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{ Rating: 5.0 out of 5 }
Ok this is no joke. Buy this. Now I've listened to all kinds of taste in music but this was a new kind ice cream. Yea you got good taste. Enjoy!!!!!
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| Title: The Melody of Rhythm | |
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| Amazon Price: | $13.99 Buy now from www.amazon.com! [ ( B ) Buy The Melody of Rhythm ] |
| Publisher: | Koch Records (2009-08-25) |
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| Tracks : | Babar, for tabla with banjo & double bass, Out of the Blue, for banjo, tabla & double bass, Bubbles, for banjo with tabla & double bass, The Movement 1, The Movement 2, The Movement 3, Cadence, for banjo, tabla & double bass - Béla Fleck, Meyer, Edgar, In Conclusion, for banjo, tabla & double bass, Then Again, for double bass with banjo & tabla, |
| Description : | In this era of cookie-cutter, synthetic sounds that can be generated by virtually anyone and everyone, it's almost impossible to make music that can be instantly recognized as unique and incomparable. To have that music revealed as both groundbreaking and accessible to all is an even rarer occurrence. Banjo legend Bela Fleck, tabla genius Zakir Hussain and double-bass master Edgar Meyer, internationally-renowned virtuosi and composers, have achieved that pinnacle with this release. The centerpiece and catalyst for this album is "The Melody of Rhythm: Concerto", a gorgeously haunting, dynamic three-movement composition for banjo, double bass and tabla. Recorded live with the Detroit Symphony Orchestra and conducted by Leonard Slatkin, the highly rhythmic work soars, melding Indian classical rhythms with American roots-derived melodies and big-sky orchestral horizons. The remaining trio pieces further explore a group dynamic that promises to gain in richness and nuance as they continue their travels throughout the world. Fleck and Meyer have been collaborating for over 25 years, inclduing the Grammy-winning "Perpetual Motion" and the classic "Appalachian Journey" with Yo Yo Ma. Fellow Grammy winner Zakir Hussain is generally acknowledged to be the world's greatest virtuoso of the tabla drums, renowned for his cross-genre work with the likes of John McLaughlin's Shakti, Mickey Hart's Planet Drum, and Yo To Ma's Silk Road Project. For all three of these explorers, an understanding of musical tradition and improvisation has led them to this common crossroads, or as Bela Fleck described it in a recent Downbeat cover story, "getting together with some brothers he hadn't seen in some time". |
| Reviews : { Rating: 5.0 out of 5 } | What the *&$# is this? Ok this is no joke. Buy this. Now I've listened to all kinds of taste in music but this was a new kind ice cream. Yea you got good taste. Enjoy!!!!! |
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| Title: Best of Mercedes Sosa | |
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| Publisher: | Universal Int'l (2000-01-01) |
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| Tracks : | Todo Cambia - Mercedes Sosa, Numhauser, Julio, Un Vestido y un Amor - Mercedes Sosa, Páez, Rodolfo "Fito, Yo Vengo a Olfrecer Mi Corazón - Mercedes Sosa, Páez, Rodolfo "Fito, La Maza - Mercedes Sosa, Domínguez, Silvio R, Gracias a la Vida - Mercedes Sosa, Parra, Violeta, Y Dale Alegría a Mi Corazón - Mercedes Sosa, Páez, Rodolfo "Fito, Los Mareados - Mercedes Sosa, Cadícamo, E., Sólo le Pido a Dios - Mercedes Sosa, Gieco, León, Razón de Vivir - Mercedes Sosa, Heredia, Victor, El Tiempo Es Veloz - Mercedes Sosa, Lebon, David, Mon Amour - Mercedes Sosa, Fernández, Nilda, La Estrella Azul - Mercedes Sosa, Carabajal, Carlos O, Inconciente Colectivo - Mercedes Sosa, García, Carlos Albe, Luna - Mercedes Sosa, Pozo, Pedro Herrero, |
| Description : | 2003 Best of Collection from Argentinean Folk Singer. |
| Reviews : { Rating: 5.0 out of 5 } | great music and fabulous voice I only recently heard of Mercedes Sosa. I bought my first cd just to see how good or bad it was. I was so surpised when I first listened to her voice, the lyrics, the pasion and compassion she had for the human race. Soon after I got the first one I bought 3 more of her cd's-----and I'm still enjoying them. |
