Go See The World,David S. Ware,Sony,Avant-Garde,Avant-Garde Jazz,Free Jazz,Jazz,Jazz Music,Modern Free,Pop
(8.120529), which dishes up 16 tracks of the ultra-refined son of W. S.Gilbert, giving us six selections from "This Year of Grace," one from "Bittersweet," a medley of treasures from his "Cavalcade," another from his other works, and a few other trifles that are better than most of what is written today.
Add to all this two classical scenes with Coward and co-star Gertrude Lawrence from his "Private Lives," incredibly valuable for those local drama groups who butcher this work in that this CD can teach them the tone and rhythms that are essential in making this classic succeed.
The subtitle of this set is "The Complete Recordings, Volume 1: 1928-1932." So we can look forward to future offerings featuring this fascinating composer-lyricist-performer. Thank you, Naxos, yet again.
Average customer rating:
- Post Coltrane passion clears out the cobwebs
- A Symphony of Uncommitted Crimes
- outstanding
- The composer and the players
- Overpowering
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Go See The World
David S. Ware
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD
 Avant Garde & Free Jazz
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ASIN: B00000C27X
Release Date: 1998-09-22 |
Tracks:
- Mikuro's Blues
- Lexicon
- Logistic
- The Way We Were
- Quadrahex
- Estheticmetric
- Rapturelodic
Amazon.com
Often viewed as an imposing, post-Coltrane free improviser, saxophonist David S. Ware makes his major-label debut after 20 years of cab driving on Go See the World. Accompanied by a free-jazz supergroup (William Parker on bass, Matthew Shipp on piano, and Susie Ibarra on drums), Ware wastes no time digging into the opener, a surprisingly tender "Mikuro's Blues." Of course, this is David Ware, and soon into "Lexicon" the notes of sound are falling in sheets. A 14-minute take on "The Way We Were" is played remarkably straight by the band, and one can't help wondering if they're grinning all the way through--though Ware's high-wire embellishments and strong blues feel actually make this a terrific, meaty version. The lurching "Quadrahex" is a showcase for Shipp's thundering piano slams, while Parker and Ibarra pace the skittering "Estheticmetric." Go See the World is loud, wild, and certainly an acquired taste for some, but there is no denying the library of ideas and the palette of sounds at Ware's disposal. Go See for yourself. --S. Duda
Customer Reviews:
Post Coltrane passion clears out the cobwebs.......2001-04-02
If you like late Coltrane you'll like the music on this CD entitled GO SEE THE WORLD (the words allegedly spoken by Mr Ware's mother when she held him in his arms the day he was born). There is much feeling in this music which gives the impression it's straining at the form imposed, straining to burst out with a cry of pure feeling, but it is held in check. I like listening to this music for two main reasons: firstly, it is balanced between sweetness and rage, between darkness and light, and it is balanced between the musicians so that there is no one dominating - one is always conscious of the presence of bass, piano and drums throughout even when Mr Tenorman David S. Ware is in full flight. The power of the music, and its drama showing this balance between sound and silence, between sweet piano chords and a gut wrenching run of notes on the tenor, and is especially evident on the track ESTHETICMETRIC (Ware is magic on this track.) All shine but it's worth replaying and listening just to the shimmering, splashing, tinkling, wowing, tintintabulations in the contribution of drummer Susie Ibarra, then replay and listen just to the bass work of William Parker, then replay and listen just to the piano of Matthew Shipp. Secondly, It is music of much feeling and intelligence and clears the mind of dross of revivalist music, slick music, shallow music. I suspect that in 20 years time I'll still be listening to this CD in the same way I am listening to Coltrane, or Taylor, or Coleman, or for that matter, Mulligan, Monk, or Miles. Beautifully recorded as well.
