|Bach: Orchestral Suites Nos. 1-4|| ||Decca||Bach, JS|| || ||CD||Classical : General|| || || |
|Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini|| ||Deutche Grammophon||Prokofiev, Stravinsky, Webern, Boulez||February 13, 1996|| ||Audio CD||Classical : General||Amazon.com essential recording
Pollini is so much a part of the contemporary music scene that it's amazing to realize that the earliest material on this disc (Stravinsky and Prokofiev) dates to the 1940s. These two performances retain their power to startle and amaze, both through Pollini's seemingly effortless virtuosity and through the immediacy of his musical conceptions. This Prokofiev is a close rival even to Richter's. Webern, from six years later, is so colorful and well organized that it makes the difficult music almost easy to listen to. Not many listeners will put up with Boulez's obscurities, but there is still plenty to make the disc worthwhile. --Leslie Gerber|| ||Maurizio Pollini|
|808:88:98-10 Years Of 808 State||808 State||Universal Records|| ||6/2/1998|| ||CD||Dance/Electronica : UK Techno||808:88:98 is a greatest hits compilation, but features one new song, "Crash," and new mixes of "Pacific" and "Cubik" which will be available in the US exclusively on this release.
Additional personnel: MC Tunes, Bjork, UB40, M. Doughty, Louise Rhodes, James Dean Breadfield (vocals).
Engineers include: G. Massey, M. Haas, A. Fisch, A. Stone, D. Kadar.
Includes liner notes by John McCready.|| || |
|Synaesthetic||A Positive Life||Waveform|| ||November 7, 1995|| ||Audio CD||Indie Music : Dance & DJ : General|| || || |
|Aztechno Dream||Alien Project||TIP World|| ||2002|| ||CD|| || || || |
|Dance Or Die||Alien Project||Phonokol|| ||2002|| ||CD|| || || || |
|Don't Worry, Be Groovy!||Alien Project||TIP World|| ||2004|| ||CD|| || || || |
|Midnight Sun||Alien Project||Phonokol|| ||2001|| ||CD|| || || || |
|V.A - Most Wanted Presents Alien Project - Juice||Alien Project||Phonokol|| || || ||CD|| || || || |
|Out From Out Where *||Amon Tobin||Ninja Tune USA|| ||10/15/2002|| ||CD||Dance/Electronica : Electronica||Personnel: Amon Tobin, MC Decimal R.|| || |
|Tales Of Ephidrina||Amorphous Androgynous||Astralwerks|| ||7/30/1993|| ||CD||Dance/Electronica||This collection of hypnotic tracks is actually the work of the prolific electronic mad scientists Future Sound of London. It's a wild ride, full of dense sonic tapestries and snaky dance pulses. The underlying sonic texture of the album is an aqueous one, which is set loose from the opening bleats of "Liquid Insects." With its soupy acid-stew gurgles and thunderclaps, one almost imagines the song being broadcast from the surface of Jupiter.
Other rapturous tracks include "In Mind," where an electronic melange of bleeps and tweets is grafted over the sound of an underwater heartbeat. The electronic string-led "Mountain Goat" almost sounds like something culled from the Windham Hill catalog. "Auto Pimp" sounds very much like what its title implies, except that high-pitched synth sounds lend the track more of a trance-like bearing. Both "Swab" and "Fat Cat" will please denizens of the dance floor, with the songs' rolling beats and dense, light-saber like sweeps of sound.|| || |
|Prokofiev: Scythian Suite, etc / Antal Dorati||Antal Dorati||Mercury Living Presence||Prokofiev, Sergei||8/1/1991|| ||CD||Classical|| || || |
|The Ambient Collection||Art Of Noise||China|| ||1/14/1997|| ||CD||Dance/Electronica : Ambient||THE AMBIENT COLLECTION contains Art Of Noise songs remixed by Youth and Alex Paterson of The Orb.
Art Of Noise: Anne Dudley, J. J. Jeczalik.
Producers: Anne Dudley, J. Jeczalik, Ted Hayton.
Engineers: Andy Falconer, Ted Hayton, Pete Lorimer.
The current state of electronica owes serious props to Art Of Noise, the brainy English studio collective whose post-modern pop evolved symbiotically alongside MTV, the second wave of the New Wave, and the video revolution. AoN's sampling savvy and pop-smarts are more direct reference points for The Orb and Coldcut than any German or American crew. With the telltale echoes of AoN's production techniques now filtering back into public consciousness--via splashy automobile ads, scratchy hiphop tracks, movie scores, shampoo commercials, and television themes--it's only fitting for these forebears to finally receive some respect.
THE AMBIENT COLLECTION, compiled and remixed by Youth (Killing Joke, The Orb, System 7), is more of a tribute to Art of Noise than a straight career retrospective. Youth avoids obvious choices--no "Legs" or "Close (To The Edit)"--and emphasizes the halcyon, lounge-y side of the band, swaddling such pieces as "Opus For 4," Camilla," "Island," "Robinson Crusoe," and "Art Of Love" in the muslin textures of synthetic washes and atmospheric effects. His mix flows well, with quirkier numbers ("Ode To Don Jose," "Eye Of A Needle") and brief afterthoughts spliced in for contrast. A fine disc.|| || |
|Expanded Edition - Rachmaninoff, Prokofiev, et al / Ax, Ma||Ax, Ma||Sony Classical Masterworks||Rachmaninov, Sergei (1873 - 1943)||9/30/2003|| ||CD||Classical||This selection is a DSD (Direct Stream Digital) recording.|| || |
|Shostakovich: Trio Op 67, Cello Sonata / Ax, Stern, Ma||Ax, Stern, Ma||CBS Masterworks||Shostakovich, Dmitri (1906 - 1975)||1/1/3000|| ||CD||Classical|| || || |
|Igizeh||Banco De Gaia||Six Degrees|| ||9/26/2000|| ||CD||Dance/Electronica : Ambient||Banco De Gaia includes: Toby Marks, Jennifer Folkes, Ted Duggan.
Recorded at New World Bank, Somerset, England; The Great Pyramid At Giza, Egypt; The Temple Of Seti 1, Thebes, Egypt.
