J.A.C.

J.A.C.

ASIN: B0007Q6S3U

Editorial Reviews
Amazon.com
Tosca are in full hypnosis mode for J.A.C., as the Viennese duo of Richard Dorfmeister and Rupert Huber again show off their mastery of jazzy ambience. Dorfmeister and Huber have been busy since 2003's Dehli9, having had three kids between them (the album title is an acronym of their offspring's names) in the interim. Perhaps seeking a respite from the hectic onset of fatherhood, they've infused J.A.C. with a romp of bass lines and Bossa, staying away from the druggier, avant-garde material found on Dehli9. At first, it plays a bit too breezy, but later the record reveals more depth. Blunt-friendly beats make their way into the mix; "The Big Sleep" goes pretty deep into its own navel before the funk of "Damentag" brightens the mood. A few more listens, and you'll notice more musical diversity and the easy way Dorfmeister and Huber segue from chilly ("Naschkatze") to friendly ("Zuri"). Distinctive vocals from usual suspects Earl Zinger and Farda P along with newcomers Samiah Farah and Chris Eckman (of the Seattle-based Walkabouts) add spice. Once J.A.C. is in your player, it may be awhile before you take it out. -Matthew Cooke

Product Description
Change is a constant in life and it's this key factor that has informed the recent adventures in sound for Tosca. With their upcoming fourth artist album J.A.C. the theme of fatherhood is the tie that has bound these two men together in a newly recharged musical kinship. Between the release of their last acclaimed album Dehli 9 and their new masterpiece, the two have become fathers.

This album is the most consistent formulation of both the carefree and the melancholic aspects of Tosca. The melodies quicken, the grooves are both fun loving and laidback. Huber and Dorfmeister have found both a fresh understanding of the art of understatement and a newly reformulated, breathtaking musical authenticity. Like the new life around them, J.A.C. similarly breathes new life into the characteristic sound of Tosca.

Besides the ever-present and celebrated Tosca mood, this new sound resonates with the vibrations of live instruments translated with a liveliness that captures the immediacy of creation and improvisation at its peak. It's this live, real instrumentation that marks the sound of the new Tosca album the most significantly.

The duo brought in a cast of new artists to perform vocals on the songs including Samiah Farah from Paris, Chris Eckman, lead singer of Seattle based band The Walkabouts, former Rockers Hi-Fi MC Farda P, Londoner Earl Zinger of 2 Banks of 4 and Austrian rock legend Graf Hadik all appear on the microphones.

J.A.C. is full of music that is light-footed and melancholic, cheerful and deep, relaxed and energetic. It's a sound that can be enjoyed everywhere, at any occasion.

Tracks:

Divertimento In B-Flat (Adagio)
Cassation (Final-Musik) In G - Adgio
Divertimento In G Minor (Andante)
String Quartet No. 12 In B-Flat - Adagio
Divertimento In D, KV 131 - Adagio
'Eine Kleine Nachtmusik' - Romance (Andante)
Divertimento In D, KV 136 - Andante
Serenade In B-Flat 'Gran Partita' - Adagio
Prelude No. 3 In F
String Quartet No. 1 In B-Flat - Adagio
Violin Concerto In D - Andante cantabile
Divertimento In B-Flat - Adagio

Customer Reviews:

Wonderful.......2007-06-26

I bought this CD to listen to at work (I am 6 months pregnant). The quality is awesome and the choice of songs is perfect I can listen to it over and over.

Great for putting kids to sleep!.......2007-06-08

I absolutely love this CD! In fact this is our second one because we wore out the first since we played it so much. It is very soothing, and in fact we used it to help both our kids (now 4 and 18 mo) go to sleep since they were babies. I highly recommend it!

Very Relaxing.......2007-04-10

It is very soothing and really helps you relax. I enjoy listening to it in the car during my high stress commute.

A Must Have for all Parents of Little Children !!!.......2006-11-25

I bought this when my first baby was...well, a baby. That was 8 years ago. Now I am on my 4th copy of this cd (Mozart For Mothers to Be) and my 3rd child. Nothing works better. I'm on here to buy my 4th copy becasue I've worn them out over the years and have to keep replaceing them. My 8 and 3 year old still use it, and now the new baby, also. Make it part of your nightly bed time routine and you'll have good little sleepers in no time. I swear by it. It is very soothing, calming and not distracting so it won't drive you bonkers if you can hear it a little from the next room.

A truely great gift for new parents, or if you have a sleepless little one at home. Turn on the cd, turn down the lights and let it sooth them to sleep.

Inspire the baby-within.......2005-12-13

Beyond sheer musical appreciation and enjoyment, Mozart's music in general is ideal for gently stimulating the "creative centers" as well as instilling a sense well-being. While there is much academic disagreement about the extent or reality of the so-called "Mozart Effect," it doesn't take a genius to observe how Mozart's music puts most people (and probably babies-to-be) in a happy mood ready to take on the day's challenges. There is a simplicity - yet elegance and musical brilliance - in his music that is also well-suited for the youngest of children.

The selections on this CD are all excellent and represent a nice range of Mozart's compostions, emphasising those that are ideal for creating a pleasant backdrop for leisure, dining and social occasions ("divertimentos"). The recordings are from the creme of musicians famous for their Mozart. Few works are as elegant and soaring as the Serenade #10 for winds - an astonishingly beautiful tune made famous from the early scenes of the movie, "Amadeus." Mozart supreme gifts of music are even seen in such humble "background music" as these pieces. And such continuity of warm, leisurely tones as these over 70 minutes is ideal for inspiring the baby to-be if that is why you are considering this CD. Better to expose a baby to the gentile, lyrical music of Mozart than to the dissonant, loud and disturbing tones of some classical music written well after Mozart.

As the reviewer below rightfully notes, compilation CD's of various unrelated works like this one is not quite how classical music is best meant to be heard. But in a way it is better for many to start with such collections like this - especially for those who just want the more quiet selections that are unintrusive. In that respect, this collection can be satisfying for most anyone (not just moms or babies). I have a huge classical music collection, but still really enjoy listening to one full CD of similar-temperament music like this one that flows easily and smoothly that doesn't demand my attention but only seeks to delight. And, in the end, that was the simple and primary goal of many of Mozart's compositions - to be purely enjoyed and delighted.

