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I can remember, back in 1959, I was in the Air Force, stationed in Morocco. One day I received orders to clean the floor of the Air Base Airport. I asked the Desk Sergeant if he would play my 33rpm Vinyl record of "Flamingo Serenade". He place it on the loadspeaker, and my cleanup detail became a treat! This particular album has all old song standards beautifully arranged and sung. Some things just come along to create you glad your alive. I believe there is only one original member of this amazing group still alive. So sad, but they have left a legacy that is timeless.
this is one of the very best melody albums ever recorded...along with there album...REQUESTFULLY YOURS...they stand alone at the top...i was thrilled when they were remastered on cd....i have a huge system an the sound is deep rich an soooo beautiful!...every song...i was privilaged to meet them in NEW YORK a lot of years ago an they were as "real and fine" as there music..there arrangments bring TOTAL ENJOYMENT...ROBERT TUCSON AZ. P.S. DON'T FORGET "REQUESTFULLY YOURS" ITS THE MUST HAVE MATE TO THIS CD....
Movie scores have been a passion of mine since I first heard John Williams' unforgettable score for Star Battles at the age of 14. Since then I have become acutely aware of film themes and orchestral music's ability to affect one's perceptions and emotions. As a result, my musical collection contains a lot of CDs of melody by composers such as James Horner, Jerry Goldsmith and, of course, maestro nema Serenade, featuring acclaimed violinist Itzhak Perlman, John Williams and the Pittsburgh Symphony Orchestra, is a attractive 13-track collection of film themes by such popular composers as Elmer Bernstein, Michel Legrand, John Barry, Andrea Morricone, Luis Bonfa, Andre Previn and, of course, cause the featured solo instrument is a violin, producer John Frost, Williams and Perlman chose themes that, with the exception of the Gardel tango "Por Una Cabeza" (heard in Scent of a Woman) and Williams' Irish-styled "Theme from Far and Away," are sentimental, stately and even melancholic. Listen to the plaintive "Papa Can You Hear Me?" from Yentl or "Theme from Schindler's List" (both evocative of European Jewish music), or the haunting "I Will Wait For You" from Michel Legrand's "The Umbrellas of Cherbourg" with closed eyes and an begin heart...I don't think there is anything more moving than Perlman's performance of those attractive themes.Williams conducts the Pittsburgh Symphony Orchestra with his usual golden touch, and although some of the arrangements in this CD have been tweaked to highlight Perlman's violin, the result is not at all detrimental. Indeed, this is one of the best albums of the genre. Along with Cinema Serenade 2, it is a must-have CD for lovers of classic movie scores.
I knew this was going to be amazing - John Williams and Itzhak Perlman are you kidding me? It isn't just amazing folks, it's absolutely beautiful! I cannot believe the waves of emotion one feels while listening to this cd. Buy this cd whatever your musical taste-this is in a league all its own!I know I am gushing here, but read what others have to say - this has no poor reviews. This was and is a must have for any melody lover!
I first heard Esteban at a Border's bookstore in California. He captured my heart and my senses with the "Serenda to the Moon" album. His fingers make absolute magic on the piano keys and he talks to you through each of his notes. It's romantic, it's sad and satisfied all the same time.
I had really enjoyed this author's time travel book for medieval England and this one was equally as good. I really like the focus of being dropped in this time frame and the author explaining what you are seeing. It provides a mechanism for a lot of vibrant and detailed discussion that I found engrossing. Very well done.
Having read & used his Medieval book in my college-level Western Civ course (I'm the prof), I was eager to see how this one would stack up. It is great, mostly for one reason: though it covers related ground, the Elizabethan volume does it differently. Various periods, various approach. Sounds intuitive but I'm sure there was a temptation to replicate the earlier volume as is. Thankfully this is just as new as the earlier. Used part of it in class this semester & even jaded college students have really responded to this examination of daily lives in what pop culture often shows as a soap opera.
As I am fascinated by time travel stories, I'm very aware of the issues of 'passing' as an ordinary citizen of the time frame one wishes to visit. This book will hold me from being burned at the stake -- provided I can remember all of the info Mortimer includes, such as how to search an inn (and how a lot of others will share your bed) to social cues I'd better remember, to what I can expect to eat. This book is clearly written, an invaluable tool for writers or those otherwise intending to visit Elizabethan England.
It ended. When I got to the paragraph that said "One final thought," I murmured "Awww, MAN...." I then found his book "Time Traveler's Tutorial to Medieval England." I'm once again a satisfied nerd, knowing I have another walk down the roads of Old Merrye England and after that, another Time Traveler's book on the Restoration. As a Catholic, I'd really love to see one on the Reformation...consider that a challenge, Dear Author.
