Plays Bach & Scarlatti

Track Listings

1. Prelude

2. Allemande

3. Courante

4. Sarabande

5. Bourrjes 1 & 2

6. Gigue

7. I. Prelude

8. Ii. Allemande

9. Iii. Courante

10. Iv. Sarabande

11. V. Minuets 1 & 2

12. Vi. Gigue

13. Sonata In E Minor,

14. Gavotte

Tracks:

Moment Musical In E Mino Op. 12 No. 4
Prelude In G Op.32 No.5
Etude-Tableau In D Op.39 No.9
Prelude in D Flat Op.17 No.3
Prelude In E Flat Minor Op.16 No.4
Prelude In G Op.13 No.3
Etude in C Sharp Minor Op.42 No.5
La Vida Breve: First Spanish Dance - Manuel De Falla
Goyescas: Quejas O La Maya Y El Ruisenor
Danza Del Viejo Boyero
Danza De La Moza Donosa
Danza Del Gaucho Matrero
Nocturne In D Flat Op.27 No.2
Fantaisie-Impromptu In C Sharp Minor Op.66
Mephisto Waltz No.1

Tracks:

On Rachmaniov: Vocalise
On The Theme From Bach 'Goldberg Variations'
On Chopin: Nocturne In D Flat
On Rachmaninov: Piano Concerto No.2
Inspired By Scriabin
On Duermete Mi Nino
In The Style Of Tango
On Granados: 'Quejas O La Maya El Ruisenor'
In The Style Of Bach
On Chopin: Prelude In A
'Improvisation in Blue (Gabriela Montero)'
'Song for Natalia and Isabella (Gabriela Montero)'

Customer Reviews:

Gabriela Montero CDs.......2007-06-12

Excellent service -- speedy, just as described, well-packaged. I'd definitely buy from this seller again.

Non-professional Review.......2007-03-27

Okay, I listen almost exclusively to classical music, but I do so simply for the pleasure and nothing more. I cannot tell you about Gabriela Montero's technique, and, when she improvises, I have no ability to judge the music's intrinsic value, authenticity, or whatever. I can only tell you this: while I own many dozens of albums, running the full spectrum of the classical genre, I value none of them above Montero's Bach and Beyond and her Piano Recital. Pure listening joy!

Absolutely Magnificent!.......2007-03-09

I first saw Gabriela Montero on 60 Minutes a few months ago and was taken by her playing ability as well as her ability to improvise on the classics. Ms. Montero's fingers fly over the keyboard, playing Rachmaninoff more dramatically and key-perfect than I've heard in a long time. I decided to purchase this CD and have not been disappointed.

Improvisations Unbelievable!.......2007-01-26

Gabriela Montero is a tremendous talent, both in standard classical repertoire, and improvisation. I have know her since she was a young girl, and she was by far the best pianist around, even then. She is an undersung pianist of our age, and should rise to the top very soon!

A beautiful breath of fresh air!.......2007-01-20

What a sheer delight hearing her play. I've never heard anyone quite like her. A phenomenally gifted player, and it's a rare treat to hear someone who defies pigeonholing. I had heard her on the radio, and knew I was onto something when her improvisation on a very simple theme gave me the chills. I love both CD's in this collection.

It's interesting hearing the negative response coming from some classical musicians and fans. At times it can seem to roughly follow the stages of grief as proposed by Kubler-Ross. I'm a professional guitarist, and it's funny because it's almost identical to how guitarists react to hearing another guitarist, but with an big class-conscious overlay (all very civilized, of course). Think of the "guitarist screwing in a lightbulb" joke. To paraphrase and extrapolate on what someone might say upon hearing her improvisation:

1. Shock: Wow, he's good. Oh, and it's a woman!? And you say it's improvisation??

2. Denial: That can't possibly be improvisation. Classical musicians don't engage in that untidy process. What she's playing must be written out, and I can tell! Don't ask, I just know it.

3. Anger: This stuff is no good. Only permanent music is of value through the ages, and that's why classical music (and only the European kind) is better than any other music. Besides, I can't improvise, so I reject it - and only THOSE people engage in improvisation.

4. Depression: She can play all the classical music, and seemingly can improvise, or at least pass her stuff off as such. Not only that, she's getting attention and money, and we're not. Why is the world unfair?

5. Acceptance: (sort of) Well, I guess she's selling CD's, and is becoming successful. She is, I hate to admit it, a great player. Even if she is a faker. Of course, they're begging my Muffy to become artist-in-residence in Spoleto....

