Miscellaneous Music

We are great fans of Messianic Christian music and I bought this album on the reccommendation of the other reviewers and a few sample listenings. I don't mind how often Messianic songs repeat on the various recordings as I understand that the genre just isn't that big, yet, but I am truly disappointed by the worldliness of this album. The song "Every Tribe" is rap, pure and simple, and it doesn't convey the unique flavor of true middle-eastern music. It sounds like American, afrocentric, in-your-face junk. The song "Wherever you go", sung by Rachel Washington is just awful. The wrong song for the wrong voice-yuck! There are some favorites from other albums we already have (Karen Davis can do no wrong in our eyes!) but, overall, I am disappointed. I would recommend this only to someone who is just getting started in the Messianic music search as it does offer a variety of artists to expose yourself to, but not to those who have several in their collection already--too redundant and too "American" in many respects.

CD is excellent. Teenagers will appreciate the one Messianic RAP song. This is a must own of Worship.

This selection of worship songs of the Messianic Genre is excellent and a great addition to your collection. I found that the music selected was of high calibur and for the person just beginning to study or wonder about Messianic Judaism it is a great source of inspiration and for those who have been involved and Practicing it a lot of familiar name form the messianic music scene pop up on the CD like Paul Wilbur & Ted Pearce.

Steve Murray reiki DVD's are wonderful and easy to use. I recently used his level 2 reiki attunement and it was powerful. Master Murray makes all his DVD's , books and attunements affordable to all , which is a blessing. I have been successfully using reiki level 2 since my attunement. Steve Murray takes the mystery out of it. Anyone can learn, be attuned , and use reiki with Murray's DVD's & books.


Wendy

I learned about Steve's Psychic DVDs after having experience with Steve's Reiki materials. As usual, he publishes products that far exceed my expectations. In addition to his Reiki Materials, I also have his Psychic DVDs.

For me, they do work, but they start off subtlety, but build up over time. I have done the Psychic Attunement several times, and each time I have a different experience, and the experiences build on the prior experiences in intensity and clarity. Same goes for the second DVD. Stick with his recommendation of waiting 2 weeks between attunements.

What can I say about Steve Murray and his work... I have been a Reiki practitioner for over a decade, and I can tell you that Steve's books and DVDs are among my most treasured possessions on my book case. I see his work benefiting both existing Reiki practitioners and those just looking to get started.

Steve's books are like GOLD, as they are actually more comprehensive than the materials provided by most Reiki masters to their students. I am sure that many Reiki Masters must be upset with Steve, as he divulges information that most Reiki Masters believe to be secret, including all the symbols up to Master Level, and the attunement processes. Most Reiki books do not include this information, and have been very disappointing to me.

After buying his first book, I decided, after reading the reviews, I needed to own the others. I currently have all 5 Reiki guides and the Reiki myths book. And, of course, the package would not be complete without the DVDs.

I would say, though, that although the first book is excellent, it is not enough for me. I needed the Visual of the DVDs to bring it all home. So, I don't think that you can buy a single book, read it, and walk away a Reiki Master. Each of his books and DVDs, however, complements the others. With the combination of the Books, DVDs, studying and practice, you CAN BECOME A REIKI MASTER.

What's awesome about the DVDs is that you can take the attunements over and over again. As someone who was attuned in person by a Reiki Master over a Decade ago, I can attest to the DVD attunements as being every bit as effective as in person.

My only criticism is that the whole package should be sold as a complete set, as once you get started, you will want the whole set anyway. However, I guess that most will not want to plunk down that money (even though it is completely reasonable in the scheme of things) without first experiencing the quality of it with the first book.

If you are interested in Reiki, and don't want to waste your time and money with disappointments, just get this material, and you will not regret it.

I like Steve Murray's books and DVD's because they are written by a man who truly believes in Reiki and what Reiki can do for everyone. Steve's introduction is quite honest and I know of others who share this philosophy and dedication to making Reiki affordable to people.

What these books and DVD's can give you is a working knowledge of how to draw the symbols and the process of attunements both receiving and giving. The pictures are very easy to follow and detail hand positions and how and where to draw the symbols for passing on attunements. As for the complaints for not having the traditional hand placements he clearly states the philosophy behind his reasons to give treatment to specific places of the body and why. This made sense to me and as I know every practitioner is not the same. Getting the traditional placements online is easy.

I also felt the attunement dvd's or video's Steve Murray has available are amazing. They are wonderful, life altering, and being absolutely blessed experience. Reiki is for everyone willing to learn and he provides it. Thanks for not coloring inside the lines.
Namaste.

