Amazon.com

If the commercial constraints of genre and chronic Hollywood sequelitis threaten to musically straitjacket even a legend like John Williams,the veteran playfully rebuffs such cynicism in his rich, mirthful score for this third chapter of the Harry Potter cycle. Whether inspired by a willful desire not to repeat himself, the continued reinvention of his jazz roots that brightened his scores for Spielberg's Catch Me If You Can and The Terminal, or the story's requirement for a handful of fresh themes, Williams informs his work here with an often dizzying range. The warm mysticism of "Hedwig's Theme" and classical farrago of "Aunt Marge's Waltz" can scarcely prepare one for the swinging, off-kilter "Knight Bus," a romp that suggests a head-on collision between the big-band bombast of1941 and the loopy, Cantina Band kitsch of Star Wars. From there Williams skips back a half-millennium or so for inspiration, conjuring the ancient children's chorus "Double Trouble" (its text adapted from no less than MacBeth), a medieval theme that becomes one of the score's inspirational foundations. Those with a taste for the composer's patent orchestral thunder won't be disappointed either, as the Herrmann-influenced percussion/brass bombast of "Buckbeat's Flight" and "The Whomping Willow.." attest with rousing zeal. It's arguably Williams' best Potter score to date, a soundtrack whose inspirations sprawl across six centuries -- and as many disparate musical styles. Enhanced CD features include a photo gallery and exclusive computer wallpaper and screensaver files.-- Jerry McCulley ... Read more

Reviews (78)

the composer who lived
after the legendary composer john towner williams composed two j.k rowlings best selling book adaption of the popular harry potter films, it appears that the third book to movie installment the prisoner of azkaban john williams is able to push his orchestral compostion for the third book to film to its limits, it begins with the famous hedwig's theme on the first track which is also labled lumos fortunitly hedwig's theme is givin a revamped from the first two harry potter scores the version seem less playful then the first two which indicates that the third year at hogwarts school of witchcraft and wizardry for the boy who lived harry potter will be much more dangerious and suspensful then harry potter ever encounterd until goblet of fire that is, to make it short the highlights of the score is double trouble and a window to the past,
so overall if your a williams fan, harry potter fan, classical music fan, or your a person who wants good music will no dought pick up this wicked soundtrack as ron weasly would say until then ESPECTO PATRONUM !!!!!!!

A new and different Potter soundtrack
I have never been a big fan of John Williams, and I cannot say that I have heard a large number of his scores; and I have probably hated more of them than liked. That said, I think that this is one of the more interesting ones that I have heard, and while it may not be his best, it has enough in it for me to listen more closely.

Of course, the first track states "Hedwig's Theme," with which Potter fans are now so familiar. From that, however, he departs from the previous two Potter films in terms of style, orchestration and themes. I love his use of medieval instruments: recorder, harpsichord, and an ensemble of some sort of double reed instrument (maybe shawm?). The choral setting of the text from Macbeth ("Double Trouble") shows off a different harmonic approach than he usually takes: its words and music are slightly grotesque, which is in keeping with the story as a whole. In "Hagrid the Professor," Williams shows a textbook knowledge of writing in traditional Renaissance style, complete with the aforementioned double reed ensemble and quirky counterpoint. He even enters a jazz-like idiom in the wildly rhythmic and dissonant "Knight Bus" (my personal favorite track). There is still some characteristic Williams remaining, however. The opening of the comic "Aunt Marge's Waltz" uses a jaunty oboe solo and strings in a light, dancelike fashion, ascending notes and changing key. The piece goes on till it reaches a raucous coda and finishes in a grand amusing cadence that is sure to bring a chuckle to the listener. And let's not forget the virtuosic flute solo in "Secrets of the Castle," which is much fun to listen to.

Unfortunately, Williams occasionally lets himself bombast the listener with his trademark thick orchestration and loud horns. Fortunately for us (or, at least, me), this rarely happens. This soundtrack is very different from the previous two Harry Potter soundtracks. Williams has taken a few steps back from his normal bombastic assaults and entered a realm more experimental and somewhat introspective (like the haunting recorder solo in "A Window to the Past"); and, unlike the previous Potter scores, this one seems to have its own special character, which makes is what makes it so appealing. It is moodier, jauntier, stranger, and so much more interesting than most of his other scores I can think of. I can only hope that that will be reflected in the film opening next week as well. To fans of John Williams, I can say that this disc will probably not disappoint.

Brilliance
This is by far one of the best scores I have ever heard. Lumos! (Hedwig's Theme) is an older favorite, but a litte bit of an extra spin on it, making it even more enjoyable. "Aunt Marge's Waltz" is enough to make me laugh out loud, which says a lot considering it's only an orchestralsuite. "The Knight Bus" is eccentric and wild, but extremely fun. "Double Trouble" is most likely the most recognizable track, and has more of a medieval touch to it, but is a fantastic track. "Buckbeak's Flight" is tied for my favorite. It's sort of like the Fawkes number from the second movie to the third one, but less singable. It's simply beautiful. "A Window to the Past" is equally beautiful, and these two tracks alone were enough to make me want this CD. "The Whomping Willow and the Snowball Fight" is also very fun, and "The Portrait Gallery" and "Hagrid the Proffessor" are cute shorter pieces. The "Finale" and "Mischief Managed" are also spectacular pieces.

Overall, this is an amazing soundtrack and highly reccommended to everyone!

A Multi-Themed Soundtrack
I love listening to soundtracks-they're my favorite form of music, especially when they are from excellent movies like Harry Potter. The best soundtracks, IMHO, invoke the corresponding bits and scenes of the movie. So it is, at times, a bit irritating when tracks are out of order with the events of the movie, such as in this soundtrack. (ie. the Whomping Willow music occurs much later than track 8) John William's third installment in the HP movie series is dynamic and masterful-displaying the Hogwarts and story we know and love, but with more thematic variations and different melodies than the scores of the first two movies. I was disappointed that Lupin's phonograph music wasn't on the soundtrack, but I guess I shouldn't have expected it to be. Here are descriptions of some of my favorite tracks:

Lumos! (Hedwig's Theme) is the theme we all know-a bit of nostalgia for the beginning of the soundtrack. The last track, Mischief Managed!, also starts with a recurring theme, and is a compilation of most of the other tracks, including Double Trouble, A Window to the Past, Buckbeak's Flight, and ends with Aunt Marge's Waltz.

Aunt Marge's Waltz is a little strange, but humorous. The Knight Bus is the craziest and most surprising track is you haven't listened to it before-it sounds like something straight out of a musical about a carnival. It is, though, very catchy and entertaining- one of my favorite tracks. Double Trouble, the most widely known theme, provides a solid base for theme of the other tracks, but it would've been nice if they included the lyrics with the pull out (but dedicated fans can find them rearranged in Act 4 of Macbeth).

I absolutely love Buckbeak's Flight (6) and A Window to the Past (7). They are easily the best "calm" tracks, being both melodic, soothing, and, most of the time, absent of loud bangs and accents. The Whomping Willow and the Snowball Fight is a combined track of two different themes-life-threatening action and then the comical "fight". It's definitely a very good track. Secrets of the Castle has an amusing woodwind solo near the end of the track. The Portrait Gallery and Hagrid the Professor are more upbeat than 6 and 7, very cute little tracks. The one that really steals the show is track 13, Quidditch, Third Year (interesting track number, no?). It's no longer the happy theme of the first movie's Quidditch match, but far more dark and menacing. It has great percussion and brass and lots of accented notes.

So overall, I definitely think this soundtrack is worth buying, especially if you liked the movie and like listening to soundtracks.

Almost Perfect
I am a major Harry Potter fan! I have read all the books about 5 times each and have seen the films countless times. I also bought the first two Harry Potter soundtracks and was very satisfied with them. When I purchased this CD and listened to it, I was very pleased with what John Williams did with this score. The reason I gave this album 4 stars was because track 3: The Knight Bus, does not fit in with the rest of the album. It may be that I just don't like this track very much. I think he could have done better while composing this segment. As for the rest of the album, I think it goes well with the film and is great in any Harry Potter collection. Be sure to also pick up the scores for Sorcerer's Stone and Chamber of Secrets if you haven't already. ... Read more

Amazon.com

Except for one "previously unreleased" recording and two new ones, this is a compilation of segments taken from older Yo-Yo Ma CDs, perhaps to whet listeners' appetite to hear the entire records. The disc represents a triumph of performance over material. The program consists of short pieces and single movements of long ones and serves to display Yo-Yo Ma's extraordinary versatility, his spectacular instrumental and musical gifts, and his remarkable ability to invest everything he plays with the same commitment and emotional concentration. There is no logic to the sequence, except that it begins and ends with solo cello. Bach, whom Ma plays tuned normally when unaccompanied and tuned low with the Amsterdam Baroque Orchestra, may justify the CD's title but seems out of place. Moreover, juxtaposing him with O'Connor and Piazzolla is jarring, though the Tangos are beautiful. The transcription of Dvorák's lovely E-minor Slavonic Dance, despite the participation of violinist Itzhak Perlman and his golden tone, sounds like a movie soundtrack: all bravura and cheap effects. The playing's the thing, and it is stunning, not only Yo-Yo Ma's, but that of all his collaborators, from vocalists Bobby McFerrin and Alison Krauss to pianist Emanuel Ax, Ma's duo partner of 25 years. Ax joins Ma for the Finale of Brahms's second cello sonata; that is what you may find yourself humming at the end. --Edith Eisler ... Read more

Reviews (12)

Fun and beauty
This is one terrific CD. There is simply one wonderful surprise after another. So many exquisitely beautiful pieces and so many that are sheer fun! I was not familiar with most of this music before and now I am inspired to get the individual albums that this music came from. I want more tangos! I want more Appalachian music! I want more Yo-Yo Ma!