The other reviewer has a point when he says that she may be viewed as a curiosity. Because she's crossing genres, people may not know what to make of it, and this often causes reflexive hostility. As an improvisor, I would agree that it's hard to say that something is 100% improvised - players tend to have pet phrases and favorite general ideas they return to. But to me, Gabriela's playing is at the highest level of skill, beauty, and feeling, whether improvising or playing written pieces.

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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The Life and Works of Ludwig van Beethoven
What to Listen for in Music
Study of Orchestration, Third Edition
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ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

Beginner or Expert.......2007-03-12

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

Very Informative and Enjoyable.......2006-11-20

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

Frank's view.......2006-08-19

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

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

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

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

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

Tracks:

Fugue No.5 In D Major
Italian Conerto: Allegro
Italian Concerto: Andante
Italian Concerto: Presto
Pastorale In C Minor
Air On A G String
Toccata & Fugue In D Minor
Gavotte In D Major
Concerto In D Minor: Allegro
Concerto In D Minor: Adagio
Concerto In D Minor: Allegro

Customer Reviews:

Good but too literal and too classical.......2007-02-24

This, when you boil it down to its essence, pretty much sounds like classical music played with a jazz beat rather than any extended jazz improvisations on classical pieces akin to the Wayne Shorter band's interpretation of "Valse Triste" on the "Soothsayer" album. In fact, this sounds less jazzy than Brubeck's 1950s classical themed album "Jazz Impressions of Eurasia" or Stan Getz's interpretation of Michel Legrand's "Back to Bach" on "Communications '72."

This is more like a jazz version of what Emerson, Lake & Palmer do with rock music. Loussier's technique is formidable and his band are total virtuosos on their instruments and the album as a whole is impressive and fun to hear when you're in a more upbeat and non-introspective mood but the deepness of the Bach pieces are definitely trivialized by doing it in the jazz idiom this straight. Jazz gets deep through improvisation. I think Loussier needed to give himself freer rein to express himself and improvise. If I want straight Bach I can go listen to the original pieces done by the best classical players of all time.

Threfore, this is a higher-than-average recommendation only if you don't mind some high-energy classical-light with overtones of cool-jazz hipness but if you want something state-of-the-art that really digs deep go listen to Brad Mehldau's trio offerings.

French Brubeck.......2005-09-25

If you like the fusion of classical with jazz(Forinstance"Jazz impressions of eurasia"you will love this disc.

BACH & JAZZ LOVERS.......2000-12-31

Being a huge fan of Bach's (I could honestly listen to his piano and vocal music all day long!) this album was a natural for me. After reading the other reviews online and hearing two friends rave about it, I decided to buy this CD and am awfully glad I did. What wonderful arrangements! This is definitely an album for both Bach lovers and jazz lovers. The source music is, of course, powerful and innovative; Loussier takes Bach and doesn't so much "transform" him as he does take the music to another level...keeping all the beauty. My personal favorite would be the very familiar "Air On A G String." Not better, mind you. Simply wonderful!

Treat yourself nice with Loussier's music..........2000-10-27

My best friend introduced this CD to me, the very first time for me to explore how fantastic someone can make for classic music! I am a lover for both classic and jazz music. Loussier is the master for this beautiful combination! Treat yourself nice every now and then, and enjoy this CD with friends or along with a good bottle of wine! I can't help it but fall in love with his music, eventually become a collector of Loussier's work. And I am glad to tell you that friends around me start to appreciate classic music because of the Loussier... You will love him too!

An authentic masterpiece.......2000-05-21

If Bach himself could listen Loissier version of his music, he would say "he understood the escence". I'really enjoyed this cd, and I recommend it to every Bach lover, and to every good jazz lover.

Average customer rating:

more wonderous with each passing year
Pinnacle
The Perfect Storm
Parkening Play Bach and Plays Him Stunningly!
Masterpiece

Christopher Parkening plays Bach

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002RNJ
Release Date: 1990-10-25

Tracks:

Canata 147: Jesu, Joy Of Man's Desiring
Sonata VI For Violin, E Major Partita: Gavotte
The Well-Tempered Clavier: Prelude I
The Well-Tempered Clavier: Prelude VI
The Well-Tempered Clavier: Prelude IX
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Samson: Minuet in D
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Ordres, Book II: Les Barricades mysterieuses
Parkening Plays Bach And Music Of Handel, Scarlatti, Couperin And Others: Preambulo And Allegro vivo

Customer Reviews:

more wonderous with each passing year.......2006-11-13

Most of the reviewers have said (and better than I can) what makes this album so special. I remember having this on cassette and wearing it out. People who have no interest (and sometimes I can't blame them...) in classical music might grow fond of this if they give it a try. You don't need any kind of background or knowledge, just a willingness to open your heart and ears to something so sublime it is beyond words. Bach is our true musical spiritual leader!

