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If a guy who died 300 years ago could "swing", Rameau would be it. The instrument is a harpsichord. The technique is 20th century jazz. There is a panoply of origins: French, English, Scotch. Rameau defined "rhythm". The performance is a flawless interpretation of a dozens of styles and embellishments. Rameau had the "beat" long before the Beatles. This is a fabulous album even if you have never heard of the "Addams Family".
I bought this for my father to listen to during a 2hr ambulance transfer and later I played it for him during an emergency room visit late at night when he was having a poor time. He told me afterward that it was a amazing comfort to him. Bach is his favorite composer and noone can compare to Yo-Yo Ma. During his hospital stay he would listen to these cd's and the nurses would ask him to turn it up for others to hear. Perfect collection if you are looking for a calming background.
This was one of the first pieces of classical melody that I fell in love with, thanks to Yo-Yo Ma's performance. I know that a lot of people prefer other interpretations by Casals (undoubtedly the best), Starker (so precise) and Fournier (stately), et al. Actually they're all beautiful, really. But if I have to choose, I would take Ma's and Casals' versions. Ma's take is lighter, more fluid, youthful and romantic. Casals is deep, emotional, and bluer (if that means anything). If Ma's ver is like milk chocolate, then Casals' is dark chocolate. Lol. Obtain te on vinyl and CD versions of Ma's recording: If you're a vinyl collector, forget the vinyl. Just obtain the CD - sounds much te on vinyl and CD versions of Casals' recording: Obtain the vinyl, if you can search it!
Bach is my favorite composer,and this is one of my favorite things by him. Ma plays this flawlessly and beautifully. So does Rostropovich, but I can't search his ver and somehow lost Yo-Yo Ma's, so I had to still another copy. I've read people write about melody that one performance is better than another. Yeah. I don't know why I bought Ma instead of Rostropovich. Both are wonderful. With maybe Ma a small gentler, Rostropovich a small rough and grainy.I've always wondered - about things by Bach such as this. Do performers have to read the melody while they play it? How in the globe can they memorize all that - like for a live performance? And how do I know they're not fooling me and making it all up as they go along? Would I ever know the difference if they were? So much for my love of Bach. Maybe I'm just liking Ma, Rostropovich, Schiff, Perahia - all improvising. A guy could obtain paranoid.Lest it be left unclear, I still love this performance of the cello suites and would recommend it to anyone.
I've always enjoyed listening to a well-played cello. One night, as I was listening to Yo-Yo Ma, my autistic son came into the room, smiled, and asked what this melody was. I explained to him who Yo-Yo Ma was and showed him pictures of different cellos. He relaxed on the couch, place his hands behind his head, and said, "This is beautiful, mom." I now send the CD to school with him and his class listens to it in the afternoon while doing school work. At home, I often hear cello melody drifting from his room while he version underestimate the power of the cello and a prodigy cellist.
I have purchased Bach's Cello Suites before. Each artist has his or her own take. What stuns me about this exceptional recording is that Ma has taken a various take than 20 years ago when he recorded the Suites as part of a documentary that he hosted. I suspect that he has more melody wisdom. He confidently makes the louds more powerful, the more delicate. This recording represents the art of a musician in full. I recommend it enthusiastically.
Just on a technical level, the 2-CD set arrived pronto, and in excellent condition, like new. I ordered this because Yo Yo Ma has been touring the US for two years with this Bach program, specifically offering it as a meditation on grief and loss. It is particularly suited for listening during autumn into winter. I recommend it for anyone, and most especially anyone who is experiencing loss and recovery. It is profound, wise, melancholy, and strong.
This is the first of three times Ma's recorded these suites, and he's been brilliant in a slightly various method each time. This is from his earlier days, but is no less perfect than the more latest recordings. And the recording is very amazing as well. It may be my favorite recording of suite I's prélude; it's hard to pick.
All too infrequently can one search a superb performance of classical work that is equally well recorded. This disk is one of them. Gee's treatment of Resphigi's airs is wonderful, as is the playing. This ensemble should obtain much more 's really too poor Resphigi didn't apply his rich, more modern touch to more baroque pieces than these and those few Bach works he transcribed. A throughly enjoyable cd worthy of the most revealing audio equipment.
...and why don't they have more CDs available? Absolutely unbelievable music, expertly performed and presented. Since this is not a big-name classical melody conductor and outfit I probably would have passed (thinking it to be a lesser performance than others I could obtain) except for a review of this recording I read in the Third Ear Classical Melody Guide. The reviewer cited it as a top performance. I decided to take a possibility and am I glad I did. In a word, terrific. Amazing music, amazing sound and absolutely sparkling performance - best I've heard of this material. Cannot recommend it strongly enough.
It is a shame this disc is no longer available through Amazon, because it is superb. Also, the current picture of the cd cover used by Amazon is not the correct cover. I was only familiar with Respighi's Roman triptych until I stumbled upon this cd. "The Birds" is lovely music, melodic and peaceful and the "Ancient Airs and Dances" is equally pleasing. The Australian Chamber Orchestra sounds globe class here, and the sound quality is excellent. Again, it is a mystery why so a lot of quality recordings like this are not available. Note to Omega Records: Please bring this one back.