I was already a Reiki Master, and purchased Steve Murray's, Reiki Ultimate Guide, Ultimate Guide Vol. 2, Vol. 3, and Vol. 4, along with the DVD attunements for each. The attunements were very powerful, and the energy flow is no doubt stronger. This program has to be the most convent, and realistic way to get started in the Reiki healing practice. I have tried several other Reiki programs in the past, and Steve Murrays Reiki Ultimate Guides, are the very best I have found yet. You will not be disappointed.
D. White

This DVD lives up to its promise, just like Vol. 1. I would recommend it to all especially if you took the Psychic Attunement from Vol. 1. I also pre-ordered the book, Reiki the Ultimate Guide Vol. 5 Learn New Psychic Attunements to Expand Psychic Gifts & Healing which I'm looking forward to reading and studying it.

Bernstein provides a unique and wonderful look at America's original artform, jazz. In contrast to traditional, chronological approaches, Bernstein breaks down the musical components of jazz such as rhythm, melody, and harmony, and discusses the way they are used differently in comparison with Western European musics. Bernstein has a knack for discussing complex material and stating it in a way that all can understand, which is very evident here. Armstrong and Brubeck work wonderfully with the New York Phil. This is a must have for those just getting into jazz, jazz enthusiasts, and music educators.

Bernstein's approach to the subject of jazz is not so much a "book" approach as a "sound" approach. He analyzes the music itself and provides insight and perspective into the essence of jazz that few instructors before him have. Expecially helpful are the ditties he uses where he takes away the element of jazz (such as the blues scale or syncopation) so the listener can hear what a piece of music would sound like if it did not contain the essential elements of jazz. The CD is full of useful nuggets of information, some of which put a smile on my face for a whole day, because I had the feeling of knowing something that no one else did. (Like, did you know: classic blues lyrics are written and sung in iambic pentameter? It's true, and he puts together a blues riff with Macbeth to prove it. Very cool.) I recommend this CD to anyone who is interested in learning about jazz. It might not get too much repeat listening, but the first or second time through it is definitely worth it.

I bought this CD after borrowing it from the local library because I was intrigued by its title (I was a newlywed at the time). It's one of my favorite CDs, and I own a LOT of them, from different genres.
Listening to it makes you think that the compiler was imagining what music would be played at a wedding where money is no object, and ANYONE could be hired! There are numbers by Pavarotti,Te Kanawa, and Carreras, and some pieces I never heard anywhere else. One is a duet between a trumpet and an organ, and there is a VERY fast organ solo piece in there, where you can imagine the organist's fingers being a BLUR. All the traditional stuff is there, too, including the traditional wedding marches from Wagner and Mendelssohn,and everything from "Jesu,Joy of Man's Desiring" to "One Hand,One Heart". It is a very romantic album that would work equally well for a special night alone with one's spouse, or or a wedding.
I highly recommend it!

The perfect album for anyone planning a wedding. Both traditional and contemporary wedding favorites. Sound quality is excellent.

Send this to every future bride and groom - yes. But even better, send a copy to the PARENT(S) of the future bride and groom!!! It gets everyone in the mood and filled with excitement! Also, it allows them to hear some choices other than "Here Comes the Bride." This CD can also be a lasting pre-wedding shower gift.

Whether you're getting married, attending a wedding or just want some sweet music to listen to - this album is it. A terrific collection of some of the most beautiful music ever written.

I purchased quite a few Wedding CD's but for me, this Album has the most elegant and classic pieces. Ultra modern, trendy girls...don't you dare go here. Classic, beautiful, refined women...this is your CD.

Pamela

This 5-disc Teldec box, no jewel cases, is essential Ligeti. The Hungarian-born composer found a patron, Vincent Meyer, who funded the recording of all of Ligeti's works. Sony began the series, which they called the Ligeti Edition, and produced 8 volumes, including discs of string quartets, piano etudes, vocal works, chamber works, and a recording of the opera Le Grand Macabre (see my review), with Esa-Pekka Salonen conducting. These discs are still available for now, all supervised by Ligeti. The Meyer-funded project became Teldec's Ligeti Project, and 5 discs were issued from 2001 to 2004. Both series combined, the Ligeti Edition and the Ligeti Project, include all of Ligeti's compositions, recorded to the composer's specifications.

Here are some highlights of the Ligeti Project: Volume I includes the definitive performance of one of Ligeti's late period masterpieces, the "Piano Concerto," played by Ligeti's favorite pianist Pierre-Laurent Aimard. Volume II is all orchestral, with Jonathan Nott leading the Berlin Philharmonic in Sixties masterpieces of micropolyphony "Atmospheres" and "Lontano," both made famous by film scores, as well as the lesser-known but brilliant "San Francisco Polyphony." Volume III includes two string concertos, the 1966 "Cello Concerto" and the 1992 "Violin Concerto," another late period masterpiece, played by Frank Peter Zimmerman, along with "Clocks and Clouds" for 12 female voices and orchestra. Volume IV features the "Hamburg Concerto" for horn, which was new at the time of its 2003 release, and stunning Sixties "Requiem," which was heard along with "Atmospheres" in Kubrick's 2001: A Space Odyssey (see my review of the soundtrack). Volume V is not on the same level as the others, basically some minor works along with new recordings of the vocal pieces "Aventures" and "Nouvelles aventures." This is not a problem, though, given that the box costs less than Volumes I -- IV together if you bought them separately.