Toby Marks, aka Banco de Gaia, has gone from strength to strength with each successive recording. Leaving his trancey roots far behind, the sizzling morphed worldwide grooves of IGIZEH reveals Marks' finest document yet. Forget the concept of 'fourth-world' music: this is 'multi-world' music, sounds extracted from far-flung cultures and even farther-flung machinery. The pumping synths and whooshing jungle strings of "Seti I," complete with Indian chant, could be the track aboard Voyager that sets extraterrestrial visitors on an immediate sortee to Earth. "Creme Egg" uses tribal drumbeats and whirring electronics in making its presence known, while the electronic vocalizing, exotic percussive accents and pocket trumpet sounds of "Gizeh" sound like they arose out of the seventh circle of hell. And if things weren't psychedelic enough, Marks pulls out all the stops on the Calcutta cybercafe calculus of "How Much Reality Can You Take?," which positions techno-trance music as the penultimate sound of the casbah. Turn on, tune in, bliss out.|| || |
|Music for Strings Percussion & Celesta/Sinfonie "Mathis der Maler"||Berliner Philharmonika||EMI||Bartok, Hindemith||October 25, 1990|| ||Audio CD||Classical|| || ||Herbert von Karajan|
|Hindemith: Octet; Prokofiev / Berliner Solisten||Berliner Solisten||Teldec||Prokofiev, Sergei||8/11/2003|| ||CD||Classical|| || || |
|Ives: Symphony no 2, etc / Bernstein, New York PO||Bernstein, New York PO||DG Deutsche Grammophon||Ives, Charles (1874 - 1954)||8/1/1990|| ||CD||Classical|| || || |
|Birmingham Frequencies [IMPORT]||Biosphere & HIA||Quick Time|| || || ||Audio CD|| || || || |
|Prokofiev: Complete Piano Music Vol 2 / Boris Berman||Boris Berman||Chandos Records||Prokofiev, Sergei||11/1/1990|| ||CD||Classical|| || || |
|Prokofiev: Complete Piano Music Vol 5 / Boris Berman||Boris Berman||Chandos Records||Prokofiev, Sergei (1891 - 1953)||2/1/1992|| ||CD||Classical|| || || |
|Prokofiev: Complete Piano Music Vol 6 / Boris Berman||Boris Berman||Chandos Records||Prokofiev, Sergei (1891 - 1953)||7/1/1992|| ||CD||Classical|| || || |
|Prokofiev: Complete Piano Music Vol 8 / Boris Berman||Boris Berman||Chandos Records||Prokofiev, Sergei (1891 - 1953)||1/1/1994|| ||CD||Classical|| || || |
|Shostakovich: String Quartets no 2, 3, 7, 8 & 12 / Borodin||Borodin||Virgin||Shostakovich, Dmitri (1906 - 1975)||2/1/2000|| ||CD||Classical|| || || |
|Ravel: Bolero, etc / Boulez, Berliner Philharmoniker||Boulez, Berliner Philharmoniker||DG Deutsche Grammophon||Ravel, Maurice (1875 - 1937)||6/14/1994|| ||CD||Classical|| || || |
|Dream Generator||Carlos Alomar||Private Music|| ||October 25, 1990|| ||Audio CD||New Age : General|| || || |
|Prokofiev Songs||Carole Farley/Arkady Aronov||Chandos||Prokofiev, Sergei||1987||48:57||CD||Classical|| || || |
|Shostakovich: The Jazz Album / Chailly, Royal Concertgebouw||Chailly, Royal Concertgebouw||London/Decca||Shostakovich, Dmitri (1906 - 1975)||2/16/1993|| ||CD||Classical|| || || |
|Shostakovich: Symphonies Nos. 1 & 7||Chicago Symphony||Deutche Grammophon||Shostakovich, Dmitri||October 20, 1989|| ||Audio CD||Classical : General||Amazon.com essential recording
One of the most thrilling musical experiences of my life was seeing Leonard Bernstein and the Chicago Symphony play Shostakovich's Leningrad Symphony live. As Bernstein wrung every last ounce of pathos from the slow movement, I found it incredible that anyone could ever have thought this less than great music. The ending was so loud you could hardly even hear the cymbals! Happily, every bit of that experience--including the full dynamic range--has been captured on this recording, along with a terrific First Symphony. This is one of the great ones. --David Hurwitz|| ||Leonard Bernstein|
|Prokofiev: Cello Concertos||Christine Walevska||Philips||Prokofiev, Sergei||October 13, 1992|| ||Audio CD||Classical|| || ||Eliahu Inbal|
|Rachmaninov: Sonata no 2; Prokofiev: Sonata no 6 / Cliburn||Cliburn||RCA Victor Gold Seal||Rachmaninov, Sergei (1873 - 1943)||1/1/3000|| ||CD||Classical|| || || |
|Tranceport Volume II||Dave Ralph||Kinetic/Reprise|| ||11/2/1999|| ||CD||Dance/Electronica : Trance||This is a continuous in-the-mix CD compiled and mixed by DJ Dave Ralph.|| || |
|Dark Wood||David Darling|| || ||3/14/1995|| ||CD||New Age|| || || |
|Rhapsody in Blue, etc||Earl Wild, Boston Pops Orch||RCA||Gershwin, George||September 6, 1991|| ||Audio CD||Classical|| || ||Arthur Fiedler|
|Violin and 'cello Duos||Eleonora and Yuli Turovsky||Chandos||Shostakovich, Prokofiev and Glazunov|| || ||CD||Classical||Amazon.com
This is an odd collection of material. Most of the disc is occupied by 19 of Shostakovich's 24 preludes, originally for piano, arranged for violin and piano by the violinist Dmitri Tziganov. (Tziganov's string quartet, the Beethoven Quartet, premiered most of Shostakovich's string quartets.) The music is still fine minor Shostakovich, but these arrangements hardly seem necessary, and the various Prokofiev transcriptions and Glazounov cello pieces don't lend much substance either. Are you in the mood for a large dish of Russian musical candy? The performances are OK, but nobody seems terribly thrilled about what they are doing here. --Leslie Gerber
Customer Reviews|| || |
|Prokofiev: String Quartets nos 1 & 2, etc / Emerson Quartet||Emerson Quartet||DG Deutsche Grammophon||Prokofiev, Sergei (1891 - 1953)||4/14/1992|| ||CD||Classical|| || || |
|Tchaikovsky: Piano Concerto No. 1 / Violin Concerto||Emil Grigoryevich Gilels, David Oistrakh||Sony||Tchaikovsky, Pyotr Il'yich|| || ||CD||Classical : General||Amazon.com essential recording
David Oistrakh was one of those violinists beloved by people who don't especially like violinists. Don't get me wrong, plenty of violin aficionados love him too. But the fact that he played with such warmth of tone and musicality, never indulging in the screeching cat-music stuff that some violinists think sounds flashy, makes him uniquely listenable to folks not into violin playing for its own sake. Perhaps the fact that he was also a distinguished conductor had something to do with it, for he always seems to know where he is--how everything fits together. His performance of the Tchaikovsky Violin Concerto is a case in point: soulful, exciting, never ragged or overblown. Add Emil Gilels' epic rendering of the Piano Concerto and how can you refuse? --David Hurwitz|| ||Zubin Mehta, Eugene Ormandy|
|Enigma3: Le Roi Est Mort, Vive Le Roi!||Enigma||Virgin|| ||11/26/1996|| ||CD||Dance/Electronica : Ambient||Personnel: Michael Cretu (vocals, various instruments); Sandra Cretu, Louisa Stanley (vocals); Peter Cornelius (guitar).