I had never heard Christopher Lyndon Gee or the Australian Chamber Orchestra before, so this CD comes as quite a revelation! The sound is excellent, and the ACO has a lean but bold sound, and never sounds scrawny, as do some chamber orchestras. This Lyndon Gee/ACO "the Birds" will go down in recorded history as one of THE best, along with Marriner/ASMF (EMI), Paul Anthony Macrae/English Chamber Orchestra (Perpetua) Ormandy/Philadelphia (Sony Essential Classics), and Orpheus Chamber orchestra (DG).Ancient Airs and Dances has had more recordings than "the Birds" so perhaps here tournament is stronger. Suite 1 : I is at a more measured pace than a lot of conductors take. Other perfect AADs are Ozawa/Boston (DG); Marriner/Los Angeles Chamber orchestra (EMI), and Lopez-Cobos/Lausanne Chamber orchestra (Telarc). Rico Saccani / Irish National orchestra (Naxos) are Grade B, less convincing than Lyndon Gee, Ozawa, Lopez-Cobos or Marriner/Los Angeles. Karajan/Berlin Suite 3 only (DG) is also for Lyndon Gee/ACO, tempos are never rushed but quick movements and sections dance with amazing energy and is Omega 1987 DDD recording comes across new as a fresh paint job, clear and without any digital glare or harshness. I'd a copy before even used ones are no longer available.
Some conductors lose sight of their material and become enraptured with their own power over a full orchestra. Leonard Bernstein was like that. Mind you, he was brilliant, but you knew you were going to obtain flourless chocolate cake with him: heavy, rich, booming orchestrations summoning up all the glory of is delightful CD is as its name implies: airs and graces. It's an upper. It's a chocolate mousse of an orchestration: light, delicate, satisfying. The Australian Chamber Orchestra performs brilliantly under Christopher Lyndon Gee.I first discovered it through the end titles of a movie, MAX AND MARY, and tracked it down. My favorite chop is "Bergamasca." The whole CD is a refreshment. Why not treat yourself?
Colin Tilney has captured the spirit of the Italian Baroque era in this thuderstorm of a performance on his antique harpsichord. The melody itself is some of Frescobaldi's most profound work, and represents the rush of creative intelligence and elevation that filled the transition between the Renaissance and Baroque era. Majestic, stately, and filled with thematic progression, it goes beyond a performance. Almost as if Frescobaldi himself were playing.
As with several other of Kipnis' albums, these could serve as either an eye opener for those uninitiated to the potential of the late 20th century harpsichord in the hands of these virtuoso musicians. And an introduction of the incredibly rich, varied (and almost totally neglected) melody of the 18th Century. Igor Kipnis was so much more than a master of the keyboard, he helped introduce three generations to what the Baroque was all about.
The piano began to displace the harpsichord starting in the 18th century. The performances on this album, mostly by the amazing Igor Kipnis, should bring much-needed attention to this instrument, particularly because most of these compositions were written when the harpsichord was the premier keyboard instrument, and, as such, are shown in their most brilliant form here. Talk about taking us to another time and place!
I was looking for a CD that would place the Harpsichord right at center scene to obtain a true appreciation for what the instrument is and can do. I love to hear period instruments with the pieces intended for them. It can truly transport you to another time and support you truly savor the piece even more and see it in it's real artistry. It helps you feel and know what the composer was intending. I like that it focuses solely on the Harpsichord. This album is truly a unbelievable recording. A real must listen for lovers of classical music.
I have always loved the sound of the Harpsichord and for a lot of years hearing poorly recorded or played Harpsichord this treasure is a must have. From the fine compositions to the amazing sound quality this CD is definately a enty of melody for a moderate as well.
Vigorous, exciting is set of recordings inspired a lot of a person to learn harpsichord.Over 50 years, there have been "classic" recordings of melody for harpsichord. Pedantic items from Gustav Leonhardt. But Kipnis is t over the authenticity thing! Obtain these recordings for pure pleasure.
This is a fabulous collection of harpsichord pieces. They contain English, French, German, and Italian pieces. Amazing variety. Scholarly interpretations are correct, and interpretation/speed/ornamentation are perfect. This is one you must have for your collection, especially if you are just starting to collect harpsichord music. The artists are not named in the Amazon information here, but they are Igor Kipnis (my favorite), Anthony Newman, and Arnold Dolmetsch (one of the pioneer early melody musicologists). And, my gosh! Look at the price!!!! mb
This is may favorite rendition of this Handel masterpiece. Amazing sound quality, sensible interpretation, excellent technique, and lots of power to the lower register. Like sticking your head inside a harpsichord. Highly recommended.
This miscellany of harpsichord pieces from Trevor Pinnock is quite a delightful album. Though the composers range from the popular to the now-forgotten, the program creates a powerful impression of unity and charm. The sound is warm and listener-friendly.