Average customer rating:

Loved it then. Loved it now.
Under da Sea
little mermaid soundtrack
a brilliant rebirth in film and song
JUST like the movie!

Little Mermaid

Manufacturer: Disney
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FZDIL8
Release Date: 2006-10-03

Tracks:

Fathoms Below
Main Titles Score
Fanfare Score
Daughters of Triton
Part of Your World
Under the Sea
Part of Your World (Reprise)
Poor Unfortunate Souls
Les Poissons
Kiss the Girl
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The Storm Score
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Tracks:

Kiss The Girl - performed by Ashley Tisdale
Poor Unfortunate Souls - performed by Jonas Brothers
Part of your World - performed by Jessica Simpson
Under the Sea - performed by Raven-Symone
Music Video - Poor Unfortunate Souls - performed by Jonas Brothers
"Making Of" Music Video - Kiss The Girl - performed by Ashley Tisdale

Amazon.com essential recording

Before Broadway was Disneyfied and Times Square became a mall, the best Broadway musicals were being written for Disney animated features by Alan Menken and the late Howard Ashman. Their songs for The Little Mermaid created the mold from which their even more popular work (Beauty & the Beast, Aladdin) would be cast. Almost every tune in Mermaid has its (slightly inferior) counterpart in Beauty, for example. But there's no topping the Oscar-winning calypso show-stopper, "Under the Sea"--in which a Caribbean crab convinces you that "Darlin' it's better/Down where it's wetter." Other songs, just as delightful, are even more impressive in the context of the movie. The rapturous "Kiss the Girl" accompanies a scene in which, despite the whispered urgings of creatures all around, the romantic hero does not act on the title's advice! That's the kind of abstract dramatic (OK, comedic) conceit you'd expect from Harold Pinter rather than Disney. And the gruesomely hilarious "Les Poissons" gives us a fisheye view of a kitchen where the seafood chef is a sort of French Ed Gein--a sadistic murderer who brutally tortures and chops up his victims, then eats them! Who says Disney never did black comedy? "...I stuff you with bread/It won't hurt, 'cause you're dead/And you're certainly lucky you are...." Lyricist Ashman may not have been Cole Porter, but he was the next best thing. --Jim Emerson

Customer Reviews:

Loved it then. Loved it now........2007-04-10

Little Mermaid was the first video I ever owned myself. Loved it from the first day I saw it. I don't hold the same view as I did as a child but it's still a wonderful story. And the music is just plain fun. The best part of this special edition is Ashley Tisdale's rendition of Kiss The Girl. Let me start by saying I have issues about Disney's need to turn every actor into a singer and every singer into an actor and the promote them to the ends of the earth. And it's not so much Ashley Tisdale - though she's very talented - that makes me love this version of the song. Whoever revised the arrangement is who I'd like to really thank. I love every thing about how this version was put together. Upbeat. Fun. Totally "sqeeable". But then I'm a hopeless romantic.

Under da Sea.......2007-03-05

We actually own the CD that was originally released when the movie was first released. It is one of our favorites. I'm not sure what several others are talking about when they say this one has the origninal score. The CD's have the same exact music, with the exception of the 2nd CD. As for the songs on the 2nd CD, we have heard several on Radio Disney. They are okay once you get passed the whole remake issue. I actually enjoy the Jonas Brothers version of Poor Unfortunate Souls.

little mermaid soundtrack.......2007-02-21

i bought this for my 5 year old --who loves ariel and all the princesses---it is great for her she loves to sing and dance to all the songs and she knows the songs inside and out--i recomend this product if your child loves the movie she will love this soundtrack

a brilliant rebirth in film and song.......2006-11-24

by 1989, disney animation was pretty much dead, the department itself was pretty close to getting axed. basically all hopes were riding on the little mermaid. cinematically it is of course a gem and it managed to bring about the renowned disney rennisaince that lasted untill around the mid to late 1990's. musically, this soundtrack jumpstarted the dead musical genre as well. alan menken and howard ashman teamed up for the first time on a disney picture wiht amazing results.

alan menken's first of four academy award winning scores is a musical gem. the intense flourishes on the main titles and in the happy ending finale are truly beautiful but the fun lighter tone that the majority of the score takes on is great to hear. the score really lightens up the piece and gives it an airiness (ironically enough) and allows the whole piece to really take on a fun fresh sound that is crucial for the film to work

SCORE 5 out of 5

as far as the songs go, this may just be the most consistanly good soundtrack all the songs are fun and fresh but advance the story well. no other album really contains as many sure fire hits as this one. menken and ashman made great songs here that utilize the necessary carribean influences that are truly wonderful.

FATHOMS BELOW - this is a fun opener that provides a great sense of nautical mythology and fun. it sets the film up well for the following songs that are obveously meant to juxtapose it. originally, the song was longer, but jeffery katzanberg required that ashman shorten the lyrics, the original extended version can be found on the special edition 2006 dvd.
5 out of 5

DAUGHTERS OF TRITON - this short little snipet introduces all of ariel's sisters. its pretty bland and dry and thankfully its quick. if it were longer it would definately bring the entire soundtrack down, but luckilly its short and over with quickly
3 out of 5

PART OF YOUR WORLD - this is ariel's only real song and it is truly beautiful. her song of longing is emotional and jodi benson's vocals take to a whole other level. many have covered this song, but none have topped benson's heartfealt version that combines longing and real sorrow. A+
5 out of 5

PART OF YOUR WORLD (REPRISE) - here is that trademark mermaid-on-rock scene from the movie and the fact that benson gets to belt out the ending bars makes this a real treat even though its so short, but this definately ranks right up there with the full version, and possibly tops it.
5 out of 5

UNDER THE SEA - this fun song was the oscar winner for best original song and it combines great carribean rhythms and sounds wiht fun fresh and witty lyrics to epitomize the fun and freshness that the little mermaid brought to the screen. the infecteous song is one that jsut stays in your head and wont leave too, but its all ok since this is such a great song.
5 out of 5

POOR UNFORTUNATE SOULS - this is ursula's big number and pat caroll is amazing at it. this song is wickidly entertaining and great. the darkly comic tone and cabaret feel make this a great vilian song and a great song in general. the incredable rollar coaster of intensities make this an impressive number that never loses the audience's interest impressively enough.
5 out of 5

LES POISSONS - this song has gotten a lot of credit for its comedic strengths, but really this is the weakest song on the whole soundtrack. it's just too comical and goes too far over the top. it fits well in the film, but feels mildly disjointed on the soundtrack itself.
4 out of 5

KISS THE GIRL - this is the second oscar nominated song and it is possibly the best of all. the combination of soft vocals provided by samuel e wright and the great soft tropical rhythms make this song an unexpected winner. on paper, these combinations are strange for a defining love song, but it all comes together with great ease.
5 out of 5

SONGS OVERALL 5 out of 5

this entire piece brings an impressive combination of airiness and emotion to make a musical soundtrack that is truly spectacular. menken and ashman showed for the first time their true greatness when working together. this piece isn't their greatest, but it was a great starting point that revitilized what a movie musical and disney film could truly be. this timeless classic is a wonder to hear and never gets old or tired.