Recorded at A.R.T. Studios, Ibiza, Spain.
LE ROI EST MORT, VIVE LE ROI was nominated for a 1998 Grammy Award for Best New Age Album and for Best Recording Package.
On its third album, Enigma reshapes the most interesting aspects of its previous two into a distinctly different atmosphere. ENIGMA3 has tangible Indonesian influences, as did 1994's THE CROSS OF CHANGES; it also smoothly and dramatically incorporates Gregorian chant, which was prominent on Enigma's debut, MCMXC A.D. Unlike those albums, it features significant vocals by Enigma mastermind Michael Cretu. His voice brings tension and emotion to tracks such as "Why!..." and "The Roundabout."
There is an altogether moody, sensuously brooding ambience to the entire album, sustained by muted drum beats and soft, ethereal layers of sounds drawn from chant, opera, tribal chant, choir, and various instruments and effects. Like the band's previous albums, ENIGMA3 possesses both the otherworldliness of new-age music and the groove of hip-hop. It is a voyage to somewhere exotic and seductively danceable.|| || |
|Prokofiev: Story of a Real Man / Ermler, et al||Ermler, et al||Chandos Records||Prokofiev, Sergei (1891 - 1953)||10/22/2002|| ||CD||Classical|| || || |
|Satie: Complete Piano Music / Frank Glazer||Frank Glazer||Vox Box||Satie, Erik||1/1/1990|| ||CD||Classical|| || || |
|Prokofiev: Betrothal in a Monastery / Gergiev, Diadkova, etc||Gergiev, Diadkova, etc||Philips||Prokofiev, Sergei (1891 - 1953)||4/14/1998|| ||CD||Classical|| || || |
|The Lone Deranger||Hallucinogen||Twisted Records|| ||1997|| || || || || || |
|Twisted||Hallucinogen||EFA Records|| ||6/12/2001|| ||CD||Dance/Electronica : Electronica|| || || |
|Polar Sequences||Hia||Headphones|| ||September 15, 2003|| ||Audio CD|| || || || |
|Colourform||Higher Intelligence Agency||Waveform||Higher Intelligence Agency||1994|| ||CD||Dance/Electronica : Ambient|| || || |
|Freefloater||Higher Intelligence Agency||Waveform Corporation|| ||5/21/1996|| ||CD||Dance/Electronica : Ambient|| || || |
|S.H.A.D.O.||Higher Intelligence Agency||Efa (Caroline)|| ||October 14, 1997|| ||Audio CD||Indie Music : Dance & DJ : Ambient|| || || |
|Snowflakes are Dancing||Isao Tomita||RCA Red Seal||Debussy||1982|| ||CD||Dance/Electronica : Classic Electronic||Electronic Renderings of Debussy's Tone Paintings|| || |
|Copland: Clarinet Concerto; Lutoslawski: Dance Preludes; Nielsen: Clarinet Concerto||Janet Hilton||Chandos||Copland, Aaron; Lutoslawski, Witold; Nielsen, Carl||1992|| ||CD||Classical : General|| || ||Matthias Bamert|
|Copland, Harris: Symphony no 3 / Jarvi, Detroit SO||Jarvi, Detroit SO||Chandos Records||Copland, Aaron (1900 - 1990)||9/24/1996|| ||CD||Classical|| || || |
|Prokofiev: War and Peace Suite, etc / Jarvi, Philharmonia||Jarvi, Philharmonia||Chandos Records||Prokofiev, Sergei (1891 - 1953)||10/1/1992|| ||CD||Classical|| || || |
|Prokofiev: October Cantata, etc / Jarvi, Philharmonia Orch||Jarvi, Philharmonia Orch||Chandos Records||Prokofiev, Sergei (1891 - 1953)||10/1/1992|| ||CD||Classical|| || || |
|Prokofiev: Waltz Suite, etc / Jarvi, Royal Scottish NO||Jarvi, Royal Scottish NO||Chandos Enchant||Prokofiev, Sergei (1891 - 1953)||2/17/1998|| ||CD||Classical|| || || |
|Prokofiev: Symphonies 3 & 4 / Jarvi, Scottish National Orch||Jarvi, Scottish National Orch||Chandos Records||Prokofiev, Sergei (1891 - 1953)||1/1/1985|| ||CD||Classical|| || || |
|Prokofiev: Symphony no 5, etc / Jarvi, Scottish Natl Orch||Jarvi, Scottish Natl Orch||Chandos Records||Prokofiev, Sergei (1891 - 1953)||1/1/3000|| ||CD||Classical|| || || |
|Prokofiev: Semyon Kotko, The Gambler / Jarvi, Scottish NO||Jarvi, Scottish NO||Chandos Records||Prokofiev, Sergei (1891 - 1953)||1/1/3000|| ||CD||Classical|| || || |
|Prokofiev: The Prodigal Son, etc / Jarvi, Scottish NO||Jarvi, Scottish NO||Chandos Records||Prokofiev, Sergei (1891 - 1953)||1/1/3000|| ||CD||Classical|| || || |
|Prokofiev: The Fiery Angel / Jarvi, Secunde, Lorenz, Terfel||Jarvi, Secunde, Lorenz, Terfel||DG Deutsche Grammophon||Prokofiev, Sergei (1891 - 1953)||1/1/3000|| ||CD||Classical|| || || |
|Happy Again||Jazz Crusaders, The||Sin-Drome Records|| ||8/8/1995|| ||CD||Jazz Instrument||The Jazz Crusaders includes: Bobby Caldwell (vocals); Wayne Henderson, Wilton Felder, Bobby Lyle, N'Dugu Chancler, Larry Kimpel, Craig T. Cooper.
Additional personnel includes: Larry Carlton, Hubert Laws, Pancho Sanchez, Roy Ayers, Dr. Donald Byrd.|| || |
|Chronologie||Jean Michel Jarre||Dreyfus||Jarre, Jean-Michel||October 22, 1993|| ||Audio CD||Indie Music : Dance & DJ : Electronica|| || || |
|Jean-Michel Jarre in Concert: Houston-Lyon [Re-Release] [LIVE]||Jean Michel Jarre||Dreyfus|| ||February 1, 1994|| ||Audio CD||Indie Music : Dance & DJ : Electronica|| || || |
|Les Chants Magnetiques||Jean Michel Jarre||Dreyfus Records|| ||4/1/1994|| ||CD||Dance/Electronica : Classic Electronic|| || || |
|Oxygene 7-13||Jean Michel Jarre||Epic|| ||5/20/1997|| ||CD||Dance/Electronica : Classic Electronic||Personnel: Jean-Michael Jarre (keyboards, Mellotron, Theremin, synthesizer, programming); Francis Rimbert (keyboards); Christian Sales (programming, sound effects).
Producers: Patrick Pelamourgues, Jean-Michel Jarre.
