American Music for 2 Pianos

On this CD:

1. Danzón Cubano, for piano duet (orch. 1945)
Composed by Aaron Copland
Performed by Christian Ivaldi

2. Dance of the Adolescent, for 2 pianos (arr. from the ballet "Grogh") Danse de l'Adolescent (2 piano version)
Composed by Aaron Copland
Performed by Noel Lee

3. Variations on "I Got Rhythm" for piano and orchestra (or 2 Pianos)
Composed by George Gershwin
Performed by Christian Ivaldi

4. Souveniers, suite from the ballet
Composed by Samuel Barber
Performed by Christian Ivaldi

5. El Salón México, for orchestra Transcribed by Leonard Bernstein
Composed by Aaron Copland
Performed by Noel Lee

6. Mosaïques doubles for 2 pianos and percussion
Composed by Noel Lee
Performed by Christian Ivaldi

7. Second Rhapsody,("Rhapsody in Rivets") for piano & orchestra
Composed by George Gershwin
Performed by Noel Lee

American Music for 2 Pianos, Music, Christian Ivaldi & Noel Lee, Classical, Classical Music
Instruments of the Orchestra
Average customer rating: 4.5 out of 5 stars
  • Instruments of the Orchestra - Great Reference Material!
  • Beginner or Expert
  • Very Informative and Enjoyable
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  • 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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  1. Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
  2. The Life and Works of Ludwig van Beethoven
  3. What to Listen for in Music
  4. Study of Orchestration, Third Edition
  5. The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
More Of The Most Relaxing Classical Music In The Universe
Average customer rating: 4.5 out of 5 stars
  • Better than most
  • Wonderful Music
More Of The Most Relaxing Classical Music In The Universe
Ludwig van Beethoven , Eugene-Auguste Ysaye , Johann Sebastian Bach , Jean Sibelius , Sergey Prokofiev , Jules Massenet , Anonymous , Fryderyk Chopin , Giacomo Puccini , Robert Schumann , Pyotr Il'yich Tchaikovsky , Kazuo Yamada , Claude Debussy , Felix Mendelssohn , Carl Maria von Weber , Enrique Granados , Gustav Holst , and Various Artists
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. The Most Relaxing Classical Music in the Universe
  2. The Most Relaxing Classical Album In the World Ever, Volume II
  3. Most Relaxing Classical Piano Music in the Universe
  4. The Most Relaxing Classical Album in the World...Ever!
  5. Most Romantic Classical Music in the Universe

ASIN: B0000AINLR
Release Date: 2003-08-12

Tracks:

  1. RACHMANINOFF Piano Concerto #2, Adagio
  2. VERDI Preludio
  3. PAGANINI "Introduzione e tema con variazioni"
  4. BRAHMS Sonata for two pianos, Andante
  5. MOZART Adagio in E Major
  6. BEETHOVEN "Pathetique" Sonata, Adagio
  7. YSAYE Sonate #2, "Malinconia"
  8. BACH Prelude #22, Well-Tempered Clavier, Book I
  9. VERDI "Quando le sere al placido" (When the Evening Becomes Peaceful)
  10. BACH Orchestral Suite #2
  11. SIBELIUS The Swan of Tuonela
  12. PROKOFIEV Romeo and Juliet
  13. MASSENET Meditation from "Tha
  14. RACHMANINOFF Prelude

Tracks:

  1. TRADITIONAL Catalonian Folk Song
  2. CHOPIN Piano Concerto #1, Larghetto
  3. PUCCINI "Crisantemi" (Chrysanthemums)
  4. SCHUMANN "Traumerei" (Dreaming)
  5. TCHAIKOVSKY Swan Lake (excerpt)
  6. K. YAMADA ''Chugoku-Chiho No Komoriuta" Lullaby
  7. DEBUSSY "En Bateau" (By Boat)
  8. BEETHOVEN Symphony #6 "Pastoral", Andante
  9. MENDELSSOHN Songs Without Words
  10. WEBER Introduction, theme and variations
  11. GRANADOS "Goyescas" (Sketches on the works of Goya)
  12. TCHAIKOVSKY Nocturne in F
  13. HOLST The Planets, "Neptune"

Customer Reviews:

4 out of 5 stars Better than most.......2007-02-08

This is a good mixture of elevator music, and some soft relaxing melodies.