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| Title: A Shropshire Lad/Banks of Green Willow | |
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| Amazon Price: | $16.98 Buy now from www.amazon.com! [ ( B ) Buy A Shropshire Lad/Banks of Green Willow ] |
| Publisher: | Nimbus Records (1997-11-18) |
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| Tracks : | A Shropshire Lad, rhapsody for string orchestra, English Idylls (2) for orchestra: No 1, English Idylls (2) for orchestra: No 2, The Banks of Green Willow, idyll for orchestra, Lady Radnor's Suite, for string orchestra in F major: Prelude, Lady Radnor's Suite, for string orchestra in F major: Allemande, Lady Radnor's Suite, for string orchestra in F major: Sarabande, Lady Radnor's Suite, for string orchestra in F major: Bourée, Lady Radnor's Suite, for string orchestra in F major: Slow Minuet, Lady Radnor's Suite, for string orchestra in F major: Gigue, Suite for string orchestra, H 93: Prelude, Suite for string orchestra, H 93: Intermezzo, Suite for string orchestra, H 93: Nocturne, Suite for string orchestra, H 93: Finale, |
| Reviews : { Rating: 5.0 out of 5 } | Wondrous and moving Previous reviewers have already described the music on this CD as well or better than I could, but I have to support their praise of one of the finest discs in my collection. Both the Parry and the Bridge suites are music of grace and charm, but the four works by George Butterworth are small masterpieces. Like Vaughan Williams, Butterworth was a dedicated and knowledgeable collector of English folk songs. The longest piece of his on this disc,The Shropshire Lad, does not, in fact, contain any folk melodies, but is strongly evocative of the rural setting of the poem sequence of that name by A.E.Houseman, which Butterworth had previously set to music. He used the melody from one of the songs in this song-cycle as the theme of the orchestral work. The two English Idylls, and The Banks of Green Willow, are based directly on folk songs.Unlike many composers who have sought to adapt folk music, Butterworth is able to use a rich, full range of orchestral sound while preserving the simplicity and directness of the original tunes. All of his works on this CD are of the highest quality. The two Idylls are shorter and simpler, the Shropshire Lad has a great romantic sweep, but my favorite has to be The Banks of Green Willow, a beautiful treatment of two classic English folksongs, the title song and Bushes and Briars. On a lighter note, I have two other reasons for liking this disc. Several decades ago The Banks of Green Willow was used to introduce a BBC radio adaptation of the classic historical novel, Lorna Doone. As a pre-adolescent I thus became hooked on classical music and on reading books that were too old for me. Also,this CD was recorded in the Great Hall at the University of Birmingham(the one in England, not Alabama). Guess where I took my finals. Brum rules!! |
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| Title: Forgotten Songs: Dawn Upshaw Sings Debussy | |
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| Publisher: | Sony (1997-03-18) |
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| Tracks : | Pantomime ('Pierrot qui n'a rien d'un Clitandre'), song for voice & piano, L. 31, En sourdine ('Calmes dans le demi-jour'), song for voice & piano, L. 28 (first version), Mandoline ('Les donneurs de sérénades'), song for voice & piano, L. 29, Clair de lune ('Votre âme est un paysage choisi'), song for voice & piano, L. 32, Fantoches ('Scaramouche et Pulcinella'), song for voice & piano, L. 21, Coquetterie posthume ('Quand je mourrai, qu l'on me mette'), song for voice & piano, L. 39, Romance ('Silence ineffable de l'heure'), song for voice & piano, L. 43, Musique ('La lune se levait, pure, mais plus glacée'), song for voice & piano, L. 44, Paysage sentimental ('Le ciel d'hiver si doux, si triste, si dormant'), song for voice & piano, L. 45, Romance ('Voici que le printemps, ce fil léger d'avril'), song for voice & piano, L. 52, La Romance d'Ariel ('Au long ds ces montagnes douces'), song for voice & piano, L. 54, Regret ('Devant le ciel d'été, tiède et callme'), song for voice & piano, L. 55, Ariettes oubliées (6), song cycle for voice & piano, L. 60: No.1: C'est l'extase langoureuse, Ariettes