The only piece that didn't work for me was Vocalise with Bobby McFerrin.

Great if you're not familiar with Yo-Yo Ma
This CD is a good sample of what yo-yo ma has acheived in his musical career, if you want a more in depth listening of his talents than I suggest getting the simply baroque CD. The only thing that I didn't like about this cd was that the compositions were to mixed up in the genres. There was a bit of classical, some movie works, a great song by John Williams, and some of The Tango series music. If you would rather listen to one genre, get a CD that just has Classical or Contemerary, don't get a jack of all trades cd.

What is this?
This is a compilation of many different styles; look Yo-Yo can play bluegrass! Not really "Classic" Yo-Yo.

Bravo!
Many people seem not enjoy this varied collection of Yo-Yo Ma's music...I think just the opposite! I loved every moment of this CD; to me every piece was the "best of the best" of Yo-Yo Ma's music. The CD begins with a Bach cello suite, which brilliantly showcases Ma's rich-sounding cello-playing in stunning solo. His samplings of tango music are not to be beaten either-the "Libertango" is filled with the exotically exciting sounds of many different instruments which complement the perfect "tango sounding" cello. Gershwin's famous first prelude gets a new twist with brightly swinging cello and fitting piano accompaniment, and "Simple Gifts", with Alison Krauss singing, is a simple yet deeply feeling arrangement of a timeless hymn-certainly not to be missed! Last, but certainly not least, some highlights of Ma's Appalachian CDs are included and showcase this uniquely American form of music wonderfully. OK, I'll admit that the order and compilation of this music is a little different...but I think you'll find, like I have, that each piece is like a beautiful gem-shining and stunning and able to stand on its own.

A good sampler
As previous reviews have stated this CD is a sampler from previous albums. So if you are a long time Yo-Yo Ma fan this CD is not going to pleasurable and you may actually find it jarring. But if you are just trying out Ma and don't know what to get or to try afterall, CDs are pricey, then get this CD.

If you are a huge fan of his _Soul of Tango_ then get this CD just for the unreleased cut of Piazolla's Tango Sensations: Fear (it is a great piece full of energy). You may also want to get this CD for the Alison Krauss cut of Simple Gifts.

For the truly thrifty who think that the MP3 or OOG version of the music (ripped on premium ware and played on a higher end stereo) will be satisfactory I would argue that you will lose a great deal of richness so, get the CDs of Ma's music for fuller quality.

This CD is good for the beginner and for those who compulsively collect Ma cuts but for the average fan it is a skip. ... Read more

Amazon.com

This recording was produced more than 40 years ago, only in mono, but from the day it was released it was a deserved phenomenon. It out-grossed the mega-hit show for months, and it still holds the record for the most weeks as a Billboard Top 40 album: 292. The reasons are many. Start with the 20-year-old Julie Andrews in peak voice, singing no fewer than eight sensational Lerner and Loewe songs, soaring most memorably to high C in "I Could Have Danced All Night." Rex Harrison perfected the art of talk-singing in a clutch of equally captivating numbers written especially for his voice, of which the most indelibly delivered is "I've Grown Accustomed to Her Face." And Stanley Holloway brought the best English music-hall style to an eager American audience with "A Little Bit of Luck" and "Get Me to the Church on Time." There were no scene-changers in Frederick Loewe's best score, and Alan Jay Lerner managed to fashion his libretto and lyrics so close to the language of George Bernard Shaw (on whose play Pygmalion the musical was based) that experts couldn't tell where Shaw left off and Lerner took over. Every song created character and advanced the plot. My Fair Lady was a show you "got"--and still get--on first listening--without having seen it. The London cast album (with the same leads) can give you stereo; the movie version, a fuller orchestra, Harrison and Holloway in full sail, and Marni Nixon dubbing Audrey Hepburn. But the Broadway cast album is still the one to have, and the one absolute must in any musical collector's CD library. --Robert Windeler ... Read more

Reviews (30)

Isn't this Loverly?
I was fortunate enough to see Rex Harrison in 1981 during his revival of "My Fair Lady," and even though Rex was way past his prime, the evening was magical. This original cast album from 1956 preserves forever this wondrous musical, where every single song is superb. There isn't a clinker in the bunch and that's saying something considering the record contains 16 songs, most of them standards. Julie Andrews soars, which is to be expected and it makes you tear your hair out that she wasn't cast as Eliza in the 1964 movie version.

"The Rain in Spain" is infectious and fun, you almost want to get up and dance as its sung. Even though Rex talk-sings his way through the album, he brings a charisma and charm that was his alone. Listen to the sly irony he brings to "I'm Just an Ordinary Man," and pay close attention to his show-stopping finale, "I've Grown Accustoned to her Face." The way Harrison places a poignant stress on the word "face" will stay in your memory forever.

This is a much superior version to the movie soundtrack and it should be required to round out any serious record collection, no matter what the genre. This is the soundtrack by which all others should be judged, it's magnificent!

ESSENTIAL: THE BEST MUSICAL OF THE 20TH CENTURY
Earlier, I had written a review of the 1959 London Cast Stereo recording of "MY FAIR LADY." Many amazon.com customers seem to prefer the original Broadway Cast recording to the later London Stereo LP. I'm such a "Fair Lady" fan, I have both discs. The disc I'm reviewing here is a Gold Disc with an extra Bonus Track. Columbia Records president Goddard Lieberson conducts post-recording interviews with Rex Harrison, Julie Andrews, lyricists Alan Lerner and conducter Franz Allers. Liberson states that "FAIR LADY" is "possibly the most successful musical of this (20th) Century." He got that right! Here, you hear Rex Harrison give a full out performance, when he was still excited by the material and everything was fresh and new. Boredom set in afterwards. Harrison growls and grunts his way through Higgins' songs on the London Cast Album, and in the 1964 film version (for which he received an Academy Award), Harrison couldn't be more listless, static, and boring; giving a one-note "phoned in" performance. Much better than Harrison, in any case, is Julie Andrews; then on the brink of her brilliant career. She is best at full fire and music, exploding with fury and rage in "Just You Wait! " and "Show Me." Simply put, Julie Andrews is the best Eliza Doolittle of all time. Added to all this is a delightful dash of Stanley Holloway. For pure freshness and vitality, you can't beat this original recording of MY FAIR LADY. And the Post-Recording interviews make this an irresistable treat, not that everything else wasn't enough!

The London Recording is Better
I recently purchased the Broadway recording, then turned around and got the London cast recording (both with Rex Harrision, Julie Andrews and Stanley Holloway). Though the recording has wonderful music, the recording was nevertheless just so disappointing, and not the way I remembered it. The latter recording isn't nearly so measured. It's far more vital, witty and sarcastic. I highly recommend it.

Julie is better
If only Julie Andrews had been chosen for the movie version of My Fair Lady, this film would've swept the Oscars...not that Audrey Hepburn didn't do an amazing job, but the singing is just not the same. While Julie picked up the Best Actress Oscar, Audrey didn't even get nominated. Of course, Audrey had her voice dubbed by Marni Nixon.

But enough of my fuming, the songs:

Rex Harrison is a delight, though his singing abilities are limited, his enunciation and clear, British english makes all of his numbers absolutely delightful.

Julie is, of course, the highlight of this album. I am an avid fan and positively adore her voice. This recording was made in her younger years, therefore you can really hear the clarity and crystalline quality of her voice. My personal favorites are "I Could've Danced All Night" and "Just You Wait".

The supporting cast is also very strong. Stanley Holloway's "Get Me To The Church On Time" shows off his deep baritone. The man who plays Freddy (I forget his name) is also very good. "On the Street Where You Live" is also one of my favorites.