5 out of 5 stars Wonderful Music.......2007-01-18

Wonderful music for your listening pleasure. Very relaxing and soothing. Nothing beats classical music.
A Gottschalk Festival
Average customer rating: 3.5 out of 5 stars
  • Gotschalk Festival
  • Very good performances of Gottschalk's works
  • An essential American composer
  • My two cents
  • There are better performances
A Gottschalk Festival

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

All Works by GottschalkAll Works by Gottschalk | Gottschalk, Louis Moreau | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
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CDs $7 - $10CDs $7 - $10 | Fantasies | Classical | Today's Deals in Music | Formats | Music
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CDs $7 - $10CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music
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Similar Items:
  1. Gottschalk: A Night in the Tropics
  2. Louis Moreau Gottschalk: Piano Music
  3. Gottschalk: Piano Music for 2 and 4 hands
  4. Gottschalk: Works for piano solo, four hands & with orchestra
  5. Gottschalk: Piano Music

ASIN: B000001K21
Release Date: 1992-11-04

Tracks:

  1. Grande Tarantelle For Piano & Orchestra
  2. Symphony No. 2 'A Montevido'
  3. 'The Union' Concert Paraphrase On National Airs
  4. Marche Solennelle
  5. Radieuse, Grande Valse De Concert
  6. Ses Yeux, Polka De Concert
  7. La Gallina, Danse Cubaine
  8. Ojos Criollos, Danse Cubaine
  9. Pasqinade, Caprice

Tracks:

  1. Grande Fantaisie Triomphale Sur L'Hymne National Bresilien, Op. 69
  2. Marcha Triunfal Y Final De Opera, For Orchestra & Band (RO 157)
  3. Symphony No. I 'La Nuit Des Tropiques' (RO 157)
  4. Variations On The Portuguese National Hymn For Piano & Orchestra (RO 289)
  5. Track 5
  6. Escenas Campestres (Cuban Country Scenes) Opera (RO 77)

Amazon.com

Despite the value revisionists pretend to find in MacDowell and his contemporaries, the only really interesting 19th century American composer is the Creole Louis Moreau Gottschalk, who conquered Europe and South America with his colorful music and extravaganza piano performances. These recordings aren't new, and they don't include any of his solo piano music. But they do include some of Gottschalk's most characteristic music, in performances and recordings that are at least fairly good. It's a lot of fun for the money, and the accompanying booklet does a very good job of telling you what is interesting about Gottschalk's life and music. --Leslie Gerber

Customer Reviews:

5 out of 5 stars Gotschalk Festival.......2007-02-19

This CD had a piece that I was looking for everywhere that my father, a classical music connoisseur had been wanting for some time. When he received this CD as a gift, he was very pleased with the selection.

5 out of 5 stars Very good performances of Gottschalk's works.......2005-04-13

The United States has produced very few great composers of anything that might be called classical music. Who was the best of them? While there have been many American composers, including MacDowell, Joplin, Rodgers, Copland, Gershwin, Sousa, Anderson, and Bernstein, well, how many were truly great?

My choice for the best of them is Gottschalk. And these discs give one a good idea of what he composed. A couple of "symphonies," some piano duets, some marches, a one-act opera. Yes, there are bombastic patriotic marches. And some precursors to ragtime. And plenty of what sounds like modern program music. Maybe my favorite of the orchestral works is "La Nuit des Tropiques." Now, is this performance as good as the ones by the Utah Symphony with Abravanel? Some folks think Abravanel's best one is better, but you may not be able to find it so easily. And I prefer this one.

Gottschalk's many solo piano compositions may be his best works, and they aren't included. But I still like these discs and performances.

3 out of 5 stars An essential American composer.......2002-05-24

When I bought my first component stereo system some 30 years ago, Gottschalk was one record I took along to test the sound. Gottschalk remains as enjoyable now, but this cd would never be my test case of a stereo. The performance and recording are adequate but they lack the vitality one can find in other recordings. However, except for the lack of solo piano pieces, the album has a nice selection of Gottschalk's work and it's inexpensive. The last track on disc 1, Pasquinade, Caprice is probably his best known piece - a good introduction to his work.

Gottschalk's music is decidedly American - he grew up in New Orleans at the height of Creole culture. His father was of Spanish Jewish descent, his mother was French. However, Gottschalk began training in France at the age of 13. Thus he was very familiar with the European music of his era (1829-1869); in many ways, his music serves as a bridge between the European and American piano traditions - Scott Joplin being an example of the trajectory of American piano music. Depending upon your taste you may consider his music as classical, as salon orchestra music, as early decidedly American multi-cultural music or as just plain enjoyable fun.

3 out of 5 stars My two cents.......2001-04-02

This is not a terrible album, but I do find it wanting. My greatest complaint is with the quality of the recordings and the CD's themselves (scratched too easily). My copy also has some misprints on the cover (the pieces are not listed in the correct order- if you didn't know any better you might think that you were listening to an arrangement of the Pourtuguese national anthem instead of "A Night in the Tropics"!). However, it is inexpensive (it is a 2 CD set) and worth it to those who are giving Gottschalk a first try. It also has an interesting and informative booklet on Gottschalk and the pieces featured (unfortunately I am not enough of an expert to verify their acuracy).

