Miscellaneous Music

With the first track I was already starting to get upset with Glass simply dealing in patented mechanics as he can do, putting didgeridoo on a construction which I believe sounded quite familiar (maelstrom?). Familiar construction is no stranger to Glass's approach, who can be as widely praised for diversity as he is criticized for simplicity. Thankfully the artist is able to utilize this multi-cultured theme in a way which actually widens, rather than confines. The result is something one can recommend outside his normal demographics of studied nuance, something a little more human, heartfelt, and connective.

For many, the music of Philip Glass is an acquired taste. It often takes one awhile to get the hang of the subtle variations within virtually endless repetitions of what...in comparison to more well known classical music...seems to be a few limited themes. But if one sticks with it long enough, one will begin to discover the emotional alchemy at work in these pieces. That's when the genius of it is revealed. The trick, of course, is to stick with it long enough.

"Orion" is Glass' exploration and extrapolation of musical phrases that are more or less based upon traditional music of the places he names (e.g. India). Repetition is downplayed in this work and it surges playfully forward from movement to movement, thanks in part to shorter "bridge pieces" that link the longer thematic ones.

If one has wondered about Glass' music, "Orion" is a splendid entry point...perhaps followed by "Passages" (with Ravi Shankar). The only decision that remains is which format to purchase.

As an unabashed audiophile, I normally purchase CDs (or SACDs when available). For a variety of reasons, I purchased the MP3 download of "Orion". It was RIPed with a variable bit rate algorithm and seems to tach out between 192 and 256 KBPS with a few spurts to 320 KBPS. As such, it exhibits minimally competent fidelity compared to a middle-of-the-road CD. On the other hand, it was delivered instantly and sounds good enough that I continue to listen to it through isolation headphones while working. If I was going to listen to it critically, I would re-order "Orion" in CD format.

Bottom line: in any format, this is good stuff and an excellent way to become acquainted with the work of this important living composer.

This set of 2 CD's is a recording of an extended musical program for the Greek Olympics performed by Glass, his ensemble, and leading "folk" musicians from each of the inhabited contenants. Glass composed the work in colaboration with at least some of his partners so the style of the work reflects a synthesis of his own and various traditional styles. The results are fascinating to the ear. All the performances are superb. The digeridoo work is particularly noteworthy, because most Americans have never heard anything like it. Uakti is present with their home-made wind and percussion instruments and you can hear hints of their album Aguas da Amazonia (Also recommended). The Canadian section features a Celtic fiddle that moves from the original theme into a classic "breakdown." The Chinese, Gambian, and Indian segments feature traditional stringed instruments as well. The variety of sounds of the different stringed instruments and the differing improvisational styles of their masters ads diversity to the program. One can listen to the program in pieces and enjoy it, but if you have the time, put it on a changer, use head phones, and let the music flow over you for a wonderful, but short vacation that will take you around the world.

All tracks on this cd are great but just wait 'till you hear " Brazil" . fantastic!!

BASS FREAK ALERT

I don't remember whether my first known exposure to Phillip Glass was the vinyl album of the soundtrack to Koyaanisqatsi or a cassette a friend loaned me of the album Glassworks shortly before I went to see a live performance of the Phillip Glass Ensemble about 1980. Glassworks was interesting but has never been on my list of favorite albums, the live performance impressed me greatly, and Koyaanisqatsi blew me away. At any rate, I have liked the music of Phillip Glass a lot and for a long time and own about 30 CDs of his music, including maybe 5 I don't ever plan to listen to again. So I recently bought Orion, enjoyed it greatly 2 or 3 times and expect to keep listening to it periodically. If you like his music, you'll probably like this one, especially if you liked Uakti. If not, you'll want to give this one a pass, too

Unless maybe you are a bass freak. A fair number of Glass albums have strong bass lines. If you have a good wide range audio system, you'll notice that track one, "Australia", has a prominent bass line. I have such a system and I noticed it, so I turned on my subwoofers, which are pretty flat from about 25 to 40 hz and then drop off sharply above 40 and below the lower 20s. For most music, having the subwoofers on or off makes very little difference because there is not much happening musically in that bottom octave from 20 to 40 hz. This track is one of a handful of exceptions to that general rule. If you have flat frequency response in the bottom octave it sounds like an entirely different piece of music. For most of the rest of the 2 disc set, it doesn't make any difference whether the sub-woofers are on or off--there isn't much for them to do. But on "Australia", the difference is astonishing. Mind you I'm not talking about any old subwoofers--many subs give you bass from 40 or 50 or even 60 hz up to 100 or 200 hz--forget about them. If your subs give you flat frequency response in the octave BELOW 40 hz, you probably value and enjoy honest deep bass, and you are in for a treat with this album, at least on track one. Otherwise you'll just think "Nice bass" and not give it a second thought.