Recorded at Oxygene Studio, Croissy, France.|| || |
|Revolutions||Jean Michel Jarre||Dreyfus Records|| ||4/1/1994|| ||CD||Dance/Electronica : Classic Electronic||The tracks comprising "Industrial Revolution" are indexed for direct access.|| || |
|Sessions 2000||Jean Michel Jarre||Dreyfus||Jarre, Jean-Michel||January 21, 2003|| ||Audio CD||Indie Music : Dance & DJ : Electronica||Amazon.com
Since his hit debut, Oxygene, nearly three decades ago, Jean Michel Jarre's music has been fairly predictable. With the notable exception of Zoolook, in 1984, he's continued to create variations on his electronic space music sound. Don't look for that on Sessions 2000, though. Instead, Jarre plugs into the vernacular of ambient electronica, using drum loops and grooves to create a postmodern, electro-jazz noir sound. Jarre's earliest musical memories from his childhood were of sitting on the knees of jazz musicians like avant-garde trumpeter Don Cherry. That influence emerges here in languid electro-improvisations. Jarre plays samples of Hammond B-3 organs, jazz vibes, mutating trumpets, and upright basses in cyber nightclub in a Blade Runner city. But the synthesist's improvisations seem spiritless, an aimless, wandering jam session of one, amid squiggly electronic bloops and bleeps with non sequitur robot voices popping out now and then. Sessions 2000 is a daring move for the venerated synthesist, but there is a difference between chilling out and nodding out. --John Diliberto
Michael Paoletta, Billboard, January 11, 2003
He's created a deeply nuanced soundscape that invites repeated listening.
To anyone with more than a passing interest in the history of popular music, Jean Michel Jarre is one of the pioneering musical greats. With his 1976 album, the groundbreaking "Oxygene", he took popular music into an entirely new realm, one that hadn't existed before his arrival. Using the studio as an instrument an 8-track tape machine, a Mellotron, a home organ, crude home-made sequencers and a range of analogue synthesizers Jarre created the first truly commercial, mass-market album of electronic music. Jarre took his synthesized sound to the charts, the nightclub dance floors, the car stereos and the FM radios of the world.
Now, almost 30 years, 55 million albums, and several world-record-setting concert performances later, Jean Michel Jarre returns with Sessions 2000. The long-awaited new disc offers up otherworldly electro-theatrics with some decidedly human elements to his legions of fans around the world. Sessions 2000 is pure Jean Michel Jarre - hypnotic, sophisticated, cerebral, mysterious, and percolating with changing musical moods.|| || |
|Rendez-Vous||Jean-Michel Jarre|| ||Jarre, Jean-Michel||1986|| ||CD|| || || || |
|Zoolook||Jean-Michel Jarre||Dreyfus||Jarre, Jean-Michel||1984|| ||CD||Dance/Electronica : Classic Electronic|| || || |
|Electric Dimension||Kraftwelt||Cleopatra|| ||10/8/1996|| ||CD||Dance/Electronica : Techno|| || || |
|Prokofiev: Violinsonaten, 5 Melodien / Kremer, Argerich||Kremer, Argerich||DG Deutsche Grammophon||Prokofiev, Sergei||2/16/1993|| ||CD||Classical||Selections recorded March and April, 1991.|| || |
|All Mixed Up||La Bouche||RCA Records|| ||12/17/1996|| ||CD||Dance/Electronica : Dance||Personnel includes: Melanie Thornton, Michael Romeo (vocals); Kazuhiko Gomi (keyboards, programming).
Producers: FMP, Brenner/Saraf, DC Montez, Click Production.|| || |
|Poulenc: Chamber Music / Levine, Ensemble Wien-Berlin||Levine, Ensemble Wien-Berlin||DG Deutsche Grammophon||Poulenc, Francis (1899 - 1963)||11/8/1989|| ||CD||Classical|| || || |
|Shostakovich: Symphonies no 6 & 10 / Litton, Dallas SO||Litton, Dallas SO||Delos||Shostakovich, Dmitri (1906 - 1975)||6/26/2001|| ||CD||Classical|| || || |
|17 Seconds To Anywhere||Liz Story||Windham Hill Records|| ||1/27/1998|| ||CD||New Age : Piano||More than 15 years separates 17 SECONDS TO ANYWHERE from Liz Story's 1982 debut, and listening to the two albums back to back is telling. This 1998 release features twice the harmonic exuberance, stylistic playfulness, and optimism as her classic first record. This isn't to say that the songs here are all lollipops and sunshine-"Out of Time" is as mournful as anything she's done, and the title track stumbles and searches urgently, resolving rather heavily. The powerful life force exhibited here is an encouraging sign that Story's talent only glows brighter with time.|| || |
|Part Of Fortune||Liz Story||Novus|| ||10/17/1990|| ||CD||New Age : Piano|| || || |
|Unaccountable Effect||Liz Story||Windham Hill Records|| ||4/29/1997|| ||CD||New Age : Piano||Personnel includes: Liz Story (piano); Mark Isham, Bill Conti.
This is part of Windham Hill Records' Essential Windham Hill series.
Classically trained jazz pianist Liz Story has made several well-received recordings of everything from contemporary standards to Christmas music to an autobiographically themed song cycle. But she is also an accomplished composer, having released several collections of her own work. UNACCOUNTABLE EFFECT, the 1985 follow-up to her debut release, is a record that showcases a distinctive and assured artist.
While closely associated with the Windham Hill label, and hence, so-called new age music, this collection of eight pieces does not sound all that new age-y. There is a distinct lack of those synthesized woodwinds or sparkling flourishes that yuppies would play in the Land Rover as they drive to their country houses. Instead, these are stately, meditative pieces marked by an air of introspection and seriousness. The record begins with the shimmering "Deeper Reasons," the most typically Windham Hill-sounding number here, with its ethereal synthesizer by the multi-talented Mark Isham. The mood becomes more lighthearted on the relatively jaunty "Starfinder" before the title cut concludes the proceedings on an elegiac note.|| || |
|Prokofiev: Cinderella||London Symphony Orchestra||EMI||Prokofiev, Sergei||October 25, 1990|| ||Audio CD||Classical|| || ||Andre Previn|
|Symphonic Dances, etc||London Symphony Orchestra||EMI||Rachmaninoff, Sergei||1987|| ||Audio CD||Classical|| || ||Andre Previn|
|Lust||Lords Of Acid||Antler Subway|| ||9/10/1996|| ||CD||Dance/Electronica : Electronica||Producers: Jade 4 U, Oliver Adams, Praga Khan, Agaric Bhab, Jachri Praha.|| || |
|Prokofiev: Symphony 6 / Scythian Suite||Los Angeles Philharmonic||Philips||Prokofiev, Sergei||October 25, 1990|| ||Audio CD||Classical|| || ||Andre Previn|
|Prokofiev; Shostakovich: Violin Sonatas / Lydia Mordkovitch||Lydia Mordkovitch||Chandos Records||Prokofiev, Sergei (1891 - 1953)||8/1/1991|| ||CD||Classical|| || || |
|Barber, Britten: Cello Concertos / Ma, Zinman, Baltimore SO||Ma, Zinman, Baltimore SO||CBS Masterworks||Barber, Samuel (1910 - 1981)||1/1/3000|| ||CD||Classical|| || || |
|A Windham Hill Retrospective||Mark Isham||Windham Hill Records|| ||9/15/1998|| ||CD||New Age|| || || |
|Film Music||Mark Isham||Windham Hill Records|| ||7/7/1987|| ||CD||New Age||Isham in the 21st century is one hotshot soundtrack composer, having scored well over a dozen films in half as many years. FILM MUSIC collects some of his earliest and, as it turns out, best soundtracks. In many ways, this music beneficially augmented the often-flaccid celluloid it was designed to accompany. That Windham Hill saw to release these three collected works immediately telegraphs where Isham was coming from in the mid-'80s: compositions couched in sublime beauty, gentle ambience, and a most un-Hollywood composing method that would gradually wane in his later Tinseltown work.