2 out of 5 stars There are better performances.......1999-06-06

This album will disappoint Gottschalk fans. A better version of Night in the Tropics is the Maurice Abravanel & Utah Symphony. Only buy this one if you've already heard the Abravanel and want to know what it sounds like mangled by Europeans.
Nadja Salerno-Sonnenberg - It Ain't Necessarily So
Average customer rating: 4.5 out of 5 stars
  • SHE PLAYS OUT OF TUNE!
  • Perfection
  • Soul Quenching Expression
  • Fire and Passion!
  • Salerno-Sonnenberg: Adroit and Emotional
Nadja Salerno-Sonnenberg - It Ain't Necessarily So
Claude Debussy , George Gershwin , Camille Saint-Saëns , William Kroll , Niccolo Paganini , Franz Schubert , Scott Joplin , Fritz Kreisler , Manuel de Falla , Sergey Prokofiev , Sergey Rachmaninov , Nadja Salerno-Sonnenberg , and Sandra Rivers
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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  4. Speaking in Strings
  5. Brahms: Violin Concerto in D/Bruch: Concerto #1 in G Minor; Nadja Salerno-Sonnenberg

ASIN: B000002RSY
Release Date: 1992-10-20

Tracks:

  1. Praeludium And Allegro
  2. Porgy And Bess: It Ain't Necessarily So
  3. Clair de lune
  4. Banjo And Fiddle
  5. Liebesieid
  6. Liebesfreud
  7. Prelude
  8. Cantabile
  9. The Bee
  10. The Easy Winners
  11. Carnival Of The Animals: The Swan
  12. Rondo
  13. La Gitana
  14. Suite populaire espagnole: Asturiana
  15. Suite populaire espagnole: Jota
  16. The Love For Three Oranges: March
  17. Tempo di Minuetto
  18. Vocalise Op.34 No.14

Customer Reviews:

1 out of 5 stars SHE PLAYS OUT OF TUNE!.......2005-08-16

Yes, she does: her sound is horribly thin, and she can't play the highest notes strong enough, so that they wither away and disappear into silence. Even the darkest, lowest notes come out weakly, so one can't argue that she has trouble just with the upper registers: her whole playing is terribly bad. She does have
a good vibrato, but I fear that if her sound were not thin, the vibrato would make even the darkest melody sound pathetic.

Hahn is all right (not excellent, nor good, just right for
some provincial recital hall) as long as she keeps to the lower pitch range (perhaps she should be playing the bass fiddle!), Shaham does everything only passably, and Chang has some passion and feeling but no strength to express it, but Salerno-Sonnenberg is bad across the board. There maybe a passably competent technique in her playing (that is, she can get the melody across), but she plays out of tune - the sound is disgusting!

I know how crazy this piece of writing must sound among so many raves, but there's no other way to explain the horribly weak, thin sound of the violin in this recording. Perlman, who suffered all his life from weak health, even in such difficult pieces as Beethoven's Kreutzer sonata was able to produce a full-bodied sound - and this, when he was well past his sixties.

But then again, Salerno-Sonnenberg is not alone in showing such a lack of... no, this is not about inborn talent. I doubt some child can pick up a violin and play in tune without first listening to a competent elder's playing. After the most basic education in music performance, it is just a question of getting a good recording of a piece, and practicing till one gets a relatively equal sound.

I harbored great hopes for Salerno-Sonnenberg when I read about her troubled life, the attacks she had to face from critics, her attempted suicide. I was letting myself be deceived by that old Romantic cliché, that pain makes for good art. But this is not about discovering or rediscovering unknown masterpieces, but about interpreting establish ones, and a Paganini doesn't have the "extended techniques" present in many postmodern pieces where noise passes for music, so in this case a standard called in-tune playing exists, and she doesn't perform up to it. But this judgement depends on my senses. If you don't believe me, you can find out whether I am right, or whether I am just another flea-like critic from the incestuous music business, by comparing Salerno-Sonnenberg's playing to that of any famous solo violinist whose career started in the 60's or 50's - when gesticulating wasn't equated with playing.

5 out of 5 stars Perfection.......2004-11-02

Salerno-Sonnenberg's passionate, elegant, heartbreaking interpretations of these wonderful selections is perfectly paired with Sandra Rivers at the piano. I shall never forget their performance of "Claire de lune," the Kreisler pieces, or the exquisite Rachmaninov "Vocalise." In her hands, the violin becomes voice and reeds and brass -- transcending itself and taking the audience right along.

5 out of 5 stars Soul Quenching Expression.......2003-10-12

Making great music lies in the ability to express things words can't, to touch the soul, capture the moment and move the heart.

It takes a great artist to perform great music!

Nadja Salerno-Sonnenberg is such an artist and this release is one of her many gifts to the music loving world!

5 out of 5 stars Fire and Passion!.......2000-11-14

Check out Track #5 - Liebesieid - for a small sampling of the tremendous emotional pull of Nadja's playing. I have several CDs of Itzhak Perman, and Anne-Sophie Mutter, but no violinist matches Nadja's gift of making each piece her own - you know that she truely feels the music - it flows through her - and it isn't just a dry technical playing of the piece.