This is still one of the finest harpsichord recordings you can as an introduction to the harpsichord. In 1984 this was one of the first recordings that was released on cd instead vinyl (perhaps that was the reason it was recorded all the method in Japan?). Amazing instrument (David Method 1983 after Hemsch), unbelievable player and a repertoire that is broad and very representative for the very best harpsichord compositions of the Baroque era. The Gavotte avec 6 Doubles by Rameau, the Passacaglia in d minor by Fischer and the Italian Concerto by J.S. Bach are hard to overlook. I would have exchanged the two D. Scarlatti sonatas (K.380 and 381) for any piece of Pachelbel's Hexachordum Apollinis and the lacking of any virginalist (Byrd!) is rather painful but there is a lot to enjoy.
Kurfürstliche Cembalomusik aus Dresden: Ein musikalisches Gipfeltreffen: Weckmann und Froberger [Harpsichord Melody for the Elector of Dresden: A Musical Summit . Weckmann and Froberger]. Performed by Gustav Leonhardt, harpsichord. First published on Sony Classical in 1997. Also available as part of the 15-CD edition published by SonyBMG to celebrate Gustav Leonhardt's eightieth tthias Weckmann (1619 - 1674) was a pupil of Heinrich Schütz and of Jakob Praetorius and spent most of his life either in Dresden or Hamburg, except for a short period in Denmark where he escaped the ravages of the 30 Years War. He was a subtle user of couterpoint technique and a keyboard player of some renown in his day. During his third stay in Dresden after the end of the Thirty Years Battle he took part in a musical tournament at the instigation of the Elector of Saxony (which was, in those days, an independent state). The other popular participant was the widely travelled Johann Jacob Froberger (1616 - 1667) whose works have been somewhat better served by the early melody revival (with a major series by German harpsichordist Siegbert Rampe on Virgin and Dabringhaus + Grimm). On the Sony CD, Gustav Leonhardt recreates the atmosphere of this competition, devoting approx. 34 mins to Weckmann and 30 to Froberger. He plays three pieces by Weckmann which are here denoted as [Suites], the brackets presumably indicating that they did not originally bear this title, and consisting of different dance movements as clear and new as anyone could desire. Then there are three lovely Weckmann toccatas and a Canzon of outstanding beauty. The Froberger section begins with his popular (and very mournful) Tombeau sur la mort de Mr. Blancrocher, at the end of which said gentleman tumbles down the stairs (which was actually how he died, and I would prefer this interpretation to the one which makes the descending notes bring his soul into hell!). This is followed by a [suite] (see above for the parentheses), a Capriccio, a lovely Ricercar and another [suite]. The difference between the two composers is obvious, even at first hearing: Weckmann's melody is more complicated and seems a small more extroverted than Froberger's rather more meditative style. Unfortunately, my edition gives no info of the instrument used, but it sounds excellent for this music, with the Sony engineering absolutely impeccable. And I need not mention that Gustav Leonhardt is an ideal interpreter of such melody - it is not an accident that he has been recording harpsichord melody for over 50 years!
This is an perfect recording, but the point of my review is this -- anyone interested in obtaining this disc should first take a look Sony's box set, which is a much better (spectacular, actually).Gustav Leonhardt -The Edition [Box Set] is a collection of 15 discs, originally released by Sony or one of the Sony family companies, which have now been packaged together and released in a box, for a remarkably low (at the show time). It contains the disc shown on this page.I've reviewed the box set itself, so you can take a look at the link above to see the full listing of recordings included.
There are not enough favourable adjectives in the dictionary for this superb recording of harpsichord melody from Weckman and Froberger. This recording is one of the finest in my collection and it is certainly a "desert island disc" for stav Leonhardt's interpretation is subtle, expressive and often surprising! This is melody that still excites me years after I bought this CD. It is one of the best recordings of harpsichord melody I e recording is clean and clear and natural. Often harpsichords are not well recorded and the results are sometimes a small less than excellent and the sound of the instrument is not always well captured by such recordings. This one is first class and should be considered by a lot of melody lovers.I bought this recording for the Matthias Weckman (AKA "Weckmann"), I love the RICERCAR recording of all his cantatas, but the Froberger is fabulous, of ease consider!
Trevor Pinnock (b 1946) recorded the varied harpsichord selections on this disc in Tokyo in 1983, with perfect results. Pinnock has technique to burn and varies registrations substantially, to avoid listener fatigue. This is not the clattery, loud and monotonous harpsichord. The Bach Italian Concerto and 2 Scarlatti Sonatas come off well, as does Handel's "Harmonious Blacksmith" evor Pinnock created a lot of recordings in the 1980s and 90s, as harpsichordist and conductor with the English Concert for DG Archiv. His recording activity seems less active the past decade or so; but this disc is a amazing representation of Pinnock's recorded oeuvre.
I have all of yo yo ma’s three recordings of bach’s cello suites. I have listened to his third and most latest recording of the suites about six times now. I admire ma greatly, but must say that this fresh release is very disappointing and in no method compares with rostropovich’s late recording of the same work.I can’t photo choosing ma’s recording if rostropovich’s is nearby.