"Mrs. Soffel" drinks deep of Isham's undulating synth chords and Harold Budd-like piano motifs, enticing without being cloying. "The Times of Harvey Milk" conversely explores a more upbeat terrain, as piping electronics and probing strings suggest vibrancy, confidence, and hope. It is, however, Isham's epic suite for Carol Ballard's "Never Cry Wolf" that is this disc's epicenter. Though at times recalling some of Vangelis' film-work with its cooing electronics and triumphant phrasings, Isham manages to concoct one of cinema's first "ambient" scores-replete with flutes, synths, and sundry sounds whose tones are stretched out seemingly to infinity.|| || |
|Tibet||Mark Isham||Windham Hill Records|| ||2/7/1989|| ||CD||New Age|| || || |
|Rozsa: Violin Concerto, etc / McDuffie, Harrell, Levi, et al||McDuffie, Harrell, Levi, et al||Telarc||Rozsa, Miklos (1907 - 1995)||2/15/2000|| ||CD||Classical||REVIEWS:
New York Times (3/19/00, p.34) - "...Robert McDuffie is a sweet-toned soloist, lending Rozsa's arching, lyrical strains welcome luminosity...the Atlantans and Mr. Levi present this music with conviction, a quality Rosza would surely have appreciated."|| || |
|Shostakovich: String Quartet No. 8 / Debussy: String Quartet, Op. 10||Medici String Quartet||Nimbus Records||Shostakovich, Dmitri/Debussy||December 2, 1992|| ||Audio CD||Classical|| || || |
|Encounter||Michael Stearns||Hearts of Space|| ||5/30/1989|| ||CD||New Age : Keyboard/Synthesiz|| || || |
|Yamantaka||Mickey Hart/Wolff/Hennings||Celestial Harmonies|| ||6/27/1997|| ||CD||Rock/Pop||Full performer name: Mickey Hart/Henry Wolff/Nancy Hennings.|| || |
|Featuring Sheila Chandra||Monsoon||Mercury|| ||3/21/1995|| ||CD||International : Indian|| || || |
|Prokofiev: Symphonie Concertante/Concerto for Violincello||Mstislav Rostropovich/London Symphony Orchestra||Erato||Prokofiev, Sergei/Shostakovich, Dmitri||1988||63'14||Audio CD||Classical|| || ||Seiji Ozawa|
|Eternity||Mythos||Higher Octave|| ||8/27/2002|| ||CD||New Age||Mythos: Paul Schmidt (guitar, programming); Bob D'Eith (piano, keyboards, programming);
Additional personnel: Jennifer Scott, Christine Duncan, Tanya Hancheroff, John Bottomley (vocals); Cameron Wilson, Brian Larson (violin); Tony Barnall (viola); Finn Manniche (cello); Tom Keenlyslide (saxophone); Vince Mai (trumpet); Rene Worst (bass); Hector Navarro (percussion); Michael Balch (programming); Traci King (background vocals).
Recorded at Bakerstreet Studios, North Vancouver, British Columbia, Canada.|| || |
|Prokofiev: Visions fugitives; Hindemith: Ludus tonalis||Olli Mustonen|| ||Prokofiev, Sergei; Hindemith, Paul||October 15, 1996|| ||Audio CD||Classical : General|| || || |
|Orblivion||Orb, The||Polygram Records|| ||March 11, 1997|| ||Audio CD||Dance & DJ : IDM||Amazon.com
It's the end of the world as we know it, and Dr. Alex Patterson is feeling just fine. Returning with his seventh release under the moniker of the Orb, the grandfather of ambient house and the master of transcendental techno has made the cheeriest album about millennial tension and apocalyptic craziness that you're likely to hear. Not since Prince's 1999 has the beginning of the end sounded like so much fun. With music industry institutions from MTV to Billboard rushing to proclaim that electronica is the next "next big thing," the contributions of veterans like Patterson and Richard James (a.k.a. the Aphex Twin) are being overlooked, while relatively slight talents such as the Prodigy and the Chemical Brothers are being lauded. Meanwhile, Patterson is at his turntables leading a new version of the Orb with Andy Hughes and Thomas Fehlmann, and the group is making some of the best music of its career. Over the ominous sounds of "S.A.L.T.," a paranoid Scottish preacher predicts that the number of the Beast described in The Book of Revelations is showing up on our credit cards. Elsewhere, a solemn voice intones, "The rocket is waiting," and a perplexed weather girl stumbles when she reads that temperatures tomorrow will be sub-zero, "continued mild." Throw in a snippet from Joe McCarthy's red-baiting Senate hearings and an hysterical commercial jingle with a bouncy chorus about "the youth of America on LSD," and you may find yourself rushing in a panic to the bomb shelter. Considering the subject matter, it's ironic that "Delta MKII," "DJ Asylum," and "Toxygene" contain some of the Orb's happiest hooks ever, as well as the uniquely fluid and jazzy mid-tempo grooves that have come to characterize the combo's live performances. Like the ravers who throw roof-top parties to greet the aliens in Independence Day, Patterson is going out dancing, and judging from the pleasantly disorienting swirl of sounds in his patented Orb mixes, he's probably high as a kite. And why not? In his warped but wonderful vision, the end of the world is just one more groovy trip. --Jim Derogatis|| || |
|Orbus Terrarum||Orb, The||Island|| ||April 4, 1995|| ||Audio CD||Dance & DJ : IDM||Amazon.com essential recording
The Orb's third full-length studio album states its intention with its title: where their first two records had explored the outer cosmos of dance music, Terrarum is an earthier, less spacy ambient record, more devoted to mapping the sounds at hand. It goes to extremes to avoid the hooks of their early work, and there's barely even a hint of dance beats. When they do appear, they're mutated, bassy, more to pass through the body than to move to. Considered as music to "listen to," it's mostly pretty dull (though the 17-minute "Slug Dub" is worthy of the Augustus Pablo records and stoned realizations that inspired it). But then Orbus isn't meant to reward attention--it's an album to sit down and dream to. --Douglas Wolk|| || |
|Shostakovich: Waltzes / Orbelian, Moscow Chamber Orchestra||Orbelian, Moscow Chamber Orchestra||Delos||Shostakovich, Dmitri (1906 - 1975)||8/31/1999|| ||CD||Classical|| || || |
|Prokofiev: Symphonies 2 & 3||Orchestra National de France||Erato||Prokofiev, Sergei||March 10, 1992|| ||Audio CD||Classical|| || ||Mstislav Rostropovich|
|Prokofiev: Romeo & Juliet / Ozawa, Boston Symphony Orchestra||Ozawa, Boston Symphony Orchestra||DG Deutsche Grammophon||Prokofiev, Sergei (1891 - 1953)||1/1/3000|| ||CD||Classical|| || || |
|Prokofiev: Violin Concertos no 1 & 2, etc / Papavrami, Wit||Papavrami, Wit||Naxos||Prokofiev, Sergei (1891 - 1953)||2/13/1997|| ||CD||Classical|| || || |
|The Private Music Of Patrick O'Hearn||Patrick O'Hearn||Private Music|| ||11/10/1992|| ||CD||New Age : Keyboard/Synthesiz||All songs written by Patrick O'Hearn.