To those who enjoy this album, I recommend "The Music Man", "Sound of Music", "Cinderella", and "Mary Poppins".

A perfect cast album from a perfect show
MY FAIR LADY is understandably the world's most beloved musical. Based on one of Shaw's great plays, with Lerner & loewe's finest score, put on stage with the perfect cast, and opening on Broadway at just the right time: late in what had been a very disappointing season for musicals.

This original Broadway cast album, made just days after the premire, captures all the freshness and excitement of the triumphant opening. (Avoid the London cast recording which has teh same cover art but printed on a gold background. The ORIGINAL original cast album with the white cover is the one to get!)

This Cd hardly needs my endorsement. It's been a best-seller for 48 years now. ... Read more

Reviews (8)

A must have! I love these CDs!
This collection is amazing. It is huge, but I never got the impression that they were "throwing" things in to fill space. I can listen to the entire set from start to finish and by the time it's done, be ready to start over at disc 1 again!

Varèse Sarabande certainly has a formidible archive to dip from--however, what I liked best about this collection is that they weren't afraid to use scores from less popular (or popularly disregarded) movies. This collection is set apart from the vast majority of other film score collections that I've encountered because is actually all about the music/composers and not the movies behind them. I may never have heard some of this music otherwise, simply because I was not interested in the movie behind it.

This will stay at the top of my playlist for a long time.

Huge.
If you are a fan of listening to film music, this is it. A excellent collection of modern film compositions and totally affordable as well. One problem though, where is the TERMINATOR theme by BRAD FIDEL? The soundtrack from T2 was released by VARESE SARABANDE, so they should've thrown that in the mix. Oh, well, a great collection of scores and themes nonetheless.

Umissable but strange selection.
Over 4 discs and 84 tracks this box set presents the signature themes for 84 different movies. They have a range between classical, rare, contemporary, post-modern and a couple have no business being included (why is xXx on this???). Where else can you find cues from Nightmare on Elm Street, Ice Age, Back To The Future and Xena: Warrior Princess all in the same collection.

I never knew Varese Sarabande had so many movies in their catalogue. But I'm upset there are no Friday The 13th cues or tracks from more popular movies. I mean I'm a movie buff and I've never heard of The Man From Snowy River or seen The Milagro Beanfield War. But if you love movies then you won't find a more cosy collection of themes than on this CD (unless you buy Volume 2, which actually looks a little bit better).

Like I said, Varese Sarabande own the soundtrack rights to loads of movies so I'm kind of upset that there a few too many generic tracks here. I personally don't find anything special about Alan Silvestri's score to Father of the Bride or George Fenton's You've Got Mail. There are plenty of scores out there that deserved attention in a box set like this but don't let the presence of a few dull tracks put you off buying this. Keep a lookout for Volume 2, available only from Varese Sarabande themselves.

" this is a perfect ten ~ Varese 25th Celebration"
Anyone who has ever read my reviews knows that I'm a complete "film-score-buff" nut. Varese Records has come up with the best of the best in the category of soundtracks/scores. Just take a peek with their latest release "Varese Sarabande:A 25th Anniversary Celebration", featuring a 4-CD-Set with inclusive 84 cues of unforgettable scores from the leading composers of the past Century. The quality of sound, texture and substance is a film scores collectors dream. Each and every track is a self culture unto its own, bringing countries, worlds and universes under one umbrella. This is one not to be missed, so many highlights and stand outs ~ from one spectrum of comedy, romance, drama, suspense, action, adventure...to the other of westerns, horror, war, thrillers and classics that linger from decade to decade.

Much like its predecessor "In Session:A Film Music Celebration" (Varese Records 302-066-225-2), takes the listener on a musical journey that will live on as long as there is the Cinema and Music. This compilation is aimed at the "serious collector of Music", make no mistake about it. Varese and producer Robert Townson hit the mark, a perfect bulleye...not to mention the price is right ~ gotta love it!

Total:4-CD-Set ~ Varese Records 302-066-460-2 ~ (4/22/2003)

Absolutely the BEST
I'll just repeat what others have said before -- this is absolutely fantastic. I am awed and impressed with the artistry and great care that Varèse Sarabande took in collecting and placing all the tracks on this 4 CD set. One track naturally blends into the next; nothing jarring, nothing out of place, and yet the collection is eclectic enough! "Old Timer" composers (long dead Bernard Herrmann, Franz Waxman, Erich Korngold) are allowed to shine alongside contemporary composers like Jerry Goldsmith, Danny Elfman, John Debney, Thomas Newman and many more. All tracks are excellent. All tracks are a delight.

I even felt compelled to order several Georges Delerue CDs after hearing such stirring and achingly gorgeous examples of his work on these CDs. I also felt the urge (it was beyond my control, I'm telling you) to order John Debney's score for "The Replacements". And I have many more film scores on my shopping list, all thanks to this collection.

I am a big film music fan (Goldsmith, Williams, Jarre, Bernstein and several other compsers being favorites -- especially Goldsmith). And this collection of film music shows off their work. But more importantly, it shows off the work of many other composers that I'm aware of and suspected were good, but just hadn't heard enough of...until now. I've been given the opportunity to sample so many wonderful composers' works, thanks to this collection of CDs.

What a rare treasure it is. And the price is beyond comprehension! What a deal for FOUR CDs!?! Snatch it up now! ... Read more

Reviews (22)

Great, but the extra sound effects are unnecessary
This new expanded version of Oklahoma is long awaited for conisseurs of the marvelous 1955 film. It includes not only all music (which has been remastered) from the previous release, but many previously unreleased tracks as well.

On this album we have Gordon MacRae and Shirley Jones in the lead roles that would put them over the top. This is the film for which they probably are both most famous. They were paired up again for Carousel the following year. Jones went on to appear in the 1962 film The Music Man. Gloria Grahame is nice as Ado Annie, but she pales in comparison to Celeste Holm from the OBC album. The cast here is in top vocal form and excellent performances are had throughout.

My only gripe is the presence of extra sound effects in the previously unreleased material. Hand clapping, foot stomping, extra dialog, and shouts and cheers have no place in a soundtrack album. As another reviewer stated, if we wanted the effect this CD gives, we can grab a copy of the movie and fast forward it to those parts. Many of the best soundtrack albums on the Angel and Sony labels have been plagued with this lately. Extraneous sound effects are had on the remastered and expanded editions of Oklahoma, Carousel, My Fair Lady, West Side Story, and others. While I can see the reissue producers' desire to include the music as it would be heard in the film, more effort should have been made to locate the original recording session masters where they exist.

On the plus side, though, all of the selections on this CD sound better than ever. We have the Overture and Main Title as heard in the film itself and they have never sounded better, although I do like the original Capitol Records version of the overture better (it appears as a bonus track at the end of this album). The Entr'acte is featured as well, but the Exit Music has not been included.

I absolutely recommend this album. It is a worthy addition to any Broadway fan's collection. But those who still have their copy of the previous (1993) CD release - hang onto it, you will not regret it! That is how a soundtrack album of Oklahoma, presented with all its integrity, should sound.

OKLAHOMA REMASTER A SLOPPY MESS!
My disappointment with this expanded soundtrack reissue of OKLAHOMA is based on my belief, which is shared by many other people who grew up with and have grown to love these magnificent performances for their musical excellence, not as a mere souvenir of a movie for casual listening. If I want to experience the movie, I watch the movie on DVD or tape. If I want to enjoy the music on a recording, I want the music to be allowed to speak for itself without sound effects mixed in meant exclusively for the visual presentation. The film versions of the three Rodgers and Hammerstein musicals from which these Angel CD reissues are derived, showcase the finest performances, before or since, that these magnificent scores have ever received. The additional music on the expanded editions of these albums is NOT from the original multi channel vocal and music separation soundtrack master recordings stored in the 20th Century Fox vaults but instead recorded directly from a final mix print soundtrack complete with foot stomping and extraneous sound effects, which besides having no place on a music only recording, actually detract from the listening experience rather than enhance it. If this were 42nd. Street, the foot stomping would make sense, since it is an integral part of the musical presentation, but without the visuals these random sounds don't make any sense in OKLAHOMA, where the superb arrangements of Robert Russell Bennett should be allowed to speak for themselves without intrusions from foley effects. If this were a live recording, such sounds would be an artifact of the original and impossible to remove and therefore have to be acceptable if one wanted to hear the score in its entirety. But in the case of OKLAHOMA (and for that fact, CAROUSEL, THE KING AND I and SOUTH PACIFIC) a wealth of unmixed original musical material exists in the studio vaults which could have been made available for this remastering and even more music could have been included on this album (probably enough to fill 2 CD's). For instance, THE OUT OF MY DREAMS BALLET could have been presented in its ENTIRETY, with the extra verse of the song which was on the original album but on this CD replaced by a much shorter version used in the film, without any worry about the sound effects intruding at the beginning and especially at the end. THE KANSAS CITY, FARMER AND THE COWHAND DANCE MUSIC AND THE FINALE could have been presented minus the foley intrusions that almost drown out the music entirely. That is the saddest part concerning this release. The original studio vault material could have been made available if anyone at EMI-Angel had cared enough to present OKLAHOMA with the integrity that this classic recording deserves and should have gotten. If you can get past these aberrations (in addition to some amateur sloppy fade-ins and fade-outs cross cutting the old and new material) the sound on this CD is very good and offers an energetic and beautifully orchestrated performance of the score by Gordon Mac Rae, Shirley Jones and the entire supporting cast. In fact, this performance is superior to the Broadway original in every respect. But even so, try to find the previous CD version of this album, which may not have the additional music but does include the entire vocal score (including the longer version of the song OUT OF MY DREAMS) without all the intrusive sound effects and sloppy edits making for a far more enjoyable listening experience. Let's hope that someday EMI-Angel will give all three of the Rodgers and Hammerstein soundtracks their due and re-release them with added material from the untainted studio vault separations. That would really be SOMETHING SPECIAL.