Pinnacle.......2005-10-24

I can't over-exaggerate the impact this album had on me when my Dad played it for me when I was about 6. It encouraged me to become a guitarist, and hearing it was my first truly profound musical experience that I can remember.

I love all kinds of music, but nothing has touched me like this album in the 19 years since then. Parkening's reading of Bach arranged for the classical guitar is flawless on this recording; no one, not even his mentor has matched it.

"Jesu, Joy of Man's Desiring", "Sheep May Safely Graze" and especially "Sleepers Awake" are the best renditions of these songs that I've heard, regardless of the arrangement. His control and dynamics are just staggering.

I can't explain where this album or music came from. It's my absolute favourite album. It's part of human evolution and the continually unfolding Great Work.

The Perfect Storm.......2005-04-07

The are times when the musician, the composer, and the instrument just match perfectly; this disc is an example of that.

Nevermind that Bach never wrote a single note for the guitar, many of his pieces actually work better on the guitar than they would the clavier. The guitar provides much more opportunity for the musician to impart emotion by varying volume and tone. And Parkening capitalizes on that opportunity beautifully.

His playing is clean, thoughtful, and competent. This is, in my opinion, clearly Parkening's best recording. I highly recommend it. (I also recommend his In the Spanish Style, another of my favorites).

Parkening Play Bach and Plays Him Stunningly!.......2005-02-18

I have loved this recording for over 20 years. I had it on vinyl and was thrilled when it was released in 1985 onto CD along with 6 extra cuts. Originally a Bach interpretive LP of 10 tracks, the CD release added 6 compositions from Couperin, Handel, Weiss, Scarlatti and Visee.

This is now a rare recording, so get it while you can. It's peaceful, highly skilled and simply Christopher Parkening, playing bare and alone, and shining like the sterling musician he is!

Masterpiece.......2003-09-24

The music of J. S. Bach seems to bring out the best in Christopher Parkening. Mr. Parkening understands Bach, and plays his music with grace, intelligence and sensitivity. He displays those qualities magnificently on this collection.

The selections here represent a wide variety of Bach pieces: portions of cantatas, solo cello works, and pieces from the Well-Tempered Clavier. All of the pieces are transcribed skillfully for solo guitar, and every track flows naturally into the next. Standouts among the Bach pieces include "Sheep May Safely Graze" and "Sleepers Awake"--two meditative cantata selections which were so brilliantly arranged and performed that you'd almost think they were originally written for guitar.

And the additional baroque works presented here are not just "filler." Mr. Parkening gives stunning performances of great pieces composed by baroque giants like Handel, and he closes the recording in great style, with a passionate performance of Scarlatti.

Music doesn't get more enjoyable than this.

Hilary Hahn Plays Bach
Average customer rating:

Wonderfully bright, clear and simple interpretation

{~~}==# HILARY HAHN simply WONDERFUL... the "Big Bang" of Hilary's "Violinistical Universe"

The Virtue of Youth

Awfully good, masterful in fact.

Hilary Hahn Plays Bach

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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ASIN: B000025JNV
Release Date: 2001-05-21

Tracks:

Partita No. 3 In E Major- I. Preludio
Ii. Loure
Iii. Gavotte En Rondeau
Iv. Menuet I
V. Menuet Ii
Vi. Bourr
Vii. Gigue
Partita No. 2 In D Minor- I. Allemande
Ii. Courante
Iii. Sarabande
Iv. Gigue
V. Ciaccona
Sonata No. 3 In C Major- I. Adagio
Ii. Fuga
Iii. Largo
Iv. Allegro Assai

Customer Reviews:

Wonderfully bright, clear and simple interpretation.......2007-06-22

The Bach solo string music is, of course, one of the landmarks of classical music. These are some of the greatest pieces of music ever written. They are the musical equivalent of the plays of Shakespeare.

Which means it is not easy to do them in a new way. First, these are very difficult pieces to play. Only a master can play them well. Second, every top violinist has recorded a version of them, so any new version of them is played in the shadow of giants.