Contains songs from ANCIENT DREAMS, BETWEEN TWO WORLDS, RIVER'S GONNA RISE, ELDORADO, INDIGO and three previously unreleased tracks.|| || |
|Trust||Patrick O'Hearn||Paras Group International|| ||7/25/1995|| ||CD||New Age : Keyboard/Synthesiz||Personnel: Patrick O'Hearn (guitar, synthesizer, bass, percussion); Warren Cuccurullo, David Torn, Peter Maunu (guitar); Terry Bozzio (drums).
TRUST was nominated for a 1996 Grammy Award for Best New Age Album.|| || |
|Cinema Serenade 2 - The Golden Age / Perlman, Williams||Perlman, Williams||Sony Classical||Raksin, David (1912 - )||7/27/1999|| ||CD||Classical||This selection is also available in MiniDisc format.
This album continues the tribute to classic film music from John Williams and Itzhak Perlman's CINEMA SERENADE disc. It is an undeniably old-fashioned and romantic album, befitting the era the music is drawn from. On "As Time Goes By" from CASABLANCA, Perlman proves that he's still one of the world's premier concert violinists, playing the theme with palpable ache. Most of these compositions are by the classic film composers--Alfred Newman, Mikl˘s R˘zsa, Max Steiner--with one notable exception. William Walton's theme for HENRY V gets a suitably regal, yet restrained, treatment. Perlman sounds as if he's having a good time with the sprightly Irish motifs of "The Quiet Man." The orchestrations are rich and dramatic, and the recording quality is superb. This album is highly recommended to anyone who remembers when a soundtrack was more than just a bunch of flavor-of-the-month pop tunes.|| || |
|Janácek: Sonata For Violin And Piano/Prokofiev: Sonata No.1/Debussy: Sonata For Violin And Piano||Piotr Anderszewski, Viktoria Mullova||Polygram Records||Janacek, Leos; Prokofiev, Sergei; Debussy|| || ||CD||Classical : General|| || || |
|Prokofiev: Cinderella, Summer Night / Pletnev, Russian NO||Pletnev, Russian NO||DG Deutsche Grammophon||Prokofiev, Sergei (1891 - 1953)||10/17/1995|| ||CD||Classical|| || || |
|Shostakovich: Symphony no 11 / Rostropovich, London SO||Rostropovich, London SO||LSO Live (UK)||Shostakovich, Dmitri (1906 - 1975)||9/10/2002|| ||CD||Classical||This album was nominated for the 2002 Grammy Awards for Best Orchestral
Performance and Best Engineered Album, Classical.|| || |
|Prokofiev: Suites from La Pas D'Acier & Chout||Scottish National Orchestra||Chandos||Prokofiev, Sergei||10. Mai 1989|| ||CD||Classical|| || ||Neemi Jarvi|
|Transformations for Strings||Seattle Symphony||Delos||Webern/Strauss/Honegger||1993||71:30||CD||Classical|| || ||Gerard Schwarz|
|Silk||Sheila Chandra||Shanachie|| ||August 12, 1991|| ||Audio CD||International : Indian|| || || |
|Are You Shpongled?||Shpongle||Kinetic/Reprise|| ||9/25/2001|| ||CD||Dance/Electronica : Trance||Shpongle: Simon Posford, Raja Ram.|| || |
|Tales of the Inexpressible||Shpongle||Kinetic Records|| ||September 25, 2001|| ||Audio CD||Dance & DJ : Trance|| || || |
|Prokofiev: War and Peace Opera||Sofia National Opera||Fidelio||Prokofiev, Sergei||1986|| ||CD||Classical|| || ||Rouslan Raichev|
|Alien Dreamtime||Spacetime Continuum/McKenna||Astralwerks|| ||10/29/1993|| ||CD||Dance/Electronica : Ambient||Full performer name: Space Time Continuum With Terence McKenna.
Personnel includes: Terence McKenna (vocals).
Recorded live at a rave in San Francisco, California, in February, 1993.
A meeting of the minds merging the arcane texts and psilocybic ruminations of acid guru Terence McKenna with San Francisco's own ambient scribe Jonah Sharp is one of the more inspired pairings in electronica's convoluted landscape. Here Sharp cranks up the analog synths, breaks out the didjeridoos (courtesy of Stephen Kent of Lights in a Fat City fame) and sets up some great, expansive, warbling electronic tundras over which McKenna espouses his lambent text.
Recorded live, this is one of the classic ambient documents, full of varied pulses and oozing atmospheres, all metaphorically glazed with McKenna's measured, obfuscating voice. Just wrap yourself in the ambient gauze that is "Archaic Revival" and prepare for a descent into a maelstrom where the progressivism of the '60s meets the technological miasma of the '90s head-on|| || |
|Prokofiev: Ivan the Terrible, Alexander Nevsky, etc /Slatkin||St. Louis Symphony Orchestra||Vox Box||Prokofiev, Sergei (1891 - 1953)||1/1/1990|| ||CD||Classical|| || ||Leonard Slatkin|
|Elgar, Walton: Cello Concertos; Delius / Starker, Slatkin||Starker, Slatkin||RCA Victor Red Seal||Sir Edward Elgar||6/17/1997|| ||CD||Classical||REVIEWS:
American Record Guide (11-12/97, p.122) - "...Starker plays with marvelous control and virtuosity, leaving him free to make the most of the music....Slatkin follows him beautifully, and the orchestra is terrifyingly uncompromising in their response..."