Oklahoma!
This is by far THE BEST movie and sountrack. The music is beautiful, but still fun and entertaining. It deserves more than 5 stars!

Positively Gorgeous
The score of "Oklahoma" is, quite simply, one of the true masterpieces of the modern world--funny, simple and yet perfectly, elegantly, constructed. Say what you will about other recordings, I can't find much wrong with this one. The vocal performances and orchestration are almost chillingly beautiful. I nearly wept when I heard Gordon McRae's smooth, crooning baritone voice singing "The Surrey With the Fringe on Top"...and that was only the second song on the CD.

Oh What a Beautiful CD!
From the electrifying overture to the finale, this is one for the ages. The rich, strong, at times tender baritone of MacRae complemented by the sweet soprano of Jones, grace the CD throughout. The character actor-singers Greenwood, Nelson, Grahame, Steiger, and others, are perfectfully rendered. (Steiger, though, may not have been up to the movie-deleted "Lonely Room", which would have added considerable depth to his loathsome but pathetic character). There's the fine reprise of "People Will Say We're in Love" and the turn-of-the-century style feminine music of the "Many a New Day" ballet, neither heard in other CDs of the movie.

This is Americana at its most nostalgic, but by no means saccharine. The orchestrations and sound effects of the "Out of My Dreams" ballet, also new in this edition, with their sordid proto-Curly and 'dance-hall' girls, add a dark dimension conjuring up Agnes DeMille's at once menacing and masculine cowboy choreography, not to mention even the sullen sky and landscape. The musical direction under conductor Blackton is crisp and sweeping. Purists have criticized the 'non-musical' foot stomping, clapping, and short dialogues. But who can resist Will's "Kansas City" ragtime, the "Farmer & the Cowboy" dance, and Laurie's calling upon the "elixir of Egypt" to grant her wish? Yes, you can see these on a DVD, but can you play it in your car and let your imagination wander? Or can you see it in a drive-in or a big screen anymore, which is the only way to do it visual and musical justice?

Hammerstein's first lyrics to which Rodgers ever put music began: "There's a bright golden haze on the meadow..." Truer words could not be said of this master work. ... Read more

Amazon.com essential recording

By general consensus, Herbert von Karajan's first (1963) Beethoven cyclefor Deutsche Grammophon is the best of the four (!) that he recorded. The BerlinPhilharmonic was in top form, and they had not yet made an artistic fetish outof the bland smoothness that typified the conductor's later recordings of thismusic (and just about everything else). Karajan's squeaky clean, emotionallycool Beethoven will always be something of an acquired taste, but this set makesthe best possible case for it. --David Hurwitz ... Read more

Reviews (60)

The greatest cycle ever
I have been listening to these recordings for 32 years and with the exception of the 6th I don't think they have ever been bettered. For me Karajan is the only conductor to play the funeral march of the Eroica with the gravity, dignity and depth it deserves, and his 1962 recording is the greatest there is. The first movement is just magnificent in its boundless energy and true "brio"-which is where Klemperer, in his stereo version, just leaves me cold because his tempo is far too slow. I only wish Karajan played the coda of this movement as Beethoven wrote it, but then again in his day nobody played it correctly. The Fourth in this Karajan cycle is the best except that the exposition repeat is missing (Karajan omitted all 1st movement repeats except in 1, 5 and 8), and the slow movement is just ravishing. By comparison his 1977 set is disappointing. The 8th and 9th are at the top of the choices of available recordings. The 7th is a bit over fast in the finale and the recording a little cloudy, but that cannot stop me enjoying every bar. This set should be heard by everyone just getting acquainted with Beethoven. The principal oboist throughout the whole nine symphonies must be heard to be believed.

Endorsed by 9 out of 10 top athletes-haha.
This cycle of Beethoven symphonies is great for a number of reasons. The Seventh symphony is especially pleasing. Compared to many other recordings of this symphony, it is the most exciting. In the fourth movement, the intensity is incredible. Other performances lack compared to this one. The playing of the Berlin Philharmonic is superb. The Eroica symphony is great as well. Then there is the 9th Symphony. This has to be the very best recording of the Ninth Symphony ever recorded and it's my guess that it won't be passed. This set may not have the best recordings of every symphony, but it is the best cycle available of the symphonies, and it does come with at the very least two of the greatest recordings of Beethoven's symphonies. This box set is a great introduction to Beethoven, a great addition to collections that already have lots of Beethoven, and a landmark set for Herbert von Karajan and the Berlin Philharmonic.

Sorry about the confusion
yay for beethoven, he rules. he is truly worthy of the title and propriertoship of the classic music stuff

I don't own this but...
...i'm reviewing this to teach that stupid avril fan a lesson!

1)Didn't write his own music
WTF? Of course he wrote his own music!
2)Had an easy life and he tried to make everyone think he had a difficult life.
No, he didn't. Back then, no one did that.
3)He made the world think he was deaf (He copied the overrated Ray Charles who made the world think he was blind)
C'mon! Beethoven came WAYYYYY before Charles, Charles copied beethoven.
4)He was a toy of the labels to make money
There were NO record lebels when he was alive.
5)His "compositions" (That he didn't write because he asked his maids and the kids in the street to write them for him) are just garbage. The papers where they are must be burned.
HE wrote the compositions, and they were awesome!
6)He has never been to the MTV awards
OMMFG! How can ya be THAT stupid????? THERE WAS NO MTV BACK THEN!

That's my 2 cents.

Nobody is more overrated than Beethoven
Wuzup my thugs from da brutal street. I just had the idea of making da list of da most overrated singer, bands and self proclaimed composers in history. I'm gonna begin with the most overrated sucker in the world. There are many overrated suckers in history such as Tchaikovsky, Chopin, Handel, Verdi, Pachelbel, etc but the three most overrated guys in history of muzak are the trio of fake musicians Bach-Mozart-Beethoven.
This is Beethoven:
1)Didn't write his own music
2)Had an easy life and he tried to make everyone think he had a difficult life.
3)He made the world think he was deaf (He copied the overrated Ray Charles who made the world think he was blind)
4)He was a toy of the labels to make money
5)His "compositions" (That he didn't write because he asked his maids and the kids in the street to write them for him) are just garbage. The papers where they are must be burned.
6)He has never been to the MTV awards.

I'm sorry but somebody has to tell you the truth people. Beethoven is overrated. Here's the list of da good muzak: Dr Dee, Old Snoop Dog, New Snoop Dog, 2Pac, Biggie, Eminem, G Unit, Lil Kim, Missy Elliot, Bustha Rymes, DMX, Vanilla Ice and the most talented of the entire history 50Cent. Those are the ones that keep it real. Not this commercial overrated old guys. Who do the think they are? Now scuse me but I'm gonna write other 1 star reviews for the overrated Bach and Mozart. I'm in a mission. I know that I made you change your mind. Now press "yes" or you will show everyone you know nothing about good muzak. ... Read more

Amazon.com

Creator/producer Joel Surnow's hit action-suspense series largely turns on an innovative fusion of real-time plot line delivered by aggressive camera work and multi-frame editing technique. But no small part of the show's intensely propulsive drive -- and much of its dramatic tension and atmospheric textures -- are consistently delivered by the music of young composer Sean Callery, who's won three straight Emmy nominations (winning once) for his contributions to the series. The composer personally selected and annotated the tracks for this anthology of his best work from the show's first three seasons, anchored by a complete version of the show's usually truncated theme. Though it shares similarities with Michael Giacchino's work onAlias, Callery's work here is consistently darker, an electro-organic fusion that spans tense, brooding orchestral passages and thrashing dollops of metallic-edged techno. Yet the composer also delivers moments of melodic, almost mournful solitude, while the third season's story line inspires some evocative Latin influences as well. Callery's background in sound effects editing contributes much to the rich sonic textures here, yielding a pioneering approach that portends a bright future for the composer.--Jerry McCulley ... Read more

Reviews (10)

Falls Short...
I bought the CD hoping to listen to the more intense moments from 24. A lot of the CD is the atmospheric music and eerie choir-ish sounds.