JUST like the movie!.......2006-10-25

Listening to this in it's entirety is almost as great as watching the movie. My daughter gets happy when she hears the first couple of notes and runs to the TV thinking the movie is on. I was really planning on buying the original CD that was released in 1988 because there were not many reviews for this new release but I'm so glad I changed my mind. This CD sounds great and is truely a score of the movie. Every song is there. If you end up not liking the second CD, doesn't matter because the 1st cd is worth your money already, I didn't mind the 2nd cd but that's not why I purchased the set anyway. made no difference to me, we just keep the first one on repeat and love every minute of it.

Stars & Stripes Forever and the Greatest Marches

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Album matches content hype
Fun
invigorating!
Totally awesome!

Stars & Stripes Forever and the Greatest Marches

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Release Date: 1991-09-06

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The Stars And Stripes Forever

Customer Reviews:

Album matches content hype.......2007-05-31

I intially bought this album for a few selections I had heard from Classical 102.1 (KDFC-FM). I was pleasantly surprised that the entire album has a very satisfying collection of the greatest marches. I am very pleased with this album, and would recommend it for anyone who likes a broad range of famous marches.

Fun.......2007-01-21

This CD would make a great gift for anyone who enjoys marches. Some of the marches are popular, others are not. All are well-performed and can be enjoyed - LOUDLY!

invigorating!.......2006-12-05

Great recordings of stirring music. I like to play it loud while my kids and I clean house. It makes it go by fast.

Totally awesome!.......2005-03-27

My father was a Marine in the ETC, he told me stories about how they went floor to floor checking for bad guys humming this music. I think it is great music to listen to, I really like track 3, it says so much in the title alone. I hope everybody like this music as much as I do!

Art of the Fugue - 70th Anniversary Edition

Average customer rating:

Gould's Most Errant Interpretation
THE VERY SOUL OF MUSIC
Worth getting for Contrapunctus XIV, but for full performance look elsewhere
The Best Bach Interpreter of the Century
Excellent Rendition of the Art of the Fugue

Art of the Fugue - 70th Anniversary Edition
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Release Date: 2002-09-03

Customer Reviews:

Gould's Most Errant Interpretation.......2007-02-13

Mr. Khekoyan, who reviews this disk below, is quite correct that it is errant in tempi and in percussive interpretation. I'm not in agreement with him about Glenn Gould's stature as the foremost interpreter of Bach of the century. I'd suggest listening to the performance of Menno van Delft, which is included in the Bach Edition complete works produced by Brilliant Classics. There are any number of people who might nominate Gustav Leonhardt, Trevor Pinnock, or Bob van Asperen as more insightful interpreters of Bach than Glenn Gould. Don't let Gould's curious cult status mislead you; his performances are more quirky than competent.
Or, if you are attracted to the Art of Fugue rather than the Artist, you might listen to the performance of the Amsterdam Loeki Stardust Quartet, also available on CD. Though there is no historical justification for playing Bach's harpsichord music on recorders, the LSQ makes fine and insightful music on their wooden flutes, large and small. At times they sound more organistic than Mr. Gould on his modern behemoth.

THE VERY SOUL OF MUSIC.......2006-09-08

What you will find on this disc is A) contrapunctus I-IX played on two different organs in 1962; B) contrapunctus I II & IV from a1981 TV broadcast; C) contrapunctus IX XI & XIII in mono from a radio broadcast in 1967; D) the unfinished contrapunctus XIV from what may or may not be the same TV broadcast as B); and as a final filler E) a prelude and fugue on the name BACH from a studio recording in 1980. Items B)-E) are given on the piano.

Gould's organ renderings ran into critical flak at the time, and whether for that reason or because organ-playing aggravated a shoulder condition that the maestro suffered from he never completed the project. The sound of the piano is a little below standard in C), with some background hiss and a slightly emaciated tone, but even it is not really bad, B) and D) are better, and E) better still sound-wise. The sound of the organs has been criticised, but I do not criticise it and indeed it suits me very well. Nothing in the sound-quality from start to finish interferes in any way with my appreciation of Gould's wonderful, visionary and unique Bach-playing.

This disc does not offer you the complete Art of Fugue, so anyone who wants what's here is going to want it for something special in the performance. Gould is always special I guess, but not special in ways that suit everyone. My feeling is that if you are of the school that wants the Art of Fugue played `expressively' you can probably leave this offering alone. Once Gould sets a tempo he sticks to it unflinchingly without rubato, and except for some build-up in the tone as D) progresses there is a very restricted range of dynamics within each piece, although the individual pieces are strongly contrasted in respect of both volume-level and pace. Interestingly, in those numbers which he gives in two different performances, he takes a markedly different approach each time. Conrapunctus II IV and IX are very much faster in the piano version than on the organ, but contrapunctus I on the piano is taken very slowly indeed, lasting nearly twice as long as in the organ account. It is a matter of one's own concept of the work basically. For me, the Art of Fugue is the ultimate in abstract `absolute' music. It is a monument of remote sublimity like pure mathematics or like the stars in the sky, and it is just there for us to wonder at and does not reach out to us or `express' anything. The player's task is to convey its grandeur, and for me Gould does that as no other version, (on any instruments whatsoever - Bach specifies none) has ever done for me, and I feel this most acutely in his much-criticised organ renderings. The organs he uses are not giants, and there is only limited use of the pedals. He uses mainly a detached fingering, although embracing a more legato style in contrapunctus VI. However it stands to reason that the parts in long sustained notes do not admit of the detached treatment, and I love Gould's selection of strongly contrasted stops to assist clarity further. These are the means he adopts. What these means are in furtherance of is an impression of utter grandeur in the sublime march of Bach's polyphony. It is even a privilege to be shown how this grandeur can be viewed from startlingly different angles in his alternative interpretations of 4 of the fugues.

