allegro (La Caccia) - Simon Standage
I. Allegro Non Molto - Simon Standage
II. Largo - Simon Standage
III. Allegro - Simon Standage
I. Allegro - Goran Sollscher
II. Andante - Goran Sollscher
III. Allegro - Goran Sollscher
I. Allegro - Philip Pickett
II. Largo - Philip Pickett
III. Allegro - Philip Pickett
I. Allegro - Anna Maria Cotogni
II. Largo-Larghetto - Anna Maria Cotogni
III. Allegro - Anna Maria Cotogni

Handel - Il pastor fido / Frakas, Esswood, Flohr, Kállay, Lukin, Gregor, Capella Savaria, McGegan

Average customer rating:

Truly ravishing music and a more-than-acceptable performance

Handel - Il pastor fido / Frakas, Esswood, Flohr, Kállay, Lukin, Gregor, Capella Savaria, McGegan
George Frideric Handel , Capella Savaria , Nicholas McGegan , Paul Esswood , József Gregor , Katalin Frakas , and Mária Flohr
Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000306W
Release Date: 1994-04-18

Customer Reviews:

Truly ravishing music and a more-than-acceptable performance.......2007-02-25

Il Pastor Fido is in many respects like a pastiche of Handel's best melodies. The first version of the opera was the second opera which Handel put on for London, and it's fascinating that he later entirely reworked the opera (with more spectacle, ballet and chorus work to suit the English taste) - not once, but twice more!

For those who are interested in knowing a little of the background of this opera, let me mention that a considerable amount of the material in the first version of this opera was taken from cantatas that Handel had composed in Italy, and from earlier oratorios. The peaceful and pastoral quality of the work was maintained throughout in the orchestration (no brass, considerable use of lighter instruments such as transverse flutes and oboes, continuo-based arias, the effective use of two natural horns for additional colour, etc.), and the melodic material is elegant and sublimely lovely. But of course this recording is of the third version, and is far more of a pasticcio than the first version. Handel borrowed a lot of the material here from his other operas, and he adjusted the musical material (as was the practice of the day) to suit his singers. He maintained much (in this version) of the orchestral colouring he'd used for the 1st version.

The result is charming. It's a pity that one of the arias written for Mirtillo in the 3rd version is replaced here by the 1st version aria, but it's understandable - Handel was writing for a soprano castrato, and such creatures are no longer to be found. Instead, we have the excellent Paul Esswood in the role of Mirtillo. He's delightful to listen to. It's very much worth noting that there were great countertenors before Andreas Scholl and David Daniels - and Paul Esswood is an example. Listen to his heartbreakingly lovely first aria "Lontan del mio tesoro" - it speaks directly to the heart with sensitive and almost oboe-like tone. This reed-like quality can be extraordinarily effective.

Also quite lovely is Katalin Farkas in the role of Mirtillo's beloved, Amarilli. Her first appearance in recitativo accompagnato is affecting and sympathetic, offering a good opportunity for contrast with the more manly (yet still high and relatively light) sound of Mirtillo as he overhears her confession that only he means anything to her. She has a voice of delicate loveliness, combined with an emotional tremulous quality that works beautifully to convey her character's vulnerability.

Maria Flohr as Eurilla is not really satisfying as the jealous scheming nymph Eurilla, but often the tone is attractive, and her performance is graceful and quite listenable. (One longs for the talents of Vivica Genaux in this sort of role, though. Wouldn't that be delightful?)

The hapless nymph Dorinda is sung with sweetness by mezzo-soprano Marta Lukin - again, I am left feeling that the performance is adequate but not superb. I would love to hear this role sung by Cecilia Bartoli, who would make of it something quite heart-stoppingly lovely, but I suppose that would be luxury casting of a role not sufficiently major.

The tenor Gabor Kallay is mostly delightful in the role of Silvio, the hunter who is brought to return Dorinda's love only after the latter is wounded. His singing is shapely and full of beautiful tone. While I feel his coloratura is not really bravura, it does (just) meet the challenges of his role, and he's often a pleasure to hear.

Jozsef Gregor lends his distinguished bass to the brief role of Tirenio.

One of the unmissable highlights in this opera is the frankly superb duet between Mirtillo and Amarilli, sung at the end of the opera as the threat of ancient ritual sacrifice is removed and Amarilli is no longer condemned. The blend between Paul Esswood and Katalin Farkas is lovely indeed, and the duet "Caro / Cara" is an astonishing display of rapid passagework and lovely tone.

