price：$1.00
RCA
Usually ships in 24 hours Core2Duoノートレビュー 's review (Enchanting Performances by a Gifted Artist) 『The Recorder, a woodwind instrument, is usually associated with young school children. It is relatively easy to play (at least on a casual level) and with just a little bit of practice, one can make relatively pleasant sounds. It's popularity reached its peak in medieval times until more sophisticated orchestral woodwinds displaced its use from the 18th century onward. Its wholesome sweet natural sound evokes pastoral imagery and the simplicity of earlier times. Yet, in the hands of a virtuoso, it is an instrument of great complexity, versatility and pristine beauty.
Michala Petri hails from Denmark and is one of the most highly regarded masters of the Recorder. She has toured extensively, displaying her talent before world audiences. THE ULTIMATE RECORDER COLLECTION is a two-disc collection of inspired performances of works by classical and contemporary composers. In her gifted hands, the recorder soars with unique harmonics, transporting the listener to a new appreciation of often heard works. The technical aspects of the 2 CD set are excellent, yet the performances are individually and collectively warm and inviting. There are 45 selections in the collection, all of which are performed exquisitely. Ms. Petri is a gifted performer, an artist who elevates a humble instrument to lofty heights. 』
(A Musical Treat You Will Treasure Forever!) 『As a relatively new recorder player, I wanted to listen to an experienced professional, to hear the techniques and phrasings an experienced recorder player can utilize.Even after reading the other rave reviews, I was not prepared for the virtuosity I was to experience.Michala Petri did for my musicality now, what Andres Segovia did many years ago when I learned to play classical guitar.I was inspired,humbled, and totally blown away by her shear talent! Her ability to create bird-chirping sounds with a sopranino recorder on the baroque pieces is uncanny.I think my favorite out of all the incredible tracks is her rendition of Bach's Air For G-String.The sound of her playing with her husband, Lars Hannible,as he plays the classical guitar,is a heavenly experience.Not only does this lady obviously own some of the best recorders ever made, she knows how to get the best tones out of them as well.I can recommend this two cd set as one of the best musical collections ever sold.』
(Spiritually Enriching) 『I found this album to be spiritually enriching to say the least. I agree with one of the other statements, this album is not for everyone. If you enjoy tribal indian music mixed with a little jazz, this album is right up your alley. I love this album. 』
(Where Jarrett Goes, I Will Follow - -Not for Everyone) 『Keith Jarrett's world is one of icy precision, hot lyricism, spiraling disonances intermingled with hymn-like triumphs. All on piano, church organ, or clavicord. His ensemble work from his time with Charles Lloyd, Miles Davis, and as a leader of his own quartets and trios began as hard-bop and free jazz. Although Jarrett never ventured into Fusion, by the mid to late 1970's Jarrett's ensemble albums were shot through with rythmic chaos and harsh textures.
Spirits, recorded in the early 1980's consolidates and eliminates the experimental, Coltrane-like strains of Jarrett's music. The music is distilled to its logical essence - primitive instruments, heavy rythyms and a search for meaning through every melodic idea he knew. This is not easy music by any means - the lush glories of his solo work are absent -- this is the work of an artist reassessing his direction by stripping away all the layers of beauty he has laquered onto his vision and exposing the core of his meaning. Spirits is the most personal music Jarrett has ever made - the most disturbing too.
I don't sit down to listen to the album day after day, nor do I put it while I'm work like I do Koln or Staircase, but I do listen to Spirits when I'm searching myself, when I'm looking for new way to do my own work.
My favorite Jarrett piece of all time is on this obscure album. Spirit Number 15 is a pentatonic burst of coherent joy amidst the storm and unsureness of the rest of the Spirits. A more commericially-minded Jarrett would have put this Spirit first to lure listeners in, or last, to bring the event to a joyous close, but as it stands, this short song on whistles and piano pops up somewhere in the middle of the Spirits, like a happy memory in an introspective nightmare.