The book ends with the author quoting the Delphic command "Mankind know thyself". In his book Mortimer doesn't merely give you a whimsical view of life in another time. The author presents us with our historical roots, the stock from which our society is bred and it isn't all that beautiful at times. This book is hardly a travelogue through time but a detailed demographic and sociological review of Elizabethan life in all its facets, customs, successes, and failures. A fascinating treatment that would be a very useful reference work for any writer of historical fiction of this era.
This is one of my favorite books. If you wonder what life was like in 16th England and, presumably, Europe as well, you will search it here. The author knows his readers and answers the questions you may have and some you didnt think to ask. He shares intricate and intimate info of the typical life of the aristocrat, the (scare, but rising) middle class, and the hardships of those who must struggle to survive (and sometimes don't). Details, details, and more unbelievable info - I have wondered about them while reading other books but I found the answers here. You can walk through the bustling, dynamic, crowded roads of Shakespeare's London, one of the most populous cities in Europe even 400 years ago, where wealth and poverty live side by side (like in the 21st century) and maybe take in a play at The Globe, where you can actually see Shakespeare perform in his own plays, maybe Hamlet or MacBeth. Visit the small towns of Stratford and Depford, typical of little towns throughout England. While there, you can stop by and respects to the two illustrious persons still buried there in their respective ere are strict hierarchies re social-economic-educational-behavioral, and legal restrictions you must follow lest you be place in the Turret Of London for your transgressions, and to only be released at the Queen's pleasure. (Unless you have $ or connections in high places).Not only is this book well-researched, referenced, and written, it glows with rare insight, compassion, and an extra-heavy dose of humor, making it worth one, perhaps several, readings. Far better to your own copy than repeatedly checking it out in your local library, if they have it. As one of my favorite books, I certainly can recommend it quite highly.
Ian Mortimer really knows his items and write well. A very through tutorial to England of the mid-1500s to the early 1600s Interesting both for the casual reader and suitable for the more serious devotee of English/British history.
I'm writing a fantasy novel set in a globe roughly related to 15-16th century Europe. But I knew nothing but the broadest strokes of that era. This book filled me in on things like how people perceived the land, thought about roads, viewed commerce, religion, and a whole host of things. I won't use everything I've learned, at least not for this book, but I can now pick and choose from a set of believable is a well written and very entertaining read. I flew through the book very quickly. Highly recommended for both the merely curious and the researcher.
This is an accessible walk through the Elizabethan world. There is a natural flow between sections. I really paints a amazing picture of daily life, education, superstition, class/social strata... It builds the Elizabethan world. While I looked on reading this book as a refresher for the history I studied years ago for my own writing, it was a new approach and answered some questions with fact that I'd only addressed with my own hypothesis (and so glossed over).
Once again the time traveler transports us into the past with both humor and knowledge, to be better able to understand and appreciate our ancestors. It would be amazing if the author could do the same for the present, it is more difficult seemingly to understand ourselves!
What an interesting combination this selection contains. Each really make a unbelievable but moody feeling and mutually help one another without being an overload of one composer's approach to the mood set. Very nice.
...here I respectfully disagree with Mr. Roberts. But nevertheless, very nice indeed. Let's face it, this is simply gorgeous, tuneful melody and it's going to sound gorgeous from any half-decent ensemble. In such cases, it generally comes down to private preferences and biases. I have long loved the brilliant old Argo Grieg and Dvorak recording by Nev Marriner and the ASMF, so anything else had one heck of a mountain to climb to victory me over from that one.And did it? In a word, no. In my opinion, the ASMF remains peerless for sheer playing sparkle and gorgeous recorded ear-massaging sound. However, we are not talking here about amazing and bad, or even amazing and excellent, but perfect and slightly more perfect - and a lot of listeners will listen to both and justifiably draw the opposite conclusion. This ver is nicely played and crisply recorded and thoroughly enjoyable. And it has the added benefit of the Elgar, which is not heard so often.
So I thought: "Another Holberg, Dvorak serenade and Elgar serenade". Why record this again while there are so a lot of versions? However curiosity got the better of me and I decided to obtain it. What a surprise! Its sublime. Other than the perfect playing of this unknown orchestra they also really know how to create the long phrases that this melody I said: The best ver yet!
Fascinating and detailed study of the emergence of science, the scientific way as exemplified by the doctors, astrologers, mathematicians and craftsmen of Elizabethan England. Harkness zeroes in on specific professions and educates a lay reader about the complexities of day-to-day life of colourful personalities little neighborhoods and hearty stew of religious conflict and political chicanery. Brilliant period recreation and indepth analysis of the then "state of the art" of medicine, astronomy, nautical instruments and time keeping devices. A wealth of info in readable prose that brings the brilliance of the varied minds of the Elizabethan era.