The Ligeti Project is essential Ligeti, along with the Sony Ligeti Edition discs. The DG collection CLEAR OR CLOUDY is excellent as well (see my review). I consider Gyorgy Ligeti (1923 -- 2006) to be one of THE THREE BEST LATE 20TH CENTURY COMPOSERS (see my list) along with Elliott Carter and Iannis Xenakis. For more recordings and reviews see my GYORGY LIGETI: A LISTENER'S GUIDE list.

This box should probably be your first choice if you want to get acquainted with the works of Ligeti. The recordings in this box are overseen by Ligeti himself, and they were supposed to be definitive recordings that after his death could show conductors how his music was supposed to be played. As detailed in Richard Steinitz' Ligeti biography, it took two record companies to bring us the complete authoritative works of Ligeti on CD. Sony started a series of cd's called "The Ligeti Edition", but they had to concentrate on the smaller works for solo instruments and chamber ensembles - they simply weren't able to produce the biggest works for choir and orchestra to the composers satisfaction. The project was aborted after 7 cd's, and later continued by Teldec. This box contains all Teldec's 5 cd's of the recordings of the really big works. And as I started out saying, it's recommended as the first Ligeti item to buy.

The skinny: Some of us paid significant sums of money to get these CDs when they were individually wrapped. You can get them now for much less, and in one convenient package. What you won't get are the equally fine 7 CDs that Sony produced under a similar concept (Ligeti, one CD at a time) before they abandoned their work, nor will you get the opera Le Grand Macabre (still available here and there on the Wergo label).

Not to worry, the present 5-CD set is chock full of remarkable music (a great amount available nowhere else, or in not-as-fine performances). Ligeti was a true original. When he moved from one kind of music to another, he adapted his vocabulary to suit the circumstances, and that means almost always that you're in for a big surprise. It's novelty, sure, but novelty with a purpose: Not just to play the enfant terrible, the naughty boy, but with tangible goals of making valid musical statements. Many other Eastern European avant-gardists could only wish they were half as talented in that regard. This is music that opens your eyes. Wide.

Kathleen Battle is the owner of one of the best vocal instruments of our time. Her sweet tones radiate through these pieces. Two of my personal favorites are #5 S'altro che lagrime and #10 Ah! Tardai troppo... O luce di quest' anima. This is definitely a collection worth having and is an excellent addition to her stellar discography. Even my friend who's not really into a lot of opera and classical music wanted to borrow this from me. Say what you will about her, her recordings rock!!

K Battle is the 'Nat King Cole of opera!' So smooth, warm and beautiful yet surprisingly lyrical and a vocal range that is remarkable. The high notes are chrystal clear yet with that smoothness and warmth mentioned earlier. You won't be disappointed.

This CD provides a sampling of Kathleen Battle's voice and interpretive abilities from coloratura virtuousity (Voices of Spring) to the simple, heartfelt spiritual (Talk about a child).

First of all, there's THAT voice. You hear a voice that is uniquely angelic and capable of expressing a wide range of moods. You hear a voice that glitters like a diamond, skips happily and effortlessly (and in impeccable tune) from note to note like it's nobody's business, one that that reminds you of moonbeams and early morning dew on pink rose petals. You've simply got to her it to believe it.

On this CD, the listener is provided with the the works/composers for which she's well known: Handel Opera (E pur cosi / piangero la sorte mia), Mozart Opera (S'altro che lagrime), Bel Canto Opera (Ah, tardai troppo...), French Opera (Depuis le jour), spirituals, and a few popular songs for sopranos such as Gershwin's Summertime and Faure's Pie Jesu

If you're just popping the CD in, try: (1) Ah, tardai troppo, (2) Voices of Spring, (3) Talk about a child, (4) I loves you, Porgy, and (5) Pie Jesu.

I suppose if you are a fan of heavy, dramatic voices, Kathleen Battle may not be to your liking. But I suspect that if you listen to her, you still might be amazed...