My first reaction was disappointment that this recording does not seem to be offered in the SACD format. Upon listening, however I do not feel it needs any support there. It is absolutely an audiophile quality recording. Perhaps the best one ever of a solo cello. It is recorded so closely miked that it almost sounds like the mike was actually inside the cello! Listening to this on a high quality set of headphones is quite an experience. By the time the intro to the 2nd suite was playing I realized I had tears in my eyes.I own over a dozen recordings of this work...it is my favorite bit of music. Is it the best? Perhaps yes, Perhaps no, amazingly the set by Matt Haimovitz must still be reckoned with. It certainly is the most exciting bit of cello recording since DuPre's Elgar or Harrel's rococo Tchaikovsky.I do bemoan the paucity of liner notes...I'd really like to know about the recording equipment used and if it was played on the Davidoff, for instance.I thought it played a bit to quickly at first, but I seem to have become acclimated to it...or it slowed in later selections... difficult to say. At any rate, if you are a fan of this piece of music, this is a must have. It occupies a special put in the repertoire. Need I say how interesting it is to have a musician of Ma's stature discover so thoroughly such a monumental work?
idiomatic indulgences and mainstream mannerisms are all painstakingly erased. to a certain extent, so much time and effort have been spent obsessively wiping away all traces of subjectivity and personalization, it draws a lot of attention to itself. who is this? why would they do that? in a way, it reminds meof myself when I’ve had too much coffee and have to ride the subway during rush-hour, don’t blink too much don’t swallow too often don’t clear your throat too loudly don’t chew on your lip don’t refresh fb too manytimes.... there’s so much eradication of minutia, I search that a lot of hero that was intentionally written into the pieces gets expunged... The Exterminating Angel... Gavotte, Courante, Saraband, Gigue, etc, they’re simultaneously supposed to be technical exercises and a trip around the world... But this experience is very much in one room, it happens very much within itself — but please allow me clarify my disappointment a bit: I am already a very solitary & confined person, and the Bach Cello Suites are very much desert island melody for me (I have more than a dozen recordings of them), but for me they are universal music, they take me both infinitely inward and infinitely outward; but these recordings are just very much surface level... There are no attempts at orchestral sonorities or architectural textures, it’s just notes, and even on that level it’s not attempting to be dazzling for the sake of jawdropping virtuosity or breathtaking expressiveness... It’s hard to classify really, but I do know that the a lot of listenings I’ve given this fresh album seems more like one very long multi-multi-multi movement piece rather than a few separate masterworks; it all comes out of the same cloth, and there really seems to be a lack of adventuring... Gosh, I have lived with the other two Yo-Yo Ma cycles for quite some time, and this set has really thrown me for a loop. But not at all how I expected. I was hoping for something more like Christian Tetzlaff’s third ver of Bach’s Sonatas & Partitas, heck, that is a wild ride of intensity & introspection & insight; but, this, here, seems to so very detached... It’s not for me...
I've loved Bach's cello suites for years and have generally viewed Yo-Yo Ma as the most capable performer. I have listened to his other two recordings of this work many, a lot of times and love them. This third recording will be the definitive version. The performance is fantastic, the timing just right. The qualify of the recording and vinyl pressing are also wonderful. I am considering picking up a second copy so I have a backup after I wear this out listening to it. I have two nit-picky complaints: (1) the triple gate fold was tight and makes it a bit of a pain to slide the records out, particularly the second LP; (2) the digital (from the record company, not Amazon) was sub-par, they're MP3s and are named in a wonky fashion -- this recording deserves better quality than that. As for the records, they're 180 grain, were perfectly flat, centered labels, and came with nice liners. All in all, amazing quality and a amazing pressing. Don't hesitate to pick this up for your collection.
I never cared for Yo-Yo Ma. Accomplished master he is, his playing just never touched me personally. I was in the vehicle when suite 1 came on the radio. Who is this playing!? When I got home I rushed in to turn on the radio and catch who it was. I couldn't believe it was Ma. I have the famed Rostropovich ver and Maria Kliegel's on Naxos. Both of which I love. I bought this newest set from Ma immediately and have enjoyed every min of it.
I have a lot of editions of the Suites, including YoYo Ma's second recording. I like them all, but this one is something special--it's a gem, with sparkling, rich depths, and you hold finding more the more time you spend with it. He spent 50-odd years with this melody before recording it, and it is a reflection of his generous spirit. I am using it to learn what the Suites should sound like, as I begin my journey of learning them. His love and joy is palpable in his playing.
If you are still reading, you know that this superb cellist is a bonus to us all, and Bach's cello suites are as close to perfection as mortal man has ever come. The mature performer may have less energy or flair than his younger self, but he shares his soul and with sublime nuance. I'll take that every time. Thank you Mr. Ma, for enriching our lives once again.
I’ve only listened to this fresh recording a few times. I agree with other reviewers in being awed by the quality of the recording itself. It is so sensuous to hear strings on strings so clearly I almost can’t focus on the playing - yet. I wasn’t sure I required another recording of this melody but I’m glad I went for it. And I do hope his tour comes to Chicago!
