Music : Styles : Classical : Forms & Genres : Requiems, Elegies & Tombeau

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Music : Styles : Classical : Forms & Genres : Requiems, Elegies & Tombeau

• 25 Mozart Favorites

  
  This is an astonishing collection of works - or parts of works - by Mozart that covers almost every aspect of his creative output: symphonic, religious music, concerti (for piano, horn, violin, clarinet, flute), chamber music, serenades (for strings; winds), a couple of opera overtures and more. Those who know and love Mozart's music will not need this, but it's a great introduction, a great overview. The selections are well-chosen and interestingly organized, with familiar pieces splrinkled among some not-so well known. A good primer. --Robert Levine
  
   

• Sarah Brightman Classics

  Sarah Brightman, Tomaso Giovanni Albinoni, Francisco Tarrega, George Frideric Handel, Fryderyk Chopin, Sergey Rachmaninov, Giacomo Puccini, Antonin Dvorak, Andrew Lloyd Webber, Ludwig van Beethoven, Joseph Marie Canteloube, Francesco Sartori, Paul Bateman

  
  
   

• Pavarotti's Greatest Hits

  
  
   

• Andrea Bocelli - Sacred Arias / Myung-Whun Chung

  George Frideric Handel, Giulio Caccini, Charles Gounod, Franz Schubert, Cesar Franck, Gioachino Rossini, Giuseppe Verdi, Wolfgang Amadeus Mozart, Richard Wagner, Pietro Mascagni, Louis Niedermeyer, Franz Xaver Gruber, John Francis Wade, Jean-Paul Lecot, Myung-Whun Chung, Andrea Bocelli

  
  When he was growing up, Andrea Bocelli recalls finding inspiration in a favorite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias, the release of which coincides with the first English-language biography of the singer. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalize Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of color and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a program of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu." Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. --Thomas May
  
   

• The Most Relaxing Classical Album in the World...Ever!

  Johann Sebastian Bach, L\xe9o Delibes, Gabriel Faur\xe9, Erik Satie, Wolfgang Amadeus Mozart, Edvard Grieg, Johann Pachelbel, Claude Debussy, Felix Mendelssohn, Camille Saint-Saens, Henryk Gorecki, Antonio Vivaldi, Edward Elgar, Jocelyn Pook, Sergey Rachmaninov, Tomaso Giovanni Albinoni, Luigi Boccherini, Jules Massenet, Ludwig van Beethoven, Jacques Offenbach, Pietro Mascagni, Antonin Dvorak, Giacomo Puccini, Ralph Vaughan Williams, Alexander Borodin, Joaquin Rodrigo, Samuel Barber

  
  You want relaxing classical music that'll soothe your soul but won't lull you into sleep? Here's a double CD for you. The Most Relaxing Classical Album in the World ... Ever! does its best to cover both well-worn classical favorites (Bach's "Air on the G String," Pachelbel's "Cannon," Debussy's "Clair de Lune") and some eclectic left-field choices (an excerpt from Górecki's Symphony No. 3, Jocelyn Pook's "Blow the Wind," and Samuel Barber's Adagio for Strings. The performances of most of these excerpts are top-notch--artists include Sir Neville Marriner, James Galway, Jacqueline du Pré and the Philadelphia Orchestra--and there's enough variety here for everyone. --Edward Garabedian
  
   

• O Holy Night / Luciano Pavarotti / Special Deluxe Edition (Decca)

  
  This CD is a compilation of (mainly) devotional music sung by Pavarotti when he was in or near his prime, most going back, gloriously, to 1976. Precisely what Orfeo's lament (from the Gluck opera) is doing in a recital called "O Holy Night" is beyond me, but the rest of the selections are well chosen. The title song is gorgeously enough performed to be worth the album's asking price, the tenor's voice ringing out with great clarity and beauty, and the selection from Rossini's Stabat Mater is even more thrilling, with its ascent to high D flat near its close. Verdi's "Ingemisco," from his Requiem, is handsomely and sensitively delivered, and the others elections, with or without choir, are simply stunning. A CD for Christmas and the rest of the year as well. --Robert Levine
  
   

• Essential Mozart: 32 Of His Greatest Masterpieces

  
  
   

• Mozart - Requiem / Augér, Bartoli, Cole, Pape, Wiener Phil., Solti

  
  
   

• The Andrew Lloyd Webber Collection

  
  
   

• Requiem & Magnificat/Rutter, Cambridge Singers

  
  Two of John Rutter's most popular large-scale choral works are paired in this bargain-priced CD. Requiem, his first composition written without being commissioned, is a convincing affirmation of Christian doctrine on death and eternal life. It is also a substantial and sincere work that strives to be widely appealing while preserving a spiritual context centered on themes of light and consolation. Highlights include "Out of the Deep," its modal tune and harmonies giving it the flavor of a spiritual, and the wonderfully gentle and restful 23rd Psalm. Rutter personalizes his Requiem by adding movements not traditionally part of the Requiem Mass--passages from the 1662 Book of Common Prayer, for instance--and this proves to be an effective strategy. Rutter's own, first-class Cambridge Singers are superb, as usual, and soloist Caroline Ashton steals the show with her heavenly Pie Jesu. The Magnificat shows Rutter at his most engaging, thoughtful, and adept. His usual canny sense of tunefulness and rhythmic rightness, flavored with splashes of pop harmony, accomplish his purpose in the Magnificat: to depict Mary's prayer as a celebratory occasion rather than a somber one. --David Vernier
  
   

• Brahms: Ein deutsches Requiem [A German Requiem]