A Symphony of Uncommitted Crimes.......2000-12-13
I write this after reading the other posted reviews, and I do so for one reason: namely, to point out that Ware and company are exceptionally subtle players, in the tradition of Ayler and Dolphy. To be certain, Ware has a gallimaufry of timbres at his command and a tendency towards the brash, the honk, and the skronk. These "noises" may make some listeners uncomfortable. For those listeners, I recommend the refuge of the absolutely beautiful ensable playing. Take the time, (and the effort), to put your ears around the melodic juxtaposition of Ware's playing against that of his group, (i.e., Mikuros Blues and The Way We Where). Those with the (guts) to do so will be rewarded with an great blowin' session, one eloquent like an uncommitted crime. Highly recommended.
outstanding.......2000-05-03
Wares version of "The Way Were" is worth the admission price alone. As for the rest, free jazz is never easy and if it's good it's challanging and this cd is both. With a band that includes William Parker, Matthew Shipp and Susie Ibarra, all gifted muscians in their own right, how can you go wrong? Warning though, not for the unintiated.
The composer and the players.......2000-05-01
It will probably sound weird to say this but David S. Ware is my least favorite musician on this cd. His compositions are great so in that sense this cd never could have been made without him, but as far as just his "playing" is concerned he is my least favorite.
The trio of Shipp, Ibarra, and Parker though are outstanding. They are really the people who make these performances as good as they are and almost all of my favorite moments on this cd are the moments when Ware lays out and let's the trio play. Actually the full ensemble sections of LEXICON are great, but more in spite of Ware's playing than because of it. I honestly think that Ware's playing detracts from many of these tunes. If someone edited LEXICON so that Shipp was isolated from the rest of the band I think Shipp's playing could be the basis for a great modern symphony.
QUADRAHEX has beautifully atmospheric percussion work from Ibarra and RAPTURELODIC is given a ghostly and eerie feel due to the manner in which Parker bows his bass.
All in all, a good cd. Shipp, Ibarra, and Parker definitely make it worth owning but had Ware just given these compositions to the trio this probably would have been a 5-star cd. Now if Shipp, Ibarra, and Parker were playing with tenor sax master Fred Anderson this could have been incredible, maybe even better than the Anderson, Crispell, and Drake cd DESTINY.
Overpowering.......2000-04-29
I love free jazz, I ought to like this CD more than I do, but something puts me off--maybe Ware's incredibly harsh timbre, maybe the production which puts all four instruments IN YOUR FACE. Ware's ideas and skill are evident, but once you get past the opening track it's difficult listening.
Average customer rating:
- Fab Fab Fab
- THIS CD KICKS [REAR]!
- Cool & Hip!
- Fabulous acapella. Performed to perfection.
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Avenue X (1994 Original New York Cast)
John Jiler
Manufacturer: RCA
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Binding: Audio CD
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ASIN: B00000ADLN
Release Date: 1998-09-15 |
Tracks:
- Prologue - Ensemble
- A Thousand Summer Nights - Jerry T.
- Servers You Right - Jerry T.,Jerry D.
- Waitin' - Chuck,Cheryl
- Woman Of The Woman Of The World - Colette
- She's Fifteen - Ted
- Stay - Chuck
- Where Are You Tonight - John L.
- Big Lucy - John-Martin
- Why - Jerry D.
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- Follow Me - Jerry D.,Jerry T.
- Cecilia - Ensemble
- Africa - Wayne
- Palermo - Jerry T.
- Command Me - Chuck
- Go There - Cheryl
- Where Is Love - Colette,Jerry D.,Cheryl,Jerry T.
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Warning: if you don't care for a cappella singing, don't even get near Avenue X. Set in 1963, the show tells a story of black-Italian antagonism in a Brooklyn neighborhood without the help of any instruments other than the human voice. John Jiler's lyrics usually manage to avoid heavy-handed didacticism, but they often are undermined by the homogeneity of the music. Using doo-wop made sense, since the best vocal groups of the time came from the two communities featured in the show, but it can also be limiting: Ray Leslee's score often feels like a very long version of "The Lion Sleeps Tonight." Still, some songs do have a touching pathos--"Woman of the World" particularly stands out, thanks to Colette Hawley's understated emotion. --Elisabeth Vincentelli
Customer Reviews:
Fab Fab Fab.......2003-03-27
I personally have an eccentric taste in music, but I think most people would really enjoy this CD. The voices are amazing, and I love all the songs. I bought this CD for three books from my library, but I would buy it for twenty. Definitly a keeper.
