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This was a struggle to obtain through. The character is a ridiculous selfish person and the heroine is a naive girl. I’d say woman but she is the dumbest hero I have ever read. Beyond pathetic and so gullible when it comes the hero. She had a possibility to pick this amazing guy who loved and adored her but she picks the loser who puts her through so much stress and drama. This was a double hockey sticks NO for me!Wasted cash for sure.
‘Do you think you can fall for two various men, I mean really fall for them, and love them both at the same time?’ – StevieStevie Sandrine’s first love was the boy across the street, who just so happened to be her brother’s best friend. Everett Taylor was the poor boy who couldn’t commit. The lead singer in a band, Everett felt like he could never be enough for Stevie. Stevie loved him fiercely, but it was never quite enough. Quick forward a few years and Stevie meets Aiden Prince. Aiden knows he could be what Stevie needs if she would just begin up to him and give him a chance. When finally she does, their love grows, but when Everett comes back into Stevie’s life, it becomes too much. Stevie loves both Aiden and Everett, but she can only have one, and by choosing one she is going to have to say goodbye to the other forever.Angst. So. Much. Angst. Page one and I was instantly drawn in. I had to know what was going to happen, I had to know who Stevie was going to choose. I will say, that normally, when I read a book that involves love triangles, I end up hating one of the guys and am grateful when the heroine chooses who she chooses. In this case though, I loved both Everett and Aiden equally, therefore I didn’t know who I was rooting for. To me, that is what makes this book stand out from others that I have read. The method that Ella Fields wrote about the love and the heartache and everything in between when she was giving us this story, it created you wish Stevie to choose both Everett and Aiden. This book was beautifully written and broke my heart in the best method possible. This book isn’t just a love triangle, it is a journey of discovery for one young woman to see where her heart truly belongs.
4.5 StarsWhat is about Ella Fields and angst. She excels at it and also at driving me freaking crazy. Gahhhhhhhhhhhhhh. My heart and nerves couldn’t take it. Serenading Heartbreak is just that. Heartbreak and damage but those emotions only come because you feel. You love. And that’s exactly what Stevie did. She loved so fiercely and so deep. She loved two guys and they loved her renading Heartbreak is a love triangle and Ella Fields doesn’t keep back telling and exploring Stevie’s journey falling in love with Everett and Aiden. I went through all ranges of emotions. It was not beautiful at times. I cursed out loud. Omg did I curse all because of Stevie and her two guys. They didn’t create it simple on me. They are young and bound to create mistakes but I fell for both guys as quickly as Stevie ere was some amazing secondary characters especially Stevie’s best mate Adela, her work colleagues Gloria, Sabrina and her brother renading Heartbreak delivered what I expected it and Ella Fields to do. Drive me bonkers and pulling on every emotion right until the final page. Stevie had to create a choice between two wonderful guys and I was glad it wasn’t me. That’s a testament to the writing from Ella Fields. These three characters screwed up numerous times but still I came to care for them. Wanting the best for each of them no matter the outcome. Angst galore and it was fabulous!4.5 Clover & Petal Stars
I knew going into this story that I was going to be on one hell of an emotional ride. I just was not expecting it to be through Splash Mountain at Disneyland. Holy hell, this book hurt. A LOT. Screw that, this book damage A WHOLE HELL OF A LOT. This author just took angst to a WHOLE fresh level. This book is the closest that I have ever come to wanting to flip to the back of the book in order to maybe ease my miserable and conflicted heart. I managed to keep off but e author is one of the best at what she does. She is a master wordsmith. Every word choice is meticulously chosen to have the most impact. Seriously, her skill at painting a story but with words instead of paint is mind-blogging. My heart damage for Stevie, my heart damage for Aiden and my heart damage for Everett. I am not sure that I could have chosen between the two men if I was Stevie. Both of the men had something and I could see the draw for either of them. My heart damage especially poor for the one not chosen because I think they could have both been winners. The entire time I was reading my heart physically damage because I loved both of these men. They both created