  
  This account of the German Requiem really is one of the great recordings of the century. Even today, Otto Klemperer's monumental interpretation with the Philharmonia Orchestra and Chorus, recorded in 1961, remains unmatched among readings that emphasize the spirituality of the score. Sober and sustained, but not unduly slow, it places Brahms on the continuum of German sacred music going back through Beethoven to Handel, Bach, and Schütz. Drawing committed playing and singing from his forces, Klemperer opens the door to the beauties of the music without fuss or fanfare. Both soloists are exemplary: Schwarzkopf's expressive portamento now sounds a bit dated in style, but her singing is characterful, while Fischer-Dieskau is a paragon of restrained expressiveness. The singing of the Philharmonia Chorus is especially beautiful. EMI has done a superior job of remastering the original recording. Balances and tone quality are quite fine, and the spacious Kingsway Hall ambience conveys with lifelike immediacy. Compared with previous CD incarnations, there is new depth to the image and better resolution of detail--the weight of the organ can really be felt, as can the timpani strokes in "Denn alles fleisch es ist wie gras," and one finds greater presence and definition in the chorus and considerably more richness of tone in the orchestra. There is still some distortion in the climactic moments; for example, what sounds like tape saturation frizzes a couple of the big Beethovenian choral proclamations at the end of "Denn alles fleisch es ist wie gras." Such things are but a small blemish on what is an absolutely ravishing restoration of one of the most valuable recordings of the stereo era. --Ted Libbey
  
   

• Mozart Edition: Complete Works (170 CD Box Set)

  
  Mozart Edition: The Complete Works will make a great gift this Holiday season for the music lover in your life or someone who is hard to buy for. This collection contains 170 discs of completed works by Mozart in one beautiful package. Also included is a cd-rom containing essays on his works, artist bio's, text and libretti's. At this super low price all music lovers will enjoy the Symphonies - Concertos - Serenades - Divertimenti - Dances - Chamber Music - Church Sonatas - String Ensembles - Violin Sonatas - Keyboard Works - Sacred Works - Concert Arias - Songs - Canons and Operas in this collection.
  
   

• Prayer: A Windham Hill Collection

  
  
   

• Choral Masterpieces

  
  
   

• Sanctuary

  
  
   

• Sacred Arias [Special Edition with Bonus DVD]

  Andrea Bocelli, Giulio Caccini, Cesar Franck, Charles Gounod, Franz Xaver Gruber, George Frideric Handel, Jean-Paul Lecot, Eric Levi, Steven Mercurio, Wolfgang Amadeus Mozart, Louis Niedermeyer, Gioachino Rossini, Franz Schubert, Giuseppe Verdi, John Francis Wade, Richard Wagner, Myung-Whun Chung, Santa Cecilia National Academy Orchestra Rome

  
  
   

• The Most Relaxing Classical Album In the World Ever, Volume II

  Gabriel Faure, Frederic Chopin, Antonio Vivaldi, Gustav Mahler, Claude Debussy, Sir Neville Marriner, Maris Jansons, Lorin Maazel, Sir Adrian Boult, Miklos Rozsa, Riccardo Muti, Stephen Cleobury, Sir John Barbirolli, New Philharmonia Orchestra, Philharmonia Orchestra & Chorus, Academy of St. Martin in the Fields, Berlin Philharmonic

  
  
   

• Faure Requiem Op.48 / Durufle Requiem Op.9

  Gabriel Faur\xe9, Maurice Durufl\xe9, Judith Blegen, James Morris

  
  The chorus is at center of Shaw's reading of the score, presumably the more lightly scored 1893 version that Fauré‚ himself created (Telarc does not specify). The account flows very well, and the work of both soloists is highly satisfying, particularly Judith Blegen's airy soprano in Pie Jesu. The recording dates from 1985-86 and is one of Telarc's best, with excellent presence overall and real bass in the organ. --Ted Libbey
  
   

• The Premiere Collection: The Best Of Andrew Lloyd Webber (Original Cast Compilation)

  
  There are many, many Andrew Lloyd Webber albums out there, including cut-and-paste compilations and songbooks from individual artists, most notably Sarah Brightman, Michael Crawford, and even Jose Carreras. The Premiere Collection is probably as authentic as you can get in a hits album, however. In addition to the most popular selections from the original casts of Evita, Cats, and Jesus Christ Superstar, the 57-minute album includes two selections from Tell Me on a Sunday (also recorded by Bernadette Peters as Song and Dance), the title tune from Starlight Express, the "Pie Jesu" from the Requiem, and a snippet from the Paganini Variations, thereby allowing you to hear the good stuff without having to spring for the complete albums. Note that the three selections from Phantom of the Opera are the 1986 pop singles instead of the cast recordings, meaning Steve Harley rather than Crawford sings with Brightman on the title tune and Cliff Richard subs for Steve Barton on "All I Ask of You." (Crawford does sing "The Music of the Night," of course.) This 1989 compilation was too early for Aspects of Love or Sunset Boulevard, and Joseph and the Amazing Technicolor Dreamcoat is ignored, but these omissions are rectified in the follow-up album The Premiere Collection Encore, and the American-slanted version, The Very Best of Andrew Lloyd Webber: The Broadway Collection. --David Horiuchi
  
   

• Verdi: Requiem & Operatic Choruses

  
  Robert Shaw learned from Arturo Toscanini, and in his stupendous 1987 recording for Telarc he managed to surpass the master on some points. He is unerring in his pacing and staging of climaxes, and draws phrasing and dynamics from the chorus that other conductors can only dream of. Points are made with exhilarating effect throughout the account: never has the bass drum in the Dies irae been as splendidly hammered as here, and the whooping brass in the Tuba mirum is breathtaking. The all-American solo quartet sounds a bit driven, especially the light-voiced Susan Dunn and Jerry Hadley, but their contribution is a strong one nonetheless. --Ted Libbey