Coloratura sopranos are a dying breed today. The era of Lily Pons and Beverly Sills is long gone and opera audiences favor a more "heavy" coloratura sound- or at least a full lyric one, such as the voice types of Kiri Te Kenawa, Carol Vanness and Renee Fleming. Kathleen Battle was in many ways an artist who payed homage to the coloratura queens of olden days. Only Natalie Dessay, of late, represents that kind of singer. much This album showcases her best work, and she is in fine voice, bringing a luminous and sunny quality to her interpretations, while keeping the dramatic appeal of the text. She was at best a Handel/Mozart/Strauss/Gounod singer, and never fared well in the more dramatic reperotoire of Verdi or Puccini heroines. She never sang Madame Butterfly, which if she had gone through training, she could have nailed, especially because her dramatic aspirations coupled with her soft, vulnerable sound would have suited her as Ciao Ciao San, in the way that Ying Huang interpreted the role. Verdi opera must have frightened her and she could never dream of taking on the roles that Leontyne Price performed, surely an influence in her student days made all the more credible because Leontyne Price was a "sister" African-American. So Leonora, Aida and Suor Angelica were out of her reach. While she sang with Jessie Norman in concert and recitals (like the Spirituals Concert), she must have been secretly or overtly ? jealous of the fact that Jessye Norman had a voice that could swallow the world!! A big, beautiful voice such as Ms. Norman's is closer to the true goddesses of operas in the tradition of Maria Callas, while Battle is more of the "tiny, bright, canary" voice. She ranks among the best of the lighter sopranos- Beverly Sills, and like Sumi Jo today. Her fellow co-artists used to call her the "Singing Mosquito". But she is marvelous in singing Handel oratorio(the only times I've heard her sing live), Mozart- Sussannah, Zerlina, the Countess in Figaro, Gounod- Juliette, Bizet- Micaela, but could never truly master the more difficult Mozart heroines- Dona Ana in Don Giovanni or Fiordiligi in Cosi Fan Tutte or even Konstanza in Die Entfurung, though try she did. In Strauss operas, she made a fine Zerbinetta, though she always oozed a confidence that made it seem as if these difficult pieces were a piece of cake for her. Some arias in this collection appear that way too.

Kathleen Battle has long since disappeared from the opera world, singing off and on. Her last singing engagement was for the soundtrack to the Japanese action saga "House of Flying Daggers" in which she sings in a very Japanese/poetic style. Before that she sang in Mythodea opposite Jessie Norman in a massive choral work by Vangelis, and also in Disney's Fantasia 2000. Her constant bitchiness, diva antics and disrespect to conductors and singers became too much and finally Joseph Volpe fired her from the Met. She had stayed there for so long because James Levine took a shine to her. As a singer, she was a perfectionist and in her body of work it shows. But she displayed a nasty diva temperament that does not sit well today. In the 80's, she would come to rehearsals late, would criticize everyone from conductor to costuma makers and even once disrespected the much older and experienced Rosalind Elias, a beloved mezzo at the Met. While I think that Volpe did the right thin in firing Battle, I think that Battle's voice is glorious and would buy her albums, even if she mostly poses as if she were in Vogue cover shots.

This represents a good introduction to Kathleen Battle's talents. She has a rich lyric soprano voice--who can also sing the coloratura repertoire effectively. That is a pleasing combination. Some of the contemporary coloratura sopranos, such as Natalie Dessay, may essay the ornamentation better than Battle, but the richness of Battle's voice helps counterbalance that. Both are very effective, but their strengths are somewhat different.

Her version of "Porgi amor" from "Le Nozze di Figaro" is delightful. She sings this smoothly with her rich lyric voice. This is poignantly rendered. Very nice indeed.

"Je Suis Titania" is a wonderful coloratura piece. Battle sings this in animated fashion. The work calls for vocal agility, and Battle has that. She displays good ornamentation. There is a harsh high note toward the end. Her trilling is adequate, but not great. Overall, though, a very nice version indeed.

Then there is the delightful "O luce di quest'anima" from Donizetti's "Linda di Chamounix." One issue when anyone sings this is the standards set by sopranos such as Joan Sutherland, Beverly Sills, and Sumi Jo. And Battle does not compare badly at all! The cabaletta is well sung, with nice agility and good florid singing. After listening to Battle, I listened to Jo's version. While I think that Jo has better coloratura technique and has a preferable version, Battle, nonetheless, does not compare badly.

For fun. . . . Strauss' waltz, "The Voices of Spring." Another nice comparison, this time with Natalie Dessay. Battle's version is done well. She has the requisite agility to make this work. Her trills are okay; good staccato singing. Comparing with Dessay? Maybe apples and oranges. Dessay's final high note is stunning. Battle's is fine, but not much comparison here. Battle's voice is richer and more attractive, but Dessay has a more typical lighter voice for coloratura works. Dessay's version is more animated and more spirited. In the end, though, Battle fares well in such a comparison.

"Swing Low Sweet Chariot" is sung well. It is a ravishing version and wonderful to listen to.

One of the fun things to do, with the ready accessibility of CDs, is to compare singers with one another. Here, comparing Battle's art with that of Dessay, Sutherland, Sills, and Jo is useful. In the final analysis, Battle compares pretty well.