THIS CD KICKS [REAR]!.......2002-05-04
i was just in a workshop for avenue x in boston and i will tell you personally, this is NOT easy music! the cast pulls it off so amazingly. it something you just have to close your eyes and absorb. great CD.
Cool & Hip!.......2001-09-10
There's simnply nothing else like this! COMPLETELY A CAPPELLA! - and fantastic performances from some of the finest singers in New York City today! HAAARRRMONEEEY! Even the package is beautiful, especially the insert booklet that documents this killer Off-Broadway show. The original songs range from Doo-Wop to Gospel to Jazz to haunting Italian melodies to deeply soulful and rocking grooves. AVENUE X is for all who love singing.
Fabulous acapella. Performed to perfection........1998-12-21
I was very pleasantly surprised with this CD. It's true that acapella aficionados will love it, however, if you enjoy the music of the 50's and early 60's you will love it too. The performances are outstanding and the material extremely authentic sounding. My only desire is to see the show somewhere. Try it, you'll like it.
Average customer rating:
- A Rose By Any Other Name...
- "Thus I salute the stronghold, safe from dread and dismay!
- Free at last!
- I Love This Recording
- The Goodall Ring - 1975 - Restored and Remastered
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Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Siegfried (Goodall Ring Cycle/Chandos Opera in English)
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ASIN: B00005B550
Release Date: 2001-05-22 |
Customer Reviews:
A Rose By Any Other Name..........2007-07-02
The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12
Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Karl Bohm: Wagner: Der Ring des Nibelungen
Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic
Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Marek Janowski: Wagner: Der Ring des Nibelungen
James Levine: Der Ring Des Nibelungen
-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper
Free at last!.......2004-09-18
I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").
I Love This Recording.......2002-04-05
I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.
What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.
I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!
The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08
I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.
As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).
Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.
Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.
For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
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- A Collection of the Original Oz Stage Productions
- Ain't it a Shame!
- Why the 1903 "Wizard" was forgotten
- A long overdue revisit to a classic American musical
- Long-Forgotten Broadway Hit Gets First Rate Revival
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The Wizard of Oz - Vintage Recordings from the 1903 Broadway Musical
Manufacturer: Original Cast Record
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Similar Items:
- The Shirley Temple Storybook Collection: Land of Oz/The Reluctant Dragon
- The Wizard of Oz (1988 London Cast)
- Before the Rainbow : The Original Music of Oz
- Shock Treatment (1981)
- Into the Woods (Original Broadway Cast)
ASIN: B00009MPYQ |
Tracks:
- Wizard of OzSelection (Arthur Pryor's Band)
- The Bullfrog and the Coon (Ada Jones)
- Pocahontas (Edward M. Favor)
- Daisy Donohue (Harry Tally)
- Down on the Brandywine (Collins & Harlan)
- Come Take a Skate with Me Sung (Collins & Harlan)
- I Love You All the Time (Harry Macdonough)
- The Moon Has His Eyes on You (Ada Jones)
- When You Love, Love, Love (Thomas E. Whitbred)
- When We Get Whats a-Comin to Us
- Mister Dooley Sung (Edward M. Favor)
- Julie Dooley (J. W. Myers)
- Meet Me Down at the Corner (Jones & Spencer)
- Budweisers a Friend of Mine (Billy Murray)
- Theres a Lot of Things You Never Learn at School (Bob Roberts)
- Under a Panama (Billy Murray)
- Good Bye Fedora (Collins & Harlan)
- Sitting Bull (Collins & Harlan)
- I Love Only One Girl in this Wide Wide World (Harry Macdonough)
- Sammy (Harry Macdonough)
- The Tale of a Stroll (Morgan & Stanley)
- Cant You See Im Lonely? (Ada Jones)
- Are You Sincere? (Byron G. Harlan)