5 out of 5 stars Salerno-Sonnenberg: Adroit and Emotional.......1999-07-05

What separates Salerno-Sonnenberg from other violinists is the pure emotion conveyed in her music. The power, sorrow or joy she expresses at any given moment is almost palpable. In fact, I remember listening to the first track on It Ain't Necessarily So and literally getting goosbumps. It's a stunning Kreisler piece that steadily builds in strength and tempo. Sonnenberg capitalizes on these elements, offering an unforgettable delivery. Many of the tracks on the album emit such raw energy -- It Ain't Necessarily so is not an album that will put one to sleep. Beyond strength, what makes this album worthwhile is the diverse selection of music. Of course Salerno-Sonnenberg interprets Kreisler, but she also plays Gershwin, Kroll, Schubert and even the jazz of Scott Joplin. The one complaint I have about this album is the sonics. For such a great musician, I think EMI could have recorded a little bit more dynamically. But don't let this keep you from owning the album. It's a truly great one.
Rhapsody in Blue / An American in Paris
Average customer rating: 4.5 out of 5 stars
  • The best SACD transfer, period!
  • Special, If Not Spectacular
Rhapsody in Blue / An American in Paris

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002XNLTW
Release Date: 2005-01-25

Customer Reviews:

5 out of 5 stars The best SACD transfer, period!.......2007-07-04

It is unbelievable to listen to these almost 50 years old RCA recordings.

The sound stage and transparency, spatial information and autholative bass equal to today's best audiophile recordings.
You can "SEE" the interior of Boston symphony hall and feel the walls vibrating in awesome tutti!

Wonderful performance and incredible recording technique.
Must Have!

4 out of 5 stars Special, If Not Spectacular.......2005-01-27

The reason I could not give this SACD a 5-star rating is that in some of the loudest passages the music becomes congested and compressed. And, I don't remember that occurring in my previous experiences with this special recording of the Boston Pops led by Arthur Fiedler. It is truly amazing, however, that such an historic recording can sound so uncannily present.

The stereo SACD layer of this disc does what SACD is supposed to do: the instruments are much better placed within the three dimensional sound stage, timbre is more accurately rendered, the instruments are, also, resolved more finely, more of the ambience of the venue is captured and the air around each of the instruments more realistically clarifies their positions, bass is much more controlled and real, which adds up to more realism and more musical drama. Some moments on this SACD are truly transcendent (I could tell you where, but I'll leave the wonderful surprises to you), while the rest is damned good.

I guess I hoped for more, though.

Why?

When this RCA Living Stereo recording of Rhapsody in Blue was last released on CD in 1997, the remastering used 20 bit technology, a customized Studer transport, Cello electronics and UV22 Super CD encoding (per the CD cover). This remastering had done a phenomenal job in getting as much musical information onto the CD as possible. Consequently, this raised the bar that the present SACD had to outstrip, which it does. However, it does not do so as handily as other Living Stereo SACDs whose prior CD release did not have such wonderful remastering.

Another problem I noticed with this SACD and some other RCA Living Stereo SACDs that have been released recently is that there is something missing at the very top end. I thought though that maybe I was just now hearing these recordings as they sounded from the master tapes, as all the hype has stated. However, Harry Pearson has the same problem. As he expressed recently, "The top octaves sound rolled off, and harmonically depleted."

Is this better than the most recent CD iteration? In most respects, yes, except for the caveats just stated.

If you treasure the RCA Living Stereo series as I do, the improvements that this SACD brings to the table are well worth the price of admission.
American Piano Classics
Average customer rating: 4.5 out of 5 stars
  • Anderson Piano Concerto Tuneful and Upbeat
  • Superb Anderson
  • So Lovely, So Listenable, So Anderson
  • Full-Length Anderson
American Piano Classics

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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  4. The Leroy Anderson Collection
  5. Goldilocks (1958 Original Broadway Cast)

ASIN: B000003CTL
Release Date: 1993-01-26

Tracks:

  1. I. Allegro Moderato
  2. II. Andante
  3. III. Allegro Vivo
  4. Second Rhapsody for Piano and Orchestra
  5. Grand Tarantelle
  6. 12th Street Rag
  7. The Entertainer
  8. Solace
  9. Maple Leaf Rag
  10. I. With Drive and Vigor
  11. II. Gavotte: Gaily, Moderate Bounce Tempo
  12. III. Blues: Slow and Relaxed
  13. IV. Very Fast, With Verve and Gusto

Customer Reviews:

3 out of 5 stars Anderson Piano Concerto Tuneful and Upbeat.......2003-04-07

I enjoyed the Anderson Piano Concerto. It is tuneful and upbeat. It has its moments of technical prowess, but I thought the pianist hit a lot of wrong notes which upon repeat listening, causes annoyance.
I would like to hear another recording with a better pianist, or at least one that is edited. It is too good a concerto to get this rendering.

