Bob Hall Music

This cd is really fun to listen to. It is fun silly words to great well known clssical music. My Son is 3 years old and he sits in front of the stero in total awe. Wonderful backround singing as well. I am buying 3 more for my neices and nephews. If you would like your child to have a bit of class in his or her style of music this is a good start.

If you love Bach, which you must if you are looking at this particular item, you probably own a couple of his works already. Perhaps some of them are on the Teldec label. There is nothing wrong with Teldec if you are just getting into "classical" music. You will probably enjoy the music thoroughly. I know I did, as one of the first "classical" releases I bought was on Teldec, and it was Bach. I was amazed how great Bach was. Then my brother showed me the same recording, performed by another group, on another label. It had a lot more passion, and the instrumentalists were obviously of a higher level. Pardon my rambling, but what I'm trying to say is, the recordings found in this boxset are not the "cream of the crop." They are perfectly acceptable, easily listenable renditions of what many consider the greatest music...EVER. Take it from me, someone who has leapt into boxset land one too many times: Save your money, buy the individual albums. Take your time, talk to record store clerks (read Amazon reviews), do your research. If you are lucky enough to have a decent record store around, listen to multiple versions of the same work. No one said you had to buy it all at once. It can take a lifetime to fully realize the potency of this music, so enjoy the discovery as long as possible.

This set is the culmination of several decades of work on the part of the West German record label Teldec (formerly known as Telefunken-Decca). With their early-music subdivision Das Alte Werk (similar to DG's Archiv or Decca's L'Oiseau-Lyre), Teldec have been in the forefront of exploring the world of period instruments and authentic performance practice, with special emphasis on the works of J.S.Bach. The lion's share of recordings here was originally made for Das Alte Werk, with the odd exception here and there licensed from other labels in order to fill in the gaps. The centerpiece of the set is the famous recording of the 199 church cantatas by Nikolaus Harnoncourt and Gustav Leonhardt. If you're not familiar with the cantatas, there's a whole world of drama, color and expression right here waiting for you. You'll also be surprised to learn how many of the "tunes" you know from popular arrangements, like "Jesu, Joy of Man's Desiring" and "Sleepers Awake" are actually movements from cantatas. The names of Harnoncourt and Leonhardt pop up again and again; they were both mainstays of the Teldec roster. Leonhardt gives us his 1965 Goldberg Variations on a Dulcken harpsichord whose every tone is like a bell, and Harnoncourt's "home" recording of the Cello Suites (never intended for general release) shows the ferment of a great musical mind. Ton Koopman gives us his provocative and controversial re-thinkings of the organ works, and Thomas Zehetmair's performances of the unaccompanied violin sonatas and partitas are like dramatic scenes spoken by a solo violin. Here are the uniquely bizarre Brandenburg Concertos by Il Giardino Armonico; the rhetorical and transparent performance of the motets conducted by Harnoncourt (perhaps his best-ever recording); Leonhardt's relaxed and smiling versions of the harpsichord concertos; Alice Harnoncourt's tawny, leonine performances of the sonatas for violin and harpsichord; Harnoncourt's chiaroscuro-filled performance of the Christmas Oratorio, and so on. This set is one of the most worthwhile CD buys you could make. You will never be bored with this to dip into over the years.

In Antony & Cleopatra, Shakespeare wrote: "I shall see some squeaking Cleopatra boy my greatness...."

I am 99% in favor of original instrument performances, but there are limits. Just imagine if we had the same sort of thing going on with Shakespeare's plays -- men and boys playing all of the women's parts. And if we *really* wanted to be original, they would be squeaking boys "I' th' posture of a whore" (Shakespeare's words). Such performances would knock Monty Python
right out of business.

The Cantatas, which are the lion's share of this collection, are sung by boys, boys, boys. If you want to ruin boy choirs for yourself, then go for it. It might still be a novelty by the fifth CD but by the fiftieth, you will want to throw your [...] wig at the squeaking speakers, just as the exasperated Bach famously did with his own wig and his own boy choir. (For which he was reprimanded.)