Being a proud owner of the complete original Arabesque Recordings incarnations, I don't really have any intention of buying this box--other than as a safe copy for my safe deposit box--or a possible freeze down. The reasons?: (1) Chopin is the greatest piano composer the world has seen; (2) Garrick Ohlsson is the greatest Chopin interpreter in the stereo era; (3) this is one of the most valuable complete composer cycles ever, notwithstanding the fact that the closest competition is limited--Biret being about as complete (save the chamber works and songs) but still uncompetitive on all accounts, the DG and Brilliant Classics complete cycles being spread over various good and less good pianists, Ashkenazy and Magaloff including the solo piano works only, and Rubinstein, Francois and Arrau being collections rather than complete surveys.

To make a rather long story short, Chopin's piano music has been my great musical love since 12 years of age. I did play a fair proportion of it during my teenage years; I've been listening to it, thinking of it, humming it, studying it and in every single aspect of the word cherishing it ever since.

I must try to be moderate, considering the scope and guidelines of this review format, though awfully difficult it is: I have never heard Chopin's piano music played with such beauty, naturalness, command and total perfection! Mr Ohlsson is obviously born with some kind of unique sense of how Chopin's music is to be realised. Superficially considering some of his tempos, rubatos and dynamics, they may appear a trifle self-confident or exaggerated; however, hearing them in their context, they always sound perfectly natural, motivated and infinitely beautiful--or, in short, perfect if there ever was any such thing in music interpretation.

Furthermore, the recorded piano sound is one of the most beautiful ever attained. Those lovely Bösendorfer Grands often sound metallic and harsh on record--e.g. in Biret's Chopin and Brahms series on Naxos or Kocsis's Bartok series on Philips (even if considerably better than the former); in Arabesque's reproduction, however, the instrument's inherent beauty is a true source of wonder. (Indeed, the concertante works were recorded on a Steinway, whereas the Mazurkas, Songs and Chamber Works were recorded on a Mason & Hamlin, especially rebuilt in 1994 by William Schneider for Mr Ohlsson.)

Is it possible to capture the boundless beauty of Chopin's music in squared box of less than a square foot? Sounds not very likely, does it? Take my word for it, whatever it may be worth--there is no conceivable way of coming closer than this little box set.

This comparatively brief overall review is supplemented by detailed reviews of each individual volume of the series, juxtaposed with interesting rival versions, respectively. Next up are the Ballades, last two Rondos, Scherzos and Variations of the 3rd and 4th volumes. We're all first and foremost heavily indebted to Arabesque Recordings for realising this epoch-making record project, but also to Hyperion Records for making it available again to a greater audience and at bargain price (do check out amazon.co.uk, or some dedicated British mail order dealers!).

Here is the complete list, indicating that the Preludes, Polonaises & Impromptus, Masterpieces & Miniatures and Etudes are five-star instalments, whereas the Nocturnes and Mazurkas extend beyond any conventional measures--dessert island stuff, very much so indeed:
1st Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 1 ~ Sonatas) ****(+)
2nd Volume (Garrick Ohlsson: The Complete Chopin Piano Works Vol. 2 - Preludes) *****(-)
3rd Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 3 - Ballades) ****(+)
4th Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 4 ~ Scherzi & Variations) ****(-)
5th Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 5 ~ Polonaises & Impromptus) *****(-)
6th Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 6 ~ Nocturnes) *****(+)
7th Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 7 ~ Waltzes) ****
8th Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 8 ~ Masterpieces & Miniatures) *****
9th Volume (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 9 ~ The Orchestral Works) ***(+)
10th Volume (Garrick Ohlsson: The Complete Chopin Piano Works Vol. 10 - Etudes) *****
11th Volume (Garrick Ohlsson: The Complete Chopin Piano Works Vol. 11 - Mazurkas) *****(+)
12th Volume (Garrick Ohlsson: The Complete Chopin Piano Works, Vol. 12 - Songs) ****
13th Volume (Chopin: Complete Piano Works Vol 13 - Chamber Works) ****(+)

NB: In case of emergency--save your family, dogs, wallet...and this box!