Hahn deals fabulously with both problems. She plays these pieces as if they had been written yesterday. She brings to this music a wonderful simplicity, directness and joy. Her Bach is filled with light. She shows her mastery by making this music seem simple. A wonderful, wonderful talent.

{~~}==# HILARY HAHN simply WONDERFUL... the "Big Bang" of Hilary's "Violinistical Universe".......2007-02-10

Many congratulations for such a GREAT and WONDERFUL Johann Sebastian Bach Debut album!! There are so many recordings of these Bach sonatas and partitas for solo violin, but this one stands out as one of a really extraordinarily superb quality. Besides the superb quality of this recording, this recording is so particular since Hilary Hahn recorded these very difficult pieces for solo violin when she was still a "teenaged girl" aged 17 - and with this 1997 recording Hilary Hahn proved her extra class at this very young age by such a mature and remarkable as well as intelligent interpretation which can be heard in the same quality only from few other remarkable violinists. With her Debut album Hilary Hahn showed what a serious and mature violin virtuoso she is. This recording makes you immediately recognise how intensely and profoundly Hilary Hahn approaches the Bach sonata as well as the two partitas, how she explores and immerses them and so discovers and brings out for all to hear the spirit of them and gets out what is deeply inside them and inside their literature. And in doing so, Hilary Hahn knows exactly how to play each note and she manages to play these pieces technically without mistakes and provides a superb intonation and interpretation of them. Hilary performs these pieces for solo violin with much energy and spirit, but well under control and straightforwardly, she transfers all the excitement and vibrations of these wonderful pieces in an almost frightening precision and cleanliness of intonation and so she establishes a true communication between her and us, the listeners and her audiences. Hilary Hahn (even back then) avoides any unnecessary over-emphasising and flourish - and false notes could already not be heard from her even in this, her Debut recording! So, for me this a FIVE STARS RECORDING, not only but also due to the fact that Hilary Hahn was so brave to record these very difficult pieces at such a young age, so early in her career - and of such tremendous quality and precision -, while other violin virtuosos normally take more time to record them!

This way this Debut album of Hilary Hahn in some way can be considered kind of a "Big Bang of Hilary Hahn's Violinistical Universe" which has been expanding since then - and now has been doing so for ten years! -, and Hilary Hahn once a year releases to our great delight new interpretations from her yearly published CD recordings! From then on it has been clearly obvious and visible how Hilary Hahn's "Violinistical Universe" has been expanding so continuedly, e. g. from her recordings made in 2005 as well as from her latest ones made last year, in "Mozart Year" 2006. With these recordings made by Hilary Hahn of the Mozart violin sonatas (2005) as well as of the Paganini & Spohr violin concerti (2006) Hilary Hahn once again succeeded in making her fans and audiences enthusiastic about the magic and spirit that come from her violin play and which inspire us, her fans and audiences, and bring us to great excitement! Like in her latest recordings of the both extremely difficult Paganini and Spohr violin concerti, even in her Bach solo recordings there is not the slightest touch of difficulty to be heard or recognised in her violin play, but which are without doubt included in a great amount in the pieces for solo violin chosen by her. Hilary Hahn's violin play was in this early recording (Bach) the same light, easy and lively and mature one that she has kept until today (Paganini & Spohr), Hilary's recordings always sound completely effortless/unforced and she somehow manages to cover all difficulties contained in these pieces and to "hide" these with her gentle and smooth as well as very serious violin play.

So, there remains hope that Hilary Hahn will soon also record the remaining two sonatas as well as the remaining partita! At least the Presto from sonata No. 1 by Johann Sebastian Bach can be heard and seen on Hilary Hahn's DVD "The Last Night of the Proms" - at least we have that one from her, which will, as I hope, be completed sometime in the future! Hopefully, we don't have to wait for too long for Hilary Hahn's recordings of these remaining Bach pieces for solo violin, so that we will be able to listen to and enjoy the interpretation of these Bach works for solo violin by Hilary Hahn!

My VERY BEST RECOMMENDATIONS for this tremendous and wonderful Bach CD by Hilary Hahn!