mistakes but that didn't mean that I couldn't see how these characters both loved the same girl. A girl that DESERVED to be loved. Which only created my heart damage MORE knowing that this was genuine love. I questioned my sanity a few times reading this because I wasn't sure my heart could take it. I am old. I have more yesterdays than tomorrow and I questioned why I did this to myself reading a love triangle. Then I remembered... It is because this author wrote it and I need her words like I need air.I connected with these characters on so a lot of levels, mainly because this author is truly a magical Unicorn. I won't lie and say that there were times that I wanted to notice the author and tell her how I was vacillating between wanting to tell her how much I loved her and wanting to shake her before I resumed the cycle over and over again. The method that she weaves this story almost broke me. It was so attractive that I truly had my mouth agape, and found myself highlighting large parts of the book because there is just something about this author and her ability to write poetry in motion. It truly was Mellifluously is story hurt. I was jealous of Stevie having not just one love but two that were so encompassing that the soul couldn't even support the heart to stop loving these two awesome men. And awesome they were because I think in my heart they truly both loved her with the very breath in their lungs. It was powerful, beautiful, and poignant with a dash (or 50) of heartbreak Basically it was Love personified.I have read everything this author has written and each time I fall in love with her a small bit more. I hope someday that she truly believes how awesome she is. The growth from book one to now, although even her debut book came out swinging and was amazing, is otherworldly at this point. She is one of the most talented writers that I have read and Goddess knows I have read THOUSANDS of books. Everyone needs to read this book.
5 THIS BOOK...STARS!! Ella Fields did her job well.....I can't stop thinking about this book. My teeth damage from grinding them so hard with all the angst and my heart is so tired it needs to sleep for a week. Stevie, Everett and Aiden's story will pull you through the ringer, but it is so worth the ride. I am so satisfied I took the ride, but create sure to buckle up...it will jerk you around. I crave Ella Fields words and she did not disappoint, I devoured this book.
An angst-filled romance about love and letting go. Obtain ready to place your life on keep while you become consumed by this heart-wrenching love triangle. The author delivered a story that will hold invading your thoughts long after you turn the latest evie never imagined she could love two men. When her heart was taken by her first love and then smashed, she never thought she could love another. She learned the hard method that your heart just grows. Love has no bounds. However, can you ever love two people the same? Can you give your heart fully to another when pieces of it belong to someone else?This story tore me up. The author continues to write stories that will give you all the feels. I felt all the pain, all the heartache and all the love. I thought I knew what I wanted for Stevie. The author did what I thought was impossible and created me love both men. She changed my mind throughout the story as it progressed. She created me take the journey to forever right along with Stevie.I enjoyed every word even when I thought my heart couldn't take much more. The author conveys so a lot of emotions through her prophetic prose and I look forward to every fresh e heart wants what it wants. This is Stevie's story of fighting for forever love.
My heart hurts people. What's meant to be is meant to be I suppose so my heart will mend, but it's going to take time. Serenading Heartbreak highlights the ugly, angry, tortuous parts of love. But it also highlights the brain-deep and heart-deep light of love...and friendship. I have a very hard time writing short reviews, particularly for my favorite authors, but Serenading Heartbreak the story and the vividly written characters within speak for themselves. Take a chance. It's worth the excellent pain. 5 plus plus plus stars for one of the best books of 2019.
Wow! I am a large Ella Fields fan and Serenading Heartbreak blew me away. I was honestly nervous with the idea of a love triangle, but in real Ella Fields fashion, she blew me away.I don’t know how I survived the heartache and angst, but it absolutely was worth every panic attack and breathing-in-a-paper-bag moment. I fell so hard for every hero and the writing was just phenomenal. I cried satisfied tears and sad tears and I didn’t wish it to is book has created it onto my top 2019 read list. Perfection between the pages!!!