I am immediately enthralled and mezmerized by Mr. Ohlsson playing and interpretations. He ranks up there with the greats, Cortot, Rubinstein, Pollini, Ashkenazy, Moravec and Arrau. Even surpassing some of them! Plus the sound the engineers gave his piano is bloomingly warm, full, spacious, and detailed!

The thing about this set is it contains absolutely everything Chopin wrote, complete on 16 full cd's in slip cases in a hard glossy cardboard box.

All of the styles of music, and each type of piano style are given their own category on the discs which keeps them organized and the liner notes are excellent...they review each of Chopin's composition and has a 2 page writeup by Mr. Ohlsson on playing Chopin and on the making of these recordings.

I would have never imagnined a Chopin cycle so commanding and authoritative, not to mention consistent in playing and sound quality!

**GARRICK OHLSSON'S NOW BECOMES THE NEW GOLD STANDARD IN CHOPIN PLAYING AND IN CHOPIN RECORDED OUVRE!**

I love the music from Phil Wickam but the CD I received from Amazon is a bit scratched. The first two songs skip over certain parts. I did not want the hassle of sending it back for a differant copy.

I love this CD. Phil was a wonderful voice and such great talent. All the songs draw me into the Holy Place! My favorite is Mystery. When I listened before I bought this I was crying at the beauty of the songs. Awesome!!

Ironically, I had never heard anything by Phil Wickham when I purchased this CD (and I normally don't buy anything I haven't listened to). However, I read an article about Phil and discovered that his father was John Wickham, a member of one of my favorite "Jesus Music" groups in the early '70s. Overcome with nostalgia, I bought Phil's CD!!

I have to tell you, though, I love this CD. It probably goes without saying that it's NOTHING like his father's music. It's also nothing like most of the other music on the Christian market today, which is a GOOD thing. Some reviewers compare his voice and music style to Jason Morant, but I think his sound is much better than Morant's. The comparison to Coldplay is probably better. My 16 year old daughter, who happens to like Keane, sees some similarities between their music and Phil's.

All comparisons aside, I think Phil's voice and music are both somewhat unique. I'll close with an observation about the last cut on this release. Musically, "Holy, Holy, Holy" may be one of the simplest songs on the CD. However, it is hauntingly beautiful, and the lyrics provide a profound glimpse of the glory and majesty of God. What more could you ask for from a mere song?

While the singing sounds good (hence the second star), the organist has a tendency to try to steal the show. A note in the booklet indicates that the organist occasionally improvises, and you can hear it: on tunes such as "Abide With Me" the familiar chords are replaced with a runaway organ. I would recommend either "Be Still My Soul: The Ultimate Hymns Collection" or "Abide With Me: 50 Favorite Hymns", both from DECCA Records, over this CD. "Abide With Me: 50 Favorite Hymns" has many of the same hymns sung by top-notch English choirs.

Outstanding choral recording! I have it on all day! Bought an extra for a gift.

Not to harp on anyone here, but it's obvious that none of you grew up in a church or environment that had a good choir. I know, a Hymn is a genre of music, but a recording of a hymn isn't one if it doesn't contain HARMONY. If they're a "choir," then why don't the tenors sing a different note than the sopranos, altos, and basses? The organist is quite good, I'll admit, but you're wasting your time if you're looking for a good recording of these beautiful songs that were COMPOSED with harmony, not unison. If they want to sing in unison like this, they need to be stripped of their "choir" status and simply be called a "group."

Most everything on this CD is very well done. The recording environment might have been less than perfect, but that shouldn't dimish one's enjoyment very much. Most of the arrangements are very traditional, with the notable exception of Amazing Grace, which though it isn't terrible, it isn't very good either. Some songs had verses removed, which is understandable, though it was poorly done in Eternal Father, Strong to Save -- they did verse 1 ("Eternal Father"), then they skipped(!!!) verse 2 ("O Christ, the Lord") and went on to the final verses ("Holy Spirit" and "O Trinity") -- which is skipping Someone important! However, outside of that, it was excellent.

If you like sacred music, or hymns, then you'll thoroughly enjoy this CD. If you're a Christian, you should enjoy this as well, no matter your taste in music (and you might just learn to like hymns as well!). It is a well-chosen set of some of the most magnificent, God-honoring music of all time, done is a mostly very traditional manner, and it was done well.