oubliées (6), song cycle for voice & piano, L. 60: No.2: il pleure dans mon coeur, Ariettes oubliées (6), song cycle for voice & piano, L. 60: No.3: L'ombre des arbes, Ariettes oubliées (6), song cycle for voice & piano, L. 60: No.4 Chevaux de bois, Ariettes oubliées (6), song cycle for voice & piano, L. 60: No.5: Green, Ariettes oubliées (6), song cycle for voice & piano, L. 60: No.6: Spleen, Poèmes (5) de Baudelaire, song collection for voice & piano, L. 64: No.1: le Balcon, Poèmes (5) de Baudelaire, song collection for voice & piano, L. 64: No.2: Harmonie du soir, Poèmes (5) de Baudelaire, song collection for voice & piano, L. 64: No.3: le Jet d'eau, Poèmes (5) de Baudelaire, song collection for voice & piano, L. 64: No.4: Recueillement, Poèmes (5) de Baudelaire, song collection for voice & piano, L. 64: No.5: la Mort des amants, |
| Reviews : { Rating: 4.0 out of 5 } | Worthy revival Full marks to Dawn Upshaw for reviving these forgotten songs. It is this beautiful recording, featuring Upshaw in her prime, which inspired me to reopen my long-forgotten scores of the Debussy mélodies, which I'd studied decades ago and only ever heard performed on disc by a past generation of singers such as Suzanne Danco and Maggie Teyte, whose recordings can now sound somewhat one-dimensional and appear stylistically dated. This recording, in a warm and spacious acoustic, not only gives the songs new colour but makes them seem much more contemporary. The digital sound does full justice to the lovely harmonic treatments of the piano parts, excellently played here. There are now several recordings by contemporary French vocalists, but they tend to be rather characterless and mundane, as if French song is all in a day's work for them (which it probably is!). The notes and diction may be more perfectly rendered by the French interpreters, but for me, their versions are nowhere near as expressive as Upshaw's. In this recording, the warmth of her personality and, more importantly, her love of this music, shine through and bring out the sheer beauty of these songs. |
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| Title: Consider, My Soul: Sacred Arias | |
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| Publisher: | Deutsche Grammophon (2006-09-12) |
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| Tracks : | Christmas Oratorio BWV 248—Großer Herr, o starker König, Herr, dein Mitleid, dein Erbarmen, St. John Passion BWV 245—Betrachte, meine Seel, Mein teurer Heiland, laß dich fragen, St. Matthew Passion BWV 244—Mache dich, mein Herze, rein, Messiah HWV 56—Behold, I tell you a mystery, The trumpet shall sound, The Seasons Hob. XXI: 3—Vom Widder strahlet jetzt, Schon eilet froh der Ackersmann, Erblicke hier, betörter Mensch, The Creation Hob. XXVIII: 4—Und Gott sprach: Es sammle sich das, Wasser unter dem Himmel zusammen, Rollend in schäumenden Wellen, Elias op. 70—Herr Gott Abrahams, Isaaks und Israels, Es ist genug! So nimm nun, Herr, Paulus op. 36—Gott, sei mir gnädig, Swing Low, Sweet Chariot (Arr. Meyer), Deep River (Arr. Meyer), |
| Description : | Thomas Quasthoff follows his internationally acclaimed and Grammy® winning Bach Cantatas recording with an atmospheric program of sacred arias, including selections from oratorios by Bach, Handel, Haydn and Mendelssohn. Mr. QuasthoffÂ’s warm, expressive bass-baritone voice perfectly suits this music—a genre that has always been both central to his artistic life and close to his heart. Pieces include HandelÂ’s Â"The trumpet shall soundÂ" from the Messiah, Â"Schon eilet froh der AckermannÂ" from HaydnÂ’s Die Jahreszeiten, and excerpts from BachÂ’s St. Matthew Passion and Christmas Oratorio. The album also includes a special version of the spiritual classic Â"Swing Low, Sweet Chariot.Â" With Thomas QuasthoffÂ’s unique artistry supported by the acclaimed Staatskapelle Dresden, Consider My Soul is a revelation of beauty and power. |
| Reviews : { Rating: 5.0 out of 5 } | Soaring with Thomas Quasthoff On this beautiful CD,"Consider My Soul," Thomas Quasthoff,baritone extraordinaire, takes the listener to great heights with his renditions of arias from the "Christmas Oratorio", "St. John's Passion", "St. Matthew's Passion", and others. The duet with Sibylla Rubens, from the "Christmas Oratorio", is achingly exquisite, as the two powerful voices-soprano and baritone - blend in sublime beauty and strength. And what a joy to hear Quasthoff sing "Swing Low, Sweet Chariot",as a bonus track. All one can say, is "Bravo!" and "Bravi Tutti!" |