Does Harnoncourt really, honestly think that Bach would have picked a boy choir if he could have had women? Does anyone seriously believe that Shakespeare would have preferred his parts played by boys instead of women?

If you buy this set, don't buy it for the Cantatas, unless (unlike Bach) you can tolerate immature voices with "wig-tossingly" inconsistent intonation. Hold out for Suzuki or Koopman. Stay away from the Richter performances, mostly because the recording quality is second and third rate by today's standards. Not that historical performances should be shunned, but you might want to think twice about 60 odd CDs worth of second rate sound.

Having listened to the complete set, I can confidently recommend it, if you would use a complete set of Bach's works.

If you really like Bach, it is well worth getting. You will read disparaging reviews which will tell you that there are better performances of individual works. But this is a great opportunity for a Bach lover to get very good versions of his entire oeuvre.

In the set of 60 CDs of sacred cantatas, there are about 6 duds, which feature out of tune boy sopranos! If you are not crazy about sacred cantatas, you can buy a set which omits them, which may be advised!

I love the version of the Mass in B minor, though it is very different from our set by Munchinger [which we really enjoy].

The Brandenburgs are great. THe first movement of the first concerto is a knock out! Very brassy and bombastic: quite different from the 3 or 4 other versions I have previously enjoyed.

We are a piano family and have many CDs of Bach keyboard works played on piano [though we also have the Well Tempered Clavier on harpsichord and clavichord] The keyboard performances in the set are all on harpsichord and are lively and very enjoyable.

It takes some getting used to the authentic Baroque flute performances: especially occasional out-of-tuneness. But these are also interesting and musically played.

If you would use a set of all of Bach's extant works, it is a great choice. It is competitively priced and I love the packaging.

I believe, as another reviewer has stated, Bach's music may be the best ever written. Also, I think the cantatas are not where Bach placed his heart and soul. He was, after all, employed as a canter and in a position he did not wish for, but was forced to take to feed his large family. (I recommend "Bach and the High Baroque" lecture series by TTC.) What really stands out on this collection are all works in volumes 8 and above. Some of these works are hard to find and having them all in this collection and preformed on original instruments is great. Bach is priceless and so then is this collection.

Though some classic tracks played during that year (Belly Full, Stir it Up, RoadBlock) are absent it's still a great show as always. Great sound also for a Japanese release. A 45 minute concert recorded in my hometown, (Cleveland) that contains the scarcely performed "Nice Time". Also this rendition of "Lively Up Yourself" sounds a like the studio version minus the horns. Great dub workout of "I Shot The Sheriff", always better than Clapton's even though I love him also. "Slave Driver" and "Burnin and Lootin" as usuall are very strong. "Kinky Reggae" has a real kinky bounce to it. Nice! Thanks 2 Tyrone Downie-(keyboards)Familyman -(Bass) and Carly Barrett(Drums). "The Jungle" and "Midnight Ravers are also excellent. "Get Up Stand Up" is show stopping as always! Pretty much a strong showing though not near their more subperb (Smile Jamaica, The Rainbow, The Roxy, One Love, Santa Barbara, Zimbabwe just to name a few.)

As far as 1975 concerts I suggest Quiet Knight Club and the Island released Lyceum before this though. I'd suggest Quiet Knight club because It features an unkwoun Harmonica player. It also features the rarely preformed songs "Natty Dread" and "Talkin Blues". But please start at the Lyceum. It was an album concieved by The Gong while alive (making it a classic). It also has way better sound and it's around only 10 bucks. It's an all around great deal.
Jah Rastafari, In winter in sun.
4 God is the supreme one. All thanks 2 him!
Peace and Love.

The Christine Brewer is one of our more important heroic soprano voices of the time is an understatement. For those fortunate enough to have been in the presence of her performances as Isolde there can be no doubt that this is a voice of huge range, flexibility, intelligence and burnished warmth. She is most assuredly a star on the ascent.