There are very few love triangle books that leave me happy by the end of the book, even when the couple I wish to obtain together does. There is usually something missing or leaves a sour taste in my mouth. Serenading Heartbreak didn’t. It was so much more.We meet Everett and Stevie as young teens, we feel their connection very early on. It was head first, all in kind of love. One that passionate and rare. One that due certain paths is bound to shatter over time. Is it enough to be pieced back together? For a amazing portion of the book I was hoping so.I fell for Everett beautiful fast, he’s the type of character that I wish to embrace and support ter going on the street with his band and not keeping contact with Stevie, things begin falling apart. By this time Stevie is in college and here enters Aiden. Aiden is the complete opposite of Everett. He is the all star athlete. He’s loyal and kind, the type of character you root for. He’s one that slowly sneaks into your heart and makes you drunk on his love.When reading love triangles like this there is always just one couple I wish together. I have never experienced the feeling of loving both hero’s. Toward the end of the book I determined I would be content with either relationship. Even though I knew where it was heading and someone I loved would be broken hearted. It was going to damage either way.I wish to take a moment to praise Ella’s writing. There is just something so attractive and exquisite with the method she forms words. I’m grateful that she shares her talent with the globe and feel fortunate to read her work.5+ stars
All of the emotions. Every single one of them. I was instantly drawn in to the story and it kept me wrapped up until the very latest is is a story of not just one love but two... at the same time. Stevie meets Everett when she is 15 years old. He's just moved in the house across the road and he became quick mates with her older brother. Everett has things haunting him about his past but he seems too have found some solace with the family across the road and when he discovers his love for music. Feelings develop but as with a lot of loves, something is always pulling them in opposite directions. Stevie heads off to college where she meets a Prince.. he plays baseball at the college they both attend. Time goes by and various circumstances arise.. life keeps handing Stevie various obstacles. Her head and her heart are at odds and she feels torn. That's the most I wish to say. I went into this book not knowing much more than the tagline on the front cover and I really enjoyed it like that. I honestly had no idea what would happen by the time this book was done.I think I just really identified with Stevie's hero and the things she goes through because of how her heart loves and wants. Not everyone will identify the method I did obviously but you don't have to identify with Stevie in order to still love this story as much as I did. There is of course in real Ella Fields fashion, so much angst. Which, I personally love. I wish the ups and the down and the longing and knowing better but doing it anyway. Sign me up for all of it. Love is messy and attractive and completely broken at times and I feel like Ella just really does all of that justice. She 100% puts your heart through the wringer but if you love emotional angsty books then you will thank her and ask her, sir, may I have another? So, grab this book up.. obtain your emotional help blanket.. and dive in when this baby goes live.
I used this book as my main source for a college term paper about Elizabethan fashion and costuming for Shakespeare. The pictures were numerous and detailed. The text was well written and FULL of valuable info without being convoluted. She covers everything from ruffs to armor to color choices and connotations. Overall, it was a amazing resource and very entertaining.
I was looking for a CD with all gentle, relaxing music.....for the car, especially. Driving is so frantic these days, it's nice to be calm, to obtain to my destination in a serene mood. This CD does just that. It's lovely.
This is a unbelievable collection that really builds a mood- they aren't kidding around when they say it's for bedtime- You feel so peaceful. If you wish my advice, go up and listen to the first sample "Concerto for Guitar in D major: Largo." It'll sort of remind you of the melody from the Princess Bride. If you like that- you'll really appreciate the entire album (although there are other instruments). Just wonderful!
This is pleasing, pastoral melody picked to relieve that which tenses up our bodies and souls.Turn on this perfect baroque collection from the likes of Vivaldi, Telemann, Handel and Pachelbel (among others) superbly played by such virtuosos as Rampal, Holliger et al.Sweeping instrumental arias are so relaxing! This one will soothe the savage beast as well as those tired bods.