The main theme is extended so that the best part is at the very end. "Up and Down Stairs" is one of the more exciting pieces which is awesome. Other cool ones include

LA at 9:00 A.M.
Jack On The Move
Jack in the Limo (though a repetitive 2:41 minutes)
Copter Chase Over L.A.
Alexis (Very sly)
and Coliseum Finale

The rest just sounds too weird for me. I like the intense action music from 24 and this CD does not put all of it in. I remember hearing a part near the end of an episode and I thought "Wow! That's some exciting music! I can't wait to see if there is a 24 soundtrack!"

Tribute to a great Show
The CD arrived just the otherday and I'm glad to have it. For those who like techno music, this ones for you. It reminds me of the days back in the '80's when Jan Hammer(Miami Vice fame) was the hot item. The "24" theme song is a strong rendition of what this show is all about. Yet, the others listed are of the shows plot renditions, it is strong, lively and to the point. You can close you eyes and combine the works of Pink Floyd, Tomita, Jan Hammer, and other great synthesiser musicians and find out that Sean Callery is a promising upcoming star. Some of the works are short, somewhat sad since they do have a lot of promise. But Callery brings to life the sole of this fast paced show with clear and crisp fast moving music. Yet he does know how to work the feelings of Jack Bauer when his interludes in the scenes involving Jack's wife and daughter, a real soft moving pieces that show the softer side of our beloved hero. All in all its pretty good music to just listen and get the juices flowing. Lets get some of the previous season out also. Hope they consider a follow-up or let Callery do some freelancing.

Almost as addictive as the show
The soundtrack promo came up in last week's (Season 4) episode, and I could not stop grinning.I'm neurochemically hooked on the show, and I've always wanted the closing credits music on CD.The expanded "24" theme gives you the feel of the whole show - hope (strings/synth), tension (percussion), duty (military snare/high horns), and sacrifice (piano/low horns).

Sean Callery's approach has a lot in common with Graeme Revell's score for "The Negotiator" and Mark Snow's TV scores ("The X-Files", "Millennium").The choice of tracks couldn't be better.There are no musical reminders of lesser moments in the show like "Jack on Smack" or "Yep, Kim's in The Cougar Trap".

"Up and Down Stairs" has enough guitar and groove to fill a dance floor."Kim and Terry's Escape from The Safe House" sounds like a guest shot from Juno Reactor, with a frantic drum n' bass rhythm and Middle Eastern chanting."Alexis" is just plain sexy, and a good fit for fans of electro-goth band Collide.

Tracks like "'Copter Chase over L.A." and "Coliseum Finale" are all business, with quasi-military music riding a tick-tock beat.
"Season One Finale/Terry's Death" conveys the show as effectively as the main theme.There's a whole bunch of drama, then it sounds like things will be OK...then, the sickening twist.

You've gotta watch the show, and you've gotta have the music underneath it.Like any good TV music, Callery's soundtrack merits casual listening when the TV's off.

awesome
i'd been hoping and praying and griping in forums ever since season 1 for a 24 tv soundtrack to be released, so imagine my surprise when i stumbled across a discussion about the 24 tv soundtrack the other day. i'm an OST and 24 junkie, so i'm pretty biased in giving this album 5 stars, but trust me, it's a very top-notch production [didn't callery win an award for best tv score?]. anyways, my only disappointment with the soundtrack is that i was hoping they'd include the music that was playing [during season 3] when chase and the strike team are Metal-Gear-Solid-ing into the apt where saunders is supposedly hiding out in, in order to take him down before jack must kill chappelle... but all the tracks present are so good it pretty much makes up for that =)

Stop, Watch,And Listen
The real time action adventure TV drama 24 has always been a favorite of mine since its launch in 2001. Amid the nail biting cliffhanger storylines, superb acting by star Kiefer Sutherland, as the intense hero Jack Bauer, and its cinematic size and scope, composer Sean Callery makes sure the score is the icing on the cake. The long awaited soundtrack for the series is finally here.

Callery's main title never gets heard when the episodes are first broadcast because of the "previously" segments and the end credits have promos for other shows running over them. The first time I actually heard it was when I bought the first season DVD box set. It's nice to hear the full version of the theme on the CD. The music for 24 works because Callery wisely makes sure the music, like the series, is unconventional. The action sequences aren't overwhelmed with bombastic tones but the underlyng tension and excitement is no less effective--thanks the unique instrumentation. "Jack On The Move" and "Jack In The Limo" illustrate what I mean. Slow build--but no flourishes-he lets the on screen action takes care of that.

The soundtrack consists of music from seasons 1-3. The CD hasl9 tracks and a running time of 51:25. The insert includes informative liner notes from Callery about the music of 24--as well as a word from series co-creator, Joel Surnow. The soundtack is recommended for any loyal viewer of the show or collector. ... Read more

Amazon.com

In the wake of his Sixth Sense triumph, young director M. Night Shyamalan shrewdly marketed himself as a marquee draw, a thriller auteur in the vein of Hitchcock and DePalma. In the process he's also run headlong into one of Hollywood's truest adages: There's no such thing as a sure thing. But while his tale of an isolated hamlet ringed by mysterious, threatening 'others' met with tepid reviews and disappointing box office, it also underscored another filmmaking truism: So-so films can still be blessed with magnificent musical scores. This hauntingly beautiful, yet thoroughly contemporary orchestral soundtrack by James Newton-Howard distinguishes itself at every turn, becoming a clear standout in the ongoing collaboration between the composer and Shyamalan. While similar fusions of minimalist and post-modern musical influences can sometimes seem not much more than hollow intellectual exercises, Newton-Howard inhabits his hypnotic arpeggios and droning rhythms here with an evocative undercurrent of the mysterious and mystical. The composer leans heavily on solo violin to conjure a mock folk tradition of indistinct origins, wedding it to a contemporary classical sense that's as seamless as it is distinguished.-- Jerry McCulley ... Read more

Reviews (5)

Good, but Not Great
While I found the song selection on this compilation to be excellent, the remastering quality isn't quite on par. Apparently, it was digitally remastered from analog tapes, leaving lots of gliches and pops.

But, hey, the price is right. If money isn't a concern, though, I'd recommend "The Best of Baroque Music" on Naxos, recorded by the Cologne Chamber Orchestra. It has most of the good songs, and even a few that probably should've been on "25 Baroque Favorites."

SUPERB
An introduction to the best baroque music by famous composers.
Great sound on this CD. There are over 10 CD's in this Farorites collection, and this by far is one of the best ones.

If you like the classical sounds of music, then you will like this. Check out the samples on this page that they provide, that's the best way to review.

In this case: I'm baroque
I'm not usually a classical listener kind of gal. The only reason I stumbled onto this cd is because my favorite tune from a movie is on it. Sarabande is also played on the movie Persuasion (author: Jane Austen). I wanted to have that tune. Followed the links and landed on the Baroque cd. Ordered it. Sarabande is my favorite, followed by Canon, four seasons: spring, etc. I love this cd! It feels happy and light. For me, as a writer and an animator, it adds extra emotional impact when creating as well as influencing my imagination more. I recommend this cd when people want to feel like spring.

Come to laugh and stay to cry
Circumspect at first about buying any CD with a "best of" title, this one really exceeds expectations. Also bought the Vivaldi disc in this series which is likewise exceptional. With the caveat that "Ombra mai fu" is repeated in various of the "25 favorites" collections, I recommend these recordings wholeheartedly, especially in terms of cost per track.

"Canon" is the flagship piece on this CD, a lush arrangement that will move a strong man to tears. Almost as powerful are Bach's "Air on the G String" and of course, Handel's "Ombra mai fu". The disc ends on an up note with "Trumpet Voluntaire".

At this price, you can send "Baroque favorites" to every Classical music lover you know. I would recommend sending this CD even to people who don't like Classical...you might just change their minds.