5 out of 5 stars Superb Anderson.......2003-03-08

I also bought this album for the Anderson Concerto, and was delighted with both it and the other selections on this disc.

Superb!!!

5 out of 5 stars So Lovely, So Listenable, So Anderson.......2003-01-20

I bought this CD for the Leroy Anderson Concerto, and I was not disappointed. In the several months since, I have enjoyed it many times over. Though Leroy Anderson was known mostly for his sprightly and imaginative little pieces such as Syncopated Clock and The Typewriter, he was certainly capable of writing a beautiful theme or two, and of good musical composition and great orchestration, and it all shows in this piece. What a talented man, and what a great addition this concerto is to American music. The rest of the CD is also very listenable. Altogether, it's a worthy purchase.

5 out of 5 stars Full-Length Anderson.......2001-04-10

The featured selection on this CD is the premier recording of Leroy Anderson's piano concerto. It is the reason to acquire the CD, as the other selections are fairly familiar and are available on numerous recordings.

To the extent that he is well-known at all, Anderon's fame is based upon a series of pleasant, little, novelty pieces, composed primarily for the Boton Pops. The piano concerto shows that he was also capable of creating longer, sustained works. It is an interesting and very accessable work with a distinctly American flavor.
Copland: Our Town; The Red Pony Suite; El Salón México; Danzón Cubano; Three Latin American Sketches
Average customer rating: 4 out of 5 stars
  • Copland conducts Copland
  • Profound
  • review and comparison with Slatkin's CD
  • Great music, bad orchestras
  • Red Pony Review
Copland: Our Town; The Red Pony Suite; El Salón México; Danzón Cubano; Three Latin American Sketches

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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  5. The Copland Collection: Orchestral & Ballet Works, 1936-1948

ASIN: B0000026GF
Release Date: 1990-10-25

Tracks:

  1. Our Town
  2. The Red Pony Suite - Morning On The Ranch: I. Morning On The Ranch
  3. The Red Pony Suite - Morning On The Ranch: II. The Gift
  4. The Red Pony Suite - Morning On The Ranch: III. Dream March And Circus March
  5. The Red Pony Suite - Morning On The Ranch: IV. Walk To The Bunkhouse
  6. The Red Pony Suite - Morning On The Ranch: V. Grandfather's Story
  7. The Red Pony Suite - Morning On The Ranch: VI. Happy Ending
  8. El Salon Mexico
  9. Danzon Cubano
  10. Three Latin-American Sketches -: Estribillo
  11. Three Latin-American Sketches: Paisaje Mexicano
  12. Three Latin-American Sketches: Danza de jalisco

Customer Reviews:

4 out of 5 stars Copland conducts Copland.......2003-11-27

Aaron Copland was, admittedly, NOT a great conductor. Nevertheless, musicians enjoyed working with him, possibly because he was so exuberant and enthusiastic. One friend said Copland might tell musicians to "hit a home run." He certainly wanted the musicians to have fun and it's clear that usually happened. Along the way, Copland did manage to give his interpretations of his own music, setting a standard of how it should be played.

It's very apparent in Copland's numerous recordings for Columbia (now available on Sony) that the composer left an important legacy. Among the more original American composers, Copland was distinctly American. He enjoyed a fine musical education from Nadia Boulanger in Paris that gave his compositions some added depth. Initially, Copland followed George Gershwin's example and made considerable use of jazz and blues in his works. Copland himself said he felt he soon exhausted the possibilities of popular music and then turned to American folk music.

A trip to Mexico, where he met and befriended Carlos Chavez, resulted in Copland's first great musical triumph, "El Salon Mexico." It became the only Copland work to ever be conducted by Arturo Toscanini with the NBC Symphony Orchestra. On this CD one has a chance to hear the composer himself conducting this 1936 triumph.

This writer has long enjoyed Copland's wonderful music for the 1948 Technicolor western "The Red Pony," an adaptation of the John Steinbeck story by Lewis Milestone that starred Myrna Loy and a young Robert Mitchum. The music is such an important ingredient in this classic film. Fortunately, Copland extracted a concert suite from the film score and it is included in this CD.

Copland wrote other film scores, too, and we get to hear some of the music he wrote for the 1940 film adaptation of Thornton Wilder's very American play, "Our Town."

The CD includes some additional Latin-influenced works, "Danzon Cubano," which rivals Gershwin's "A Cuban Overture," and "Three Latin American Sketches." These are very colorful, exciting works.

Perhaps, as some have said, the London Symphony Orchestra and the New Philharmonic Orchestra were not up to par in these recordings. Some of that may have been Copland's fault. Still, these are competent performances and they convey what the composer wanted.

5 out of 5 stars Profound.......2003-10-31

Forget what the guy above says about the London Symphony Orchestra's recording of "Our Town." Hands down, the most beautiful piece of music I have ever heard. Moving, surreal, profound. Truly a once in a lifetime experience.