The recorded sound is resonant and bright, certainly allowing the elegance and charm of this lovely music to breathe in beautifully shaped phrases. The conducting by Nicholas McGegan is immaculate - one senses a fine musical and dramatic intelligence here, and it's no surprise that McGegan is considered one of the truly good Handel conductors.

In short, while this isn't a perfect recording, it's often very beautiful, and never less than charmingly elegant. Recommended.

Sir Thomas Beecham: Rossini; Dvorák; Wagner

Average customer rating:

Too many souvenirs, not enough performances
The Beecham magic in live and studio recordings.
Great Conductors of 20th Century = Best Reissues of the 21st

Sir Thomas Beecham: Rossini; Dvorák; Wagner

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Igor Markevitch

ASIN: B0000AKPI8
Release Date: 2003-11-04

Tracks:

William Tell Overture
Legend
Entry Of The Gods
Theme & Variations
Theme & Variations - Minuet
Appalachia 1
Appalachia 2
Appalachia 3
Appalachia 4
Appalachia 5
Appalachia 6
Appalachia 7
Appalachia 8
Appalachia 9
Appalachia 10
Appalachia 11
Appalachia 12
Appalachia 13
Appalachia 14
Appalachia 15
Appalachia 16
Appalachia 17
Der Freischutz Overture

Tracks:

Antar - 1st Movement
Antar - 2nd Movement
Antar - 3rd Movement
Antar - 4th Movement
2 Songs - 1st Song
2 Songs - 2nd Song
1st Movement
2nd Movement
3rd Movement
4th Movement
Sarabande

Customer Reviews:

Too many souvenirs, not enough performances.......2005-11-09

To the end of his days Thomas Beecham was sniffed at as an amateur condcutor in some circles, and even his musicians described him as a "top line" conductor, meaning the melody line rather than inner voices. He was not formally trained in conducting, and like Koussevitzky in Russia, Beecham bought his way into the profession via a personal fortune. But he was adventurous and broke down many barriers in British musical life. This 2-CD set gives us snapshots of his many sides, from Wagner to "lollipops" (as he called light classical bon bons), from his beloved Delius to exotic fare like Rimsky-Korsakov's Antar Symphony.

Despite all the good Beecham did for English music, and remembering his great charm and wit, there still are not enough outstanding performances here. The first CD is a total loss unless you relish very dated sound (1934-47) lavished upon readings of the Freischutz and Willaim Tell Overtures that are brisk and shallow, a dreadful Rainbow Bridge finale to Das Rheingold (featuring some of the worst singing and wobbliest sound imaginable), a long, tiresome Appalachia by Delius, etc. Two stars.

The second CD rises higher, both sonically and musically. "Antar" is in very good 1951 mono, and although I've heard few comparisons and can't remember any, Beecham for the first time on this set doesn't sound like a dilletante. The performance is controlled and atmospheric, and Beecham's love of exotic sounds is matched by Rimsky's orientalism. The other big work on CD 2 is the Tchaikovsky Fourth, of which the first movement is in stereo from 1958, the other three movements in mono from 1957. Nobody could seriously rank this light, balletic performance among the greats, and Beecham displays his willful side in terms of quirky tempos. Even so, his jaunty reading represents a beloved condcutor in good form. Becasue Beecham was uniquely lovable, the whole of CD 2 rates four stars.

The Beecham magic in live and studio recordings........2003-12-25

No one could dispute that the Beecham issue in this series meets the aim of providing varied, representative, "live" and rare material. Works by ten of his favorite composers are here, many of which he conducted regularly throughout his 60 year conducting career.

Browsers will probably want information re the "new" or "rare" material here, and also the sound quality. There is a hitherto unissued version of Dvorak's Legende No 2 (LPO 1935). Delius' "Appalachia" and the Weber "Der Freischutz" Overture are heard in a "live" performance from the Queen's Hall (LPO 1935). Rimsky-Korsakov's "Antar" Symphony is heard in a live studio recording (RPO 1951). Of the rest, the Tchaikovsky symphony gets its first movement issued for the first time in stereo. The sound quality varies from adequate (Mozart RPO 1947), OK for strings but ill-defined for tympani in the Queens' Hall concert, to quite brilliant (Rimsky-Korsakov and Tchaikovsky).