Bax was a master or 20th century music. A friend of Jan Sibelius, each dedicated a symphony to the other! Bax wonderful music was popular and more played all over the British Empire during his life than it has been since. The BBC, Aunt Beebe, championed British music and would record the best orchestras in England and broadcast all over the world, the UK, Europe, to Spain from Gibraltar, Canada, India, Hong Kong, etc. In their estimation, world music was much too dominated by the Germans and Russians and they wanted to show the world some interesting but less played music. This didn't happen in America. So, in some quarters Bax, Moeran, McEwan, Stanford were much better known and in others not at all. Since his death and the contraction of the British Empire, his music, English music, has not been played as much, the music of the world still dominated by German composers. But one get's tired of listening to the same thing all the time.

Bax British Impressionist music is shot through with MAGIC. The Celtic Twilight. Bax loved Ireland and went there whenever he could to compose. The legends of Summerland, faerie, ghosts, banshee, the sidhe. This is music of enchantment, trances, dreams, fits and fugues, nightmares, hauntings. The music is always programatic, I feel. There is always a story Bax is trying to illustrate, even tho he seldom lets us know us what the story is. Bax, WB Yeats, AE and a number of others felt the little people, the older race, lived just outside our ken in hidden groves and deserted mountaintops. The Faerie would find a traveler on a lonely road invite him to join, play the fiddle music faster and faster. Louder and louder until he fell into a trance and woke up a decade later like Rip Van Winkle. Or in another story, the traveler would be pursued by banshee and run terrified, only to turn and see the banshee turn into a still quiet night. Terrifying nightmares that vanish with the coming of the day. These legends run all through Bax music, (but he seldom tells us which). Episodic, a bit like a film score, but with more structure. There is, I feel, little absolute abstract music in Bax, most is program, and I love that.

The master of this musical performance was the late Bryden "Jack" Thompson. His Chandos treatments of Bax music are the standard against which all others are measured. He had, he understood the MAGIC, he played it and his performances are enchanting, trance evoking.

Bax music, I'm told, is very difficult to play. His music is like jazz, in that he has written almost constant rhythmic changes sometimes two or three at once. What I find as I listen to the Vernon "Tod" Handley versions is that Handley has done some rubato, he his subtly changed the tempos to render the music more, well, late Romantic, more like Rachmaninoff, maybe. To make it flow better. Thompson would, in general, play all the tempo changes, Handley smooths off some of the rough edges.

First the good news: The 24 bit recordings are much better, more dynamic, with much deeper bass and louder climaxes than Thompsons without harshness in the highs. The image is less forward than in Thompson

I like Handleys renderings of the Fourth Symphony and the Autumnal Sixth, they are quite persuasive. His version of the First is chock full of the ghosts of the Irish Rebellion and a bit less bitter than Thompson, but when he gets to the Third, Bax best Symphony, he frankly ruins it by speeding up the tempo, especially in the last movement and thus rendering out all of the magic and enchantment in it.

All in all, I hear a movement here and there that I perfer in the Handley reditions, and I loved his playing of Stanford and Bancock, but the MAGIC and enchantment of the Thompson performances mostly missing, the music is more late Romantic and less Impressionistic. If you find Thompson's versions too angular, you might prefer Handley's, but I generally prefer my Bax with more mysticism and otherworldlyness.

It is a shame that Thompson, who recorded when digital recodings were just starting, didn't live long enough to redo these underperformed works in 24 bit. I'm glad to see these newer performances of Bax but I won't replacing Thompson's.

This cycle of the English, wannabe Irish, composer Arnold Bax might be the proudest achievement of Handley's recording career. Bax's music is easy to appreciate: old fashioned (Bax lived from 1883-1953), post-Elgarian romantic music, with Bax happily dwelling on atmospheric moments in his colorful, large-scale symphonies. When Lutyens spoke of cow-pat music, Bax was certainly among the intended targets. But it is telling that what survived of Lutyens' is her quip, not her compositions while Bax is still (or again) around, with his music too lovable to be neglected entirely. It's well served on record with David Lloyd-Jones' survey on Naxos (available only individually) and this cycle vying for top honors.

The Thompson recordings are fine, but not up to either this or the Naxos ones -- though I find Thompson (on Chandos) in the non-Symphony orchestral works the top choice.

My interest in Sir Arnold Bax began with the Tone Poems in recordings that were also conducted by Vernon Handley. As the recordings of the symphonies by Maestro Handley were acclaimed it was natural for me to proceed to get the set. What one notices about the Bax symphonies first is that they were all in three movements rather than the traditional four. As was pointed out in the booklet and accompanying interview Bax was a master of form and the Scherzo was worked into the final movement. Bax wrote his symphonies from 1921 until 1939, during his mature years of composing. He appears to have become a symphonist by accident. In 1921 he wrote what he considered to be a sonata for piano but when it was pointed out to him that the music has a symphonic conception he proceeded to orchestrate the music. The result was a dramatic symphony that reminds one of his tone poems in that the music suggests a pictorial inspiration.