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| Title: Mahler: Lieder | |
| By: | Leonard Bernstein |
| Starring: | Walton Groenroos, Thomas Hampson, Lucia Popp, Israel Philharmonic Orchestra, |
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| Publisher: | Philips (2007-09-11) |
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| Reviews : { Rating: 4.5 out of 5 } | Mahler Lieder I enjoyed this DVD enormously and I play at many times. I am sad that Thomas Hampson was not used in the songs of the magic horn.Groenroos' voice was a great disappointment especially after hearing T.H whom I think is magnificent!Although the recording is over 30 years old and still comes up beautifully |
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| Title: Give Me Your Love for Christmas | |
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| Amazon Price: | $7.99 Buy now from www.amazon.com! [ ( B ) Buy Give Me Your Love for Christmas ] |
| Publisher: | Sony (1989-07-20) |
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| Tracks : | Jingle Bell Rock - Johnny Mathis, Beal, Joe, Have Yourself a Merry Little Christmas - Johnny Mathis, Blane, Ralph, My Favorite Things - Johnny Mathis, Hammerstein, Oscar, Give Me Your Love for Christmas - Johnny Mathis, Gold, Jack [1], Santa Claus Is Coming to Town - Johnny Mathis, Coots, J. Fred, What Are You Doing New Year's Eve - Johnny Mathis, Loesser, Frank, Do You Hear What I Hear? - Johnny Mathis, Baker, Gloria Shayn, Calypso Noel - Johnny Mathis, Krunnfsz, Gordon, The Little Drummer Boy - Johnny Mathis, Davis, Katherine [2, Christmas Day [From Promises, Promises] - Johnny Mathis, Bacharach, Burt, The Lord's Prayer - Johnny Mathis, Malotte, Albert Hay, |
| Description : | No Description Available No Track Information Available Media Type: CD Artist: MATHIS,JOHNNY Title: GIVE ME YOUR LOVE FOR CHRISTMA Street Release Date: 10/01/2000 Genre: XMAS VOCAL |
| Reviews : { Rating: 5.0 out of 5 } | Christmas wonderful! I love this CD, I first purchased this album on a cassett, I played it so much it broke, went out and bought another one, played it so much it broke. Now I have this CD and I play it all the time, Christmas in July even. Johnny's voice is so smooth, and when he sings the Lord's prayer I get goosebumps, it is very moving. This is a joyous CD it has what you think of the holidays all wrapped up on one CD. |
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| Title: Jory Vinikour: Bach: Goldberg Variations [SACD] | |
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| Publisher: | Delos Records (2001-07-03) |
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| Reviews : { Rating: 5.0 out of 5 } | glorious! If Bach could only hear his work interpreted in this manner-- such sensitivity and intelligence-- he would, no doubt, be delighted. |
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| Title: Danse Royale | |
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| Amazon Price: | N/A Buy now from www.amazon.com! [ ( B ) Buy Danse Royale ] |
| Publisher: | Nonesuch (1992-05-28) |
| Availability: | [ ( O ) Order Danse Royale ] |
| Tracks : | En Avril Au Tens Pascour, pastorale, La Seconde Estampie Royal, for consort, S'onques nus hom por dure departie, Flos Pudicitie, DS 11:11, Danse Royale I, Si Tost C'Amis, Danse Royale II, El Tens d'Iver, Retrove Estampie Retrove, for organ (from the Robertsbridge Codex), Espirs d'ire et d'amour, La Prime Estampie Royal, medieval dance, La Uitime Estampie Real, for consort, La Septime Estampie Real, |
| Reviews : { Rating: 5.0 out of 5 } | Angelic Soprano, killer instrumentals This album is my all time favorite for this style of music. Much to my surprise and quite to my delight, these guys performed live at the Christmas Revels in the SF Bay Area last year. They sang many tunes from this album. Their amazing live performance is every bit reflected in the album, well, except live is always better, of course. So you can't see the beads of sweat on the performers if you buy the album, but the music is still amazing ! |