The huge size and reverberating acoustics of Washington National Cathedral make it difficult to hear any kind of live choral performance clearly, even if you're sitting in the front rows in the nave. The Cathedral Choral Society is handicapped by having to record in this acoustically mushy space, and it shows in this CD, often creating an uneven balance between the organ and the chorus as noted by other reviewers. The repertoire is well-chosen, but the quality of the arrangements is uneven. Too often, the chorus seems to be singing in unison right out of the Hymnal, like any parish church choir at an ordinary Sunday service. Certain pieces do suggest the heights which the Society is capable of attaining. But the group never achieves the splendor that the Cathedral Choir of Men and Boys displays every Sunday morning. Just when the Society seems to be getting there, the conductor pulls them back. And the shrill folk arrangement of "Amazing Grace" will have you covering your ears as the sopranos shriek clumsily, confusing volume with fervor.

Having discovered Chopin's unique musical treasures in my pre-teens through Naxos discs featuring Szekely, Szokolay, Zaritskaya and Biret (readily available in my small home town), I acquired this Ashkenazy set in my teenage years--that is more than ten years ago--and considered it the definitive way to Chopin's music for years. As time went by, I noticed that I returned increasingly more seldom to this set, rather ending up playing Chopin recordings by Argerich, Demidenko, Kissin and Pletnev. In other words, before I discovered the Chopin playing of Ohlsson, Moravec and Pogorelich--in my opinion, the three greatest living Chopin interpreters.

All the same, Askhenazy's (near) complete survey of Chopin's solo piano works (though inexplicably excluding the Andante spianato and Grand Polonaise) is indeed a valuable investment at around $100 (even if some shopping around will pay off on this item--I actually paid the equivalent of some $150 back in the late 1990s), offering a great deal of pleasurable returns. Ashkenazy is a master pianist when it comes to technical effortlessness, tone production, legato playing and pedaling. However, more often than not--just as Rubinstein in his stereo Chopin recordings--he lacks the individual imagination that elevates the very greatest Chopin playing of the above three pianists.

As a consequence of the aforementioned, it should come as no surprise that Ashkenazy is most at home in the Etudes, Rondos, Polonaises, Waltzes and Scherzos (save the First). His generally straightforward approach pays numerous dividends here--the Etudes in fact displaying a rather unique combination of effortless brilliance and poised poetry. Conversely, his Preludes, Sonatas and, even more so, Nocturnes and Mazurkas are fairly pale placed next to those of Ohlsson, Moravec and Pogorelich. Nonetheless, some out-and-out five-star performances are hiding within the 13 discs: the Op 37 Nocturnes, Op 42 Waltz, Opp 26 & 53 Polonaises, Op 56/1 Mazurka, Op 73 Rondo, Bolero, Second Ballade, Allegro de concert, Polonaise-Fantaisie and Op 25/1 Etude--the greatest performance of this heavenly creation (Chopin's most beautiful?), second only to Ohlsson's.

A problem throughout this set is the sharp, metallic piano sound Decca insists on producing (indeed weird compared to the label's demonstration sound in opera and orchestra productions), recorded at seven different venues in London over a 10-year period (1974-84), analogly as well as and digitally. Having said that, the sound is remarkably consistent. (As a matter of curiosity, can you hear the chirping birds during the C major Prelude?)

From an investment point of view, this Ashkenazy set appears expensive when compared to the 11-disc Rubinstein collection at less than $30 (The Chopin Collection)--not to mention the reference Ohlsson cycle soon to be reissued on 11 November by Hyperion as a 16-disc boxed set (Complete Works), available at a lower price than this set (at least in the UK). The minus in brackets pertains to the sound and price tag.

My hats off to this CD collection! It was worth it!!! Chopin is a true genius for the piano, on this collection.

This is a beautifully played collection of Chopin's work. It was a birthday gift,
and I listen to bits of it every day. I have yet to find a favorite
CD, as each is so lovely. It is well worth the price.

This is a great set to own to get a good feeling for the entirety
of Chopin's output. However, I feel (with appropriate respect to all
the other reviewers here) that one needs to dig a little deeper
for truly benchmark performances of these little miracles.
For example, try Demidenko for the Ballades and the third sonata,
check out Pollini for the Nocturnes and show Chiu a little love
for the Mazurkas and Etudes.

This is an absolutely fantastic set. I was lucky enough to acquire it for less than $45 when I was still a member of the Musical Heritage Society a few years ago; so Amazon's price here can definitely be beaten if one looks around.