Great Introduction to Beautiful Music
The Baroque period (1600-1750) was one of the most important in the history of music because many of our modern musical forms come from this time. The baroque style is diverse, including such elements as contrast and a deep emotionalism. Although orchestras perform the songs, many individual instruments are highlighted. The baroque composers especially loved strings, the trumpet, and the oboe. The songs range from the vibrant and the lively to the slow and the sad. I have found this CD is excellent as background music for studying, reading, or driving in rush hour traffic, mainly because the music is calming and relaxing. Baroque masters such as Bach and Handel are still popular today and their songs are loved by many. Fans of popular music will recognize a few of the songs on this CD. "Air on the G String" (Bach) was used by Procol Harum in their song "A Whiter Shade of Pale." "Canon," one of the most popular baroque songs today, is often performed at weddings and has been incorporated into pop songs by artists such as the Trans-Siberian Orchestra, Vitamin C, and Rod McKuen.

This CD is considered an introduction to baroque music. It includes some of the most famous composers and their best songs. For example, Bach, Handel, and Vivaldi each have three songs on this disc. The liner notes are sparse, but a brief history of baroque music is included. Because of the inexpensive price and the huge amount of music (25 songs, 74 minutes of music), I highly recommend this for anyone who already loves the baroque style or wants an excellent introduction to this beautiful music. ... Read more

Album Description

After performing at more than 200 weddings, Tim and Ryan O'Neill recorded this beautiful CD of favorite wedding songs.It features a full hour of instrumental piano, string quartet, flute, and guitar music that can be played at your ceremony or reception.

It also gives suggestions for music at your wedding, including a special bridal website!
*Over 1,000 song titles listed
*Listen to samples of songs
*More ideas for each part of your ceremony, reception, and dance ... Read more

Reviews (6)

Thanks For The Introduction To Mehdi
I've always enjoyed great music and this album is no exception, but while reading some of the customer recommendations posted on this page I discovered an artist by the name of Mehdi (pronounced meddie). After some investigation I found his site (SoothingMusic.Com) and listened to the samples...I was instantly blown away by the quality of this music and so I gave the Gift set (volumes 1-7) a try. I played this passionate music during our wedding as background music and had several people ask me where I got it from. It was just perfect, I mean it created such a wonderful peaceful, romantic atmosphere that I just had to write about it. I highly recommend that you give this artist a try or atleast just go listen to the samples, I have a feeling you'll be glad you did.

beautiful music
I bought this CD for an outdoor wedding where I didn't feel organ or full orchestra music would be appropriate. This CD is full of beautiful music...I plan to take all the music from my ceremony from this CD! I'm sure I will also listen to this CD in the future..so lovely and relaxing!! It was definitely a great buy.

Beautiful
I was originally looking for songs to play at my reception but ran across this album and have completely reworked the program to include most of the ones on this album.

a lovely CD
This is a lovely CD. I am very happy with this music for our wedding ceremony . We even used some of the songs for our prelude music.
I also purchased from amazon.com the New Wedding Traditions Volume I CD for our special reception songs (father/bride, mother/groom, etc.).
I thank Amazon for helping us with all our music for our wedding day.

Beautiful instrumentals
This is a very beautiful CD. I was very impressed with the sound quality of the music. You could play this at your wedding and noone would know it is not live.

I bought this CD because I wanted an instrumental version of the Wedding Song to have someone sing a solo to at my wedding. This song is great, but I now plan on using other songs on the CD too. ... Read more

Amazon.com

The original Broadway cast recording of Annie still has as much charm as it did in 1977. Charles Strouse wrote the snappy music and Martin Charnin's clever lyrics capture the misery of the Great Depression, the glitter of the upper-crust life, and the character of the FDR administration. Andrea McArdle shines in the title role, most notably with the classic anthem "Tomorrow," while Tony-winner Dorothy Loudon and Reid Shelton provide support as the hag Miss Hannigan and the benevolent Daddy Warbucks, respectively.

The 1998 remastered edition includes as bonus material 17 minutes of tape Strouse and Charnin recorded for backers' auditions in 1972. They present the seven songs with some plot structure and early ideas for characters ("Miss Asthma" was a precursor for Miss Hannigan). Many of the songs didn't survive the final cut, but "Just Wait" eventually became "Little Girls" and "We Got Annie" was resurrected for the 1982 film. "Tomorrow" also appears--touted as the song's earliest recording--and Strouse and Charnin's rendition will increase your appreciation of McArdle. You won't listen to this rough draft every time you play the CD, but you'll enjoy it if you have any interest in the show. The booklet includes the original synopsis and production notes as well as new notes by Charnin on the extra tracks, but no lyrics. --David Horiuchi ... Read more

Reviews (33)

My Personal Favorite!
From the time I first saw this show in community theater when I was seven, I have been in love with it. It may seem silly to say, but it spawned my interest in theater, musicals, and history! This is a musical that can bring a smile to the faces of the most bitter people. Charles Strouse and Martin Charnin outdid themselves with the charasmatic music and lyrics. "Tommorrow" is one of the most beautiful songs ever written, and was actually the last song from a Broadway show to become a standard. The cast is lead with great passion by Andrea McArdle as the title character, Dorothy Loudon as a delightfully wicked Miss Hannigan, Reid Shelton as Warbucks, orphans that aren't sappy (a great achievment), and a quality ensemble (listen for Laurie Beechmen as "The Star to Be" during the "NYC" number). Annie was the first CD I ever owned, and i've listened to it hundreds of times. Take it from me: It's a keeper!

andrea mcardle shines
I've been a huge fan of Annie since I was little and first saw the 1982 film(not the best version of the musical but it introduced me to the wonders of the musical) at around the ages of 4-6. Since then, I've grown out a bit in my collection. I own two versions of the 1982 film on vhs, the new disney version, and both the obc recording(this cd i'm reviewing here) and the disney version of the soundtracks. Annie is a musical you can't help but love. From Tomorrow to Easy Street, it's oozing with a story any young girl can relate to, even if you aren't an orphan. The love Annie shows for wanting a family is touching and the songs are beautiful and well done by an incredible cast. Don't buy the soundtrack to the 1982 film unless you want to be confused, buy this one and learn the magic of Annie.

Andrea McArdle and the original cast; a gem
The original 1977 cast of ANNIE still cannot be beat, with its original titled moppet Andrea McArdle in her Broadway debut. Dorothy Loudon is still the definitive Miss Hannigan, with Reid Shelton giving Daddy Warbucks a warmth and sincerity that is seldom seen with any other actor playing the role. Robert Fitch and Barbara Erwin are magical in the roles of slimy Rooster and Lily St. Regis. Sandy Faison is a glowing Grace, and the late great Laurie Beechman shines in a variety of small roles. Raymond Thorne plays F.D.R. (he amazingly stayed for the entire Broadway run), and the ensemble is strong and tight.

This beautiful new reissue of the original cast album contains bonus tracks of the original backers' auditions tape, where composer-lyricits Martin Charnin and Charles Strouse first introduced this marvellous score. The tape is interesting in that you hear some songs that were cut prior to the Broadway opening (like "Apples" and "I've Never Been So Happy), and we learn that the melody-line for "Little Girls" was originally written for a song called "Just Wait". Truly one of the mandatory albums in any Broadway collection.

A Great CD
This CD was great because it is the original Broadway soundrack. I think it has better vocals than the movie soundtrack as well.

Don't bother with this one!!!!!
I just received this CD, they fail to mention in the description that it has been REMASTERED!!!! It sounds AWFUL all the background vocals and music is almost in auditable, I am VERY dissapionted with one, you will be too, trust me. ... Read more

Amazon.com

Director Tony Scott's tale of an ex-Marine-turned-bodyguard (Denzel Washington) who responds to the kidnapping of his young charge and her family with a violence-drenched cycle of revenge and torture is driven by the filmmaker's typically manic visual sense. English composer Harry Gregson-Williams, whose conjured similar action-oriented synth-symphony fusion scores for The Rundown and Spy Game, deftly expands the dimensions of that bi-polar musical sensibility here, infusing it with gentle ethnic folk touches and the ever-savory sonic contributions of Lisa Gerrard. The composer matches Scott's visually jarring action sequences with a melange of strangled guitar riffs, metallic rhythms and aggressive electronic soundscapes, contrasting them masterfully against quiet piano passages and brooding symphonic pastoralism. Contemporary Latin ballads by Gabriel Gonzalez and Cuban singer/songwriter Carlos Varela help cement the score's foreign intrigue, while Gerrard (arguably the MVP of soundtrack utility players) contributes a smart remix of the title track and collaborates with Gregson-Williams on the haunting "The End," which also features her distinctly exotic vocals. The result is a spiritual cousin to Hans Zimmer's similarly compelling brew of electronica and world music for Black Hawk Down. -- Jerry McCulley ... Read more

Reviews (1)

Excellent CD!!!
Relaxing!!! I love this CD and would highly recommend it to other mothers. My three month old loves to listen to it before he goes to sleep and during feedings. ... Read more

Reviews (8)

Could have been better
I think the quality is good, and better on a few tracks, but all these romantic tracks?? Not what I listened to. Actually I was kind of disappointed; I had purchased an abundance of the "Favorites" collection some were better than others.
I was kind of perturbed when some same tracks on this CD were on another CD, and visa versa.