The Tchaikovsky symphony performance contains a few eccentricities. The quiet "moderato assai, quasi andante" interlude in the first movement (heard first at 4 minutes 55 seconds) is reduced in speed to crawling pace (albeit very graceful crawling). The triangle strokes that occur between each line of the folk tune Tchaikovsky quotes in the last movement ("In the Fields There Grew a Birch Tree") are much too loud. No one could talk Beecham out of his choice of such a deliberate tempo in parts of the first movement, but happily remastering engineers have somehow reduced in this reissue the triangle strokes to something less suggestive of a blacksmith at work.

The two CDs are well filled, and there are extensive and immensely informative notes. Beecham always attracted the best English instrumentalists into the ranks of his orchestras. Sadly, oboist Leon Goossens' work is under-represented here, but Dennis Brain's horn playing is well displayed in the "Antar" Symphony.

If our descendants in the 22nd Century were to dig up this double CD set and assess what they hear as proof that Beecham was one of the 20th Century's great conductors, I wonder where they would find it. I believe the proof is best to be found in the earliest of all the items here - the "William Tell" Overture.

Great Conductors of 20th Century = Best Reissues of the 21st.......2003-11-06

It's sad that the "Great Conductors of the 20th Century" reissue series has not gotten more attention, because it has my vote for the best reissue program thus far of the 21st Century. Drawing from the archives of all the major classical labels (EMI, Sony, BMG, DG, Decca, Philips, Supraphon, etc.), EMI and IMG Artists have assembled a wonderful series of affordable two-disc sets by the leading conductors of the last century. And unlike its counterpart, "The Great Pianists of the 20th Century," which are basically compilations of material already available on other CDs, the "Great Conductors" features rare and, for the most part, previously unreleased performances! And as if that wasn't enough, the most recent volumes (beginning with no. 25) are now available at mid-line instead of full-price!

This particular CD, Volume 25, features Sir Thomas Beecham, generally regarded as the greatest conductor in Great Britain's history. Unlike many of the conductors featured in this series, the majority of Beecham's great performances have been reissued on CD, mostly by EMI. As a result, you would think there wouldn't be any worthwhile unreleased material left. Well, you'd be wrong because everything on this collection is previously unpublished save for one performance. Since the track information is not abundantly clear above, allow me to tell what is contained in this fine collection.

Disc one begins with Rossini's "William Tell" Overture and Dvorak's Legend, Op. 59, No.2 (from 1934 & 1935 respectively, both with the London Philharmonic Orchestra). Next are performances with the Royal Philharmonic -- Wagner's "The Rhinegold: Entry of the Gods into Valhalla" and Mozart's Divertimento No. 15 both from 1947. CD 1 concludes back with the Lonodn P.O. on Delius' "Appalachia" and Weber's "Der Freischutz" Overture, both live recordings from 1935. Disc two is entirely with the Royal P.O. -- Rimsky-Korsakov's Symphony No. 2 (1951), two of Mendelssohn's "Songs Without Words" (1947) orchestrated by Del Mar, Tchaikovsky's 4th Symphony (1957-8 and the disc's only previously available selection), and the Sarabande from Handel's Amaryllis Suite (1949). All of the selections on this collection are in mono, except for the first movement of the Tchaikovsky 4th which makes its stereo debut here.

Whether you are a serious collector of classical music or a beginner, the "Great Conductors of the 20th Century" has something for everyone. If the prized, rare performances don't excite you, then use this as an opportunity to check out one of the greatest conductors ever recorded. Chances are, since stores are offering increasingly homogenized classical music sections, this conductor might not be in your collection. And that would truly be a shame.

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Music Review

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These Foolish Things

1. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M
2. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M
3. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M
4. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M
5. Sonatas from il Pastor Fido, No. 1 in C Major, Op.: Sonata No. 1 in C M
6. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M
7. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M
8. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M
9. Sonatas from il Pastor Fido, No. 2 in C Major, Op.: Sonata No. 2 in C M
10. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M
11. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M
12. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M
13. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M
14. Sonatas from il Pastor Fido, No. 3 in G Major, Op.: Sonata No. 3 in G M
15. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M
16. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M
17. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M
18. Sonatas from il Pastor Fido, No. 4 in a Major, Op.: Sonata No. 4 in a M
19. Sonatas from il Pastor Fido, No. 5 in C Major, Op.: Sonata No. 5 in C M
20. Sonatas from il Pastor Fido, No. 5 in C Major, Op.: Sonata No. 5 in C M