- Hurrah for Baffins Bay (Collins & Harlan)
- Football (Dan W. Quinn)
- Id Like to Go Halves in That (Burt Shepard)
- Rejoice!The Wizard is No Longer King
- The Traveler and the Pie
- Must You? (Dan W. Quinn)
- Thats Where She Sits All Day (Dan W. Quinn)
- The Sweetest Girl in Dixie (Henry Burr)
- Scarecrow Laugh (Fred Stone)
Tracks:
- Sammy Mira (Music Box Disc)
- Must You? (Mira Music Box Disc)
- Opening Prayer
- Phantom Patrol
- Just a Simple Girl from the Prairie
- Poppy Song
- Love is Love
- When We Get What's A-Comin' to Us
- The Traveler and the Pie
- When You Love, Love, Love
- Rejoice! The Wizard is No Longer King
- Phantom Patrol (Aeolian Piano Roll)
- My Little Maid of Oz Aeolian Piano Roll
- The Tik-Tok Man of OzSelection (Rythmodik Piano Roll)
- The Tik-Tok Man of OzSelection (Piano Roll)
- Ask the Flowers to Tell You (Macdonough & Dunlap)
- My Beautiful Dream Girl (John Barnes Wells)
- My Pretty Little Piece of Dresden China (Bessie Wynn)
- Gay Paree (Montgomery & Stone)
- Travel Travel Little Star (Montgomery & Stone)
- A Scotch Moriah (Montgomery & Stone)
- Hurrah for Baffins Bay (Dan W. Quinn)
- Daisy Donohue (Trombone Solo by Arthur Pryor)
- Mr. DooleyMedley (Xylophone Solo J. Frank Hopkins)
- Down on the BrandywineMedley (Edison Military Band)
- The Bullfrog and the CoonMedley (Six Brown Brothers)
- Ill Take You Back to Italy (Ada Jones & Billy Murray)
- Father Goose Songs (Sallie Osbourne)
Album Description
The Wizard of Oz a musical with book and lyrics by L. Frank Baum and music by Paul Tietjens premiered on June 16, 1902, at the Grand Opera House in Chicago. It was an instant hit and made stars of David Montgomery (the Tin Woodman) and Fred Stone (the Scarecrow). On January 21, 1903 the show opened at the Majestic Theatre in New York. It ran for nine months and set out on the road with a second company right on its heels. The show toured, came back to New York, toured, and returned to New York again many times until finally disbanding around 1911. Stock and amateur companies continued to present it into the 1930s when it was overshadowed by the classic MGM film starring Judy Garland.
The show was legendary for its success and its impact on American culture. It was the Cats or Les Mis of the early 1900s--but the show has been swallowed by history. What made audiences of the early 1900s devour the show and return for more again and again? In this unprecedented 2-CD set—featuring over 145 minutes of vintage recordings and 64 pages of lyrics, photos, notes and synopsis—you can discover how The Wizard of Oz entertained the American public for the first two decades of the 20th century. And like the audiences of nearly a hundred years ago, you can hum along to "Budweiser," "Sammy," and "Hurrah for Baffin's Bay"—everyone's favorite songs from The Wizard of Oz! Also included in this comprehensive collection are recordings from later Oz musicals, The Woggle-Bug and The Tik-Tok Man of Oz written by Oz creator L. Frank Baum, as well as vintage non-Oz recordings by original "Wizard of Oz stars" Montgomery & Stone and Bessie Wynn
Customer Reviews:
A Collection of the Original Oz Stage Productions.......2006-12-07
This Double-Disk Collection contains music from the original and varied Oz Stage Productions: "the Wizard of Oz", "the Woggle-Bug" (based on 'Marvelous Land of Oz) and "the Tik-Tok Man of Oz" (based on 'Ozma of Oz'). There are plenty of "Wizard" songs and music, but there isn't a lot of "Woggle-Bug" and/or "Tik-Tok Man".
I often wondered how different the 1st & Original Production of 'Oz Wizard' was different to the book, and thanks to Mark Evan Schwartz's book "Oz: Before the Rainbow" I found out for myself (WORTH A READ!!). Later I got this CD to go along with the book's stage telling (more or less) and I listened in interest to the songs which, I read, were entirely different to the future Musicals of Oz. The songs are good, but not all of them are actually completely restored to perfection, so the singing may/will sound somewhat muffled. Also, due to the time it was made (for some reason), the songs don't actually fit into the story (even the stage's rewritten story) and sound distant/unrelated. But there are songs that sound similar to the original story ("Rejoice! The Wizard is No Longer King"). CD 2's Track 3 has music played during Silent Oz Film "His Majesty, Scarecrow" on the MGM 3-Disk DVD.