The Second Symphony was composed in 1924 - 1926 and opens with a brooding movement and is followed by a lyrical intermezzo. The finale is lively and dramatic, and makes use of an organ that adds nicely to the orchestration. The Third Symphony was composed during 1928 - 29. The first three symphonies are considered as a triad with the finale of the Third summing up the music of all three. The music is dramatic and lyrically elegiac, again reminiscent of the nature tone poems. The Finale consists of an energetic Scherzo and an elegiac Epilogue.

The Fourth Symphony was composed in 1930 and like the 2nd makes use of an organ. Vernon Handley has termed this the happiest of Bax's symphonies and it is characterized by dance-like melodies. The middle movement does have moments of darker reflection. The Fifth Symphony (1931 - 32) is dedicated to Jean Sibelius and the influence of the composer is evident in this music. However some resemblance to Sibelius' music Bax remains an individual voice. The music of the first movement is reminiscent of the composer's nature tone poems. The finale begins with a vigorous dance melody developing into music that, for me, has a heroic sound.

The Sixth Symphony (1934 - 35) is cited as Bax's masterpiece, and it is a symphony that grabs your attention from the first bar. The second movement is brooding and introspective giving way to a finale that carries the melancholy atmosphere of the former giving way to a playful Scherzo and heroic finish. The Seventh Symphony (1938 - 39) begins with a joyous melody and the buoyant spirit is maintained through the movement. The slow movement is lyrical, reminiscent of the tone poems; the finale is at turns extrovert and reflective: a summing up of Bax's symphonies.

The set contains two fillers: the premiere recording of the Rogue's Comedy Overture (1936) and the well-known Tintagel (1917-19). There has been a lot of interest lately in forgotten British symphonies such as those by Gordon Jacob and Richard Arnell to name just two. The symphonies of Sir Arnold Bax are engaging works beautifully orchestrated. Vernon Handley and the BBC Philharmonic turn in magnificent performances that are not to be missed.

For anyone familiar or not so familiar with the music of Sir Arnold Bax (1883-1953) should start off with the interview disc (the fifth of the five disc set). Vernon Handley's interview, with Andrew McGregor, is without a doubt compelling, not just in terms of Handley's knowledge associated with Bax, but also in terms of the depth that comes with it. Handley appears to be the conductor who grew up knowing as much of Bax as Lewis Foreman, the composer's foremost biographer and advocate. Truthfully, an interview with the late Bryden Thomson should have been done during Chandos' making of the first set, for Thomson would have, as far as I'm concerned, added greater weight to our initial acquaintances and understanding of this great yet elusive composer. But, Handley's interview on the disc nicely supplements his first interview with Foreman, which is printed in the booklet.

The interview's introduction and epilogue are particularly thought provoking. And I find Handley's argument on the flaws of music criticism in accordance to fashion well taken, especially since Bax was the leading Symphonist until the mid-1930s, before Walton & Vaughan Williams entered the scene with their First & Fourth Symphonies respectively. Bax was criticized for being "too loose", too demanding orchestrally, and so forth. Yet Handley reminds us that Bax had an extraordinary sense of form and structure (influence to some extent by Glazunov as Handley aptly points out). Bax may well belong to the nationalist school of British composers, but he was much more than that. Sibelius & perhaps to an extent Rachmaninov were influential in Bax' brooding moods and his sense of color. Yet his journey was as long and searching as his contemporaneous Russian counterpart, Nikolay Myaskovsky, who, like Bax, remains as deep and resourceful as ever.

Well,...onto the performances. Let me say up front that Handley's grip of the symphonies demonstrates his understanding of Bax' language, which as he points out, is essential in projecting and conveying music in its most meaningfulness. Handley's view of the First Symphony (1921-1922) is the most dramatic and urgent on record. And while David Lloyd-Jones' reading captures the anguish and the contemptuousness of the Symphony to perfection, Handley never fails to relish the first movement's sense of rebellion. The Lento solenne movement is mournful, but Lloyd-Jones brings out more of the darkness and the funereal quality to it.