The last fugue from the Art, the unfinished contrapunctus XIV, is taken at a very slow pace and ends abruptly where the dying composer left it. In the normal way of things I detest this procedure - whatever Bach intended it wasn't that, and in a composition that is the ne plus ultra of method many competent musicians have supplied conclusions that must, in the very nature of the case, approximate to what Bach himself would have done. However this was a television performance, and I gather that the camera was made to freeze at this point with Gould's right hand poised dramatically in mid-air. Gould, who kicked Ravel's piano transcription of La Valse into touch and wrote his own, is having none of that when it comes to Bach, and under the circumstances I stifle my own normal reaction to this abrupt hiatus.

One of the most extraordinary things about Bach is how popular he manages to be for all his seeming severity. The Art of Fugue is innocent of the lyricism that was also part of Bach's infinite musical gift, it makes no compromises with us, but I would say to newcomers to the work that Gould's accounts, partial as they are, would be the best place to start to know this unique and towering masterpiece. It is not any indivisible entity in any case. Better, to start with, to hear some of it presented like this than the entire set in many another, perhaps indeed in any other, version.

Worth getting for Contrapunctus XIV, but for full performance look elsewhere.......2005-08-07

This is a partial performance on organ paired with a partial performance on piano. I didn't care too much for the organ (although Gould's very "un-organistic" articulation does work with these pieces, I miss the unique expression of his piano playing). Some of the piano recordings sound like somebody surreptitiously taped them on a concealed tape recorder.

If you want a complete Art of Fugue on piano that's as close to Gould as it gets, go with Tatiana Nikolayeva's stellar 2 CD-recording on Hyperion (CDA66631/2). I have 9 AoF performances in my collection (piano, organ, string quartet, Hermann Scherchen's orchestral arrangement), and Nikolayeva's set is my favorite by far. (It also includes the two Ricercars from The Musical Offering BWV1079 and the four Duets BWV 802-805, originally for organ.)

However, if you're as much of a Bach nut as I am, the Gould CD is worth getting just for Gould's incredible performance of Contrapunctus XIV (the final unfinished fugue).

The Best Bach Interpreter of the Century.......2003-11-29

I absolutely love all the works played by Glenn Gould. Why 3 stars then? For a long time I have loved every work that Gould brought to life and I still absolutely love them. However, "The Art of the Fugue" really made me see some of Glenn's dark side. The flaw is that his high speeds have absolutely no excuse on this marvelous piece of creation. It is true that Gould is the best pianist when it comes to playing Bach, but to understand what I mean, go and listen to Contrapunctus IV by some other performer who plays it much slower than Glenn. I personally recommend especially the trumpet version. It will blow your mind and convince you that Gould's performance of this piece was really hiding its magnificent beauty and drama. It is simply not possible to express something so breathtakingly dramatic by playing it staccato and also too fast. Have you ever seen someone who had a great loss crying by short stops and very fast? I don't suppose so. And the comparison is very fair because all the instruments, especially the piano, were created to resemble the human voice. `Art of the Fugue' is nothing like the Goldberg Variations where Gould's touch made the music beautiful, especially the first slow movement (which he actually plays very slowly and hence compensates for the staccato). It is much more dramatic and the performer's first goal must be to convey the drama to the listener.

Who am I to judge Glenn? I just have had the privilege to listen closely to titans like S. Richter, E. Gilels, A. Rubinstein, A.Schnabel, S. Rachmaninoff, V. Horowitz, and many others. Not to mention that so far I have listened to the complete works of over 40 composers. Again, Glenn Gould plays beautifully, especially Bach's faster pieces, where even Emil Gilels and Sviatoslav Richter can't do such a precise and concise interpretation. But we must remember that Glenn is a great pianist, but a pianist that can't even match with the Genius of Johann Sebastian Bach (I have heard Glenn's compositions). It is ironic that listeners give so much credit to Gould that they absolutely forget that the only reason that he is able to play such beautiful pieces is because Bach has created them in the first place! With this in mind, we still can accept new ways of interpretation of Bach, BUT NOT TO THE POINT THAT IT DECREASES THE INTRINSIC VALUE OF BACH'S COMPOSITIONS. Glenn does not do this often, but it is shocking that he chose to show his over-interpretation on a work that is considered to be the most important one in the entire classical repertoire. If Glenn was made to play these pieces by his contractors then the flaws can be partially forgiven.

It all comes down to this: this work should by no means put Gould's abilities in question, since he is indeed the best Bach interpreter of this century. However, one must not be blinded and be focused on any singular performer for the interpretation of all the pieces in the classical repertoire - Gould might outdo Horowitz in performing the `Emperor Concerto' (Beethoven) and Gilels in playing Bach's `French Suites', but when it comes to pieces like Beethoven's "The Tempest," his staccato is not in its right medium and becomes a cat's play compared to the powerful fingers of Richter.
(I have heard over one hundred pieces by Gould and could barely notice his humming. Why? Because I hum with him! So please do not complain since a real classical listener should not even notice the humming. Imagine listening to someone talking and at the same time listening to Bach. As far as I am concerned, you shouldn't even be able to notice that that person even exists)

Excellent Rendition of the Art of the Fugue.......2003-03-08

This is my first Glenn Gould CD. At first, I was surprised by his staccato organ playing, but I soon began to really enjoy the CD. Some may find Mr. Gould's humming annoying, but I found it amusing (it doesn't bother me much). I only heard the humming on the tracks with piano and found that Gould was really into Bach. I have heard Glenn Gould's playing on the radio and must say that he is truly a master of Bach's keyboard music. The sound quality is good and the jewel case is very nice. I highly recommend this item if you like Bach, Gould, or both.

J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006

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Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin
Thoughtful Readings
Bach by Julia Fischer
very good.
What a Surprise!