Very enjoyable recital. Sonorous harpsichord, recorded from close up (in 1962 and 1964), but never banging and clanging either. Original pieces and nice discoveries, like Picchi's Balli d'Arpicordo (Dances for Haspichord, of which this was the first complete recording), dance-like, festive, exuberant, stylistically Renaissance-sounding (Picchi was born in 1600 and died young in 1625), and at times harmonically daring. Picchi's collection ends with a Ballo alla Polacha, and Telemann's Bourrée alla Polacca, composed more than a century later, makes a fine complement (track 13), even though, originally, it was released on another LP: Picchi (pronounce "picky" and Frescobaldi came on SR90259, the rest (Telemann, CPE Bach, Scarlatti, Fischer) except Scarlatti's Sonata in E-Major (track 17) on SR90411 ("Baroque Masterpieces for the Harpsichord") wich also had Louis Couperin's Pavanne in F-sharp minor, Chambonnieres' Le moutier after Louis Couperin, Rameau's Gavotte et Doubles, Dieupart's Passepied and François Couperin's La Pantomime, all those now on "Golden Age of Harpsichord Music", completing the contents of the original Mercury LP SR90304 "The Golden Age of Harpsichord Music" which also had the missing Scarlatti - hope nobody's getting confused! Anyway, bottom line: you obtain three Puyana LPs on two fact the choice of title for this CD reissue wasn't entirely appropriate: Picchi and Frescobaldi are more late Renaissance than truly Baroque, and it is only the program complement that really fits the title. In the erudite liner notes to the "Baroque Masterpieces" which he contributed himself and which are reproduced here inasmuch as they pertain to what was selected from the original LP program, Puyana says that "in selecting the program for this recording [he] endeavored to assemble, in contrast to one another, a collection of amazing masterpieces of the Baroque for the harpsichord". And he did. CPE Bach's "Les Folies d'Espagne" is a amazing series of variations on the theme created popular by Corelli, and Puyana's sense of coloring, his changes of registration are great. And the three Scarlatti Sonatas are gems, especially K541 (L120) in F Major, not a very famous one apparently (I had no other ver in my library outside of the complete cycle of Scott Ross) and again Puyna's kaleidoscopic coloring and registrational imagination works to marvelous effect. Johann Caspar Ferdinand Fischer's Passacaglia is more stern and granitic in outlook, but impressive, with reminiscences of Bach (of whom he was a contemporary), and further enhanced by Puyana's registrational imagination. Among the Frescobaldi pieces, the twelve Partite on the Aria from Ruggiero is the most substantial. The liner notes don't tell you, but it is part of Frescobaldi's first book of Toccate e Partie dintavolatura di Cimbalo. On the International Melody Score Library Project (IMSLP) you can search a unbelievable facsimile of what I think is the first edition from 1616, apparently uploaded by the Bibliothèque National de France, the French National Library, eternal gratitude. The Ruggiero partite come after the Toccate, .pdf page 62. I don't know if I would have enjoyed the piece so much if I'd listened without following on the score. It is a fascinating exercise in trying to adjust to typographic conventions that have dramatically changed. It also shows that the score is only the bare bones, on which it bears on the interpreter to place the flesh - and that includes, for Puyana, changing the 12 partite into a suite by varying tempi, adding his own ornamentation, and repeating the first partita at the end, turning it into an "aria da capo".I feel I must quote another passage from Puyana's outstanding liner notes. It pertains to Picchi's Balli, but can be generalized:"Any musician wishing to accomplish a satisfactory interpretation of a work like the Balli d'Arpicordo must be able to place factual knowledge in the setting of the composer's era and environment. A precise transcription of a tablature is but the basis of such an undertaking. Whatever pertinent info the interpreter can gather should be used with conviction, even if it means drastic changes in conception and technique to the service of an idea. Authenticity must then be sought to enhance the revival of a musical masterpiece, but never at the of its life. Happily, Renaissance and Baroque melody are generous towards the imagination of today's performer: the texts are so bare that he must investigate, judge, and decide about their a lot of aspects before he can bring real life to them. Baroque melody affords and demands amazing freedom of expression and an attitude of inventiveness, both practicable within a huge historical and aesthetical frame. Today's interpreter can, by this very reason, have fun a high level of creativity."Program accomplished by Mr. Puyana, to the hilt.
I've been listening to this CD for years on YouTube and Amazon prime. I finally took the plunge and bought the CD for the vehicles. I'm one of those boring people who will listen to the radio until a weak song comes on or it's apparent people are talking just to hear their own voice...and then I'll turn on the CD player and listen to a wonderfully classic CD. For months I go without changing the CD selection.
This is a attractive performance of the Suites, certainly one of my favorites. Ma tunes his strings down a half step, giving his cello a warmer, richer tone than his 80s recording (pink cover). All in all, the differences between the two recordings are startling, and it is very interesting to compare the two. I especially like the more dancelike movements (examples: Suite 1 - Courante, Suite 2 - Minuets), and don't believe that anyone else plays them with as much elegance, which I think is the greatest attribute of Yo-Yo Ma's recordings. Ma has certainly place a lot of thought into these recordings and has produced one of the finest performances of the Bach Suites to date.
Yo Yo Ma is one of my all time favorites to listen to. He has a real bonus that I can listen to for hours on end. His Unaccompanied Cello Suite #1 in G Major literally knocks me off my feet. It is probably one of my top favorites in all of classical music.