This is not a light tome, it is a factual acc intended for a higher education audience. Having said that, somehow Ms. Harkness' style comes through and she is always an enjoyable author. Rather than a "fun" read, this is useful for those of us fascinated with Elizabethan London, particularly if we also plan to write about the subject.
Not what I thought it was, based on their description. Love this author, but beware, this reads like a text paper for college study. It isn’t a story. It’s a record of historical events, very wordy & over [email protected]#$%!’d been a story of the women & men from this time, and the locations they stead, it’s a record. Boring. Dry.
As an anthropologist, I was reading this book with delight, and thinking it was just like an ethnography--to search that at the end she describes it as "an ethnography of early modern science," and cites such ethnographic luminaries as George Marcus and Bruno Latour. Indeed, this is a look at the actual culture of scientific and technical discovery in London in Elizabeth I's time. It is a true eye-opener. London at the time was swarming with technologists, herbalists, medical investigators, and every sort of inventor--not to speak of quacks, con artists and mountebanks pretending to be all of the above. The find for knowledge was downright frantic. Those of us who knew only a small about the history of early modern science knew only a little thin thread of this--a bit of Bacon (she cuts him down to size!) and a few others. It is striking to compare London with China at approximately the same time; Benjamin Elman, William Rowe, and others have shown a related and equally little-known ferment there, but even their best efforts don't seem to present as much sheer originality, inventiveness, and wild-eyed experimentation in Chinese cities as London had. China never quite created the breakthrough to modern science until the 20th century. London--and, Ogilvie reminds us, the whole "republic of letters" all over Europe--had a culture of scientific advance rooted in trades, crafts, mining, brewing, fish trapping, bird snaring, everything. People were trying every fresh scheme to produce more. Alchemy and astrology keep due respect here. In those days, everyone knew that metallurgy could create awesome transformations; no one knew that gold, silver, etc. were basic elements that simply could not be easily transformed into each other. (People were just beginning to realize that "earth, air, fire, water" wasn't a fully adequate list of elements.) Similarly, everyone knew the sun influenced every living thing, and the moon ruled the tides; logic and common sense brought everyone to the inescapable conclusion that the other heavenly bodies must be influencing us too. The failure of alchemy and astrology was not the failure of "pseudoscience" but the triumph of reality over logic and reason--a triumph we see today, every day, as the most reasonable economic and political predictions go down in flames, ruined by human cussedness. It would be decades before Boyle could be a successfully "skeptical chemist" building on experimental proof of alchemy's failure. Early modern science was a wonderful, exciting world. I came to it after a lifetime of ethnographic research on traditional knowledge of plants and animals--in China, indigenous North America, and elsewhere. How unbelievable to see an ethnography of Elizabethan London's science. For the future, one recommendation to ethnographers of early science: Look at Charles Frake's LANGUAGE AND CULTURAL DESCRIPTION as well as Latour, Marcus, et al. Frake still does the best job of explaining how to study nonwestern and traditional scientific/technical knowledge.
Like JJ, I have misplaced my original and came to Amazon today specifically to obtain a replacement. Bream's seemingly effortless runs up and down on the lute are breathtaking, all the more because they are so subdued you nearly have to keep your breath to take them all in. (To me, Julian Bream is the Jerry Garcia of early music.) There are two "early music" recordings I simply cannot live without; this one and "Musick for Severall Friends" by the Newberry Consort, which I also highly recommend.
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.
Elizabethan/Jacobean melody is not particularly accessible to the average listener, who generally hears a bowdlerized background melody at a Renfest or gets some sense of it through Anglican church harmony. Julian Bream, however, has given the melody a face through his recordings of Dowland, Cutting, and others. His playing and arranging for the Consort is historically accurate - he plays with authentic lute thumb-under technique, for example, and the vocalists sing in what is thought to be accurate 's an perfect recording, recommended as an introduction to this music.
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 carefully as this disc is intended to be marketed at budget price.
"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).
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 for the benefit of a lifetime of listening pleasure [or study].
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.
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 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.
This collection of Elizabethan consort melody follows on from Vol. 1 but whereas that Cd contained works by different composers, Vol. 2, is devoted to the melody of Anthony Holborne. Lovers of melody of this period should not hesitate. As an introduction to Elizabethan Consort melody a better starting point might be vol. 1. However Savall and Hesperion XXI as always give brilliant performances on both Cds for which Aliavox provide an perfect recorded sound. Reccomended unreservedly.