Whether you have cares you wish to banish or not, you will delight in this CD. The album is perfectly balanced, and each piece moves seamlessly into the next, never jarring you to attention, but soothing you and leaving you feeling peaceful and relaxed. The album works well at the end of the day, but I have listened to it at the begin of the day too, and it made a nice mood for a day just beginning to unfold.I recommend this album for anyone wanting to have fun a lovely, unpretentious, and relaxing interlude.
This 1991 set of the best known and favorite Elgar is electrfying, rich and sensitive all at the same time. I won't go into an intellectual synopsis of all the melody because I really only know what my ears and body can tell me as opposed to my brain when it comes to this music. My ears tell me moving, dramatic and sometimes rapturous and just plain beautiful. The performance of Andrew Davis an the BBC Symphony is marvelouly pointed and the sound is rich, warm and spacious. Oh..and the Penguin Tutorial to Classical Melody on CD gives this CD their highest honor..A "Rosette"...As best Elgar on CD...This is probably the best CD introduction to Elgars melody out there. Strongly recommended to support you decide if you wish to purchase other Elgar because if you don't like this one, you don't like Elgar
The playing and production are both mightily impressive. There's nothing wrong with all those old, over-hyped Barbirolli Elgar recordings, but the sound and playing is superior on this disc. If you wish Elgar, Andrew Davis is second to none.
"Andrew Davis" and "exciting melody making" are virtually never uttered in the same breath, but his integrity is always without question. To say this ver of the Enigma Variations caught me off guarad is an extreme understatement. This is a truly outstanding, heartfelt performance that grips you from beginning to end (unlike his Sony performance, which is nothing special). It and the classic performance by Pierre Monteux (Decca, coupled with a surprisingly unbelievable "The Planets" with Karajan and Vienna(!))) are my two favorites, hands down (with an edge to the Davis because of the unbelievable sound).
First of all, the sound on this disc is first-rate. I bought it because I had been impressed by both the sound AND the performance on Andrew Davis's disc of the Vaughan Williams Sixth, and the sound certainly lived up to my expectations. Listen to the Introduction and Allegro for Strings, Op. 47 -- to me, the highlight of this disc. The method the recording catches the textures of the whole range of strings, from high to low, from loud to soft, just couldn't be better. The balance of the string quartet in relation to the concertante orchestral sections is just right, and the playing by all concerned, to my ears, is beautiful. The earlier Serenade for String Orchestra is also beautifully done, though it's a simpler and less engaging piece. I have to confess a bias, however -- even well-played, Elgar never gets my pulses racing, much as I appreciate the skill of the orchestration and harmony. I came to this recording having been listening to a lot of Schumann and Dvorak, and these two can obtain you out of your chair, so to speak. And it's not just a matter of a degree of reticence in the climaxes -- compared with Tchaikovsky, for example, or even Vaughan Williams. Elgar seems to be unwilling or unable to commit himself wholeheartedly to melody. No sooner does a promising motif show itself than it's worked on or worked over before it has a possibility to create an emotional impact. Is this a fear of vulgarity on Elgar's part -- his textures can be very refined -- or does he just have a various conception of symphonic development from Dvorak or Vaughan Williams? I'm a very unsophisticated listener -- I like melody that hews close to bodily sensation -- the march, the dance, the song -- and yet I suspect that, though I like Vaughan Williams better, Elgar is perhaps the greater composer. It's a bit like preferring Dickens to Henry James, even as you know that James is masterly in a method that Dickens can't be (and isn't interested in being).Anyway . . . enough about me. I enjoyed this disc, with the reservations noted above. It opens with a spirited Cockaigne Overture, and ends with the "Enigma" Variations. My overall impression of the Enigma performance is, again of refinement, and the sound is, again, beautiful. I've heard tauter accounts, though. Still, much to appreciate here.