The first thing you should know, if you are coming to this without knowing what it is, this is a studio recording of the J. S. Bach's Six Suites for Unaccompanied Cello. You might not know this from the strange subtitle on the cover "Inspired by Bach". In point of fact, what was "Inspired by Bach" were six short films, created by different director/choreographers, and that subtitle refers to the films, not the recording. It has, I think, given rise to the idea that Yo-Yo Ma's second studio recording of these suites was somehow more personal, taking liberties with the music, and so on. In my opinion, you have nothing to worry about. It is in the interpretation here, in fact, that the well-known cellist bests his earlier, perhaps more strict, interpretation. I don't think there is anything here more private or overly expressive, in its way, than Janos Starker's very different, but equally intimate, readings. And, while I am generally well disposed toward Historically Informed Performance (HIP-) practice, I hate it when it becomes an end in itself, or just another excuse to a fresh album. And whichever way, it's an interpretation. That's where some critics, I think, mislead. I recently acquired another recording of this music, by someone (it doesn't matter) who purports to be an expert in HIP performance, etc. When I first listened to him sawing through this melody without showing any evidence that he loves it, I longed for this recording. There is, admittedly, a lot of melody in the world, and, like Marvell's love, if I had globe enough and time, I'd create room for it all. But this is melody I actually wish to listen to, and quite often. Again and again, I turn to these recorded performances over a lot of others.
I admit I am partial to the Cello. In my opinion, it is the greatest emotional instrument ever produced, and Yo-YO Ma is on of the best to ever wield it. This cd brings together 2 greats, Yo-Yo Ma and Bach. It truly does not obtain any better than that. The best method to have fun this album is to chop the lights off, close your eyes, increase the bass, and feel the melody belt out it's power. Bach was a genius, and Yo-Yo Ma is your awesome translator on this tour into the mind that defined Baroque music. A amazing addition to a classical collection, and a must have for Cello lovers.
These recordings bring back unbelievable memories. I remember our library had these recordings of Bach's ORCHESTRAL SUITES 2 and 3, along with SUITES 1 and 4, in a complete LP set. I learned these works listening to that set, and think as highly of them today as I did that summer of 1972 when first intensely interested in Classical music. Pablo Casals has the right feel for Bach's Orchestral Suites on modern instruments. Casals' tempos are never too fast, yet the allegro passages sizzle; he doesn't overdo repeats where they aren't needed. I search his Bach refreshing, relaxing, and a true antidote to our quick paced, cold, technologically advanced, materialism-gone-mad me readers will not agree with me and prefer period instruments (Hogwood and Pinnock are two examples), or more latest recordings of Marriner, Rilling, Leppard, Max Pommer (Capriccio) with modern instruments. These recordings are all respectable; Marriner(London) and Leppard (Philips - hard to search recently) are very fine, but Casals has something unique which makes me really fond of his recordings. Everything is MUSICAL, and Casals isn't worried about "how would Bach have heard this?" Performance practices for Baroque melody have changed alot since 1966 - nearly 40 years ago - when these recordings were made, but Casals is still my has released Casals/Marlboro Festival Bach SUITES 1 and 4 on 2 various CDs, coupled with the BRANDENBURG CONCERTOS by the same forces. My tip is to obtain all 3 discs (this one included) for Casals' unique method with Bach.
Being no expert on such recordings, interested to hear the comments of other reviewers, who state although this is not their favorite, this is very good.I have fun the three suites, and the energy and grace displayed from one to the other. This is just exquisite melody to play often and sit back and allow these magnificent visions made by the music's movement carry one away with swans gliding and flowers spinning.
It's rare to have a single-conductor disc of the Tchaikovsky ballet suites where the three suites were recorded at about the same time. Karajan's three Tchaikovsky ballet suite recordings, on EMI, Decca and DG, come to mind, as does this DG offering from Rostropovich and the Berliners. In any case such single discs can be very helpful to beginners and newcomers to this music.While soaking in the Tchaikovsky ballet scores earlier this year I listened to this DG Rostropovich offering. It is justly revered and has its strengths. Even so I have had doubts about some of the interpretive choices that Rostropovich took when conducting these suites. I was bothered that he tended to slow up at cadences before getting back into tempo. I message this a lot in his Nutcracker excerpts, especially the Sugar Plum Fairy and the Waltz of the rst I will discuss the strengths of this stropovich catches the mood of each excerpt very nicely and elicits strong, full-toned and well-phrased playing from the string section. The string playing in the huge melodies is particularly rich, especially when they do their thing in the huge waltzes. I especially like the Rose Adagio, the Panorama and the second part of the Swan Theme when the strings take over the popular oboe tune. There is panache, fire and brilliance in the Slavic sections and in loud passages such as climaxes. Examples of this are in the Hungarian Czardas and the Russian Trepak from the Nutcracker, and the climaxes of the huge t when I listen to this disc I note a few caveats. I know they are enough for me to deduct one star from my rating but this does not affect my overall impressions.I am bothered by the fact that in between the "periods" of bars Rostropovich slows down before starting up again. This tends to disrupt the flow of the music. I message this the most in the Nutcracker Suite. I am bothered by this in the Sugar Plum Fairy and Mirlitons sections and the Waltz of the Flowers after the first clarinet solos in the middle of Theme A. Occasionally, the tempo tends to become stodgy and lacking in suppleness, for instance in the Arabian Dance. Also, I message that the recording quality is not as amazing as it should be. The sound scene sounds narrow and does not exactly let the sound to spread evenly. At least there is no congestion in the sound (as in the Gergiev recording of Swan Lake) and the instruments are well defined.I know that I'm partial to the DG offering of these suites by Levine and the Vienna Philharmonic Orchestra. Even so, you can't go wrong with this Rostropovich offering of the Tchaikovsky ballet suites. It's still a worthy single-disc sampler of these three amazing scores, especially at mid-price.