Still, I suppose for the price, one can't go wrong.

Some great tracks, but flawed nonetheless
Whether or not this CD lives up to its promise of "Romantic" music is not truly a concern, being that the entire nature of classical music is that it is open to one's own interpretation. However, I can speak to the quality of the recordings themselves.

A few of the tracks (Reverie, Canon, Sarabande, a few others) are absolutely superb. Well recorded, and played with genius bravado, coupled with great arrangements (it was interesting to hear Reverie outside of its native instrument, the Piano). Most of the tracks, however, are absolutely horrid. Fur Elise for the sheer amateurish quality, Vivaldi's Concerto for oboe and strings sounds like it was copied from an old phonograph record, as does Tchaikovsky's Sleeping Beauty Suite, Mendelssohn's Spring Song, and Puccini's Gianni Schicci, and a few others. A few other tracks still are played horribly, most of them already mentioned.

All in all, for the price you are getting quite a few good tracks, but don't expect stellar quality. I would instead recommend Chopin's Nocturnes and Mozart's and Tchaikovsky's Piano concertos of you're looking for something romantic.

Very nice sampler
As someone who is not a big classical aficionado, this was a great way to get a little bit of everything while avoiding the crashy-bangy "Overture of 1812" stuff that I can't stand. My particular favorite is track 9, "Reverie" by Debussy. Absolutely goes to the core of my being; when I am deeply upset I play this track and I am transported into a realm of peace and tranquility I can't get to any other way. I'd buy the CD for that track alone, but the others are good as well. As with any compilation there are a couple that you will always skip over. But overall it's a good CD and I keep it in my car for whenever I need it.

Not worth the money
I have heard this CD (25 Romantic Classics). The main problem in the 25 tracks is that most of them are not pure romantic music. The Air on G string could not be classified as "Romantic" because the general theme is closer to tragic than romantic. The same thing goes for Vivaldi's allegro. The Performance of Mozart's Piano concerto in A made by the poor "Israel Chamber Orchestra" is weak, and i am still wondering of putting this performance in the CD Although There are dozens of great performances for Mozrat's piano concertos. The performance of Beethoven's Fur Elise is quite poor. it went faster than the usual, in addition to extreme use of the sustaining pedal. I Believe that any amateur could perform it better than the soloist here. I wonder why t Chopin's prelude no.7 is in such a CD, its quite out of any conceivable thematic context in addition to being to short. preludes such No.6 (the Tolling Bells) and No.15 (Raindrops) could have been much better for such a CD of romantic music. Add to that, the pianist didn't use the tempo rubato in playing this piece. So the semi-romantic piece was totally destroyed. The rest of the tracks too humble for the serious critic. I don't believe that this CD makes any addition to any classical collection.

Terrible
Terrible sound, boring.... worst classical CD I have ever listed to. I highly recommend Mozart: Requiem. ... Read more

Reviews (5)

25 Wedding Favorite... Almost
As with many compilation CDs 25WF is long on music but short on musicianship. The performances are dull and lifeless with little or no attention to the subtleties necessary to perform these compositions. The recordings are reminiscent of a Jr. College Orchestra performing late in the day. The sound quality is thin and hollow which adds to the dreary atmosphere.
An unremarkable set of recordings to be avoided at all costs.

A Very Good CD
We are going to use many of the songs on this CD for our wedding. The quality is very good.
We also found on amazon.com "A Song For My Daughter" "A Song For My Son" and "A Wedding Thank You" all on the New Wedding Traditions Volume I CD.
Thanks Amazon for making our wedding planning much easier.
The Bride and Groom

A Good CD
We got this CD for our wedding it was a great help.
We also got "A Song For My Daughter" and "A Song For My Son" and some other great reception songs on the
New Wedding Traditions Volume I CD
which we also found on Amazon
Thanks Amazon you have made our wedding planning a little easier.
The Bride and Groom

A Good Source of Ideas But ...
The best I can say about this CD is that there are many different styles represented & one can at least get a sense of which pieces merit further investigation. My overall impression is that most of the selections are given a heavy-handed treatment(one might say ultra-formal) or are downright silly--I could swear I've heard 2 of the tracks in Disney's Electrical Parade. I don't blame the composer, of course, but the arranger & compiler. I'm planning my own wedding & found a few ideas of songs I'd like to hear in *other* versions, but nothing on this CD sounded like what I wanted to hear at my wedding, let alone anyone else's. If you have limited exposure to classical music, or don't know where to begin in planning your wedding selections, this might be a good place to begin, simply because of the variety. But I wouldn't recommend it as the source of your wedding music.

A nice selection
I needed some classical music for my wedding so I pruchased this CD and it is very nice.
I also purchased "Classical Wedding Traditions" (also from amazon.com) I really like that CD too. ... Read more

Reviews (3)

A New Take For A New Series
Richard Gibbs had the unenviable task of following up to Stu Phillip's iconic score for the original Battlestar Galactica. However, rather than go with the now formulaic big and brassy space opera score that he chose a more minimalistic and tribal score. It is not only a perfect match for the reimagination of the Galactica universe, but it's a pretty decent score on its own.

Gibbs hits the kind of atmosphere that Evan Chen tried to hit with his soundtrack to 1999's "Crusade", but does it with much more restraint and must less dissonance. He uses traditional orchestral arrangements with electronic percussion to great effect, blending tribal beats with more conventional underscoring. The first track "Are You Alive?" sets the tone with an understated drum theme that reappears throughout the soundtrack, before the score veers into pulse-pounding action tracks like "Launch Vipers" and pieces that brilliantly reflect the struggle of the Galactica's crew against overwhelming odds.

If you're a fan of traditional space opera scoring, you'll probably be disappointed with this album. If you like a more restrained and atmospheric score, this is a worthwhile album.

Completely different from the original...and a success!
When I first heard about a remake of the "Battlestar Galactica" TV Series, I was excited for several reasons, one of which was the score. Who was going to compose it? Would they use the original theme? When I saw the music would be composed by Richard Gibbs, a composer that I was not familiar with (although I listen to a huge amount of soundtracks). I was never-the-less quite disappointed.

My opinion has changed immensely since my original impression! After viewing the mini-series (which I was *extremely* pleased with), I have to say the score was terrific! It's completely different from Stu Phillips' approach to the original 70's series, and still a great listen.

Some of the tracks, such as Track 4 ("To Kiss Or Not To Kiss") has a theme in it that literally brings tears to my eyes. It's a very emotional theme that has a certain "tribal" quality to it. In fact, most of the music has this sound...kind of a "Thomas Newman meets Hans Zimmer" flair. But I do not mean this to describe Gibbs' score as a knock-off of anything else...it's entirely original and I am thrilled that it got a release on CD.

I look forward to what Richard Gibbs will bring us once the series premieres in the fall of 2004 on the Sci-Fi Channel.

Grand, Sweeping Space Opera - No! Beautiful - Yes!!!
As a fan of Stu Phillips' wonderfull score for the original 1978 version of Battlestar Galactica I was keen to hear it revived again for the new Sci-fi Channel miniseries. This was not to be the case!
The director wanted a non-intusive, minimalist approach to scoring this new "re-invented" version of the show.
Composer Richard Gibbs (Queen Of The Damned) was given this difficult task and (along with assistant Bear McCreary) composed a score that not only compliments the imagery on the show perfectly but stands alone as a great listen on CD!
At first I found it too subtle or gentle but the more I heard it the more it grew on me. It's use of ethnic instuments mixed with western styles works well. Some tracks really stand out for their sheer beauty. 'To Kiss Or Not To Kiss' is lovely and 'The Storm And The Dead' is just glorious! The "action" tracks are simple but very good in their use of Japanese taiko drums with synth backing.
If you only like your "space opera" music in the vein of Star Wars, Star Trek or the original Battlestar style then perhaps this score isn't for you. I love all of the above but found this new approach of minimalist action scoring refreshingly different. I'm very pleased with this soothingly stylish addition to the sci-fi music universe. Bravo Mr. Gibbs! ... Read more