Interpretatively, Bryden Thomson leads the way in the Second and Third Symphonies, the former which is without a doubt Bax' most darkest. Handley painted the dark colorism of the work with convincing results. But his tempi to an extent robs the epic quality of its first movement, with the BBC Philharmonic sounding a tad thinner than Thomson's London Philharmonic (LPO). It's a fierce reading no doubt, but I like how Thomson reminds me of how even Vaughan Williams may have been influenced by this piece when composing his Fourth & Sixth Symphonies. The second movement is beautifully done, even by Myer Fredman (Lyrita LP-nla). Yet Thomson's ability to make the music glow in its own world pays wondrous dividends. Not only that, but the climax and its buildup proved to be a shattering experience. The ability to make Bax' music glow is essential, as in the case of the Third Symphony. There's something enchanting in the first movement's lento moderato section under Thomson. But the ongoing development is sweeter yet fuller in tone in Thomson's London Philharmonic. And I like the magic he brings forth in the climax (announced by the anvil). Handley's reading is special, but he speeds things up a bit too much and robs the music some of its glow. Not so in the Lento second movement which is beautifully rendered. But I savor Thomson's ceremonious way of the final movement leading to its epilogue, which is perfectly idyllic.

I have no qualms in Handley's vivid performances of the Fourth & Fifth Symphonies. As he points out, the Fourth should be better known and its gaiety does not necessarily imply weakness. Well said, since Bax was going onto a different style and self-definition. But regarding the Fifth, Raymond Leppard's recording is perhaps the best on record, not only because he remains tight in his control, but he also allows the music to dispel its sense of wonder in the Poco lento movement. His phrasings are perfect and the LPO provides some wonderful relishments. Thomson is likewise marvelous and the most magical in the slow movement. Handley's grip of the work, a mountain to climb as he describes it, is quite as strong and compelling.

The Sixth Symphony, very much like his Winter Legends, is what Handley describes as pagan music-not hedonistic but secular. It's landscape is as cold and detached, yet wild as Winter Legends, and Handley brought forth those facets to thrilling effects. Though I warm to the Third Symphony more any others, I agree with Handley that Bax' Sixth is among the greatest symphonies of the 20th Century. The ostinato beginning played by the tubas spells out the nature of the work: the mood that's bleak and contemplative. The epilogue I think serves as quite a foretaste of Vaughan Williams Sixth, among the most bleakest passages ever written (as with Myaskovsky's Thirteenth of 1932). I can't find fault with Handley's reading of, as he calls it "a frightening score." He projects the wildness of the first movement ideally while the slow movement is elegant. While the finale is very well done, Thomson brings out that extra sense of loss and inner contemplation in the epilogue. He's the most effective performer in the Seventh, Bax' most relax symphony: Not just because he gives us more of the majestics and the pompousness in the first movement, or the inner beauty and rapt poetry of the second, but the epilogue is simply more poignantly conveyed in its sadness as Bax' was saying goodbye to the adventurous world he knew (he wrote his autobiography "Farewell My Youth" during that time).

In closing, this album is a revelation, for Vernon Handley (who's way overdue for knighthood) gives us plenty of reasons to re-think and reexamine Bax as a major force in British music (and plenty of credits must be given to David Lloyd-Jones under the Naxos series in that regard). The BBC Philharmonic is excellent, especially in Tintagel & the Rogue's Comedy Overture, even though this great orchestra does demonstrate at places a wanting in greater sonority and involvement.

But my heart remains with Thomson. Although his tempi can at times sound laborious, Thomson, to me, knew how to project the inner beauty and wonder behind Bax' music without really over-stretching it. The heart is definitely on his sleeves which, as far as Bax is concerned, is a good thing.

Why the English symphonic repertoire is so direly underrepresented on the international (and certainly the Dutch) concert stage remains an enigma to me, all the more baffling when listening to these fabulous symphonies. Bax has it all: lush melodies, endless incident, spectacular orchestration, shimmering mystery, haunting epilogues - anybody who likes Richard Strauss or Respighi cannot but love this music, and I wager that Bax has lots more to offer in the way of emotional substance than either of them. Bless Vernon Handley, the BBC Phil and Chandos for giving us this "Bax Box", which is a veritable treasure trove. Handley knows these works inside and out and is utterly committed to this music (and genuinely peeved at its neglect, as can be heard on the fifth disc containing an involving hour long interview). This is readily communicated in music making of white heat, resulting in some of the most compelling performances I've ever heard of any pieces. The Epilogue of the Third (surely among the finest pages in all of English music) literally brought me to tears!
Chandos's commitment to Bax is such that this is in fact their second cycle, an earlier one having been recorded by Bryden Thomson, who took a quite different view from Handley. Richly and reverberantly recorded, Thomson made the most of the swelling, romantic melodies - after hearing him, the beautiful tune of the Fifth's epilogue sounds just a tad plain in Handley's version; also, in comparison I found the dark tragedy of the Second somewhat lightweight with Handley, and quite overpowering in Thomson's hands. But the latter's structural grip on the music is some way behind that of Handley, so that at times it does indeed blur into the generalized, shapelessly chromatic washes of sound that have given Bax some bad press. No such thing happens in this new set: helped by more energetic speeds as well as a drier, more transparent recording and somewhat thinner string tone, the rhythmic underpinning of the music is continuously present, and the many simultaneous voices never push each other away, but rather reveal their intricate interrelations. This does a great service to Bax, fully revealing his genius as a musical architect and indeed as a top rank composer, every bit as worthy of general recognition as Vaughan Williams, Elgar, Holst or Britten. And not only is Handley's sound more transparent, it also encompasses a thrilling dynamic range, accommodating moments of quiet reticence as easily as the most extroverted outbursts - for a thrilling demonstration of the latter, just listen to the beginning of the Fourth, with the organ, so lamentably lost in the general hubbub on Thomson's recording now a spectacular presence from the very first bar. If I had to single out one symphony, that Fourth is for me the high point of this cycle, if indeed such a thing exists among interpretations that are all of the highest possible quality. For those who do not know Bax, it might be a good place to start sampling - or you might even want to acquire an installment in the excellent Naxos cycle with Lloyd-Jones as a low-risk point of entry. Though that would still be a waste of money, as in the end you simply cannot be without this touchstone set if you care even the slightest bit about English music (and you should!).