Ashkenazi's playing is stunning, handling not only the well-known (if not overly well-known) pieces that are staples of the modern repertoire but also the obscure pieces. Chopin is notoriously difficult for even the most accomplished virtuosi, but Ashkenazi handles it all with a grace and ease. He also avoids the mistake that so many interpreters make (from amateurs to the biggest names): the tendency to play Chopin as though it were either a mathematical exercise or a dexterity contest (something Bach interpreters can also fall prey to). In other words, squeezing the depthless pathos out of the music and leaving behind only sterile--if note perfect--reproductions. (Rather like wax-work figures.)

That's not an issue here. It doesn't take too much imagination to close one's eyes and transport one's self back to an early 19th century drawing room, listening to the Master himself play his own works.

I've listened to the entire set (one of the first things I did was rip the whole set to my iPod) and the Ballades, Scherzi, Waltzes and Mazurkas are my favorites.

The Preludes, long my favorite works by the Franco-Polish maestro, are excellent, but they don't quite equal a Naxos recording by an obscure Polish pianist, named Irina Zaritzkaya, which I discovered when Naxos first debuted in '89 or '90. I've yet to hear anyone top Ms. Zaritskaya's performance and highly recommend it. (Naxos #8.550225; though it appears to be out of print, if you can find it snatch it up! It's popularity can be judged by it's "used" price on Amazon: $22, for a disc I bought for $3.99 in 1990).

Though the individual discs were recorded over a period of 10 years (from 1975 to 1985), there is a uniform quality of sound & performance that equals Mr. Ashkenazi's playing. (No wonder Brezhnev and the Politburo gave Ashkenazi his freedom, they didn't want to chase him off to the West.)

If you're a Chopin fan, this set is the bar by which all single-performer collections must be judged.

Decca's packaging is also superb. The outer box is made of thick, tough cardboard. One could also wish for comprehensive liner notes as opposed to the rather brief essay included in the track list booklet. Why Decca didn't commission a written intro from Mr. Ashkenazi himself is mysterious to me. But that the only real complaint I have about this set. A DVD would have been a nice touch, especially at nearly $100, but these are gentle complaints at worst.

The only way to really have improved on this set would have been to have made the disc SACD Hybrids, but that would have almost certainly raised the price. A good surround-sound system can get you pretty close to SACD quality anyway.

One FYI note: some people seemed to be very concered with the SPARS code (for a complete description see the en.wikipedia.org article) of art music CDs. One shouldn't be. Even the creator of the system has disowned it. The primary reason is that while digital tape recorders are relatively inexpensive, digital mixing boards are still extremely pricey. So much so that most CDs recorded digitally are mixed on analogue boards and the mastered digitally. So many CDs should have codes that read DAD. So do yourself a huge favor and simply ignore that SPARS codes altogether. Either rely on your own ears, word-of-mouth or the more intelligent Amazon.com reviewers, of which, at least for art music, there are a great many.

Unlike the assertion by one reviewer, nowhere does this set claim to be the "complete" solo piano oeuvre by the composer (I have the boxed set in front on me as I write this). It's simply titled, "The Piano Works."

I found that this makes a great background CD. Instead of having the radio on and being distracted by the lyrics or the commercials, use this CD.

I wouldn't buy this CD if you hope to improve your productivity. Because it won't. Use it as background music for a less distracting environment.

I bought this CD and Music for Concentration one night as I was studying for my CPA Exam. The soft sounds and relaxing tones makes it easy to concentrate and therefore, increase productivity. I love it so much that I use it as background noise as I work, study and excersize (yoga and pilates)

Anyone looking for the perfect background noise to let your brain relax and think without distractions should get this CD!

The Hitchhiker's Guide movie,for all its stupendous obserdity, had a surprisingly good score that one doesn't usually find in a comedy.

The silly tracks are in there too, and they're just as entertaining as the more traditional stuff. I love the music that is emitted from the Guide; its digital tones sound like a cell phone (except way less annoying and way cooler). Pan Galactic Gargle Blaster is really awesome; it's like chilled Guide techno.

The slower tracks are equally nice. Tea in Space, Love, The Whale, and Space are all so simple and very pretty.

Then there are a few scores that are really big and just plain awesome. So Long and Thanks for All the Fish (and the intro about dophins) is so hysterical...I love how it's all put together. The Journey of the Sorcerer is fantastic. The only thing that's different about this version from the film is the addition of drums, but it's not a bad change at all. Planet Factory Floor is filled with such wonder and hugeness that's perfect for Magrathea. It's followed by the equally awesome Earth Mark II.

The only thing I didn't like about this CD was the addition of
Reasons to Be Miserable (His Name is Marvin). It was just....annoying and incredibly bad. But it's at the end of the CD, so I just don't listen to it. Not a big problem.