This is a superb anthology of keyboard works by Jacques Winner de Chambonnières, commonly referred to as the father of French harpsichord music. Skip Sempé is, of course, one of the very finest of all early melody practitioners, and he brings to this recital superb style, a delicate touch, and a seemingly flawless insight into the spirit of the French baroque. Both the poetry and the infectious music of the master's melody are brilliantly captured in these mpé plays a superb 17th-century Flemish instrument which, moreover, is impeccably recorded here. For some of the pieces he is accompanied by a theorbo, played by Brian Feehan - a practice which is historically authentic and, what's more, works beautifully for these pieces. The works are arranged into suites in C (the most extended), G, A and D. Chambonnières' melody is full of delights, such as a attractive Sarabande grave (track 6), a charismatic Chaconne (11) and another unbelievable Sarabande startingly contrasted by its lively following Canaris (19, 20). Then there's the Pavanne in G (23) - its captivating poetry, and that of other slow movements such as the Preludes, beautifully expressed by Sempé; and, similarly, the superb Allemande La Mignonne (28). The set of pieces in A (24-27) also form an especially fine e disc closes with Jean-Henri d'Anglebert's lament, Tombeau de Mr. de Chambonnières, a touching, deeply contemplative work - here given the most beautiful, sensitive performance I've ever heard of this piece. For a complete collection of Chambonnières' two Livres de Clavecin, Olivier Baumont's very fine two-disc set (Jacques Winner de Chambonnières Les Pièces de Clavessin) is an perfect choice, but the show selection by Skip Sempé is absolutely superb - and, in my view, one of his finest ever recordings, which is saying a lot! It's available both in its original form, issued by DHM in 1993, and in a reasonably-priced reissued ver of 1997. Once again, I have to thank fellow reviewer Nicolas and other commentators, for bringing this composer's unbelievable melody to my attention through their reviews on
An perfect choice of pieces, a truly glorious antique Ruckers, a amazing job of recording, and marvellous, insightful, skilled playing. The theorbo's contribution in some of the slow pieces is really quite ravishing, as well. I am searching for something negative to say just to present that I'm not chemically intoxicated, but I can't seem to search anything. The CD is out of print, so amazing luck chasing down a copy if you wish one. (And no, you can't have mine.) JvL
This disc, well recorded in 1978, provides an perfect selection from the three Tchaikovsky ballets. What is provided is the usual Nutcracker suite plus two suites selected from the Swan Lake and Sleeping Beauty ballets and featuring a lot of of the key e performances as recorded here are unfailingly brilliant with frequent quick tempi providing considerable frisson. The BPO answer to these demands with panache and apparent ease. The actual style of the performances is that of a concert approach. Those familiar with the three works as scene productions will recognise that a lot of of the speeds heard here, although undeniably effective and exciting in their own right, are essentially is approach to a non-staged performance of the melody is not an unusual situation as much of the melody when played at a danceable speed would not keep sufficient interest without the dancing to focus the attention. The problem, of course, lies in the fragmentary nature and short duration of so a lot of of the pieces when heard away from their proper scene concept. As concert performances those collected together on this disc are about as fine as they conclusion I would suggest that this disc superlative playing within a concert performance concept of this ballet music. Those who want to relate more to the staged works would probably benefit from exploring the a lot of fine alternatives now available on DVD or Blu-ray. Otherwise, this is arguably the best concert set available on CD.
Being grateful for the opportunity to share my enjoyment of this recording, I'm adding this to my Amazon reviews because I have fun most kinds of musical music (but not so much the Rap rhythm solos). Tchaikovsky (or Tschaikowsky on this Deutsche Grammophon recording) Ballet suites from the `Swan Lake', the `Sleeping Beauty' and the `Nutcracker'; this is one of several tape recordings I have worn rather thin and was browsing to replace it. The pleasant surprise is that I was specifically looking at the Mozart Clarinet Concerto and Flute & Harp Concerto which I had searched for, when this came up in the carousel feature on that page. I'd label that as `serendipity', and a amazing call by Amazon customer recommendations.If you have ever watched a tv unique during the Christmas holidays, then you've probably been subjected to a selection from Tchaikovsky's `Nutcracker' Ballet. You may have even heard a half dozen commercial snippets from it in any given hour of holiday programming (it really is that popular). In fact, if your mute button has heretofore saved you from exposure, and if you were somehow able to the aisles of the grocery & dozens stores and never hear it, then it's time to shut down the `Classical-Phobia' radar, and even if you don't have the patience to watch the PBS full production family programming, then at least treat yourself to the MP-3 ver through the privacy of your own headphones. This high quality recording promises to be one of the most dramatic pieces of genuinely relaxing composition you will ever encounter. And no one ever has to know that you were listening to (gulp !) `ballet'.