I have searched everywhere, and I am serious, EVERYWHERE for the "perfect performance" of Elgar's most esteemed works, and I have finally found it. Everything is attractive in this CD. Where ugliness appears to appear, it is only a feign sign of beauty to come in the next phrase of the music.Andrew Davis reminds me of a amazing conductor, Sergiu Celibidache, who passed away in the past decade. Like Celibidache, Andrew Davis knows how to be meticulous with literally every aspect of music. It is clear that Davis spent a LOT of time with his musicians before making this recording, as there is much refined playing among the musicians, particularly in the string sections in Track 2 (Introduction and Allegro) and Tracks 3-5 (Serenade for Strings in E Minor).For the simple listeners, the CD is enough to place you in a state of relaxation (Serenade for Strings), or tenseness (Enigma Variations), if that is what you prefer. For the musicians who are trying to search the best recording to learn off of, look no further. It's here, and all you need is to create this one purchase for the benefit of a lifetime of listening pleasure [or study].
This generously-filled disc pulls together three of Elgar's best-known orchestral works (Enigma Variations, Introduction and Allegro, Serenade for Strings) with his Cockaigne Overture. The performances by the BBC Symphony under Andrew Davis are first-class; British orchestras seem to have a unique understanding of this repertoire. Buyers should store carefully as this disc is intended to be marketed at budget price.
While I remain underwhelmed by Felix Draeseke’s first symphony, the second is far better and worth getting to know (albeit no match for the third). Stylistically Draeseke found himself firmly rooted in tradition – influences from Schumann, Schubert and Liszt are noticeable – while at the same time incorporating elements that definitely foreshadow German late-romanticism, and as opposed to the first symphony the second also evinces a sense of humor (even more pronounced in the fourth, by the way). The symphony, composed in 1872, is not a masterpiece, but it is nevertheless an enjoyable affair, sunny, warm and occasionally cheeky, a bit like an early Dvorak symphony and – interestingly – Bruckner’s first.An obvious drawback is Draeseke’s lack of any very memorable themes, yet the first movement moves along with energy and flair and with enough imaginative touches to sustain the listener’s interest. The Allegretto marciale that follows manages to tread a fine line between the serious, the mock-serious, and the humorous, and is actually rather original if not strikingly memorable. The scherzo is light and poetic, whereas the finale, Presto leggiero, is not only buoyant and spirited but includes some of the few really memorable thematic ideas of the work. A fine work, then, if not perhaps one that will force a rewriting of melody e Serenade in D is lightweight and charming, appealing but occasionally overlong – the first and latest movements are the strongest, and the Polonaise is fine as far as it goes, but the love stage third movement or the Ständchen second movement seem short on inspiration. Overall, it is once again a work worth hearing for those who are into the lighter side of romanticism, but hardly a work one will return to – with the possible exception of the outer movements – very e NDR Radiophilharmonie plays, once again, with spirit, with, panache and glittering colors under Jörg-Peter Weigle, and CPO provides a very fine recorded sound. Once again I would also probably direct newcomers to the composer to the third symphony, but one may want to hold in mind that the mood and spirit of the melody on the disc at hand is very various from that of the far more serious and ambitious third symphony. Recommended nonetheless.