If you've seen the movie and enjoyed the music, this CD is definitely worth it. Who knew a comedy could have such epic music in it?

When I saw the film and heard that catching tune "So Long & Thanks For All the Fish" I immediately decided to have this soundtrack, no doubt. So I rushed to buy the recording and, well brother you've bet, I fell in love with the whole disk. Get this, now, today! You won't be disappointed! You're gonna love the title song!

Joby Talbot's score for the film version of the Hitchhiker's Guide To The Galaxy is phenomenal. I mean, wow! Really incredibly phenomenal! I mean, you may think Danny Elfman's score to Spider-Man 2 was phenomenal, but that's just peanuts to this score! Okay, I may be exaggerrating a bit, but that should not distract from the fact that this is a great score for a wonderful film. Not only does the music work well with the film, but I would suggest it as a companion to other versions of the Hitchhiker's Guide To The Galaxy you may come across. Try listening to it while reading one of the books, for instance. Or playing the text adventure from Infocom.

Some notable points:
The introduction about Dolphins, read by Stephen Fry, who of course played the voice of the Book in the film. And of course, the brassy, Broadway-style show-stopping musical number "So Long, And Thanks For All The Fish" which serves as a wonderfully ridiculous setpiece for the opening credits. The melody appears several times throughout the score, usually whenever Arthur or Trillian are thinking of Earth. It is also reprised as a slow, jazzy, lounge singery song during the first part of the closing credits.

The cue from when the Vogons destroy the earth, which is appropriately tense and dramatic, and climaxes with a panicked-sounding string section playing imposibly high, abrubt notes, and ends abruptly as the earth is destroyed.

To fans of the original radio and TV series, I say to you Don't Panic, because Bernie Leadon's "Journey of the Sorcerer" (Which, for those of you that don't know, served as the theme to both the TV and radio series) is on the soundtrack with a faithful and reverent arrangement, complete with banjo. It is one of my favorite tracks on the album, and I listen to it along with the following track, which shares its name with the film's title, and the title of one of the most wholly remarkable books in the universe: The Hitchhiker's Guide To The Galaxy.

Another great track is the music for the whale that is suddenly called into existance over the planet of Magrathea. It is filled with unwarranted optimism, and pathos, and gives the scene the necessary emotional edge, which I think is something Douglas Adams himself would have enjoyed immensely, since he created the whale in response to cop shows where innocent bystanders are meaninglessly killed as a result of conflicts or car chases that they had nothing to do with, and the audience doesn't care about them since they were only on the screen for two seconds. So Douglas wanted to create a character who would only exist as a character for a very short time, but make him extremely sympathetic so the audience would feel actual emotion when he is killed. And it works, and has worked in every version of the Hitchhiker's Guide I've been exposed to.

Another great track is "Huma's Hymn", which sounds so authentically like a church song that you could swear you'd be able to find it in your church's song book. (But you won't, so don't go looking for it.) As I understand it, most of the chorus singing the song consists not of professional singers, but of fans and other random people who happened to be walking by the church where the song was recorded, to give it that extra level of authenticity that other filmmakers probably wouldn't care about.

Overall, this is a very evocative and wonderfully fantastic score. Mr. Talbot displays much originality, but at points seems to channel other great composers of SciFi movie music. I hear traces of John Williams' scores for the Star Wars films and Superman the Movie, Jerry Goldsmith's Star Trek: The Motion Picture, James Horner's Star Treks II and III, and even Nobuo Uematsu's Final Fantasy soundtracks. Just listen to track 8 and you'll see what I mean.

Just so you know, there are three tracks that are not part of the score of the film. I suppose you could call them "Pop" tracks, but they're not tracks that have been popular in the past 10 years, at least. Only one of them: Perry Como's "Magic Moments" was in the film, at least that I could tell. It was used as source music twice, once in the pub near the beginning, and once near the end. That's all I can say about that without spoiling the movie for anyone who hasn't seen it. (And if you don't recognise the name of the song, it's been used in several movies, so you've probably heard it before.) The other two songs are Betty Wright's "Shoo-Rah! Shoo-Rah!" and Al Green's "Here I Am (Come And Take Me)". While the inclusion of these songs on an otherwise orchestral soundtrack may seem odd, they definitely fit the film. Even if "Shoo-Rah! Shoo-Rah!" and "Here I Am (Come And Take Me)" don't appear in the film, you can imagine that they'd be the next songs to be cued on the jukebox in the pub near the beginning of the film, and so they help establish the mood for the scene. Some fans may be surprised or disappointed in the non-inclusion of Louis Armstrong's "What A Wonderful World", but if you see the film, you will see that the scene during which that song played in the radio and TV series is not in the film. But no biggie, if they make a sequel (and there's no reason they shouldn't) perhaps that scene will make it in.