Spirits is a distintive, troubled work, but one I've treasured since it came out. I would like ECM to back off it's ridiculous 24.00 price for this music. Perhaps more would be inclined to listen to it.』
(sub-par and self-indulgent) 『Though I am normally an avid Jeith Jarrett fan, this album is one bad egg in his enormous and otherwise excellent recorded output. Although I realize this album holds great significance for Jarrett, as he was working through a depression and creative impasse through the making of this album, that does not necessarily guarantee good listening as a result. The recording, made at home on portable cassette recorders, is severely substandard for ECM; the sound is thin and tinny, and the added echo and remixing do not help one bit. Then there is the music. Mostly improvisations built on with overdubbing, nothing much happening. This is music of extreme introversion, and although Jarrett goes for some variety by dubbing extra instruments, percussion, it is just plain lackluster; not too many people buy Keith Jarrett albums to hear him play the Pakistani flute. It's a misstep, that's all; one mistake in an otherwise brilliant career. It's a little too personal, and I am unable to find any emotional connection with this music.』
price：$8.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (A very skilled recorder recording!) 『Dude, I can't agree with the negative reviews for this recording. The recorder suite doesn't sound choppy or pale. Plus, that claim about "relabling movements" was a complete lie. You can tell yourself just by looking at the cover and track list on the website here. I thought that the recorder and orchestra really blend together very well, authentically and harmonically. Consider the fact that I've been in love with Teleman's recorder music for a very long time. For a long time I've wanted to get a good recording in which the recorder was played with the great skill and technique that both Teleman and I the listener expected. This recording had everything that I wanted and I enjoyed every bit of it. I got this recording for the reocrder suite, but I also enjoyed every bit of the viola and horn concertos. The viola and horn concertos also blend the orchestra and solos with clearly defined skill, creating a beautiful harmonic and melodic sound. It sounds like heaven to me. Are there better recordings than this one? Maybe there are, but that doesn't mean that this recording isn't good at all. Take it from a twenty one year old classical music fan who knows how to enjoy music rather than critique every little thing like those old people do. To me this is a very very good recording of some great baroque music that sounds just as great and beautiful as baroque music is and always was.』
(Pleasant enough but with shortcomings) 『Although this is a rather pleasant disc to listen to, it does have some shortcomings, especially if you really want to hear what Telemann wrote. The Viola Concerto in G Major is quite nicely done, it is true, but a comparison with the 1968 recording by Paul Doctor and Concerto Amsterdam directed by Frans Brüggen makes it plain that the viola can be played more movingly and that the use of historical instruments makes Telemann sound so much better, although this could also be a result of Warner's better recorded sound (despite the age of the recording). The A minor Suite for Recorder is, on the Naxosdisc, almost a solo performance, with the Capella Istropolitana rather pale and standing well behind the soloist Jiri Stivin. The repeat of the overture as a 'Lento' at the end of the concerto is a nice idea but does not seem in any way to be authentic. Here, too, I preferred Frans Brüggen's 1962 recording, now re-released on Warner's budget label Apex, especially as Brüggen's recorder sounds much more brilliant. Brüggen's tempi are quite slow, but the recording (with the Südwestdeutsche Kammerorchester directed by Friedrich Tilegant) has a charm of its own that was not even matched by Brüggen's later recording with Nikolaus Harnoncourt's Concentus Musicus.
The two other pieces on the Naxos disc are taken from Telemann's Banquet Music (Tafelmusik) and have been recorded so often and so well on period instruments that I would recommend turning to these versions, e. g. by the Camerata of the 18th Century (Dabringhaus und Grimm) or by Musica Antiqua Cologne (Deutsche Grammophon).』
(One to avoid) 『Ah, well, these Naxos CD's are always hit or miss affairs and this one is an almost certain 'miss'. The Viola Concerto, I must say, is a very good imterpretation, very well executed with Mr Kyselak's viola producing a warm, gentle sound. However, on the Recorder Suite, this recording falls apart. Mr Stivin's playing is rushed and sloppy and to top it off, they replay part of the overture as an 'eighth movement' (the labelling of the movements on the cover is also incorrect). I don't know what this is supposed to prove, although I have a suspicion that the producer was trying to be clever. The Concerto for 3 violins is sloppy as well, with the soloists often not playing together (maybe they recorded in seperate takes!) I had never heard the Concerto for 2 horns. It sounds very nice, up to the standard of the Viola Concerto but as Naxos seem to have a habit of either adding or removing parts of movements with complete disregard for the score (I have noticed this on many other Naxos recordings as well), I will leave it at that.』
(Wonderful music, great interpretation) 『As always, Telemann shows that imaginative, yet simple style that appeals to wide audiences somewhere between the complex and polyphonically orientated Bach, and the grandeur and pomp of Handel. At times he shows both, and this delightful recording conveys effectively that all-round mastery that led to the high esteem he was held in as the foremost composer of Germany in his day.
The performers on the CD have given us a stately interpretation with a down-to-earth quality, true to the composer and the music. There are no complaints on my part with this CD, which has ultimately provided a most enjoyable listening experience.』
(Leaves me cold) 『What is wrong with this recording? I'm not sure. The viola soloist is lovely, the violin soloists are also fine. So are the horns and the recorders. Why don't I love this recording? I think it has to do with a pedestrian approach.