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| Title: Job / Double Piano Concerto | |
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| Publisher: | Angel Records (2000-01-25) |
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| Tracks : | Concerto In C For Two Pianos And Orchestra: I. Toccata (Allegro moderato), Concerto In C For Two Pianos And Orchestra: II. Romanza (Lento), Concerto In C For Two Pianos And Orchestra: III. Fuga chromatica (Allegro) con, Concerto In C For Two Pianos And Orchestra: III. finale alla tedesca, Job: A Masque For Dancing: Scene I. Introduction, Job: A Masque For Dancing: Sarabande Of The Sons Of God, Job: A Masque For Dancing: Scene II: Satan's Dance Of Triumph, Job: A Masque For Dancing: Scene III: Minuet Of The Sons Of Job And Their Wives, Job: A Masque For Dancing: Scene IV: Job's Dream, Job: A Masque For Dancing: Scene V: Dance Of The Three Messengers, Job: A Masque For Dancing: Scene VI: Dance Of Job's Comforters, Job: A Masque For Dancing: Elihu's Dance Of Youth And Beauty, Job: A Masque For Dancing: Pavane Of The Sons Of The Morning, Job: A Masque For Dancing: Scene VIII. Galliard Of The Sons Of The Morning, Job: A Masque For Dancing: Altar Dance, Job: A Masque For Dancing: Scene IX. Epilogue, |
| Reviews : { Rating: 4.5 out of 5 } | Stunning work of drama and ingenuity Several recordings of `Job' were made over the years but half of those are now deleted or barely available in the current catalogues. Of all conductors who attempted the realization of `Job', the dedicatee of this amazing work is still the champ. Sir Adrian Cedric Boult, in fact, left no less than four "official" recordings of it : - BBC S.O. for HMV in 1946 (recorded in March 1946 at Abbey Road Studio No.1, London--produced by Walter Legge--feat.: Paul Beard [violin], concertmaster) mono recording; - L.P.O. in 1954 for London-Decca (recorded in January 1954 at Kingsway Hall, London--produced by James Walker, engineered by Kenneth Wilkinson--feat.: Joseph Shadwick [violin], leader) mono recording; - L.P.O. in 1958 for Everest Records (recorded in November 1958 at the Royal Albert Hall, London--produced and engineered by Bert Whyte--feat.: Henry Datyner [violin], leader) stereo recording; - L.S.O. for EMI Records in 1970. The latter is the version under review; as for the 1950's London-Decca, it's been recorded at Kingsway Hall, London. It is an excellent Parker and Bishop "hi-fi stereo" production, in August 1970, for EMI (HMV); it features the violinist and leader John Georgiadis. There is also a live (centenary) performance from October 12, 1972, caught at the Royal Festival Hall, featuring Boult with L.P.O., on a rare CD published in Europe by Intaglio. The latter rendering supposedly is a sensation but somehow i missed it. An invaluable recording of a January 1946 live performance at Symphony Hall, with Boult conducting the Boston S.O., may have survived, somewhere... ... The 1958 recording for Everest is something of a controversy. As it turns out, the recording venue might be largely (but not solely) responsible for the half-success, half-failure of that session. The web site `ClassiqueInfo disques' (France) remarked that the recording venue "seems to have posed to the engineers of Everest some problems of dispersion, and microphone setting, because the brass (trombones in particular) blares with exaggerated contour over some distant strings lacking in body. The London Philharmonic Orchestra is perhaps not either on its best shape, and doesn't always reflect the atmosphere of alleviated serenity Boult tries to impose [...]." I believe all people involved tried to do their best but, for some unfortunate reasons, it just didn't work the way it should have. The Everest version of `Job' is musically really good, after all. And if the sound is marred by "problems," then that should not nullify the value of the interpretation in its entirety. Indeed, their "Altar Dance" is, perhaps, the most glorious on disc--not to mention the grandiose ensemble playing of the L.P.O. in the "Three Messengers" or in the "Epilogue"--that should justify it a crucial archive. Bert Whyte wrote a gripping article about the ins and outs of those great sessions in the defunct hi-fi magazine Audio (December 1985) : "I chose to record `Job' in London's