The Virtue of Youth.......2006-07-24

I do a lot of writing in my work, so I don't hesitate to write book reviews but my musical abilities are so limited and little used that I do hesitate to discuss the work of anyone who clearly had more talent in their little finger than I have in total. That being said, I remain entranced by this recording and play it frequently. Ms Hahn brings what I belive to be great technique and incredible enthusiasm, drive and energy to these pieces. The sheer joy of accomplishement shines through these performances. Another descriptor I might use for this encounter of player and part is fearless. With all that there is profound respect shown for the emotional range found in these two partitas. Yet it is the music that is shining through not the musician. No doubt Ms Hahn will play these tunes differently in 30 years. Let's hope so. But she won't play them any better. She and Bach are helped along by very clear and highly defined sound. If these recordings don't make JS Bach smile up in heaven then none will.

Awfully good, masterful in fact........2004-07-18

Ms. Hahn has a phenominal talent. Her knowing interpretation of the Partitas 2 and 3 goes to the spirit of Bach in a spine-tingling, joyous way. The famous Chaconne from Partita no. 2 can be played over and over always with fresh impressions. Superb.

Average customer rating:

For Gould's fans
Be warned there are shortcomings, but also be prepared for brilliance!
An universal patrimony !
Perfection
BWV 974

Glenn Gould Plays Bach & Scarlatti

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000028NP
Release Date: 1997-02-25

Tracks:

Concerto In D Minor After Alessandro Marcello, BWV 974: I. Without Tempo Indication
Concerto In D Minor After Alessandro Marcello, BWV 974: II. Adagio
Concerto In D Minor After Alessandro Marcello, BWV 974: III. Presto
Fugue In B Minor On A Theme By Tomaso Albinoni, BWV 951
Fugue In A Major On A Theme By Tomaso Albinoni, BWV 950
Sonata In D Major, K. 430 (L.463): Non presto ma a tempo di ballo
Sonata In D Minor, K. 9 (L. 413): Allegro
Sonata In G Major, K. 13 (L. 486): Presto
Sonata In A Minor 'Wurttembergische Sonate': I. Moderato
Sonata In A Minor 'Wurttembergische Sonate': II. Andante
Sonata In A Minor 'Wurttembergische Sonate': III. Allegro assai
'Aria variata alla maniera italiana' In A Minor, BWV 989
'Italian Concerto' In F Major, BWV 971': I. Without Tempo Indication
'Italian Concerto' In F Major, BWV 971': II. Andante
'Italian Concerto' In F Major, BWV 971': III. Presto
Chromatic Fantasy In D Minor, BWV 903
Fantasy In G Minor, BWV 917
Fantasy In C Minor, BWV 919
Fantasy (And Fugue) In C Minor, BWV 906

Customer Reviews:

For Gould's fans.......2007-01-10

Glenn Gould was a great Bach interpreter. On this CD there are some less known recordings of Bach' music, like the transcription of Marcello's Oboe concerto. I boght this CD because of this piece, that is very beautiful and well played by Gould. The other pieces recorded here are not as good, including the Italian Concerto. But it is interesting for Gould's fans.

Be warned there are shortcomings, but also be prepared for brilliance!.......2006-05-03

There are some shortcomings to this album and they are pointed out by other reviewers. However, there are gems present here that continue to dazzle long after Glenn Gould's untimely death.

I was particularly moved by BWV 974, especially the second movement. I would happily pay the entire price of this album just to have this particular recording.

As everyone knows, Glenn Gould was eccentric and some of his interpretations of Bach are very unconventional. However, his intensity jumps out at the listener and he is often as dazzling as he is eccentric.

Considering that much of this music was not recorded on piano very often before Glenn Gould came around, I have to acknowledge his contribution to grabbing people's attention. He still continues to do this long after his death, which I think is a testimony to his brilliance.

If you are not a Glenn Gould fan or you are looking for more standard interpretations, this may not be for you. However, if you are looking for a fascinating musical odyssey that is at times quite unconventional, then you might be very happy with this album.

You can certainly get a feel for the music from the samples above. If you listen to them and are still intrigued, I don't think you will be disappointed even with the Chromatic Fantasy. It's an unusual interpretation, but what can you expect from guy who wears winter gloves on the cover of the album and didn't even want to record this piece in the first place - EVER!

An universal patrimony !.......2006-04-12

The huge and significant loss that for the musical world represented the disappearance of Glenn Gould resides in the simple fact that even twenty four years after his sensible departure, there has not been another pianist able to fill his place. His legacy seems to enhance proportionally through the years. His powerful cantabile line, his profound conviction still deserves him this status ?clat, that certainly have guaranteed a well wrought name in the immortality.

This enraptured anima state is not a mere product of the casualty or a mass media phenomena; he restored to music that divine majesty, sensitive effluvium and introspective gaze, far away from the delirious crowds, deeply focused on the meaning of the sound, and not in the beauty of the sound.