The viola concerto is the best thing on this disc. It is engaging Telemann, and is well-performed for the most part. The orchestra accompaniment is pretty vanilla, however. A lack of clarity in the orchestra also hinders some of the joy of the Concerto for 3 violins.
I guess if I had to sum up my apathy about this disc, I would say that the blame falls on the shoulders of Edlinger and the orchestra. We have come a long way in Baroque playing, but this seems hopelessly average and old-fashioned (not that older styles of Baroque performances don't have their rewards). Such wonderful music deserves better!』
price：$8.99
Naxos
Usually ships in 2 to 4 weeks Core2Duoノートレビュー 's review (5 stars for period performance; 3 for living tradition fans.) 『This third series in Tafelmusik's feast of different instrumental combinations starts with a quartet for two flutes and 2 bass instruments, in this case fulfilled by cello concertante and bassoon. Its 4th movement finishes with one of Telemann's rousing evocations of Polish mountain folk music "clad in an Italian coat". The cello comes out of hiding and delivers virtuosic "fiddle" passages. The Concerto in F starts almost like a Bach Brandenburg, but quickly moves into Telemann's less contrapuntal, harmonically inventive style. This piece, like the Sonata in A, and the Conclusion, are all in three movements, unlike Telemann's more usual 4-movement style. The "Conclusion" offers a driving competition between oboe and trumpet as solo instruments with string orchestra. This brilliant piece serves as one of the bridging themes for "C-Span" on TV and radio, and offers the a conclusion appealing to both living tradition and period performance fans.』
price：$39.98
Philips
Usually ships in 24 hours Core2Duoノートレビュー 's review (Elly Ameling now more available) 『I had a 33 rpm album of Elly Ameling singing Schubert lieder accompanied by piano and clarinet at times. It was one of my all time favorite albums so I have been disappointed that I have not been able to find it anywhere on CD.
Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.
I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.
I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.』
(Delight in every note) 『To speak as briefly as possible about this superb collection from an equally superb singer, what can I say but that Ms Ameling possessed a voice that shone with radiant warmth and star-like shimmer? And unlike many another light lyric soprano, Elly Ameling was possessed of a very high standard of musicianship, considerable intelligence, and a sort of immediate charm that captivates the listener.
So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.
I recommend this set unequivocally. It truly is sheer delight.』
(While they last...) 『Elly Ameling held the quiet stage for recitals of great artistry and dignity for several decades and sadly most of the enormously successful CDs of her long career output are now unavailable. For those who have little access to the documentation of this very special artist, this box set is a must. It is a compilation of many of her recordings with differing accompanists, conductors, orchestras and composers. And while not all of the choices for inclusion here would be considered her greatest moments, there are enough works that sustain the warm memories of the little Dutch hausfrau who quietly and simply paid homage to composers with her clear and intelligent musicianship and radiant voice.
Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.
Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05』
(Treasures From a Treasure) 『Treasures from a Treasure.
Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.
What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.
I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)
Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise. 』
(More than fully earned praise for an exceptional singer.) 『As I had the privilige of hearing this outstanding Lied-singer during her long career in Holland and being the proud possessor of almost all her recordings, I cannot but fully agree with the professional and joyful review of Mr. Robert Holliston from Victoria, B.C. Canada. Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released. Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!) For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds.... Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!』
price：$35.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (Very enjoyable CDS, especially for the price) 『If you want better performances of Telemann's Tafelmusik than the ones here, you're almost certainly going to have to pay much more for them. Considering their amazingly low price, these are very enjoyable CDs. Some people might find the one-instrument-to-a-part approach rather lightweight, especially in the "grander" pieces, but frankly I nearly always find I prefer it when applied to Baroque music. Too many instruments gives a sound that is too homogenous for my taste, though the effect is lessened when "period" instruments are used. And this is, after all, meant to be dinner music. People usually like to enjoy conversation during dinner and, let's face it, if you can't hear what your fellow diners are saying it spoils the whole dining experience. There are indeed occasional flaws in the ensemble playing but they still don't detract from an overall highly enjoyable set of wonderful music from a composer who is still not rated as highly as he deserves.』
(Not A First Choice) 『Telemann's epic Tafelmusik is an amazing achievement by anyone's standard. Unfortunately the present recording doesn't really do it for me. The playing is not distinguished and there is some less than desirable intonation, especially from the woodwind. Better to try the Harnoncourt, Hunteler (with The Camerata of the 18th Century), or (if you like to eat fast) Goebel. There are still not that many complete recordings available to choose from, which begs the rather obvious question - when will Jeanne Lamon and her wonderful group ,Tafelmusik, do it?』
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