Royal Albert Hall because we wanted to use its great pipe organ. The hall is very large, seating nearly 8000 people, and has notoriously difficult acoustics due to its reverberation period of more than 3 S. [...] Using the Albert Hall involved a lot of extra work..." People are unanimous about the fact that their Walthamstow Town Hall recordings are finer sonically--and much better in some cases (for example, the splendid sound achieved there for the Ninth Symphony, in August 1958, by Bert Whyte and his colleagues). As i mentioned initially, there are many recordings of `Job'--from the antique monos to the latest digital gimmicks. I won't probe in detail each of those. The present disc (EMI/Boult) offers wonderful readings of both the Concerto and `Job'; there is an effortless sense of foreboding in some parts of the latter, and both works contain very beautiful, memorable melodies. The solo violin of John Georgiadis provides exquisite sonorities and the ensemble gets a redolent tone which possesses the placid rurality of `The Lark Ascending'. The 1968 recording of the Concerto shows how pianists Victor Babin and Vitya Vronsky are clever in their unified performance, for this is not an easy work to play. This concerto is a tuneful, heartfelt and dynamic piece that readily announces the Fourth Symphony. It contains some marvelous, luminous music with characteristic melodies in the identifiable Vaughan Williams way. The accompaniment by the L.P.O., under the peerless direction of Boult, is attentive and idiomatic. For Boult, rhythm was of the foremost importance; his skilled technique was the result of years of practice and committed learning. Boult had his idea that a conductor shouldn't interfere with the music or try to modify it (but there are a few exceptions in case). After all, neutrality is the affair of the conductor, and expression that of the musicians : "He will not tolerate all the extraneous marks of expression that scores are apt to accumulate from the hands of conductors bent upon coloring up the work of the long suffering composer. [...] He goes to endless trouble to make the players feel the swing of the music, particularly when the bar-lines tend to break this up." We can assert that Boult belonged to a more objective school of thought, Weingartner-style, which doesn't mean his taut technique was deprived of emotion (typically, his music has what we might call a "restrained feeling"). However, that is not to say conductors from the opposite school or with a different view are "not good" : Examples of acclaimed conductors of the rubato (more subjective or impulsive) clerisy abound, from Glorious John and Wilhelm Furtwangler to Leonard Bernstein and the flamboyant Gustavo Dudamel (i like a lot Dudamel, by the way). Boult was neither a sort of "scaled-down Beecham", nor his approach toward precision in conducting--with a small dose of gentlemanly reserve--was "dull" or "fastidious". To the contrary, his musical legacy tends to confirm how fine and keen he was as a genuine artist plunged in the re-creative process of a variety of musical works. Boult's EMI `Job' deserves the accolades it has received in the press for decades. The very qualities of the performance--and recording--make for a solid account which is still rarely equaled, either in the concert hall or on record. The London Symphony Orchestra was at the height of its blissful years. Although it won't displace my favorite (the 1946 BBC), this is still one of the finest versions of `Job' (idem for the Concerto) and, on many points, it might be one of Sir Adrian's top ten stereo records. As regards recorded sound, the EMI/Boult with LSO is not quite as secure and articulate as the more recent (1995) DDD Teldec/Davis with the BBC S.O. The Teldec is so good and detailed a recording as to be almost hair-raising. Andrew Davis conducts one of the finest performances the work has received, no less. The EMI/Vernon Handley (with L.P.O.) remains a memorable account which, overall, will please most listeners with "it's robust, accurately paced and colorful rendition." The solo violin parts of David Nolan are quite resplendent and technically proficient. The 1983 EMI sound (even better than the EMI/Boult) is excellent in every way and reflects the live acoustics of St. Augustine's