4 out of 5 stars review and comparison with Slatkin's CD.......2003-05-10

It does seem (and I have heard from professional conductors) that performance standards of orchestras in the 1960s and 70s were not what they are today, but I would not necessarily hold that fact against this CD. While Leonard SlatkinÕs more recent recording with the Saint Louis Symphony Orchestra (on the RCA label) is much more pristine, and the musicians sound much more in tune, I find something in CoplandÕs own interpretation of his music that is missing from SlatkinÕs (still very capable) rendition.

Comparing the two versions of ÒOur TownÓ, for example, the difference in character is striking. With Copland the tempo is much slower, the intensity is proportionally much greater, and Copland, with a composerÕs sense of intimacy with his score and the music intended behind it, derives more musicality out of each phrase and note than I hear in SlatkinÕs faster-paced performance. The same can be said for the rest of CoplandÕs CD--what the older recording might lack in technical musicianship, it makes up for in greater interpretive depth. While it is aggravating sometimes to hear instruments out of tune (and I am only assuming that what sounds out of tune to me today was equivalently considered out of tune back then), the tradeoff may be worth it for some.

2 out of 5 stars Great music, bad orchestras.......2000-06-13

While this is some of Copland's best (and most under-recognized) work, the orchestras represented on the CD are, as a whole, awful. Even the London Symphony orchestra had an off day on "Our Town," and the New Philharmonia Orchestra does a good job of butchering the rest of the CD, particularly "Danzon Cubano." The recording of "Danzon" is quite possibly the worst I've ever heard any symphony orchestra play. While it may be worth the money as a bargain CD, do NOT pay full price for this.

4 out of 5 stars Red Pony Review.......2000-01-05

I am currently studying my A-Levels, including a music tehcnology course. One homework was to compose a piece. I played this piece two years ago, and remembered the incredibly difficult timing, and then the satisfaction of getting it right at the start of the Walk to the Bunkhouse. Since I first heard it I kept noticing new sounds, and parts to it. I love it, and keep listening to it again and again, hearing new life in it. Buy this Now!
American Light Music Classics
Average customer rating: 5 out of 5 stars
  • EXQUISITE ! DELIGHTFUL !
  • Good for all collections
  • A Disc that is a good time all by itself!
  • An excellent compilation of light American classics
American Light Music Classics

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000AE0F
Release Date: 1998-08-11

Tracks:

  1. The Washington Post
  2. Whistling Rufus
  3. Pavanne
  4. Nola: A Silhouette
  5. The Whistler and His Dog
  6. Belle of the Ball
  7. The Arkansas Traveller
  8. The Teddy Bears' Picnic
  9. To A Wild Rose
  10. Blaze Away!
  11. Chanson 'In Love'
  12. The Toy Trumpet
  13. Promenade
  14. Plink, Plank, Plunk!
  15. The March of the Toys
  16. Holiday for Strings
  17. Narcissus
  18. Symphony No. 5 1-2 'A Symphony For Fun': Perpetual Emotion
  19. Symphony No. 5 1-2 'A Symphony For Fun': Spiritual?
  20. Symphony No. 5 1-2 'A Symphony For Fun': Scherzofrenia
  21. Symphony No. 5 1-2 'A Symphony For Fun': Conclusion!
  22. Carousel Waltz

Customer Reviews:

5 out of 5 stars EXQUISITE ! DELIGHTFUL !.......2006-01-22

What a wonderful collection of excellently performed and acoustically marvelous music -- rousing, contemplative, romantic, cheery - some of which were the long-remembered and not-often-heard-now favorite songs of my childhood and youth.

Make sure you read the enclosure that is tucked away into the front cover of this CD -- written in 3 languages, it proides little-known informatin about some of these wonderful tunes and their composers, and the illustrations throught the booklet are also a very nice touch.

Listening to this CD can be an intoxicating experience - what delightful selections all on one CD! From Gershwin to Gould, from Anderson to Sousa and more - a lovely Broadway tune (from Carousel), and the old familiar Arkansas Traveler as well, (and even a little barking and whistling on "The Whistler and His Dog"!) this eclectic collection of pieces was artfully and unforgettably performed, much to my great enjoyment. Although this was the first time I ever heard the New London Orchestra perform, you can be sure that now I will look for other recordings of theirs. I also plan to buy another copy so I can play it in my cubicle (quietly when at work, but LOUDER when I am by myself -- hee hee!!).

What more can I say? I love this CD with its remarkable collection of songs!!!

5 out of 5 stars Good for all collections.......2000-12-09

Well, here is an English orchestra recording pieces that some American orchestra should have done long ago. This is music to have fun with and much to my delight was a piece that I have only heard on a 10 inch LP. That is Sym 5 1/2 by Don Gillis. This is one of the best light pieces written in the 20th Century by an American, but sadly little performed. Buy it just for the Gillis piece and consider all the others as frosting on the cake. Take a break from Wagner and Glass and get this one and the three CD's of British Light Music. Just enjoy. Aloha..