That `s why his legend has been increasing, in spite of his well known aversion to the advertising flashes. He never cultivated the public relationships, but the elevated rank of his musical partners, such Yehudi Menuhin, Jaime Laredo, Leonard Rose, Leonard Bernstein, Vladimir Golschman would seem to confirm that far beyond his countless irreverent behavior, his musical heritage eclipses all the previous misbehaved statements, opinions or his well commented and questioned attitude in the sense of deny to make future public appearances since 1964.

Perfection.......2005-08-02

There neither is, nor has been (am may likley never be), anyone who can interpret Bach like Glenn Gould.

BWV 974.......2001-10-18

When you look at the pieces that are in this CD, you might think that these were leftovers. Yet, this CD has one of the most stunning pieces that I think Glenn Gould has ever recorded.

The Concerto in d after A. Marcello, BWV 974 is not one of Bach's more popular and well-known keyboard works. Yet in the hands of Glenn Gould, it is played with a sincerity that is completely profound. Listening to the second movement of this "concerto" has to be one of the moving experiences that I ever had. It is undoubtedly one of the best in the Glenn Gould discography.

Also, after hearing the three Scarlatti sonatas, you'll wonder why he didn't record more of them. It's played with a childish glee that is a joy to listen to. The L. 413 sonata is piece that you'll listen to repeatedly.

Alas, the "infamous" version of the Chromatic Fantasy is in this CD as well. It's not a horrible interpretation like what most people tend to say, but you wonder what in the world Glenn Gould was doing with his left hand.

Tracks:

Allegro
Largo
Allegro
Allegro
Andante
Allegro Assai
Adagio
Allegro Non Molto (Quasi Andante)
Larghetto
Allegro
Adagio
Prelude For Lute In D Minor BWV 999
Jesu, Joy Of Man's Desiring

Customer Reviews:

Warmth.......2005-08-16

Kudo's to Ms. Isbin, her masterful playing brings warmth to the classical pieces thus removing the pretense and stiffness generally assoicated with classical music

Likely to Become Bach Favorite for Guitar.......2003-04-29

I've always enjoyed Parkening and others who do Bach on the guitar. Here, noted classic guitarist Isbin provides a beautifully crafted and performed set of baroque favs on guitar.

She plays with controlled passion and clarity, and to my ear her Bach is even more clean and phrased superior to Parkening's.

The selection is well chosen, with great addition to instrument's reportoire of Vivaldi's Concerto in A major.

I find her Albioni's Adagio very well done! The dynamics are well done as well as tempo in this spirited rendiiton.

Ms. Isbin certainly is one of the premiere performers of this instrument, and here is a well done collection from the baroque era, which many of us consider to be one of the best.

David Russell Plays Bach
Average customer rating:

Well done

Awe-inspiring, accurate to the nail

Well-done, and rare, Bach on the guitar

First rate Bach!

You've got the wrong end of the stick

David Russell Plays Bach
Bach , and Russell
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
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ASIN: B00007J4US
Release Date: 2003-01-28

Tracks:

Prelude
Fuegue
Allegro
Chorale Prelude, 'Wachet Auf, Ruft Uns Die Stimme' BWV 645
Allemande
Courante
Sarabande
Gigue
Chaconne
Preludio
Loure
Gavotte En Rondeau
Menuets I And II
Bourree
Gigue
Chorale Prelude 'Jesu, Joy Of Man's Desiring'

Amazon.com

David Russell is a great guitarist, and this CD handsomely showcases his affinity for Bach. Without leaning toward Romanticism, Russell gets to the emotional content of the pieces, lingering nicely, for example, on the warmth of the lengthy Chaconne from the Partita No. 2. It would be easy to get bored with the sound of a solo guitar after an hour, but Russell won't permit it--sometimes his tone glistens, sometimes it caresses, always it keeps our attention. The opening prelude to the Lute Suite is a fast, bright movement, and while some will prefer it in Bach's own reuse as the opening of his Cantata No. 29, complete with trumpets and drums, this delicately filigreed version allows us to hear every note. And the mellow chorale prelude, "Jesu, joy of man's desiring," which closes the CD, has rarely sounded more beautiful. --Robert Levine

Customer Reviews:

Well done.......2005-10-31

If you were to play this CD for someone who knows little about classical music, they would assuredly say, "Wow, this is really beautiful music." Taking several of his own transcriptions of Bach's music, Scottish guitarist David Russell puts together on this CD a most lovely, satisfying and varied program. His style is warm, ever-smooth, graceful, thoughtful and non-flashy - all of which matches well the temperament of this Baroque music (which obviously is very different than the style used in Spanish guitar music). Technically, he is hard to fault with his silky-smooth (and quiet) hand movements, liquid-like legato and precise articulations. Maybe others might bring slightly more drama to certain part of the music, but I find David Russell's playing most inviting and accessible. His playing is - like is said of the music of Bach - "a treasure to uplift the spirit and refresh the soul."