Lovers of the symphonies of Robert Schumann should adore the Symphony No. 2 of Felix Draeseke (1835-1913), a German composer of late romantic vintage that wrote in a high romantic style related to that of Schumann and Mendelssohn even though he was apparently most influenced by Wagner -- whom he called the greatest genius of Western melody -- and his other symphonies, this one begins with sharp timpani and brass attacks that will remind you of Beethoven, another composer whose influence is readily apparent. But you spend hardly any time with the Symphony 2 before the connection to the symphonies of Schummann -- in particular Schumann's Symphony No. 2 -- becomes most apparent. The two are very similarly orchestrated and there are thematic similarities, especially in the first e five movement Serenade in D Op. 49 that accompanies the symphony has more of a Dvorakian mood, especially in the second and third movements, the first of which contains a cello obbligato. The seremade has more interesting construction than the symphony, with an allegro first movement followed by a real slow movement, an andante, allegretto and closing prestissimo leggiero. Like the symphony, it remains steadfastly in the mid-romantic vein of 19th century music. While both pieces offer related high spirits, I think this is a better piece of melody than the they have on the other Draeskse symphony recordings in the CPO series, conductor Jorg-Peter Weigle and the Hannover German Radio Philharmoic are completely committed to this music. They play the symphony in full-throated style leaving any score subtleties on the recording studio floor. Draeseke did not compose a genuine slow movement in the symphony, nor did he allow up on the gas very often. The band and conductor are completely in tune with this mostly high speed chase. The collaborators are equally sensitive to the shifting moods and subtleties of the serenade, which offers greater variation in emotional mood.CPO's engineering and sound on these late 1990s recordings is outstanding with rich and a richly detailed orchestral palette and sound that is three-dimensional and certainly up to the standards of the pre-super audio era. Like usual, CPO loads up the recording with extensive notes about the composer, the works, the history of their period and info about the performers. Anyone looking for a fresh romantic symphony or serenade will not be disappointed with this package.
I have the first 3 symphonies of Draeseke. I originally bought his 3rd Symphony first, then his 1st symphony coupled with his Piano Concerto, then I got his 2nd symphony for Christmas ditionally I have two chamber works by him. I have his Stelzner String Quintet in A major and his Piano Quintet in B flat major.I will say that only after being immersed in the style of this composer that I could have seen him as a amazing composer in his own is simple to test to reference his symphonies to works that went before i.e Schumann and Mendelssohn, and works show i.e Wagner and Liszt, but after careful consideration, Draeseke is original as it gets. . What does him a disservice is that he is not famous hence his symphonic style and musical predilections are not easily understood. I believe with constant performances they will achieve the status that they are worthy of.Draeseke's style is one caution, meticulousness, and superb craftsmanship. Of his 4 symphonies (he destroyed an early one), none are experimental. (Experimental symphonies are symphonies by composers who are fresh to the form but whose skills have not peaked. As the composer composes more symphonies his style becomes perfected. We search this in the early symphonies of Mozart, Beethoven, Schubert, Dvorak and Bruckner). The only composer I know who has not composed experimental symphonies is Brahms. But after listening to the works of Draeseke, I will say that Draeseke is one of them. His symphonic output came after a lot of years of composing Overtures, choruses, tone poems, operas and incidental music. His skills were well honed before his official symphonic l of Draeseke's symphonies stand on their own, and are fully matured works. There is no hastiness. The themes are well developed, the melodies are lucid and not overly sweet (this might be the only disadvantage for those hardcore romantic fans), the structure is compact and the lengths are amiable.His second symphony is attractive but not on first appearance. The main theme announced by the trumpets do not seem impressive on first hearing, but the method Draeseke develops it by inculcating it with a fugue is absolutely perfect. He then builds it dramatically with fiery end.(not fiery in terms of Brahms)The second movement is somewhat reminiscent of the 2nd movement of Schubert's 9th, but it is all Draeseke. It opens like a funeral march but it soon grows confidence and majesty. It's somber tone is totally shaken off. Midway the somberness returns with much inventiveness in a contrapuntal nature, then the end comes with a slow slouching return of a vivid funeral e third movement is of a serenade qualityThe latest movement is a sterling example of Draeseke's skill in counterpoint. This latest movement is scherzo like but rich in distinct musicality to [email protected]#$%! from the conventional scherzo that preceded it. It usurps all the moods that preceded it and puts the listener in a festive mood.
I'll say upfront that this review is strictly a reflection of my musical tastes and not really a reflection of the composer or performance per se. Technically, the performance and recording are quite good. However, if, like me, you are strictly a fan of "classic" Romantic melody (i.e. Schubert, Schumann, Mendelsohn, Brahms, Spohr, etc.),this recording is probably not for you. If, on the other hand you are a fan of the "late" Romance style (R. Strauss, Wagner, Mahler, etc.), you will probably like this just fine.