Church, Kilburn, in London. It is praised for the "natural sound staging and awesome dynamic range," to quote the words of Robert Levine in Stereophile. The scarce Carlton Classics CD featuring the BBC Northern S.O., again with Vernon Handley at the helm, is another solid account of the work. The same is true for Richard Hickox's sumptuous 1991 recording with a well-rehearsed Bournemouth S.O. (EMI Classics CD). David Lloyd-Jones, with the English Northern Philharmonia (Naxos), leads a frank and sometimes majestic account. The strings have a distinctly attractive tone. Opinions about the recorded performance led by Douglas Bostock in Munich (Classico CD) vary radically : Admired by some and despised by others, this version of `Job' surely won't leave you indifferent. Personally, i like the fact that an all-German crew would tackle this chef-d'oeuvre of the British repertoire. Bostock's Munich reading is very good on its own but hardly excellent when put side-by-side with the best of the bunch. And here is a case in point where the performance is better than the recorded sound. Nonetheless, Bostock's a fine and original account : By no means "plainly English" but consistently sagacious and fascinating--the "essence" of Vaughan Williams is unaltered. My favorite is the first Boult, with BBC S.O., which i personally think is marginally better than the rightly esteemed 1954 London-Decca. Albeit limited sonics, though surprisingly good for 1946, the vintage BBC performance is wondrous : It exhibits sure-fire boldness and has a gamut of relentless energy that does not prevent the more lyrical or quieter moments to shine gracefully. The timbre is somewhat duskier than in Boult's subsequent versions. He seems to have instilled a more overt sense of drama to the music and, without exaggerating any part to the detriment of others, the rhythmic flow is steadier. The orchestra's response is similarly taut and secure in spite of a few minor spots of imprecisions, such as heard in the Minuet. The opening track, Introduction-Saraband, is absolutely magisterial and the overall effect is riveting. One shouldn't forget that it was a sort of "golden era" for the BBC orchestra of those days (the exciting recorded documents of Holst and Elgar are further obvious examples). According to a review in Gramophone, "both of Boult's earlier mono recordings (made, respectively, for HMV in 1946 and Decca in 1954) had more fire and sheer intensity than either the Everest or his HMV account with the LSO from 1970." As one would expect, the conductor, who was always at home in this genre, gave the score a breeze of life like no other. To quote another review for Gramophone, "[...] `Job' is a work he [Boult] conducted with peerless authority" : I think those words could sum up my thoughts in a fitting way. Of course, for more "modern," stereo, versions, my preference goes for the EMI/Boult under review--which i still favor over the estimable Teldec/Davis (that one would be my second choice in this class). `Job', a `Masque for Dancing', is one of the greatest works by the famed British composer. As Robert Cummings (for AMG) noted : "Job has been viewed as auguring the Symphony No. 4 (1931-1934), a violent and dramatic work of profound character. While there are stylistic similarities between the two compositions, Job features less anxiety with a greater sense of repose and serenity." The creation of the `Masque for Dancing' has been, in fact, inspired by William Blake's `Illustrations to the Book of Job'. I'll quote Burnett James's scholarly liner notes for the London-Decca LP : "Technically the score of Job may be regarded as a compendium of Vaughan Williams' style - a synthesis in which all the varying aspects of his mind are combined in a single transcendent work." To sum up this elongated review, i'd say that this EMI/Boult CD of `Job' plus `Concerto for two pianos' is another prime recommendation. Like most albums from the British Composers' series, its sound is very fine as far as analog tape versus digital reproduction is concerned. These performances have been wisely reissued as part of the EMI Classics' box set The Collector's Edition, and the good news is the sound is as fine and vivid as any previous EMI incarnation. /*/ |
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