Overall, I'd say that this is a soundtrack that no fan of the Hitchhiker's franchise should be without. So buy it now, before the earth is demolished to make a hyperspace bypass!

.
If you enjoyed the movie [and we will assume that you did since you're here] you will love this soundtrack! It's got Everything!

Much of the work is orchestral. Some of it is techno. There are a couple of pop tune, and Perry Como [it works, trust me].

The Opening Theme "So Long and Thanks for All the Fish" is a gloriously funny show tune. It was funny on screen, but here you can pick out the lyrics. It's even more fun when you can sing along.

It's got the theme from the original radio play "Journey of the Sorcerer", banjo and all. [so did the movie].
Pan Galactic Gargle Blaster is mellow enough to blow your mind.
"Huma's Hymn" about the Coming of the Great White Handkerchief is nothing more then Holy.
The "Planet Factory Floor" is ...Well, it's just plain Huge!

And Stephen Fry rapping. Stephen Fry, Man!! Reginald Jeeves of "Jeeves and Wooster" fame! If you are familiar with Stephen Fry, then the absurdity of him rapping makes this even more fun to listen to. He does the last track called "Reasons to Be Miserable (His Name is Marvin)", and he pulls it off so well!

It's enough to make you want this album!

By now, you've probably seen the "Hitchhiker's Guide to the Galaxy" movie in a theater, or at least on DVD (if not both.) Now check out the movie's amazing soundtrack.

The two major standouts of this album in my opinion are "Journey of the Sorcerer" and "Vote Beeblebrox." Anyone who's more than a casual fan of "Hitchhiker's" will immediately recognize "Journey of the Sorcerer" as the classic "Hitchhiker's" theme by the Eagles played on both the radio and television versions and now the movie as well. This version is enhanced and sounds great. It was a treat hearing it at the theater and it's awesome on this CD as well. "Vote Beeblebrox" --- I about died laughing when I heard this one. This is a sort of campaign song for Zaphod Beeblebrox that unfortunately never made it into the movie. "Don't believe the rumors / don't believe the vicious lies" it says, talking about how Zaphod isn't stupid. It continues in this vain with a hilarious spoken part from Zaphod saying that he "y'know, just wants to say all the things that presidents say, y'know." Has to be heard to be believed.

Following close behind these are definitely both versions of the wondrous "So Long and Thanks for All the Fish." Personally, I prefer the second version, a sort of upbeat lounge number, but both are great. "So long and thanks for all the fish / So sad that it should come to this / We tried to warn you all, but oh dear."

This album also includes a couple of what I guess could called Golden Oldies --- "Shoo-Rah! Shoo-Rah!" and "Here I Am (Come and Take Me)." Of these two, I thought "Shoo-Rah! Shoo-Rah!" was definitely better and more fun.

The bulk of the CD is the instrumental tracks from the film. Composed by Joby Talbot, these tend to suit the scenes they come from well. Enjoy some memories from the movie, or just enjoy listening to the music.

Finally, one last thing to mention --- "Reasons to be Miserable (His Name is Marvin)." Performed by Stephen Fry, this is a redo of a song by "Marvin himself." Wanna know what it's like to be Marvin? "In everything he has to do, he finds the world condemning / If he had his time again, he'd rather be a lemming." Yep, that Marvin's sure depressed (and depressing), but the song is fairly fun to listen to.

This is a must have disc. Maestro Levine has made an historic difference at the Met and now expects to completely revitalize the Boston Symphony Orchestra. He is a rare talent, as evidenced by the willingness of so many great musicians to honor him on this occasion/

It is an incredibly beautiful album. As with any album I like some pieces better than the next but overall it is beautiful and soothing. I keep it in the car and listen to it in horrid traffic time. It helps!