J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006

Manufacturer: Pentatone
ProductGroup: Music
Binding: Audio CD

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ASIN: B00097HE8U
Release Date: 2005-06-14

Customer Reviews:

Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin.......2007-05-07

In March I heard Julia Fischer playing Khachaturian's violin concerto at a concert at the Kennedy Center in Washington D.C. She is such a wonderful violinist that soon after I got home I checked what other performance of hers would be available from Amazon. When I saw this CD I promptly ordered it. Because on this CD she plays without an orchestra, her virtuosity is even more obvious and superb than in the concertos where she is accompanied by a full orchestra. I recommend this CD to everybody who likes the violin music of J.S.Bach!

Thoughtful Readings.......2007-01-09

Bach's unaccompanied sonatas and partitas for solo violin can act as multiple litmus tests, mercilessly revealing a player's cultural, temperamental, intellectual, and technical selves. That is certainly the case with Julia Fischer's set. It shows her to be technically proficient and thoughtful in regard to the structures and, to some degree, the expressive (affective) content of these works. But it also tells the world that she is still a young artist, and that she may have more to say about this music -- and the temerity to say it -- after she's been around a while longer.

Listeners contemplating the purchase of yet another Bach Unaccompanied set will also have to look to their own tastes in deciding whether Fischer fits the bill. Have you long since acquired, and exhausted, the classic Milstein performances? Did you find Perlman nicely polished, or just a bit too slick? Did you respond well to Kremer's impetuosity and drama, or consider his approach overly rough and improvisatory?

In the liner notes, Ms. Fischer tells us that for years she has warmed up every day with these pieces. It shows. She is obviously familiar with them, and her technical security and sense of "what comes next" have benefited. But with familiarity comes a certain complacency, and warmups can encourage a performer to emphasize sheer mechanics: pitch accuracy, evenly smooth bowing, perfect finger coordination, etc. That is what I personally hear as a guiding principle in most of these interpretations. They are soft-edged, maintaining steady tempi, using the middle third of the bow, employing subtle and consistent accents, phrasing, and dynamic emphases.

Nothing wrong with those choices. In many aspects, they may lie closer than some others to what Bach had in mind. But I found myself respecting Fischer's efforts rather than becoming involved in the music itself. In the end I went back to Hilary Hahn's debut disc (which includes some but not all of these works) in order to hear controlled and thoughtful Bach performances with more passion, more bite (bowing at the frog when needed), and more overall humanity.

The SACD recording is quite good, but if anything it emphasizes the mellow, moderated quality of these performances with a violin timbre that is never unpleasant but seldom provides the range of colors that one might hope to hear, even in Bach. Especially in Bach?

I think Ms. Fischer is heard to better advantage in her Pentatone recording of the Russian concertos -- maybe she didn't feel a "Romantic" approach was as appropriate for Baroque music. The result sounds curiously old-fashioned, however, especially given the recent tendency in historically informed Baroque performance to emphasize drama and individualistic expression (e.g., Rachel Podger, Andrew Manze). By comparison, Julia Fischer's Bach comes off as a careful effort by a recent conservatory graduate. Still worth hearing, but perhaps more as an emblem of her undeniable promise.

Bach by Julia Fischer.......2006-08-04

You must listen to this with SACD kit to do justice to the recording. OK CD layer is not too bad but with sensitive equipment you can hear so much more with the SACD it is unbelievable.
She is one of the best performers of Bach solo pieces if not the best. Milstein, Kagan, Grumiaux, Perlman are good. But she is something else. Timing, fluidity, expression I can go on and on. This is the most "musical" interpretation of these pieces I have heard so far.

very good........2006-06-11

At first I was stunned on how good it was to listen to these pieces in a great format as SACD. However, miss Fischer should pay more attention to the details instead of get every note just right. There aren't huge mistakes, which makes it worthy, but it isn't perfect. The booklet says that she's quite young to perform all of this pieces and I believe it's true. She can improve in the future.

What a Surprise!.......2006-03-09

I never thought this young violinist could play Bach in such a matured way. My version at home was Milstein, Szegeti, Kremer (not very good), and Grumiaux. But Julia Fischer's Bach has won so much praise and I just wonder why. Therefore I bought this pricy double SACD (no ordinary CD available).

I was surprised. It doesn't sound like she is young at all. According to Fisher, she played Bach every day. And she has been studying Bach since she was a little girl. No wonder she has attended to the details of it. The speed she took was relatively slow, especially for the Preludes and Sarabande. Her technique was impeccable, but it all sounded so natural. I once listened to Heifitz and I didn't quite like it. It sounded not like Bach. Fisher surely captured the elegance and warmth of one of Bach's most intelligent and intellectual works.

If you like Bach's Unaccompanied Sonata and Partita for Solo Violin, buy this. You won't regret. The recording quality was superb, too!

Average customer rating:

Excellent, but one missing...
Simply a Fun Set of Marches
Great Marching Music
Great

Fiedler's Favorite Marches

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Fiedler Greatest Hits
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Customer Reviews:

Excellent, but one missing..........2007-03-07

These are fabulous marches played with huge amounts of zest, but one of Fiedler's best RCA marches - the Zacatecas March - was left out!!! Why??? There would have been plenty of room, and it seems to be available on a Japanese release - why not this one?

Otherwise, no hesitation at all.

Simply a Fun Set of Marches.......2003-10-18

In the 5th grade, I tried out for Little League. My desire to play baseball was not rooted in any love for the sport. I thought my father wanted me to play a sport. I was so great at the tryouts; he said some memorable words to me. "Tim, I think you ought to stick with playing the clarinet." I am sure he was trying to spare me humiliation on the athletic field. Little did he know he was starting my love affair with music, a far greater gift.

Perhaps because I was in the school band, I gravitated toward marches, and this collection of marches conducted by Arthur Fielder was one of the first recordings I purchased (6th or 7th grade I believe). At the time (the mid 1970's) it was only available on LP. As soon as the CD was available, I purchased it for nostalgic reasons. This collection had many popular marches such as the Grand March from Aida, Stars and Stripes Forever, Pomp and Circumstance, as well as some lesser known marches. This was one of the collections that piqued my interest in orchestral music. Though the marches could probably best be termed "light classical," it was an introduction to more serious music. Many years later I used this same recording when I taught as background music during art or spelling lessons. Again, it served as an introduction to more serious music.

This is not a complicated set; it is simply a little jewel that is a joy to listen to and a fun addition to a music collection.