Amazon.com

Comparisons with Charlotte Church are inevitable, yet 16-year-old New Zealand singer Hayley Westenra has her own distinctive sound. She has impeccably clear diction coupled with a gorgeous voice with a very wide range: her high notes in the Kate Bush hit "Wuthering Heights" are especially striking, and like Bush she is also a dancer, having performed with the Royal New Zealand Ballet. If there's a problem, it's that Pure doesn't have a focus to match Westenra's talent, the tracks spanning everything from "Amazing Grace" to a Maori lullaby ("Hine e Hine") to hybrid pieces adapted from Ravel ("Never Say Goodbye") and Vivaldi's Four Seasons ("River of Dreams"). Ultimately what this set does demonstrate is that whatever direction Westenra finally settles on, she has the ability to go to the very top. For now she is a young artist finding her way, and for many listeners the result is Pure magic. --Gary S Dalkin ... Read more

Reviews (73)

She's different, beautiful and amazing!
I'm not a big fan of classical music, but I will always remember where I was and what I was doing when I experienced Hayley's album "Pure" for the first time. This is the most beautiful voice I've heard in my whole life. I didn't think sopranos could sound so sweet since they basically scream to the music but Hayley doesn't have that screaming sound; it's gentle and soothing instead. At the end of each song all I can think of is I want more! The opening tune "Pokarekare Ana" swept me away like a tropical South Pacific ocean current. "Never Say Goodbye" moved me to tears midway through and made me recall all the joys and sorrows of my love life. "Dark Waltz" left me spellbound and "In trutina" gave me the chills it was so nicely done. And who doesn't feel conked on the head by "Benedictus" the first time you hear it, but Hayley's fabulous voice takes away the discomfort immediately. It's nice to see Hayley is a success story around the world. I hope she continues to record in the diverse styles she's chosen and doesn't limit herself to classical or any other specific genre. "Pure" gets five big stars for music, voice, accompaniment, everything!

Wonderful Vocal Execution and a Strong Debut CD
Ms. Hayley Westenra, hailing from New Zealand makes a strong debut into the classical crossover genre under Decca's release, "Pure."

Her voice is crystalline; however, I beg to differ on her use of her soprano on "Wutherting Heights." I prefer the tracks without "Wuthering Heights." What's wrong with the track? To me, her voice sounds pitchy and somewhat out of tune with the music. Wuthering Heights is a broadway and as such, should be presented in a Broadway-type of singing style using lower vocal registers.

Aside from that one track, the rest of the songs included are flawless. I would still have to make a comment that although Haylet will be judged from her own vocal merits, she'll be also judged and compared to as being in the shadow of Charlotte Church.

In due time, Hayley's soprano will mature and she'll be in better control of her instrument, but at this time, her debut "Pure" is a strong foothold into the crossover music genre.

Highly reccomended if you're a fan of Charlotte Church or a generic fan of the crossover genre.

Pure? Try boring.
You say pure and angelic, I say boring and wimpy. Ms.Westenra does indeed have perfect-pitch (along with thousands of other people in the world) but that's about the only good thing you can say about her. Perhaps it's just because I'm accustomed to real, full-voiced opera singers but I just can't understand how people can stand to listen to a voice with no vibrato. She has no resonance, no feeling, and no dynamic range whatsoever (the entire CD is sung mezzoforte). I'm certainly not saying that this is the worst classical-crossover CD ever (Charlotte Church's sophomore album comes to mind for that award) but I am saying it's bad. Not for real classical/opera fans. Better for easy listening fans.

This CD is pure pleasure
I really enjoyed listening to this album. I admire any singer who can sing effortlessly in more than one language. This is what Hayley Westerna does so well in English and Maori. I fell in love with Hayley Westerna's voice after watching the music video for Pokarekare Ana Come Back To Me. Her voice sounds very romantic and soothing. In Trutina is another great track. Hayley hits all the high notes and shows range of her powerful voice. Hayley also sings a great rendition of the church hymm Amazing Grace. Her voice is so uplifting here. I also loved the track Never Say Goodbye. Her delivery and phrasing is flawless and so snooth on this song. The instruments on this album are a perfect compliment to her voice. I love the violin playing on the track Dark Waltz is just lovely. Pure is simply a pure pleasure to listen to. Hayley Westerna is a very talented singer with a bright future.

second chance?
When Charlotte Church first came on the scene, many of us hoped for another truly great Carmen in the manner of Rise Stevens, but she has chosen to go another way. Hayley Westenra may be not only a second chance but an even better one with the effortlessly clean diction and ease of delivery not heard since Stevens. We live in hope. ... Read more

Album Description

TV Land brings you 40 of your favorite evening show themesongs. Highlights include 'Happy Days', 'The GreatestAmerican Hero', 'Dukes Of Hazzard (Good Ol' Boys)','Laverne & Shirley', 'I Dream Of Jeanie', 'I Love Lucy','Welcome Back, Kotter', 'The Love Boat', 'Hawaii Five-O','The Golden Girls' and many, many more. 2002. Rhino. ... Read more

Reviews (9)

Great music--very nostalgic
This album is great. I disagree with the person who said that some of the songs aren't original. Fred Steiner did the original Star Trek. It all sounds just like I remember hearing on the TV shows.

Sanford and Son by Quincy Jones
To the reviewer below, the Sanford and Son theme is by Quincy Jones. If you search for him, you will find a CD by Quincy - or if you can download through iTunes, it's only $0.99 for the song. Growing up with these TV shows, this musid does bring back all those old jingles. Fun.

missing
The CD is wonderful but there is one song I am looking for and that is the Sanford and Son theme song... So that disappoints me. Any ideas where I can find it....I am getting married soon and I really need that theme song.....Thanks

It's wonderful, but...
... some of the songs (such as Bonanza and Star Trek) are not original and have been re-performed by other artists.
Since I mainly bought the cd for the song of Bonanza I am really disappointed. I wish they would say on the back of the cd that 3-4 songs are not original recordings. I would probably buy the disc all the same, but I felt cheated.

Great Fun!
Terrific collection of TV memorabilia. My students love it.
I highly recommend this collection. It brings back MANY,MANY happy memories from my childhood in Philadelphia. ... Read more

Amazon.com

Boston Baroque and Martin Pearlman recorded a splendid set of the Brandenburg Concertos on period instruments in 1993 and 1994. Made entirely in the US, these snappy, crisply articulated, and fluent performances rely heavily on the talents of violinist Daniel Stepner (who doubles as one of the two solo violists in Concerto No. 6). Among the highlights are the joyous finale to Concerto No. 4 and the superb cembalo cadenza in No. 5, played by Pearlman. Along with outstanding sound, there's a winning sense of freshness and discovery in these performances. --Ted Libbey ... Read more

Reviews (16)

Accept no Substitutes--This is the one
This cd set is marvelous. Too often, Bach's Brandenburg Concertos suffer from tired, overblown, lifeless interpretations. Not in this case, as the Boston Baroque's spirited performance breathes life and personality into these recordings. Martin Pearlman and the Boston Baroque ensemble should be commended for their interpretation. From the first concerto to the sixth, every note is played with a joy that is contagious and is sure to lift the spirit.

Magnificent "Brandenburgs."
This set of Johann Sebastian Bach's "Brandenburg Concertos" is magnificent! The Boston Baroque, under the direction of Martin Pearlman, play on period instruments with freshness and vigor, giving the music that wonderful, slightly "abrasive" quality that I believe baroque music should have. Overall, tempi are faster than more traditional renditions, but never seem rushed. (Faster tempi are probably more in line with Bach's original intentions). The orchestra and conductor make a wonderful team, their enjoyment of the music evident throughout. Sound quality is first-rate. I highly recommend this 2-CD set, especially for those who, like me, enjoy classical music played on period instruments.

Great Pair of CDs
I don't know much about classical music, but I must say that these CD's are great. I love the music and the production quality is perfect. I've heard the same pieces preformed by other groups and these CD's always sound far better to me.

If You Buy Only One Bach CD, Make This the One!
I was always a fan of Mozart. To me, classical music was Mozart and only Mozart. That was until I heard the Brandenburg Concertos. These six movements opened my eyes and ears to the beautiful music of J.S. Bach.

This two disc set by the Boston Baroque to me is the quintessential interpretation. There are many other very good versions out there, but this one seems to stick out head and shoulders above the rest.

If you are a fan of music and don't have any Bach in your collection, get this. Young, old, middle-age, this is music that can (and should) be enjoyed by any generation. While Mozart's music is undeniably beautiful, Bach's works take first place in my opinion. This CD is a wonderful example why.

Just perfect
I was looking for a good version of the concerts to keep forever and forget about others. And I found it. The Boston Baroque makes the best performance I have ever heard of the Six Concertos. Each CD also includes a little booklet with comments of each concerto (not extremely detailed but interesting).

Careful! The "air" is not the usual modern one, that we might be used to. It is also performed on period instruments. But trust me (as it happened to me!). Listen to both CDs a couple of times and you'll realize that buying any other version is a waste of money.

You will fall in love with them. ... Read more