I haven't totally finished the book, but I did place it down long enough to write a review. I am finding the book both fascinating and entertaining. It isn't all fluff either. Ruth Goodman has a point to create and she makes it clearly. This is a book about daily people, not the items of the grand histories. You obtain a true feel for what life was like for the common citizen. It's the sort of book where you say, "Oh! So THAT"S where that comes from...."Also for me, as I'm reading, I hear the words in Ruth's own voice, so familiar from her tv programs. That same exuberance and zest for her topic comes through.
I am not sure what the author wanted to do with this book. There is a tremendous amount of research and reference contained in these pages, but it is not a scholarly work. There are some folksy attempts at humor and famous interest, but I did not search the book very amusing. She might have done better picking one direction or the other, There is mindnuming detail on bowing and how it changed over the decades, and then excerpts of bawdy ballads on all sorts of subjects that I found myself skipping over because they were all uninteresting. The author place in a amazing deal of work and there are a few pages I enjoyed. Overall, however, I have read books on manners and the foibles of various eras that I enjoyed much more than this one.
I love history and recognize that there is a put for this book -- particularly for researchers and writers who wish to obtain a better grasp of the habits and speech patterns of the day. But as a casual listener it was tedious -- with too much detail on each of the subjects covered. It was more recitation of facts than stories. I respect the thorough research and documentation of the author who clearly worked very hard to make a definitive work about the period.
I think this book seemed boring because the writing style felt pedestrian, not because of the topic matter. I want I had the skills I fault the writer for not demonstrating, but perhaps if the reader skipped along through the book, stopping where something struck, it might be OK.
I've read this over and over again and I still obtain a kick out of it. Ruth Goodman is a amazing presenter in both book form and in the different documentaries she's appeared in. She will apparently test anything a historical British person might have done and cheerfully tell you what it's like and what she thinks of it. In this case she writes about the difficulties of choosing and performing the right bow, how a loose shirttail could offend everyone who saw it, and why so a lot of people detested the Quakers. Some of the etiquette and tacit expectations of the Elizabethans are still observed today...and you can still offend people by violating them. If you're interested in English history and how people other than royalty lived, test this book.
Ruth Goodman is the quintessential scholar of daily historical life. You will learn more from one of her books than from a semester of lectures from Professor Sleepingpill and his PowerPoint.
If you love history you'll like this book! It's jam-packed with awesome info that left me saying, "so that's where that comes from!" I highly recommend for any history fanatics.
This recording is of some short pieces by Ralph Vaughn Williams, a noted English composer who wrote a lot of Anglican hymns but is also known for some serious as well as traditional folk music. This particular CD features The performance of several orchestras: The London Philharmonic, London Symphony, and Fresh Philharmonia Orchestra.Ralph Vaughn Williams composed these works between 1905 and 1958, which was the year of his death. The first piece titled Serenade to Melody is the only choral number on this recording and it's created up of sixteen soloists who represent characters from The Merchant Of Venice. The text of this serenade is from Act V Stage 1 of the play. There is a nice blend of voices and amazing orchestration. It's very melodic and e next number which is my favorite is called the English Folk Song Suite. Some of these tunes will be very familiar to people acquainted with traditional English tunes. The third movement titled March(Folk songs From Somerset) was actually composed as marching melody and this one has a very sprightly tune that is even featured in the recent ver of Far From The Madding Crowd as it's sung by the field workers as they harvest the tasia on Greensleeves and In The Fen Country follow. And the latest number is called The Lark Ascending. This particular piece features a violin solo which is breathtaking--one can almost hear the sound of the lark. It's really beautiful!The sound quality and orchestration of this whole collection of songs is well done. I know I'll listen to this for a long time and often.