5 out of 5 stars A Disc that is a good time all by itself!.......1999-05-17

This recording is the kind that some American "Pops" Orchestras should be making. Most of these light classics are ones that the Boston Pops have recorded before, but I don't think have been done as well as Mr. Corp and the New London Orch., have done them. This disc is a real treat and I hope just the first of many. We as Americans need to rediscover our musical works.

4 out of 5 stars An excellent compilation of light American classics.......1998-12-09

British composers are well known for writing for the "Proms" concerts that feature light symphonic fare. There is much less American music in the same vein as Eric Coates, Edward German and Ronald Quilter, but conductor Ronald Corp has unearthed some real treasures on this disc of mostly short, light pieces. Amazon's listing doesn't include two of the best selections on the disc, Richard Rogers' Carousel Waltz and Don Gillis entertaining Symphony 5 1/2, subtitled "Symphony for Fun." It's a real crowd pleaser, and the fine sound on the recording is a good match for the entertaining repertoire.
Gershwin: Works for Piano & Orchestra
Average customer rating: 4.5 out of 5 stars
  • The best performances at the cheapest price!
  • Great performances, excellent engineering
  • Insipid uninspiring performances; miserable engineering
  • Terrific playing at a bargain price
  • Siegel is amazing
Gershwin: Works for Piano & Orchestra

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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  5. Liszt: Works for Piano and Orchestra

ASIN: B000001K1Z
Release Date: 1992-11-04

Tracks:

  1. Allegro
  2. Andante Con Moto
  3. Allegro Agitato
  4. Lullaby For String Orchestra
  5. Cuban Overture
  6. Second Rhapsody
  7. Promenade

Tracks:

  1. Rhapsody In Blue
  2. 'I Got Rhythm' Variations
  3. Introduction - Act 1, Scene 1
  4. Porgy Sings
  5. Fugue
  6. Hurricane - Act II, Scene 3
  7. Good Mornin', Brother - Act III, Scene 3
  8. An American In Paris

Customer Reviews:

5 out of 5 stars The best performances at the cheapest price!.......2001-08-16

I own many recordings of Gershwin but this inexpensive colection is my favorite! The performances are moving, the recording is excellent, and the whole package cannot be beat for value. Simply a great value!!!

5 out of 5 stars Great performances, excellent engineering.......2001-03-22

I'm confused by the previous reviewer's comments.

The engineering is fine analog, but it isn't "in your face" kind of engineering (a la some older Sony recordings; Bernstein's are some of the worst offenders, although recent remasterings have tamed them somewhat), it isn't brightly lit (ditto a lot of von Karajan's DG recordings), but it's pretty natural. Nothing is spotlit, and sounds the way one would hear it in the concert hall. I would hazard that sound systems have a way of filtering the music. I've found that some of my terribly-engineered, really ancient monophonic recordings sound much better on lesser equipment, while my best engineered recordings sound mediocre on lesser equipment, but wonderful on the high end stuff. And the speakers, and, well, this isn't about equipment. Just second guessing how the impression can be made that the enginnering is poor on this disc.

Powell Symphony Hall, while not the sonic masterpiece that is, for example, New England Conservatory's Jordan Hall (one of the best I've ever been in), is still a wonderful acoustic space, both for listener and player (it's one of those halls where I was able to hear myself play as well as I was the whole orchestra, and you can almost feel your sound being projected into the auditorium). The hall, btw, is gorgeous, graceful, and characterful; much so than the design of Symphony Hall in Chicago (brilliantly finished, btw), or the cavernous feel of the hall in Boston. While some of Slatkin's RCA recordings in Powell recess the sound too much, such is not the case here.

The performances are electrifying, with the exception of the Concerto in F. Even that piece, an awkward attempt on Gershwin's part, has many rewarding aspects, and the performance reveals many of them. Seigel isn't a "polished" pianist--I'd never be interested hearing him play Mozart based on these performances--but here his style (or the style he has captured) is just right.

These are classics in the Gramophone. Not that the critical consensus (well, as consensual as it ever gets) is always correct, but I agree with them.

1 out of 5 stars Insipid uninspiring performances; miserable engineering.......2000-12-07

If only 0 stars were an option!

I found these interpretations of Gershwin lacking; both in the orchestra and piano. None of the performances reached out and pulled me in, they left me wondering what anyone could possibly hear in Gershwin. Thankfully I own several recordings which do not leave me feeling that way! Specificaly in the Rapsody in Blue: Mr. Siegel does not demonstrate a command of the piece; more than once I wondered if he was practicing the piece instead of performing it, as his approach was tenative at best. Mr. Slatkin and the St. Louis Symphony rendered the piece with a lush/loose orchestral feel that just does not feel right.