The best thing about this CD Collection is the two booklets packaged along with the disks: the first (entitled "The Records") has writing on "What the Wizard Was" with a synopsis of the stage production story and "About the Recordings", a listing of all the songs on CD 1 (which are helpful for "Selection" Tracks not specifically named on the back) and notes on the songs like their origins and background. Booklet 2 (entitled "The Lyrics") has the words to the songs (in case you can't make out the words/want to sing-along). BOTH CDs include b&w photos of the actors, performance (few of which can be seen in "Oz: Before the Rainbow" book) and even reprints of a few illustrations made for the stage. The pictures are the best part of this purchase.
The Entirely Different Songs may not fit with the story, original or rewritten, but there's nothing really wrong with the music when one enjoys to what they're listening to.
I know that there is also another 'Oz on Stage' CD Collection called "Before the Rainbow" . . . hmmm, I wonder if I should get that too?
Ain't it a Shame!.......2006-05-20
I think that this is a wonderful album of HISTORICAL value. Not too many people know this, but "the wizard of oz" was made into a smash hit in 1903, but because all the history was BARELY in obscurity, hungry tiger press wanted to educate the blockheads in the world about this remarkable piece of history. that being said, david maxine collected all of the old material, such as Piano rolls (my especial favorite of all of them is "the poppy song", i LOVE the bass notes: "nnn-ded-deh mmmm-ded-deh"), and music boxes, and cylinders, and records!
however, it is quite a shame that that CRAPPY movie with judy garland pushed this lovely musical into obscurity. i would have liked to see it in my day, but it was already lost in darkness, but thanks to the highly DIGNIFIED people in the world, this cd is available!! BUY IT!!!! I *ORDER* YOU!!! YOU CANNOT BE DIGNIFIED WITHOUT THIS REPLACING YOUR "RAP" GARBAGE WITH THIS JEWEL!!!!
Why the 1903 "Wizard" was forgotten.......2004-03-20
This truly remarkable 2-disc collection of old cylinders, discs, music boxes and piano rolls explains why the 1903 musical version of "The Wizard of Oz" did not survive the early thirties. It wasn't because it was before its time or even of its time, but simply because it was way behind the times. Its producers resisted composer's Paul Tietjens' attempts to write plot-driven numbers. His contribution survives only in the incidental music preserved on piano rolls (and the most interesting element on this collection) linking very disparate and even incongruous vaudeville acts by various authors and performers that graced the stage during the musical's multi-decade run. In other words, Baum was telling a story and the songs were telling another... As fascinating as they are for historical reasons, those numbers are commonplace, mostly uninspired flash-in-the-tin-pan ditties, with timid syncopation and a stong reliance on musical clichés. There is not a single standard among them and not even a decent lyric where "fine" doesn't rhyme with "mine" and "love you" doesn't rhyme with "I do"- or even "I know you know I know you do", as happens more than once. As an assemblage of shtick pieces and ephemeral sentimental or nonsensical ditties, this collection cannot be topped and it represents a monumental effort. Without it and its very generous and informative liner notes, I would not have the same appreciation for the absolute genius of Victor Herbert's operettas ("Babes in Toyland" came out the same year) where the more memorable songs are plot-driven and introduced and linked by the most luscious, inventive and varied incidental music ever heard outside an opera house. This sort of unified concept would culminate in Jerome Kern's "Show Boat" and it remains a truth today that the integration of plot and music - reminiscent of opera - is the true secret of successful and perennial musicals, whatever the current idiom. This collection also makes one appreciate the complete originality of the Hollywood film for actually going back to Baum's books, entrusting the songs, lyrics and music to Harold Arlen, Yip Harburg and Herbert Stothart and scrapping the musical's colourful but checkered history (except for casting ex-vaudevillians as the main characters, of course!). Highly recommended for its nostalgia value, its irreplaceable rarities and a better understanding of the history of American popular music.