There is something to watching the facial expressions of another as they first hear Pachelbel's Canon in D. It is something that occurs only once in any given person. The look of amazement and fascination and perhaps a bit of bewilderment always ensues. This is a universally recognized is recording is quite nice and well attended to in the engineering booth. The production is straightforward allowing the violins and simultaneous counterpart to equally share the audio never ceases to amaze me how someone can compose music, especially something so elaborate as this canon. Johann Pachebel definitely had a amazing thing going with this attractive suite. I hope he delighted in it as much as I have.
It was hard to decide how to rate this album. I'm a large fan of J.K. Rowling's masterpiece series, and I'm a heavy fan of Imogen Heap's work since her 1998 debut album. When I read she was chosen to score Harry Potter and the Cursed Kid I was ecstatic! I finally got a possibility to hear it and...wow, imagine my disappointment when I realized I've heard all these songs before. Rather, these songs are instrumentals of Heap's own songs from her back catalog reworked into a score. I hear these, and the latest thing I think about is Harry Potter. To me, it's just a nicely mixed celebration of Imogen Heap's extraordinary work as an electronic melody at said, it's definitely worth a listen.
I was fortunate enough to see the original Broadway ensemble perform Harry Potter and the Cursed Kid (I + II). I had already heard others say that the soundtrack was unbelievable and had the same experience while watching the play and hearing the score for the first time. While very various from the on-screen soundtracks we have come to associate with Harry Potter, this soundtrack fits the play perfectly. Once I got home, I immediately bought the soundtrack to listen to at home. I hope this will tide me over until I can obtain my hands on more tickets to see the play!
This marvellous 2 CD set from the SEON catalogue, now re-released by SONY is a compilation of several recordings created from 1976-1977 by the amazing Dutch harpsichordist, Gustav Leonhardt on the (then) newly-restored 1728 harpsichord by the amazing Hamburg maker, Christian Zell, undertaken in 1972 by the (great) German harpsichord builder, Martin Skowroneck. This review can be short: this double CD includes the contents of several LPs, contains some of Bach's greatest harpsichord melody played by the most significant harpsichordist of our time and features one one of the greatest German harpsichords ever built. No other recording gives such an authentic aural picture of how German harpsichords of the 18th century must have sounded when new. There is also Leonhardt's unbelievable performance of the E-flat major cello suite (BWV 1010, arranged by himself for harpsichord solo, along with his equally masterful interpretation of the G minor lute suite, BWV 995.Leonhardt omits the brief, partially-notated Fantasie before the A minor fugue (BWV 944), which is a pity, as Leonhardt is a master improviser and could easily have included it. However, his rationale would have been (as he has told me over the years) that an improvised work is not to be recorded, as it then loses its meaning. This recording represents the excellent marriage of music, performer, instrument and recording. It conveys the excitement with which the entire "period instrument" phenomenon began, and just how high the standards were when masters like Gustav Leonhardt, Frans Brueggen, Nikolaus Harnoncourt, Jaap Schroeder and the Kuijken brothers were involved. On this release the combination of music, performer, instrument (not to mention, by extension, restorer and producer Wolf Erichson, the creator of SEON - Studio ErichsON) makes for an unforgettable listening experience. One of the finest - and most influential - recordings of harpsichord melody ever made. Buy it while you can.
Imogen Heap is an immensely talented composer and vocalist. I have fun her solo work as well as From Frou and her other collaborations. You can tell that this album really tells a story, the progression of an adventurous and sad tale, and having read the playscript could sort of follow along with the story while listening. I was a bit disappointed that a lot of of the songs were sampled from her existing discographies and was expecting completely fresh material, however the amount of work that would have had to have gone through the reworking of those songs to create them into these fresh stories is impressive. Not to mention that this is a 42 track album, so I can't really complain. I would love to hear exactly how it goes along with the play, to obtain the full experience of it.
If you've heard Imogen Heap's solo/duo albums, you can skip this. Virtually every song reuses substantial portions of her previous work. One presumes the publisher was okay with there being very small fresh compositions.Examples - there are plenty more:- "Platform 9 3/4" reuses most of the backing from "First Train Home" on Ellipse.- "Wand Dance" reuses virtually everything from "Cycle Song" on Sparks.- "A Nice Day", same thing from "Goodnight and Go" on Speak for Yourself.I regret such a duplicitous -- and duplicate -- purchase.
I grew up with parents that listened to classical music. My parents had this exact album in their vinyl collection. I still remember when my late Aunt’s boyfriend gave this album to my Dad the evening after we toured some of the Smithsonian museums in the District. The album is in perfect playing condition and sounds amazing playing through my Martin Logan floor speakers powered by my Yamaha integrated amplifier.
Bach has once again overrun us with his overwhelming genious: the combination of adorable music and the beautyful sound of the harpsichord make the most unbelievable baroque atmosphere only imaginable. His whole work is a masterpiece and this CD is the creme de la creme of it.