This CD is a must have for all lovers of the classical guitar. As is the case of the first album, aptly named "Together", the modern masters of the classical guitar, Bream & Williams, join forces again in order to achieve some spectacular results.

The main problem of playing a classical guitar is the genuine lack of material, apart from those (relatively few) pieces which were originally written for the guitar. Furthermore, being a fairly limited instrument, the guitar limits severely the possibilities of adapting various classical pieces which were not written originally for the guitar. Thus, Bream & Williams, set out on a mission - to achieve what is not possible on one guitar, by playing a duet of classical guitars. Hence, almost all the compositions here are adaptations, but this is by no means a bad thing - the arrangements very cleverly hides the limits of the instruments, while emphasizing it's intimate and warm nature.

Two of the most notable of these adaptations are "Evocacion", from Albeniz "Suite Iberia" and "Bajo la palmera" from "Cantos de Espana", both of which were written for piano. It is well worth mentioning that many of Albeniz compositions were based on traditional spanish tunes, played originally on guitars. Thus, by playing these truly great pieces on classical guitars, Bream & Williams are restoring some of the magic which allured Albeniz to these tunes in the first place. One might also feel these tunes sound actually more natural played on two guitars rather than on a piano.

Other interesting adaptations are the three pieces by Debussy, which are very melodic and are very suitable to be played on guitars.

I warmly recommend this excellent album for anyone who appreciates classical music played by very able musicians. I guess it's also ideal as a gift for those who like good music which isn't classical, and are interested in exploring new grounds, as this album is very communicative, although it hasn't lost any of it's integrity.

I have a large collection of classical guitar recordings. Quite simply, "Together Again" is the finest,best recordings of its genre ever made. It features arrangements that had never been before heard and that a big plus, for the normal repertoire for guitar is fairly small and we soon tire of hearng the same pieces again and again. The virtuosity of both Williams and Bream is unqustionalble. Bream sounds a bit steely at times. whereas Williams is soft. Together, they produce a magnificent sound.

The two foremost virtuosos of our time have come together once again to produce this sublime album.

What John Williams lacks in lyricism is easily compensated for by Bream and the result is outstanding.

Their chemistry is so amazing and the pieces come to life in such a cohesive way that I sometimes think it is one person with 10 fingers on each hand playing the pieces.

Not every piece is easily accessible, so give it time.

Highly recommended.

I just love this CD. Lincoln TRULY has a heart for the Lord! You WILL NOT be disappointed with this CD. I LOVE the song "Son of God"!!! Get this CD!!! IT IS AWESOME!!!!

The title says it all. This is my favorite of his..well it's the only one I have! I love all the songs. This is a great album to add to your worship collection.

I cannot believe only 5 people have reviewed this album. This is a great live album. Every song is great, no filler. Next time I run into Prince I'm gonna say, "Hey there's this Christian guy who plays guitar like you do and it's worship music." I love listening to this at home and especially out on the road. I am so thankful someone introduced me to it.

Lincoln Brewster is a great worship leader and performer and this CD is a must for anyone who loves worship music. What a wonderful collection. Buy this one and Aaron Shust's "Anything Worth Saying" and listen to them over and over. You will certainly be uplifted!

I keep buying this CD and then giving it to my friends because it has yet to get old for me. Listening to this CD is like having worship in my car! For many of the other contemporary Christian CDs that give me that same feeling, I know it's because they remind me of the experience I had when I saw the artist live. However, I've never seen Lincoln live and yet this CD makes me feel exactly the same way - like I'm right there worshiping with him. Amazingly, some of my friends agree 100% of how it makes you feel -- like you're worshiping! So, if you ever feel like you need to worship on the road or at home, buy this! You'll be blessed!