A long overdue revisit to a classic American musical.......2003-09-30
Although it was one of the most financially successful stage musicals of the early 1900's, very little information is presently available on the 1903 production of THE WIZARD OF OZ. In what was obviously a labor of love, David Maxine has done much to correct this oversight by releasing a 2-CD set with over 145 minutes worth of extremely rare recordings of music from this and other OZ-themed musicals dating back to before World War I. Recorded materials include vintage acoustical disc and cylinder phonograph records, piano rolls, and music box discs, many of which go back almost a century. In addition, he has included two booklets worth of historical background information on the 1903 WIZARD OF OZ production, its stars, the individual musical numbers, and lyrics for the songs included on the CDs. (Lavishly illustrated with rare old black and white photos and artwork, these booklets, and the information they contain, are themselves worth the price of the set!) Several bonus CD tracks are included that offer rare recordings by Montgomery & Stone (the original Tin Woodsman and Scarecrow) and Bessie Wynn, who was also in the 1903 cast. Not just for dedicated Oz fans, this set is a "must have" for anyone interested in the history of American musical theater and American popular culture of the early 1900's.
Long-Forgotten Broadway Hit Gets First Rate Revival.......2003-09-17
One hundred and three years ago, author L. Frank Baum published the best-selling children's book of the 20th century, THE WIZARD OF OZ. Although the book was adapted several times as plays, silent motion pictures, animated cartoons, and radio shows in the next few decades, it is the 1939 MGM film that most people think of as THE WIZARD OF OZ. The success and popularity of that film completely eclipsed the memories of previous incarnations and even the book itself in popular culture. However, prior to the film's release, there was a successful stage version which premiered on Broadway in 1903 and delighted audiences for many years, making stars of Fred Stone and David Montgomery, the original Scarecrow and Tinman. As with the MGM film, chilren who saw THE WIZARD OF OZ on stage carried fond memories of the production into adulthood. Ray Bolger was so impressed with the Fred Stone's Scarecrow, that he remembered it vividly as an adult and based his own protrayal of the character in the movie on Mr. Stone's stage version.
Unfortunately, time and Judy Garland have pushed the once popular Broadway Smash into history. It has been all but forgotten...until now.
As the show moved from theater to theater and casts changed, so did the songs. Many of these were recorded on the primative equipment of the day: Wax cylinders, 78-RPM records, piano rolls, and music Boxes, and surprisingly many of these still exist. Now, thanks to those hard-working gents at HUNGRY TIGER PRESS, you can own these historic recordings on this awesome 2-CD set. THE WIZARD OF OZ: Vintage Recordings From The 1903 Broadway Musical contains over 145 minutes of terrific early 20th century music. You won't find "Over the Rainbow" or "Ding! Dong! The Witch Is Dead!" here. Instead, this WIZARD OF OZ contains tracks like "Budweiser's a Friend of Mine", "Sammy", "Hurrah for Baffin's Bay", and "Rejoice! The Wizard is No Longer King", each one a portal over the rainbow to the Broadway stage of a century ago.
Obviously the play was quite different in plot from the movie--Dorothy travelled to Oz with her cow Imogene instead of Toto, for starters--, but the songs represent the style of popular music of 100 years ago and are collected here in a beautiful compilation. The set contains two booklets of liner notes which contain credits, lyrics, a written history of the production, and are extensively illustrated with photos and illustrations. Although the sound quality of the source material is not always up to today's standards, the songs are presented in the best versions possible, and the music is highly enjoyable. With 60 tracks and the wealth of information contained here, both written and photographic, this 2-CD set is good value for the money. A must-have for all collectors of WIZARD OF OZ memorabilia, an insightful look at popular music and Broadway history from a century ago, a glimpse into ethnic and racial stereotypes that were accepted at the time, and a curiosity for fans of the 1939 film, this set is big on appeal. Kudos to the Hungry Tiger Press for rescuing this treasure trove of musical history from obscurity!