The selections range from the soft-spoken, spiritually-reassuring transcriptions of the choral preludes to the virtuostic pieces like the d minor chaconne (originally for solo violin) and the noble, courtly suites inspired by the dance music of France of that era. Russell's approach and tone here is quite appealing, never overly-dramatic and shows the his talents for transcribing. It is just as wonderful to play as - dare we say - gently stimulating and inspiring 'background music' as it is to listen to and study in depth. His guitar is recorded in a superb sound ambiance that is full, clear and not deficient in any way.

Mr. Russell effectively captures the sunny exhuberance and charm of the great lute suite #4 - a composition brimming with many appealing and memorable melodies in the French manner. In his transciption of the violin partita, he brings a soft, tender and meditative quality to the sarabande. In a similar way in the intricate masterpiece chaconne movement, he tames the often 'sharp edges' of the violin versions to reveal a more soft-spoken masterpiece. Of course having six fingers compared to one bow to carve out the inter-twining counterpoint voices makes this easier to sound "seamless" on guitar. He fittingly closes the program with the well-known and loved prelude, "Jesu, Joy of Man's Desiring" - which, according to the CD notes, is actually the title of the famous piano transcription given by Myra Hess. I always thought that was an odd or old-fashioned title. The original title of this choral prelude was, "Jesus remains my joy, my heart's comfort and balm." And David Russell plays this lovely piece with a wonderful warmth that - like the title suggests - is like a balm of comfort and assurance. All said, this is a most beautiful program containing several of the artist's own transcriptions that grows on you with frequently playing. 4.5 stars overall.

Awe-inspiring, accurate to the nail.......2005-08-14

David Russell is one of the greatest classical players of all time, mainly because of his phrasing. His technique is flawless. I saw him live in concert in San Fran, not one mistake. Amazing.

Chaconne on this album is amazing, such amazing control of volume...

Well-done, and rare, Bach on the guitar.......2005-01-14

Like some other reviewers who rate this recording at 5 stars, I too might prefer some other performances in the Chaconne from Partita No. 2. On the other hand, Russell's playing is so extraordinary, I decided to suspend my prior preferences and attempted to hear that one movement as if for the first time. What I heard was a joyous and brilliant expression of pure freedom and mastery.

Rather than try to build to an intense sound in the climax, as one often hears (certainly from Milstein's or Grumiaux's violin), Russell seems to accept the limitations of his instrument, steps back, and seems to say, "Well, then, how CAN I bring off this beast of a piece on six plucked strings?" The answer is that instead of trying to make his superb, but limited, guitar match the decibel intensity implied by the music, he understates the whole thing, freeing up his monstrous technique, which he then applies toward the subtlest shades of tempo and dynamics, while racing toward the climactic conclusion (which anticipates the actual anti-climactic conclusion of this piece) with utter abandon. The effect is that the "missing" intensity echoes in the very deep respect Russell has for the sheer volume of notes that the music conjures. He deftly and clearly picks out the tune over that subtley sonic verbiage in a way that leaves no doubt of its intent.

I found myself urging Russell forward, but while some who play such music in an understated way leave it hanging, Russell somehow cleans up the loose ends, ties the knot, and truely brings it off--just so.

First rate Bach!.......2004-12-27

I've rarely read so many conflicting reviews and reactions to a CD.

As a classical guitarist for many years (over 30), done graduate work in music, and listened to a lot of musicians (most non-guitarists), I can say that 1. everyone is entitled to his/her opinion and 2. I trust my experience and what I hear.

What I hear is a guitarist not only with a superb technique but phrasing that "breathes", that "dances." I've heard better Chaconnes on the guitar, violin and piano but, for me, David Russell overall is a very special guitarist. It is hard to find anyone, on any instrument, with his combination of technique and "feeling;" nobody can sustain that all the time.