The sound engineering is wanting in all of these performances; the balance between orchestra and piano is poorly maintained throughout. I found the piano lost in sections where a balance between forces is called for. Exchanges between piano and various instruments routinely found one or the other anoyingly out of balance. Nothing in the notes describes the recording process, but from the instances of voice dropout I would hazard to guess that two micropones were placed in the worst seats available in Powell Symphony Hall with the subsequent recordings transfered directly to disc with no review or attempt at editing. What an engineering travesty!

Overall I was glad when the CD's were done. I pulled out other recordings and played numerous tracks back to back to see if I had missed something. I had not! All around the performances are insipid and uninspiring, and I can usually find something redeeming in just about everything to which I give a listen.

If you want an inspired performance of Rhapsody in Blue that will reach out and grab you from the opening wail of the clarinet to the closing orchestral chord, get the recording made by Michael Tilson Thomas and the LA Philharmonic. Unfortunately, he did not record all the orchestral pieces you find in this recording.

5 out of 5 stars Terrific playing at a bargain price.......2000-05-29

This is a terrific collection of Gershwin's orchestral music, including all of his works for piano and orchestra, all at a bargain price. Jeffrey Siegel's piano playing is great, as is Leonard Slatkin and the St. Louis Symphony Orchestra. For the bargain hunter in search of Gershwin, this is the set to buy.

5 out of 5 stars Siegel is amazing.......2000-04-17

I have been privileged to listen to Jeffrey Siegel's Keyboard Conversations in Fairfax, VA for many years. I heard him play some Gershwin during one performance, and I had to buy this CD. If you like Gershwin, if you like great piano, if you like music, this is a CD that belongs in your collection
George Gershwin: Rhapsody in Blue / Concerto in F / An American in Paris / Variations on "I Got Rhythm" - Earl Wild / Boston Pops Orchestra / Arthur Fiedler
Average customer rating: 4.5 out of 5 stars
  • Earl Wild: an universal patrimony!
  • Good performance and bargain
  • First rate performance
George Gershwin: Rhapsody in Blue / Concerto in F / An American in Paris / Variations on "I Got Rhythm" - Earl Wild / Boston Pops Orchestra / Arthur Fiedler

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003G9J
Release Date: 1997-06-17

Tracks:

  1. Rhapsody In Blue
  2. Concerto In F: Allegro
  3. Concerto In F: Adagio; Andante con moto
  4. Concerto In F: Allegro agitato
  5. An American in Paris
  6. I Got Rhythm: Variations On 'I Got Rhythm'

Customer Reviews:

5 out of 5 stars Earl Wild: an universal patrimony! .......2005-11-01

The legendary North American pianist, Earl Wild recorded what many people consider to be one of his most successful recordings ever made. The formidable accompaniment of the charismatic Arthur Fielder made possible to record one of the most acclaimed performances. Tough my first and second choice go to Oscar Levant and Eugene List, my third election is that undeniably. It possess grace, expression, charm and voluptuousness. Besides, the master process was top of the line. If you are searching for the perfect balance between piano and Orchestra, maybe this is his right choice.

A cult recording that improves through the years.

4 out of 5 stars Good performance and bargain.......2000-03-26

Surprisingly rare to find these three pieces (Rhapsody, American in Paris, and the Concerto) on one disc, with such solid, virtuosic performances. The 'variations' is a very pleasant bit of filler as well. Money well spent and not just a 'bargain.' I do have to say, however, that Earl Wild's performance, while outstanding, doesn't provide most subtle interpretation of this music, and at times he takes some rather cringing liberties with the score.

5 out of 5 stars First rate performance.......2000-02-17

I cannot rate all of the material on this disk, as I have the LP which only contains Rhapsody in Blue and An American in Paris. Nonetheless, this is the type of music that Arthur Fieldler excelled at, and Earl Wild is simply fabulous.

One danger with Gershwin is that his mixing of classical and jazz has flummoxed more than a few otherwise excellent conductors and pianists who seem to miss the jazz feel that the piece requires. Neither Fiedler nor Wild had this problem. The result is an exciting recording, and, consequently, my favorite one of these pieces.

Music Track:

  1. Andreas Romberg: String Quartets, Vol. 2
  2. Arie Senza Voce: Soprano
  3. Beethoven Collection (Box Set) [Box set]
  4. Beethoven: "Emperor" Concerto / Piano Sonata No. 8 "Pathétique" / Für Elise
  5. Beethoven: Klavierkonzert No. 2; Sonate Op. 14/1; 6 Bagatellen Op. 126
  6. Beethoven: Sonatas for Cello and Piano Opus 69; Opus 102, Nos. 1 and 2; Brahms: Rhapsody No.2, Op. 79, etc.
  7. Beethoven: String Quartet No. 13, Op. 130 / Grosse Fugue, Op. 133
  8. Beethoven: String Quartets Nos. 14 & 16
  9. Berg: Lyric Suite for string quartet No1-6; Webern: String quartet Op28
  10. Brahms: Piano Concerto No. 2 / Four Piano Pieces, Op. 119

Music Track

music track

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