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- Religious music from the 19th century
- A wonderful listening treat
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I Am Filled With Heavenly Treasures
Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD
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ASIN: B0002NY90W
Release Date: 2004-08-31 |
Tracks:
- Today, today is my own time
- The Coming Day
- Rose of Sharon
- In this pleasant place I will go
- The Earth Is Renewed
- I've a spiritual garden to weed
- Lord give me of Thy living bread
- Redeeming Love
- Good Brethren will you receive my love
- Round Dance
- Compassion
- Toil On, Pray On
- As Stars and Diamonds
- Receive a Father's love
- Pearl of Great Price
- In love and peace we will increase
- Simple Gift
- With the lamb on Mt. Zion
- The Charms of My Mother
- "Great I" Medley: Dismission of Great I
- Love Is Little
- Harmony of Angels
- I Am Filled With Heavenly Treasures
- Mother's Chair
- Let us grow up strength in Zion
- My Mother's way's the way for me
- Let us sow to the spirit of love
- May I see as I am seen
- Wake Up
- I love to sing and worship God
- Move on with the gift
- How pretty 'tis to see
- Good Elder, dear Brethren and Sisters, I love you
- Grateful Remembrance
- Learned of Angel
- God Is Infinitely Able
- God's Blessing
- Farewell, farewell our dear gospel friends
- Prayer for the Nations
Album Description
Shaker music is a unique body of American sacred folk music, created by eighteen American Shaker communities over a period of one hundred and forty years (1780-1920). This rich tradition of song continues to serve the Shaker community in the twenty-first century because it embodies their history, records the testimony of Shakers "who have gone before," articulates the religious principles on which Shakerism is founded, and reflects the faith of the contemporary community. Shaker music was created and nurtured in communities that prized isolation from worldly ways. Shaker melodies, although related to the larger tradition of Anglo-American folk songs, are not bound by their form, tonality, melodic or rhythmic structure.
The Enfield Shaker singers are a vocal ensemble of adults and children devoted to the study and performance of Shaker music. The group is open to all without audition, and is made up of both trained musicians and amateur singers. We draw heavily on the repertoire received or composed in the two societies that were the New Hampshire Bishopric—Canterbury and Enfield. Since the New Hampshire societies enriched their repertoire with songs from all the other Shaker communities, they also sing songs of the New York, Maine, Massachusetts, Ohio and Kentucky Shakers.
The Enfield Shaker Singers are drawn to Shaker spirituals that illuminate Shaker communal values and broaden our definitions of the sacred. The songs included on this recording illustrate some of the many ways music served Shaker communities. Most Shaker song texts are theologically direct, emotionally honest, and expressive of our shared humanity.
On this recording we offer thirty-nine songs we have come to love. Some have special meaning for individuals. We associate others with a particular singer in the group, or an occasion when it was sung. Each song offers us slightly different insights into Shaker aspiration, and Shaker faith. We hope that, through this recording, others will also come to love and sing them too. —Mary Ann Haagen, from the liner notes
Customer Reviews:
Religious music from the 19th century.......2007-07-07
If one likes the songs of the Shakers written in the late 18th and early 19 century that were without musical instruments, then you may like this CD. I found 8 songs out of the 30 or more on the CD that I liked, the others I did not care for much. This is no fault of the creators of the Cd, it is simply the style of the Shakers of the past.
A wonderful listening treat.......2005-01-11
This CD is a delight! The simple melodies, surprising harmonies, and clarity of the voices makes you want to sing along. Listening makes one smile, regardless of one's religious persuasion. Thank you for giving us these songs and preserving the tradition of this music.