Prior to this CD, I have never owned a Vaughan Williams recording. I had heard of him through a mate of mine who was a huge opera and Broadway musical buff in the early 1990's and I assumed he was of the latter. Ted Libbey had recommended "The Lark Ascending" as a potential funeral memorial piece and I was curious and listened to the teaser 30 second spot on Amazon. It was intriguing enough so I bought ter listening to it twice (in a row!), I must say that it is very appealing. Symphonically, it has rich sound and there are a lot of attractive serene passages. I very much like the "Serenade to Music." The voices are soaring and beautiful. In addition, the "English Folk Song Suite" and the other remain pieces are also very engaging. Boult conducts with tenderness and conviction. Libbey is right, "The Lark Ascending" has star quality as a memorial or simply a attractive lifting and reflective symphonic movement. The mind can imagine the bird rising free into the air and Hugh Bean's violin takes you there. This CD is a total turn on and I look forward to hearing more Vaughan Williams!
I purchased this MP3 after hearing Vaughn Williams' "Serenade to Music" in a concert at David Geffen Hall, at Lincoln Center. I was unfamiliar with his music, and this was a attractive introduction to it all. This MP3 also includes Fantasia on "Greensleeves", among other pieces. Of course, everyone knows "Greensleeves", and this selection was also a unbelievable piece. This recording is just beautiful, all-around.
Every real fan will love this CD. All of his most well-known pieces are represented here, played beautifully and recorded faithfully, along with a few less frequently heard offerings. The exuberance of the "English Folk Song Suite" is delightfully energetic, and the dark, surging mysteries of the "Fantasia on a Theme by Thomas Tallis" will not fail in their ability to generate goose pimples. It sends the mind to locations of imagination and wonder, and is rendered on this disk with all the color, richness and depth it deserves. "The Lark" fairly ascends before one's eyes in this particularly representative piece and like all of Williams' work, leaves the listener deeply satisfied. Enjoy.
A lot of years after his death, Sir Adrian Boult continues to be admired as one of the linchpin -- and perhaps the archtype -- conductors of the melody of his mate and countryman, Ralph Vaughan Williams. This recording, created in the autumnal years of Boutl's life, is a generous collection of bucolic English melody from Vaughan Williams.While these performances are lovely, as the other reviewers here have reported, they pale in comparison to the passion Boult provided earlier in his career. On a recording created from a Westminster LP, Boult provided more passionate and committed versions of the English Folk Song Suite, Greensleeves Fantasia and Norfolk Rhapsody No. 1 linked to a dramatic reading of the Variations on a Theme of Thomas Tallis, one of Vaughan Williams most famous and enduring the comparison between his early mono recordings of Vaughan Williams' symphonies and his later stereo recording, Boult was simply older and more at ease with the melody in the later recordings. While they are still wonderful, the later stereo recordings lack some of the mystery and passion of his earlier work, especially his "Antartica" symphony. People that find the Internet relentlessly can locate the earlier recordings including a CD restoration of the old Westminster r those not interested in that, these renderings of Serenade to Msuic, English Folk Song Suite, Norfolk Rhapsody No.1, Fantasia On 'Greensleeves', In The Fen Country and violinist Hugh Bean's The Lark Ascending are beautifully done at a lower voltage. Either gives you the ethereal Boult although his earlier recordings, sometimes in mono, give life and breadth to these works not reflected here.
... and appropriately opening with the extraordinary Serenade to Music. Be ready to appreciate V W"s skillful adaptation of Shakespearean text and his treatment of Lorenzo's admonition: "Let no such man be trusted", followed by joyful escape from the depths.
Rachmaninoff loved the Serenade to Music, apparently he was in London one night, wanted to listen to some music, and this attractive melody was what he heard.
Uplifting and beautiful. Written in a time of sorrow and uncertainty, the melody represents better days and the peace that the countryside offers.
Love Vaughan-Williams and this is outstanding. SO simple to listen to and be wafted to some fresh and loving place. Buy it.
The song "The Lark Ascending" is outstanding as is the entire collection on this CD. I recommend it. Ralph Vaughan Williams is truly a giant not only in the UK but throughout the world. His melody is majestic at the same time soothing.