Great Marching Music.......2000-11-14

Even though I am a Yankee I still love "Dixie." This is great music for pre-school children and those just entering school. I think it helps build character. I like this album.

Great.......1999-05-23

I have had this tape for years and it just got torn, so I have to replace it immediately because my granddaughter, age 3, also loves it.

Music For The Mozart Effect, Volume 1, Strengthen the Mind

Average customer rating:

great music
Music for the Mozart Effect
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Important to remember it's not proven
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Music For The Mozart Effect, Volume 1, Strengthen the Mind

Manufacturer: Spring Hill
ProductGroup: Music
Binding: Audio CD

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Amazon.com

Volume I of the immensely popular Mozart Effect series of music attempts to do no less than "strengthen the mind." One thing is for certain: the music chosen on the disc by author and scholar Don Campbell--excerpts from Mozart's Piano Concerto No. 1; Violin Concerto, No. 3; Ein kleine nachtmusik; and others--includes some of the strongest pieces the composer wrote. Though the performers on this disc (Capella Istropolitana, Northern Chamber Orchestra, and violinist Takako Nishizaki) are far from world-class, this is still a delightful collection and one that--at least according to the liner notes--will increase your alertness and perhaps your IQ. Volume II features music for "rest and relaxation," while volume III will "unlock creative spirit." With music this entertaining, who can dispute these claims? --Jason Verlinde

Customer Reviews:

great music.......2007-02-19

CD arrived in excellent condition. The music is very uplifting, soothing and relaxing. Well worth the purchase

Music for the Mozart Effect.......2006-03-19

This CD is a compilation of various tunes geared to stimulate the mind. I really enjoy listening to it!

Mozard Effect... Which Songs?.......2005-12-03

It's also important to remember that the Mozard Effect... was mostly studied using Mozart's Sonata in D for two pianos. Although all classical music may have good side effects when it comes to learning and concenrtration and stimulating of the mind, most studies used Mozart's two pianos sonata. Which isn't on this album. And the reasoning behind it's benefits are possibly due to the nature of having "dueling" pianos making complex harmonics. Just remember to buy this because you like Mozard, not because you think you are going to make your children geniouses. That's just a bunch of hype.

Important to remember it's not proven.......2005-05-22

It's important to remember that the Mozart effect has not been proven. The behavioural consequences of listening to Mozart is not unique, and can be achieved with any classical music, since the mozart effect has nothing to do with behavioural consequences, but subtle changes in the brain. The pattern of Mozart's music is thought to correspond to a coding mechanism of brain cells that created more dynamic circuits...but remember, it's not proven.

Virtual wonder for academic excellence! Timeless CD!.......2002-02-23

If there is one music CD that will change every person's life, this is it. It is known to enhance a person's concentration. What more could you ask - learning while listening to music. Advice to students: if you want to accumulate academic medals of excellence from grade school to college, if you want to be the best worker you can be - a doctor, a lawyer, programmer, this is the CD to buy. Not even other kind of music - pop, ballad, rock and roll, rap, jazz, can equal the impact this can bring. Taking and passing board examinations, certifications will be a breeze when one combines the Mozart CD with great effort (which becomes effortless) of studying.

Mozart:The Complete Piano Sonatas and Variations

Average customer rating:

like sparkling mineral water
Soulless Rendition
Lovely
Top notch performances
Very good, but a bit misleading?

Mozart:The Complete Piano Sonatas and Variations

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Complete Piano Sonatas / Daniel Barenboim
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Beethoven: The Complete Symphonies and Piano Concertos
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Beethoven - The Complete String Quartets / Alban Berg Quartet

ASIN: B00004YA0U
Release Date: 2000-11-07

Tracks:

I: Allegro
II: Andante
III: Allegro
I: Allegro Assai
II: Adagio
III: Presto
I: Allegro Moderato
II: Andante Amoroso
III: Rondeau: Allegro
I: Adagio
II: Menuetto I - Menuetto II
III: Allegro
I: Allegro
II: Andante
III: Presto

Tracks:

I: Allegro
II: Rondeau En Polonaise: Andante
III: Tema (Andante) Con Variazioni (I-XII)
I: Allegro Con Spirito
II: Andante Un Poco Adagio
III: Rondeau: Allegretto Grazioso
I: Allegro Maestoso
II: Andante Cantabile Con Espressione
III: Presto

Tracks:

I: Allegro Con Spirito
II: Andantino Con Espressione
III: Rondeau: Allegro
I: Allegro Moderato
II: Andante Cantabile
III: Allegretto
I: Tema (Andante Grazioso) Con Variazioni (I-VI)
II: Menuetto - Trio
III: Alla Turca: Allegretto
I: Allegro
II: Adagio
III: Allegro Assai

Tracks:

I: Allegro
II: Andante Cantabile
III: Allegretto Grazioso
Adagio - Allegro - Andantino - Piu Allegro - Tempo I
I: Molto Allegro
II: Adagio
III: Allegro Assai

Tracks:

I: Allegro
II: Andante Cantabile
III: Allegretto
I: Allegro
II: Andante
III: Rondo
I: Allegro
II: Adagio
III: Allegretto
I: Allegro
II: Adagio
III: Allegretto

Tracks:

Tema ('Laat Ons Juichen'): Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Tempo I
Tema (Air): Allegro
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5: Adagio
Variation 6: Tempo I
Variation 7
Tema (Menuetto): Andante
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5: Adagio
Variation 6: Allegretto
Tema (Menuet)
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
Tema (Air): Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Tempo Di Menuetto
Variation 9
Variation 10: Allegretto
Variation 11
Variation 12: Molto Adagio
Allegretto

Tracks:

Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Presto
Tema: Andante
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Adagio
Variation 9: Allegro
Tempo Di Tema
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Allegro
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6

Tracks:

Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9: Adagio
Variation 10: Allegro
(Tempo I)
Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
(Tempo I)
Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Adagio
Variation 9: Allegro
(Tempo I)
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Allegro
(Tempo I)

Customer Reviews:

like sparkling mineral water.......2006-12-22

It is something near to a cleansing experience to listen through the Mozart piano repertoire as performed by Daniel Barenboim.

For starters, Mozart achieves his sparest, cleanest, most limpid lines when writing for solo piano. Then comes Daniel Barenboim, whose reading of Mozart is crisply and unemotionally classical. Not for him the drawn-out keyboard soliloquy. On the contrary, Barenboim gives us Mozart, only Mozart, and nothing but Mozart, clean and shimmering as sparkling mineral water.