This is as good as it gets. An awesome roster of international stars singing some of the best (but not the most well known) selections in all of opera, and of course James Levine, the man they are all celebrating. It almost goes without saying that Levine's conducting is without comparison throughout the recording. He is truly one of the best conductors of the last thirty years, and he has molded the Met Orchestra into the best in the world. This celebration perfectly captures the incredibly broad repertoire that he is familiar for. It starts out with a well-rounded performance of the famous duet from The Pearl Fishers by Bryn Terfel and Roberto Alagana. When I bought the CD I had never heard the incredible melody that forms the theme of the duet, but it is one of the best in all of opera. Renee Flemming gives a performance of "Despuis le jour" that would be hard to match for sheer vocal beauty. Her final pianisimo is stunning. Domingo and Ramey sing a typically excellent performance of the Faust duet, while Ileana Cotrubas, in a Lehar excerpt shows why she was one of the best lyric sopranos of the last 25 years. "O don fatale" as sung by Dolora Zajick is the thrilling experience it should be. She nails the top notes perfectly and still maintains the warm fullness of the bottom of her register. The 'bravas' start almost before she finishes her final note. The sextet from Don Giovanni is given a world class performance (I have never heard it done better). Ruth Ann Swenson displays awesome coluratura ability in Juliet's lively waltz song, soaring to a high D in the final cadenza. I am not a big fan of Die Fledermaus, but if you are you will surely love the included duet. I was also never a big Alfredo Kraus fan, and I think he sounds more than a bit strained while singing the famous aria from Werther. Not so Grace Bumbry, who's seductive performance of Delila's music should be the standard for this aria. Deborah Voight's Tannhauser is impeccable, while Frederica von Stade sounds a little shrill in her aria. To round out the program is possibly the most exquisite performance ever of some of the most gorgeous music ever written; the final trio from Die Rosenkavalier. It will make a Strauss convert out of anyone.
There are no problems with the live sound, which is crisp, clean and sounds like it could have come from a recording studio. My only complaint is the lack of an overture or other orchestral number that would showcae the Met orchetra. Overall a CD well worth your money. Hopefully DG will release another CD soon with the rest of the concert. You won't find these selections anywhere else so every minute of it will be new and fresh. Fantastic for hard core opera fans or beginners. Highly Recommended!

i recommend this cd it's great to listen to while walking the dog.Opera makes fluffy happy.

My acid test is whether I leave the CD in the player for repeated (and repeated) playings. This one makes my cut. Every track is not as marvelous as some, but each has its charms. The whole adds up to a delicious opera excursion.

I saw this live and was completely captivated. Without the visuals, it is just as wonderful. I too wish they would release the rest of this marathon extravaganza. It deserves to be memorialized.

I have not received my cd yet, but I was expecting to receive one with balalaika only, so I am already disappointed. In the samples, the orchestra is so predominate I cannot tell which is the balalaika. Thanks, Violet

The Osipov Russian Folk Orchestra made this fine recording some four decades ago, when the U.S. and the Soviet Union were barely on speaking terms. I imagine that some of the people who bought this record found themselves on FBI or CIA observation lists. Still, it would have been worth it, for the sheer exuberance of the music alone. The performances are bold and exciting, tinged with a hint of danger, and the listener is carried away on a crest of winter sleigh rides through places like Moscow and Vladivostock. Sure, the orchestra was capitalizing on the popularity of Dr. Zhivago, but at least they were able to find an audience. There's a little bit of hiss, given the antiquated recording instruments of the time, but it isn't enough to distract from the music. In fact, it's barely audible. I understand that they have since released a remastered version of the disc, but I'm always suspicious of perfection. One other thing: the cover leads you to believe that this is solely a balalaika show, but that isn't quite the case. There is, in fact, a whole orchestra here, but it is used quite smartly. Those other instruments give the music the air of authenticity, and create a kind of old world mood, but it's the balalaikas that carry the day.

This album is not only one of the finest technically, but also musically. It was recorded back in the early sixties with the finest equipment and the finest audio technique ever devised. This has to be one of the most enjoyable listening experiences the listener will ever experience, as is all of the Mercury Living Presence series. We are privilaged to have these great recordings re-made on CD, and this particular one has to be at the top of the list. It will challenge any other recording technique, and it will lift your spirits every time you listen to it!

The sound of massed balalaikas is a real treat, especially when recorded with as much vividness and realism as on this disc. The Osipov Folk Orchestra also consists of bass balalaikas, accordions, flutes, Vladimir Shepherd's Horns, and percussion and they produce quite a kaleidoscope of sound! I particularly enjoy the comedic Vladimir Shepherd's Horns, heard to their most humorous effect in the Tchaikovsky piece, which is guaranteed to make you smile. This recording uncannily conveys the impression of a live event. Of course, the performers deserve most of the credit for this. Their unanimity of attack and sheer exuberance are heartstopping. Even if you think you don't like Russian folk music, give this a try!