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Janet Baker Sings Scenes from 'Mary Stuart'
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD
All Works by Donizetti
| Donizetti, Gaetano
| ( D )
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ASIN: B00005RT18
Release Date: 2002-01-22 |
Tracks:
- Act II (Complete): Why Run So Fast, My Lady? - Dame Janet Baker
- Act II (Complete): You Murmuring Breezes... - Dame Janet Baker
- Act II (Complete): What Tumult! Those Voices! - Dame Janet Baker
- Act II (Complete): In The Peace Of My Gloomy Seclusion - Dame Janet Baker
- Act II (Complete): Ah! May This Joy Not Deceive Me - Dame Janet Baker
- Act II (Complete): Long By The World Forsaken - Dame Janet Baker
- Act II (Complete): All Too Well I Surely Know Her! - Dame Janet Baker
- Act II (Complete): What Place Is This Then? - John Tomlinson
- Act II (Complete): Report Has Not Failed Me - John Tomlinson
- Act II (Complete): Bid Her Welcome - John Tomlinson
- Act II (Complete): Dead To Justice, Throne And Kingdom - John Tomlinson
- Act II (Complete): Go, Prepare Yourself For Sentence - John Tomlinson
- Act III, Scene 2 (Complete): Elizabeth Will Continue To Mock And Insult Me - Dame Janet Baker
- Act III, Scene 2 (Complete): Oh Faithful Talbot! - John Tomlinson
- Act III, Scene 2 (Complete): Once All The Radiant Joys Of Youth - John Tomlinson
- Act III, Scene 2 (Complete): There Still Remains Another Charge - John Tomlinson
- Act III, Scene 2 (Complete): No, I Never Turned From My Saviour - John Tomlinson
- Act III, Scene 2 (Complete): Go, Leave This World Of Grief Behind - John Tomlinson
- Act III, Scene 3: I See You All Once More - Dame Janet Baker
- Act III, Scene 3: Oh, Deign To Hear Our Prayer, Merciful Saviour! - Dame Janet Baker
- Act III, Scene 3: The Signal - John Tomlinson
- Act III, Scene 3: Death Hovers Near Me, So Take My Pardon - John Tomlinson
- Act III, Scene 3: Leicester Approaches - John Tomlinson
- Act III, Scene 3: Though You Once Made A Vow To Protect Me - John Tomlinson
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{Club / Dance Music CONTAINS 51 SONGS ON A 4 CD Set} Pulsating Rhythms Vol. 3 / Dance Pool Vol. 1 / Dance Party Vol. 3 / Club Mix 96 Vol. 2
INTUITION - dance with me, VISIONS OF SHIVA - perfect day, URBAN HYPE - the feeling, ERIRE - i just can't give you up CONTAINS 51 SONGS ON 4 CDs: DAYEENE - around the world , JULIETTE JAIMES - we got it all, LEE ROGERS - love is the most, RAGE - run to you, CULTURE BEAT - inside out, M.D.A. - amor DEBBIE MALONE - running from my love , KLEPH & LOCK - share your lovers - DJ COMPANY - holiday in the land of love, TEQUILA feat. TANJA MARIA - with a boy like you, CLAUDIA CHIN - stop trippin' UPLIFTERS - mr. real , D-DEL-H - move sur ce rythme, HECTOR - luv me, E-SENSUAL - you should be dancing, BLA BLA POSSE - bouguez - SHIKISHA - pretty vacant, LEA KISS - don't stop the night DEDE - party , BLACK MAGIC - freedom, TAYLOR DAYNE - say a prayer, VANESSA DAOU - sunday afternoons, SANDY B - make the world go round NUYORICAN SOUL - mind fluid , KENLOU III - what a sensation, FRESH FISH - bang da bush, SOUL SOLUTION - can't stop love, JOI CARDWELL - you got to pray, D'STILL'D - stop go GROOVE COLLECTIVE - i want you , ACE OF BASE - don't turn around, SISTER SLEDGE - we are family (live), KOOL & THE GANG - take my heart (live), COMMODORES - baby this is forever PLANET SOUL - set u free , THE JACKSON FIVE feat. MICHAEL JACKSON - under the boardwalk, JAMES BROWN - it's too funky in here, DIVINE - native love REAL THING - can't get by without you (live) , THREE DEGREES - i'm doin' fine now, SABRINA - all of me, KOOL & THE GANG - joanna (live), AL JARREAU - ain't no sunshine, LATOYA JACKSON - sexual feeling ROSE ROYCE - car wash (live) , and JAMES BROWN - sex machine, THREE DEGREES - when eill i see you again SISTER SLEDGE - he's the greatest dancer (live)
ProductGroup: Music
Binding: Audio CD
ASIN: B000QU6HCY |
Jazz Music:
- Grand Hotel Europa
- Gratitude
- Groovin' Hard
- Groovin' High
- Heavy Metal Be-Bop [Original recording remastered] [Import]
- I Wish I Knew
- In Our Shoes
- In the P.M.
- In with the Out Crowd
- Irving Mills, Vol. 2
Jazz Music
Jazz Music