This is not to say that Barenboim as pianist is unfeeling. On the contrary, the Fantasia in C Minor - to choose just one example with almost random lack of care - is quite moving. But not with a flourish. Rather, with almost sinewy restraint. The presentation represents a fine grasp of the master composer, nurtured with discipline across the length and breadth of the voluminous sonatas.

Indeed, the sheer volume of the Mozart piano sonatas is intimidating. It is astonishing to imagine one man having mastered it as Barenboim has. EMI Classics has done us the favor of collecting these two gentlemen's asynchronic collaboration in one set, affordable at that.

If Mozart is a musician for the ages and Barenboim a performer who left a formidable imprint on the twentieth century, their collaboration as represented in these recordings is a watershed that will need to be referenced by students of classical piano for at least another hundred years, or until people can only remember as far back as the Dixie Chicks.

Buy Barenboim on Mozart before that happens, and so stick your thumb in the dike against the evil day.

Soulless Rendition.......2005-10-16

I have several artists' renditions of Mozart's piano sonatas in my library. Daniel Barenboim's is the worst. His technique is timid. His rendition is soulless and perfunctory. I regret purchasing this collection. The best rendition I have is the collection of Glenn Gould. If you like Mozart's piano sonatas played the way Mozart intended, give Barenboim a pass and listen to Gould.

Lovely.......2005-03-17

As a pianist myself, I love Barenboim's playing. He does not play Mozart too Beethoven like. His performances are usually VERY good, and this is one example. Also includes the complete variations, which are very nice. The sound quality is excellent. Very highly recommended.

"The sonatas of Mozart are unique: too easy for children, too difficult for adults. Children are given Mozart to play because of the quantity of notes; grown ups avoid him because of the quality of notes." - Artur Schnabel

Top notch performances.......2004-06-17

Daniel Barenboim played this whole set with an interesting approach to WAM . The notations about classical , beethovenian style are always hazardous.
When you are a musician you must avoid in the cliche , and you should feel the music as a whole and the playing must be the consequence of a overlong process that begins in your soul , then your inner mood , your intellect and finally your fingers. I remark the aspect when you are in front of Mozart, Beethoven Wagner, Bruckner, Bach , Schubert and Bartok , because these composers are in a highest level than the others and the music itself is merely a device for expressing deeper issues.
That's why this set is superb. Barenboim plays a Mozart rich in expresiveness , he gives to Mozart presence .
Barenboim plays music as Vegh or Furtwangler did it , always seeking the landscape far beyond the score . That's why they are so original in their performances . The rapture is not a device for exhibite his skills , it''s the final product of a long process.
Acquire this set. It's an unvaluable treasure.

Very good, but a bit misleading?.......2004-05-15

Barenboim playing Mozart has his critics, who say he's "too Beethovian" when performing Mozart's piano sonatas and piano concertos. I disagree; I love his style. Others might not.

Amazon.com

A lot of pianophiles have been waiting for the reissue of this 1980 LP, Argerich's only Bach recording. She played the same Partita at her Carnegie Hall recital in the Spring of 2000, suggesting that she just doesn't play much Bach. These performances have the pianist's typical intensity of approach. Her fingers do the talking, with some dazzling clear articulation reminiscent of Glenn Gould on a good day, and she seldom blurs any of the textures. She also has a very good feeling for Bach's dance rhythms; the closing Gigue of the Partita makes you want to jump up and put on your dancing shoes. Argerich uses an unusually wide dynamic range for Bach, and some of the dreamy slow movements won't be to the taste of all listeners. Nobody, though, will be able to ignore these performances; while they are playing, they seem like the only way to do it. The 1980 sound is still fine, and although the disc is LP length (50 minutes), the price is right. --Leslie Gerber

Customer Reviews:

Kevin Lee.......2007-02-21

She was so wonderful. I highly recommend it to anyone is learning or being interested in Bach keyboard work.

Mystic crystal revelation, and the mind's true liberation.......2006-10-26

When Martha Argerich recorded this music in 1980 it must have been the Age of Aquarius. What a beautiful recording. Her rendition of Bach's Toccata BWV 911 surpasses any of Bach's keyboard music I've heard. Dubravka Tomsic's Toccata BWV 912 is also great, but Argerich's 911 is greater. Glenn Gould would have to come in third with these pieces.

Why is Argerich the best? Because she has heart. She plays with love of Bach and love of humanity. (This may be redundant.) Tomsic's precision is not without feeling, but Gould is not humane. He was a genius, of course, and he could make your mind dance. But Glenn Gould could not enter your heart nor the heart of Bach.

About four minutes into the Toccata Argerich plays the first of Bach's counterpoint passages on this disc and enters the realm of mystic crystal revelation. The space-time continuum is transcended. As time stands still Argerich and Bach create perfect forms of sound - nothing like the world mess and ourselves in it. Such transcendences occur frequently throughout this recording.

Martha Argerich was born in 1941 in Argentina . She was a child prodigy, playing the piano at age three and giving her debut concert at age eight. In 1965 she made her first recordings, including works by Chopin, Brahms, Ravel, Prokofiev and Liszt. Her technique has been described as "formidable" and has been compared to that of Vladimir Horowitz.

She has had a life-long aversion to the press and to publicity. As a result, she has remained relatively unknown to the general public. But to lovers of classical piano she is widely recognized as one of the great piano virtuosos of our time.

Just about the time of this Bach recording, Argerich frequently remarked that she felt "lonely" during solo performances. She then started focusing on orchestral and chamber music, accompanying instrumentalists in concertos and sonatas. This is her only solo recording of Bach. She performed one more recording of Bach, cello sonatas with Mischa Maisky, which is also excellent. These are her only two Bach recordings. They are priceless gems.

And love will steer the stars

Dramatic infusion .......2005-07-25

Given Martha Argerich's career, you would not expect Bach to be at the forefront - and it isn't - but when she put her mind to the Baroque master in this recording, the result was brilliant. Right from the opening first few bars of the C-minor Toccata, Ms. Argerich sets a tone of great excitement and anticipation of what is to come - and by the time she is into the great fugue, you realize you a hearing an exceptional approach to Bach. Her tone here is one of supreme confidence and a feeling of authority that brings to the imagination the historical images we have of Bach's daughting and larger-than-life keyboard playing.