Unlike the previous reviewer, I will not use this zone to denigrate Beethoven, the ridiculousness of which would ruin this review of the lofty and noble tone which Holborne's melody deserves. The divine Jordi Savall and Hesperion are perfect, as usual; Holborne clearly deserves to be MUCH better known. His pavans, especially, are achingly beautiful.
I fall in line with the previous reviewers in praising this disc. There are familiar Holborne works here such as The Honie-suckle and The Fairy-round, but also a few I hadn't heard before. The playing is exquisite, as one would expect from Savall and his crew. Viols and lutes predominate, with a dash of percussion, and both the melody and the style of playing is rather laid-back and contemplative, rather than boisterous. And that's fine. This is yet another recommended disc by Hesperion XXI (aka Hesperion XX).
One of the best recordings out there of the melody of Anthony Holborne. There is not much known about this highly gifted Englishman. He is thought to have been born about 1545, started at Cambridge in 1562, possibly entered a legal career in 1565, married in 1584, and died of a poor cold in late November 1599. While his melody is superb (he was admired by John Dowland) he does not appear to have ever been a professional musician, and described himself as a Gentleman Usher to Queen Elizabeth. He was sent on at least one diplomatic mission, but the nature of the rest of his service remains a mystery. In 1597 he published "The Cittharn School", a collection 58 works, some of them early compositions. His main work came in 1599 with "Pavans, Galliards, Almains and other short Aeirs, both grave and light, in five parts, for Viols, Violins, or other Musicall Winde Instruments":, with 65 of his original compositions for consort (which instruments were assigned to each part was sort of left up the the performers), one of the biggest collections of its type. A considerable number of his works for lute also survive, mainly in manuscript form, and other works of his were gathered into different anthologies. There is only one known song, collected by Robert Dowland Andreas Scholl - Robert Dowland's "A Musicall Banquet" .The title of this album is "The tears of the Muses", which underscores the rather somber nature of most of this music; after all, this was the age of the cult of melancholy The Anatomy of Melancholy (New York Review Books Classics) . Some of the tunes are a bit more up beat at least, so not everything is morose. The 25 cuts on this CD are from the 1599 collection, and represent one of the best Holborne collection available (just about anything from Jordi Savall and Heperion XXI is going to be excellent). While there is indeed a grave mood to much of this music, Holborne was a masterful composer and the listening is quite rewarding. Another disc of related material of high quality is by King's Noyse My Selfe . For a fine collection of the solo lute melody there is Jacob Heringman Holburns Passion and Federico Marincola Holborne: Pieces Pour Luth .Lovers of the melody from England's Golden Age need check out Anthony Holborne.
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.
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 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 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'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 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.
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.
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.
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!
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.
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.
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.
Have been waiting for this release, it’s been a few years since Conspiracy! I cracked it begin latest night and was absorbed right away. She’s so good. Will savor this latest installment and sorry to see it end.
Who says there's no such thing as time travel? I just travelled back to Elizabethan England and became embroiled in a plot to slay one queen, and rescue another! This isn't science fiction, it's historical fiction at its best, where the reader experiences the environment and the action. It's my first Giordano Bruno novel, but the sixth in the series, and the amazing news is that the story stands alone, with the back story simply encouraging the reader to search the previous books if they've not read them already - as I will definitely do! One of my favourite things about the book is Bruno's sense of humour, and the other is the powerful female characters. At a time when women are regarded as inferior beings, it's amazing to come across strong-willed and able female characters, and have a protagonist who recognises them as such. I'm not familiar with the actual plot in question, however, the research that has gone into the period is extensive, and I've no doubt that the line between truth and fiction is well disguised. My thanks to SJ Parris and the Pigeonhole for the opportunity to read the book.
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.
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.
This is exactly how historical novels were meant to be written. Filled with intrigue, suspense, humour and more than a handful of colorful characters that at times I had difficulty keeping track of. At the helm is character Giordano Bruno who agrees to go undercover, and what follows is a story filled with murders, kidnapping, cryptic notes, political espionage, and conversations that kept me glued to my seat. Well researched this book is filled with historical data about power struggles and religion and what it was like to live at the time when life wasn't worth much. The hero of Ben was particularly likeable and I'm hoping he'll create an appearance in future novels. 5 well deserved stars.
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 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.
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.
Love this series and have fun the characters on this series. Can be a stand alone story but really recommend the whole series if you haven't read it. The plots to slay elizabeth and her faithful servants are entertaining and hold you guessing. If you like Tudor mystery you'll love this.
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.
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.
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.
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.