The selection on this strange CD is puzzling: 'Great Operatic Arias' these are not. Though there are some of the big ones included ('Don Giovanni', 'Tannhäuser', 'Alceste', 'Oberon', and 'Euryanthe'), the program is fleshed out with operettas from Lehar, Kalman, and Rodgers and even some concert arias such as Beethoven's 'Ah, perfido'! Brewer is accompanied by other singers where indicated and by the London Philharmonia Orchestra conducted by David Parry. But oddly enough the works are all sung in English translations - and some of these translations are poor ones at that.

It does seem a waste of time to include 'You'll Never Walk Alone' from 'Carousel', but that particular song allows Brewer to demonstrate amply that the mezzo range is a strong comfort zone for her. Despite the odd choices of works here, what makes the album work is Brewer's extraordinarily beautiful voice. She sails over the orchestra, tossing off difficult passages with utter ease, and always reminding us that her instrument is never less than one of beautiful sound. If you can get past the English versions and the mixed bag of works she has chosen to sing, you are in for an hour of beautiful vocalizing! Just don't let this album be your introduction to this very fine artist. Grady Harp, October 06

I am not a musicologist, but this CD by Miss Kirscschlager makes me want to listen to it over and over, especially the Korngold songs as I am a big Erich Wolfgang Korngold fan.

Angelika Kirchschlager recently gave a wonderful recital at Tully Hall in NY - all Schubert and Wolf. It was one of the best events of the year. Her musicianship, wonderful sound of her voice, and personality made this a truly memorable recital, and this disc is highly recommended, especially if you do not know this singer.

This is a wonderful CD in every way. The programming is unified yet uniquely interesting, with both the tried-and-true (Gustav Mahler songs) and the completely new (some Korngold and Alma Mahler songs). The recorded sound is excellent, with a perfect balance between soloist and piano accompaniment. Most of all, Kirchschlager's singing is simply outstanding -- she has a gleaming mezzo-soprano voice, and she is particularly good and idiomatic in the German-language songs, capturing the feeling of fin-de-siecle Vienna as few singers could.

Although I also like Kirchschlager's lullabies CD ("When Night Falls"), this is the recording I keep coming back to for repeated listening. I think I've played it over 50 times now!

There is so much style, wit, and good musicianship here. My children range in age from 5 to 14 and they all enjoy it. I can't believe my library had only one copy and more people don't know Gunnar Madsen's name. There are several styles of music reflected in this CD and all are well done. My kids especially like "Don't Shake Hands With A One Eyed Pirate". We all bounce to "Two Coconuts", tune about little kids riding in a bike trailer whose helmeted heads look like two coconuts bouncing around. My children howl with the sad dog who is home alone during "Lonesome Dog Tango". Everyone of these songs is a winner. I would like to see Gunnar come out with more of this work.

What appears to be a kids' CD is much more! This album is full of gems, all but "Home on the Range" are Madsen originals. I had expected him to do something funny with that last number, but instead he gives it a beautiful harmonic rendition with a delicious final barbershop chord tuning! "Are we there yet," the classic phrase of backseat kids, is a relaxing song, again with sublime harmonies, countering what one would expect from the title. Madsen clearly had a great time making this album, and I certainly am enjoying repeated listenings!

Gunnar Madsen's Ants In My Pants offers wildly entertaining and highly recommended selections for kids that range from Elvis-style "rock & roll" to Western swing and pop-powered funk. The lively and engaging songs include Welcome To My Fog (4:13); Don't Shake Hands With A One-Eyed Pirate (2:25); Tuna Fish (2:11); Old Baloney (2:46); Like Two Coconuts (1:12); And The Children Rolled (2:38); Ballad Of The Lonesome Rider (2:58); Lonely Dog Tango (3:29); I Am Loved (3:29); Are We There Yet? (4:03); Mayonnaise And Pumpernickel Bread (1:53); Home On The Range (2:39); and the title piece, Ants In My Pants (2:32).