BBC Music (4/98, p.73) - Performance: 3 (out of 5), Sound: 3 (out of 5) -
"...The opening flourishes [of the Elgar] are perfectly played but alarmingly matter-of-fact....Slatkin makes the most of the colourful and often lush scoring [of the Walton]..."|| || |
|Piano Sonata5, Estampes, & Piano Sonata 8||Sviatoslav Richter|| ||Scriabin, Debussy, Prokofiev||October 25, 1990|| ||Audio CD||Classical|| || || |
|Prokofiev played by Richter - The War Sonatas - no 6, 7 and 8||Sviatoslav Richter||Russian Revelation||Prokofiev, Sergei||4/21/1998|| ||CD||Classical|| || || |
|Prokofiev: Piano Sonatas no 2, 6 and 9 / Sviatoslav Richter||Sviatoslav Richter||Praga||Prokofiev, Sergei||11/1/1992|| ||CD||Classical|| || || |
|Tyranny Of Beauty||Tangerine Dream||Columbia/Tangerine Records|| ||9/28/1999|| ||CD||Dance/Electronica : Classic Electronic||Tangerine Dream: Gerald Gradwool (acoustic & electric guitars); Mark Hornby (acoustic, electric 12-string & slide guitars, E-bow); Jerome Froese (guitar, keyboards, drums, percussion); Edgar Froese (guitar, 12-string guitar, keyboards, drums); Linda Spa (soprano & alto saxophones, English horn).
Engineers: Edgar Froese, Jerome Froese, Christian Gstettner.
Recorded at Eastgate Studios, Vienna, Austria in July & September 1994. Includes liner notes by Edgar Froese.
TYRANNY OF BEAUTY was nominated for a 1996 Grammy Award for Best New Age Album.|| || |
|White Eagle||Tangerine Dream||Virgin|| ||5/17/1994|| ||CD||Dance/Electronica : Classic Electronic||Despite the pundits who insist that anything post-ZEIT is scarcely worth a listen, Tangerine Dream's later recordings for Virgin still represent the band's watershed years. WHITE EAGLE, recorded in the waning '80s, brings back to life the startling sounds that crept up in such past achievements as PHAEDRA and FORCE MAJEURE.
The 18-minute-plus "Mojave Plan" is nothing less than fascinating. Whistles erupt from the void, eventually coalescing around a slowly thumping synthesizer croak, while Christopher Franke fires up the sequencers around Froese and Schmoelling's riveting electronic chirrups, chimes, and cordials. It's a heady stew that brings to mind prairies brimming with non-human life and man-machines gasping for breath in desert oases amidst the disinterested chatter of mutant arachnids. "Convention of the 24" contains one of the Dream's more inebriating sequencer motifs, and the closing title track is a luxurious bath in simmering waters of liquid electronics and slippery beat smears. WHITE EAGLE remains one of TD's late-period triumphs.|| || |
|Khachaturian: Spartacus; Ippolitov-Ivanov / Tjeknavorian||Tjeknavorian||ASV||Khachaturian, Aram (1903 - 1978)||12/1/1993|| ||CD||Classical|| || || |
|The Planets||Toronto Symphony||EMI||Holst, Gustaf||October 25, 1990|| ||Audio CD||Classical|| || ||Andrew Davis|
|Prokofiev: Chout (The Jester)||USSR Ministry of Culture Orchestra||Melodiya||Prokofiev, Sergei||1990|| ||CD||Classical|| || ||Gennadi Rozhdestvensky|
|Prokofiev: On the Dnieper/Hamlet Suites||USSR Ministry of Culture Symphony Orchestra||Melodiya||Prokofiev, Sergei||1991|| ||CD||Classical|| || ||Gennadi Rozhdestvensky|
|Bolero/ Romeo & Juliet||Various||Philips||Ravel/Prokofiev||October 25, 1990|| ||Audio CD||Classical|| || ||the composers|
|Soul of the Machine||Various||Windham Hill Records|| ||1987|| ||CD|| || || || |
|Big Hard Disk Vol. 2||Various Artists||Smash Records|| ||1/1/1994|| ||CD||Dance/Electronica : Techno||Producers: Sheep On Drugs (tracks 1, 7), Mark Pistel and Phil Steir; Mark Picchiotti; The Holy Ghost; Yello (tracks 5, 8); H, Willner, M. Franti and R. Tse; Bill Laswell.|| || |
|Celestial Journey||Various Artists||Rising Star|| ||6/4/1996|| ||CD||Classical|| || || |
|Dimensions In Ambience 2||Various Artists||Quango|| ||7/15/1997|| ||CD||Dance/Electronica : Techno|| || || |
|Elektronica II||Various Artists||Intersound|| ||4/28/1998|| ||CD||Dance/Electronica : Electronica|| || || |
|Headtravel||Various Artists||Moonshine Music|| ||1/31/1995|| ||CD||Rock/Pop||Track one on HEADTRAVEL is a CD-Rom file featuring a digital gallery of San Francisco dance culture, non-linear digital imagery by SFX Lab and organic video footage by Project Love. La Paix's "Phuture Generation" features vocals by Yamato and Malachy.
Producers include: J.M. Williams, Deluxe, Nail, Winston Wier, La Paix.|| || |
|One A.D.||Various Artists||Waveform Corporation|| ||5/17/1994|| ||CD||Dance/Electronica|| || || |
|Platipus Records: The Ultimate Dream Collection||Various Artists||Critique Records|| ||7/30/1996|| ||CD||Dance/Electronica : Techno|| || || |
|Three A.D.: A Waveform Compilation (Vol. Three...||Various Artists||Waveform Corporation|| ||3/19/1996|| ||CD||Dance/Electronica||Full title: Three A.D.: A Waveform Compilation (Volume Three Ambient Dub).
THREE A.D. is the third in a series of superlative volumes covering artists from the U.K. label Beyond in addition to other new electronica luminaries such as Space Time Continuum (Jonah Sharp) and turntable fantasists Coldcut. Those unfortunate few who have yet to acquire the luxurious debut from Higher Intelligence Agency can bathe in the glow of that unit's "Skank" here. Or "Lighten Up!" via A Positive Life, which flaunts its Kraftwerkian cyborg beats on a bed of Orbian translucence. Additional tracks by the highly distinctive Insanity Sect and The Starseeds practically beg appropriate full-lengths, while the unique cut-and-paste antics of Coldcut's "Sign" illustrate the revolutionary methods Black and More continue to exalt as they tweak future shock. Sample the previous two A.D. compilations as well for further aural daytrippin'.|| || |
|Two A.D.||Various Artists||Waveform Corporation|| ||1/1/1995|| ||CD||Dance/Electronica|| || || |
|Universe 5: A Hearts Of Space...||Various Artists||Hearts of Space|| ||4/20/1999|| ||CD||New Age||Full title: Universe 5: A Hearts Of Space Collection.