Yet, a standard Argerich critique of "overdriving" the tempos does not seem to apply here as far as a negative effect. Even though her tempos are often quicker, they do not seem overdone, Romanticised or out-of-place but create a fresh excitement and dramatic infusion. After all, pieces like the toccatas were flamboyant works to show off the keyboardist's virtuosity and technique, and Argerich rises fully to that purpose (apparently disregarding Bach's tempo indications in places) and going all out - perhaps reminding us of the power of Bach's untouchable playing. While her aggressive (but quite interesting) approach to the noble-minded Courante might not bode well for some, she almost makes up for it with surprisingly tender and almost hypnotic sarabandes - movements in which she does seem to capture the subtle, inner qualities.

As much as I normally prefer Angela Hewitt's Bach recordings, I have to say I really like Martha's spunk and extravertness here even more at times - especially in the Toccata with her bold and confident galloping triplet rhythms that seems to nicely capture the free-spirited nature of this work (ditto for the Partita). This is superb music by any measure that is recorded in full, dynamic sound on DG. It is also really a historic recording for both Bach lovers and Argerich fans because it is some of the only Bach Ms. Argerich recorded. Judging from the 18/19 Amazon reviewers so far who gave this CD Five Stars, I would say this CD is a special treat to be savored.

Highest Recommendation for Bach on Piano.......2005-04-10

This recording would make an interesting blind listening test, given the pianist's reputation for passion. Those who assume Martha's Bach will be spoiled by romantic excess are in for a big surprise. This CD is as good as any Bach on piano I've ever heard, and rivals Savall's Art of Fugue as an essential Bach recording.

Like Glenn Gould, Argerich attempts to emulate a harpsichord on the piano, by limiting the pedals and variations in tone, volume, and rhthym. She is clear, dry, and imparts a fugue or dance movement with dazzling energy and control. The result is very consistent with authentic baroque interpretation, and more listenable to my ears than an actual harpsichord, which I prefer to hear in ensemble rather than solo.

Also recommended: Gould's French Suites (now on 1 CD), Bylsma's Cello Suites, Podger's Violin Sonatas, Pinnock's Harpsichord Concertos (DG Trio), and of course, Savall's Art of Fugue.

Superb Bach!.......2005-02-16

Bach keyboard recordings tend to be of two kinds: recitals or complete sets, e.g. the complete Partitas, the complete Well Tempered Clavier etc.

Martha Argerich's CD is a recital, and it is an absolute gem. It is rare to hear Bach playing so vibrant, alive and musical.

The CD starts off with a dazzling performance of Bach's Toccata in C Major, an early composition that is one of the best of Bach's Toccatas for piano or harpsichord. Argerich's approach to Bach becomes evident early: her playing is very spontaneous and rhythmically alive; it sings; she makes fine use of dynamic contrast. But, above all, it seems hard to believe this is a studio recording, and not part of a live, concert performance.

The English Suite no.2 and Partita no.2, both very popular solo Bach keyboard works, are wonderful. Her playing has extraordinary vitality. They are performances I come back to again and again.

Fine recorded sound.

Definitely worth having, even if partially duplicating other performances of Bach's keyboard music an example of great Bach playing.

Music For The Mozart Effect, Volume 3, Unlock the Creative Spirit

Average customer rating:

the last disc of 3.the greatest set in music history.
Upbeat, but pleasant

Music For The Mozart Effect, Volume 3, Unlock the Creative Spirit

Manufacturer: Spring Hill
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music
Similar Items:

Music For The Mozart Effect, Volume 1, Strengthen the Mind
Music For The Mozart Effect, Volume 2, Heal the Body
Music For The Mozart Effect, Volume 4, Focus & Clarity
Music For The Mozart Effect, Volume 5, Relax & Unwind
Tune Your Brain with Mozart

ASIN: B000006Q4G
Release Date: 1998-04-28

Tracks:

The Twelve German Dances, K. 586: Dance #12
Symphony No. 24 In Bb Major, K. 182: Andantino Grazioso
Twelve Piano Variations On 'Ah, Vous Dirai-je, Maman', K. 265
Three German Dances, K. 605: The Sleighride Dance
Clarinet Quintet In A Major, K. 581: Allegretto Con Variazioni
Quartet No. 21 In D Major, K. 575: Allegretto
String Quartet In C Major, K. 465: Adagio-Allegro
Divertimento In D Major, K. 205: Menuetto
Piano Sonata In Bb Major, K. 333: Allegretto Grazioso
Piano Concerto No. 1 In D Major, K. 107: Tempo di menuetto
Symphony No. 4 In D Major, K. 19: Andante
12 German Dances, K. 586: Dance No. 3

Customer Reviews:

the last disc of 3.the greatest set in music history. .......2005-08-18

this is the last disc of the 3 disc set.its supposed to stimulate the creative juices.it gets your seritonin going like prozac.well,ok.but,anyway,its quite good.my favorite song on it just goes to show how inspirational the genius mozart was.he was alive in like 1770 and was dead by 30.he did this song and it was catchy.much later it was put to words with the tune still intact as "twinkle twinkle little star".so itll help the kids off to bed,but then someone else took the old indian created english alphabet and put it to music."the abc song" was also put to the same tune and now teaches millions of children to take thier 1st steps towards learning to read and write every day.it was also the very first recorded music when thomas edison 1st tested the phonograph sucessfully.its what he used.on this album thier are many fast paced[as fast as they get]songs that stimulate your brain.i dont personaly need any help in the creative department and just listen for the wonderful music.the twinkle twinkle little star song is like 12 minutes long and the performer uses mozarts innovative style to play it in literaly dozens of different ways.ballad,bedtime,frenzied,more notes,less notes,you name it!then theres a whole bunch of other great songs on it.if you call yourself a music lover and havent at least heard these songs,then you are sadly mistaken.a musical landmark!

Upbeat, but pleasant.......2002-02-02

I'm not the hugest classical afficianado, but this CD is very appealing. I bought the first in the series, Strengthen the Mind, and found mostly the same old crap on it that I had on three other Mozart CDs.

Not the case with this one. Very cool, very different. Not the stereotypical, cliche Mozart. Not good for reading to, but very good for chillin' or in the car.

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