The highlights, for me, of the CD are the transcribed Partita no. 2 and the Prelude, Fugue and Allegro. The transcriptions of the Bach Chorales - Jesu, Joy of Man's Desiring and Wachet Auf - are good.

Suffice it to say that this was my first time hearing David Russell. That he impressed me so much I went out and bought his Baroque album (excellent), his Barrios album (excellent), and his
Aire Latino album (am not sure what I think of it).

As a friend recently reminded me, with playing of this level, it is a matter of taste. For Bach on the guitar, I suggest Barrueco's recording of the Unaccompanied Sonatas; John Williams's CD of the Lute Suites; Sharon Isbin's CD of the Lute Suites; Segovia's Bach (in general); and Nathan Milstein and Henryk Szeryng's recordings of the Sonatas and Partitas for Unaccompanied Violin (which contain the Partita no. 2 on David's recording). For great Bach playing on the piano, try Rosalyn Tureck, Angela Hewitt and Martha Argerich. And trust your ears and instincts!

You've got the wrong end of the stick.......2004-02-20

I find it quite amazing to read about some of the critic's responses to this album. I find it just as relaxing as any other David Russell CD. I am especailly shocked by use of words such as "Sterile"!!! I mean some of you seem to have something against perfectionism! The thing is that David's technique is so clean that it brings out more attention than his heart, but that dosn't mean to say that he lacks any heart in his playing, the problem is that the only thing people like notice is his technique (cause no other guitarist has ever developed a technique like Russell)!!!

Take a look at any score for Classicall Guitar, and you will see that the notes on the pages is what should sound, not squeaks, buzzes, glissandos or nail clatter. Thats just simple respect Russel has for the composer's initial intentions.

Tracks:

Prelude and Fugue in B-flat Major (WTC I, No. 21)
Two-Part Inventions
C Major
D Minor
B-flat Major
F Major
Prelude in G Minor
Chorale: Christ lag in Todesbanden
Adagio
Fugue
Siciliano
Presto
Grave
Fuga
Andante
Allegro

Album Description

There are several aspects of this Bach recording that make it special, the most obvious of which of course, is the instrument on which it is being performed. While the marimba was probably ot known in Europe at the time that J.S. Bach was composing the works represented on this album, there are severl facets of the marimba's tone and Steven's manner of playing that make it an ideal "neo-baroque" instrument. In particular, the ring time of the bars and the clarity of articulation make it so.

Average customer rating:

Reverence Beyond Technical Virtuosity

Albert Schweitzer plays Bach, Vol.2

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

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ASIN: B000000WYM
Release Date: 1993-11-23

Tracks:

Prelude & Fugue In C Minor, BWV 546: Prelude
Prelude & Fugue In C Minor, BWV 546: Fugue
Prelude & Fugue In C, BWV 547: Prelude
Prelude & Fugue In C, BWV 547: Fugue
Prelude & Fugue In E Minor, BWV 548: Prelude
Prelude & Fugue In E Minor, BWV 548: Fugue
Christum Wir Sollen Loben Schon. BWV 611
Liebster Jesu, Wir Sind Hier. BWV 731
Mit Fried Und Freud' Ich Far' Dahin. BWV 616
Chistus Der Uns Selig Macht. BWV 620
Da Jesus An Dem Kreuze Stund. BWV 621
O Mensch, Bewein' Dein Sunde BWV 622
O Lamn Gottes Unschuuldig. BWV 618
Sei Gegrusst Jesu Gutig BWV 768
Jesus Christus, Unser Heiland. BWV 626
Christ Lag In Todesbanden. BWV 625
Erschienen Ist Der Herrliche Tag. BWV 629

Customer Reviews:

Reverence Beyond Technical Virtuosity.......2000-03-21

Scholar in theology and philosopy, organist and author of a still influential study on J.S.Bach and his music, Schweitzer approached a near-mystic perception of his subject's intended message. Especially in the "Liebster Jesu Wir Sind Hier" we hear a reverence beyond technical virtuosity; Schweitzer's tempo reflects meditation on words unspoken, yet musically understood. The flash and wizardry of other interpretations cheapen in proximity to this CD's brilliant simplicity. Here is Bach as Bach intended; here, too, we feel Schweitzer's living compassion and purpose. Buy this CD - it speaks.

Music Track:

Music Track

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1. Prelude
2. Allemande
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4. Sarabande
5. Bourrjes 1 & 2
6. Gigue
7. I. Prelude
8. Ii. Allemande
9. Iii. Courante
10. Iv. Sarabande
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13. Sonata In E Minor,
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