Performers include: Oystein Sevag, Joanie Madden, Jeff Danna, Mychael Danna, John Boswell, Martin Tillman, Bill Douglas, Jeff Johnson, The Blue Chip Orchestra, Robert Rich.|| || |
|Werks Like a Twelve Inch||Various Artists||Astralwerks|| ||9/10/1996|| ||CD||Dance/Electronica : Techno|| || || |
|Danceries||Vega Hall||Denon||Satie, Erik||1986|| ||CD||Classical|| || ||Takarazuka|
|Prokofiev, Shostakovich: Violin Concertos no 1 / Vengerov||Vengerov||Teldec||Prokofiev, Sergei (1891 - 1953)||11/8/1994|| ||CD||Classical||This disc received 1996 Grammy nominations for "Best Classical Album" and
"Best Instrumental Soloist Performance (With Orchestra)."
Prokofiev and Shostakovich were superficially quite different in artistic outlook, but both experimented in their violin concertos with the genre's typical form and expressive range. Pairing the first concertos of these composers, the prodigiously talented violinist Maxim Vengerov takes the listener on a brilliantly played voyage through extreme emotions from searing pain to bustling exuberance.
The Shostakovich concerto, dating from 1947 but unperformed until 1955, is the more obviously "symphonic" of the two: It is twice as long as Prokofiev's 1917 composition, spanning four movements with Mahlerian titles such as "Nocturne" and "Burlesque" and an overwhelmingly dark mood akin to Shostakovich's own symphonies. Not simply a showpiece, there is nonetheless ample opportunity for virtuosic display, especially in the prolonged cadenza connecting the last two movements.
Prokofiev's far less harrowing work is imaginative in form; the outer movements are full of mood and tempo shifts, while a motoric central Scherzo--an unusual movement title in a concerto, which Shostakovich also adopts--takes the place of the conventional, lyrical middle movement. The youthful Vengerov has the full measure of these works, often echoing the classic interpretations of David Oistrakh, and Mstislav Rostropovich is a convincing conductor in the repertoire he knows best.|| || |
|Prokofiev, Shostakovich: Violin Concertos no 2 / Vengerov||Vengerov||Teldec||Prokofiev, Sergei (1891 - 1953)||10/14/1997|| ||CD||Classical||This disc was nominated for the 1999 Grammy Award for "Best Instrumental Soloist(s) Performance with Orchestra."
Though Prokofiev was a modernist at heart, his Violin Concerto No. 2 is a melodious work that comes from the composer's newfound embrace of a "new simplicity" during the mid-1930s. Works in this style would be "intelligible, without descending into homeliness and triviality." The Concerto opens with a pensive solo which leads into a brief declamatory section before finally settling into a warm and wholly undramatic reverie. The second movement is written in a gently rocking 12/8 signature while the last movement, Allegro ben marcato, is perhaps the most dynamic movement of all. The listener is likely to recall in this exuberant finale the playfulness of some of the composer's ballet scores.
In comparison with the Prokofiev concerto, where Vengerov's performance is masterfully restrained, the violinist gives an intense and vigorous reading of Shostakovich's Second Violin Concerto. Unlike his compatriot's concerto, Shostakovich's has a weightiness that recalls some of that composer's towering symphonies. The first movement is punctuated by timpani blows, distant horn calls and march-like rhythms amidst the pleading tones of the violin. The central Adagio continues the sorrowful nature of the work while the propulsive final movement comes across as a thunderous burst of pent-up frustration and bitterness.|| || |
|Prokofiev: Piano Concertos / Vladimir Ashkenazy||Vladimir Ashkenazy||London/Decca Jubilee||Prokofiev, Sergei (1891 - 1953)||1/1/1989|| ||CD||Classical|| || || |
|Prokofiev: Works for Cello & Piano / Wallfisch, York||Wallfisch, York||Black Box Classics||Prokofiev, Sergei (1891 - 1953)||7/11/2000|| ||CD||Classical|| || || |
|Beauty In The Beast||Wendy Carlos||ESD (East Side Digital)||Wendy Carlos||11/4/2003|| ||CD||Dance/Electronica : Classic Electronic||This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Solo performer: Wendy Carlos (Mini-Moog synthesizer, vocodor).
Originally released on Audion SYN (200). Includes liner notes by Wendy Carlos.|| || |
|Prokofiev: Songs and Romances / Yevtodieva, Sokolova, et al||Yevtodieva, Sokolova, et al||Delos||Prokofiev, Sergei (1891 - 1953)||10/24/2000|| ||CD||Classical|| || || |
|Yo-Yo Ma Solo - O'Connor, Sheng, Wilde, Tcherepnin, Kodaly||Yo-Yo Ma||Sony Classical||O'Connor, Mark||9/21/1999|| ||CD||Classical||This selection is also available in Super Audio CD format.
Bach showed that the cello can dance, but composers from Rossini to Shostakovich have favored it as an instrument of pensive reflection and brooding melancholy. The playful cover photo notwithstanding, SOLO features Yo-Yo Ma in five 20th century cello works of a serious nature, all with folk influence and all echoing at least a bit of the troubles of the times in which they were written.
Mark O'Connor's wistful 'Appalachia Waltz' is the most relaxed piece, sounding like a back porch meditation on an overcast day. Bright Sheng's 'Seven Tunes Heard in China' is much edgier and abrasive in the Bart˘k manner, while David Wilde's 'The Cellist of Sarajevo' is an outpouring of unmitigated grief in arch form; lament unfolding into rage and then retreating into silence. Alexander Tcherepnin's Suite is an odd hybrid, a product of the Russian-born, widely traveled composer's interest in Chinese culture. Lastly, there is the masterful Sonata of Zolt n Kod ly, a real heir to the Bach Suites in that it presents a self-contained world while stretching the cello to its limits.
In his relentless quest to explore uncharted territories of cellodom, Yo-Yo Ma has delivered a recital for unaccompanied cello that--daringly--hasn't any Bach. Instead, there are five works by as many composers, only two of which are truly successful as solo cello outings: Bright Sheng's Seven Tunes Heard in China (a self-explanatory title if there ever was one) and Zoltan Kodaly's justly famous Sonata for Solo Cello Op. 8. You'd be right to wonder how comfortable two such ethnically disparate works would fare on the same disc, but Ma seems to find solid points of connection. Both use the cello in much the same way, and the kind of pipa-like fingerslides that are appropriate to Sheng's attractive, modal Chinese songs give an extra exoticism to Kodaly's hyper-dramatic cello soliloquy. Whether that's appropriate to the Kodaly piece is up for argument; but in the context of this disc--and Ma's overall convincingly introspective manner--it makes a certain amount of sense. As for the other works, those who love Mark O'Connor's Appalachia Waltz probably have it elsewhere and don't need this solo cello version. Though the sincerity behind David Wilde's The Cellist of Sarajevo and Alexander Tcherepnin's Suite for Solo Cello hardly can be doubted, that doesn't mean the pieces hold up on repeated hearing.|| || |