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Billy Elliot
from: Decca Broadway
:Album Description:Billy Elliot is the heartwarming story of a young boy from a working-class family who discovers a passion that will change his life forever. Eleven-year-old miner's son Billy Elliot is on his way to boxing lessons when he stumbles upon a ballet class. Billy secretly joins the class, knowing that his blue-collar family would never understand. Under the guidance of his teacher Mrs. Wilkinson, Billy's raw talent takes flight. But when his father discovers his son's ambition, Billy must fight for his dreams and his destiny. : Based on the ...
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Schumann, Handel, Haydn, Telemann: Concertos for Four Horns
from: Naxos
:Album Description:Billy Elliot is the heartwarming story of a young boy from a working-class family who discovers a passion that will change his life forever. Eleven-year-old miner's son Billy Elliot is on his way to boxing lessons when he stumbles upon a ballet class. Billy secretly joins the class, knowing that his blue-collar family would never understand. Under the guidance of his teacher Mrs. Wilkinson, Billy's raw talent takes flight. But when his father discovers his son's ambition, Billy must fight for his dreams and his destiny. : Based on the ...
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Venetian Vespers (Monteverdi * Rigatti * Grandi * Cavalli) /Gabrieli Consort & Players * McCreesh
: essential recording:Paul McCreesh's second major recording (and second Gramophone Award winner) reconstructs Vespers for the Feast of the Annunciation at San Marco circa 1643, using music by Monteverdi and contemporaries including Cavalli, Grandi, and Rigatti. The music is less dense and lavishly scored than on A Venetian Coronation, but more virtuosic and varied--ranging from Finetti's sweet, languid 'O Maria, quæ rapis' for two falsettists and Monteverdi's lively 'Laudate Dominum' for solo tenor, to Marini's sensuous sonata for three violins and Monteverdi's spectacular 'Lætatus sum' for six singers, two violins, two ...
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Different Mozart
from: Philips
: essential recording:Paul McCreesh's second major recording (and second Gramophone Award winner) reconstructs Vespers for the Feast of the Annunciation at San Marco circa 1643, using music by Monteverdi and contemporaries including Cavalli, Grandi, and Rigatti. The music is less dense and lavishly scored than on A Venetian Coronation, but more virtuosic and varied--ranging from Finetti's sweet, languid 'O Maria, quæ rapis' for two falsettists and Monteverdi's lively 'Laudate Dominum' for solo tenor, to Marini's sensuous sonata for three violins and Monteverdi's spectacular 'Lætatus sum' for six singers, two violins, two ...
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Christmas Mass in Rome
from: Polygram Records
: essential recording:Paul McCreesh's second major recording (and second Gramophone Award winner) reconstructs Vespers for the Feast of the Annunciation at San Marco circa 1643, using music by Monteverdi and contemporaries including Cavalli, Grandi, and Rigatti. The music is less dense and lavishly scored than on A Venetian Coronation, but more virtuosic and varied--ranging from Finetti's sweet, languid 'O Maria, quæ rapis' for two falsettists and Monteverdi's lively 'Laudate Dominum' for solo tenor, to Marini's sensuous sonata for three violins and Monteverdi's spectacular 'Lætatus sum' for six singers, two violins, two ...
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Giovanni Gabrieli: Music For San Rocco
from: Archiv Produktion
: essential recording:The polychoral and antiphonal works of Giovanni Gabrieli sound best performed in the acoustics for which they were conceived, such as the Scuola Grande di San Rocco in Venice, where this splendid collection was recorded. Whether in extroverted pieces like the Sonatas 18 and 20, or the introspective and harmonically rich Domine, Deus meus, the sounds that resonate between the notes are crucial to this composer's expression. Time and again one's ears perk up at Gabrieli's genius for blending the most unlikely sonorities imaginable, such as six low voices ...
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Schütz: Christmas Vespers / McCreesh, Gabrieli Consort and Players
: :Heinrich Schütz's Christmas Story, besides being a historical milestone, has always been one of 17th-century music's crowd-pleasers--the former because it's the ancestor of Christmas oratorios by Bach, Charpentier, and even Berlioz; the latter because it presents engaging depictions of the characters in the Nativity story with a cornucopia of colorful instruments (piping recorders for the shepherds, a galumphing bassoon (representing the gait of the camels?) for the three wise men, regally blaring cornets for King Herod, and pompous trombones for his priests). As you might expect, there are a number of ...
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Britten: A Midsummer Night's Dream
from: Virgin Classics
: :Heinrich Schütz's Christmas Story, besides being a historical milestone, has always been one of 17th-century music's crowd-pleasers--the former because it's the ancestor of Christmas oratorios by Bach, Charpentier, and even Berlioz; the latter because it presents engaging depictions of the characters in the Nativity story with a cornucopia of colorful instruments (piping recorders for the shepherds, a galumphing bassoon (representing the gait of the camels?) for the three wise men, regally blaring cornets for King Herod, and pompous trombones for his priests). As you might expect, there are a number of ...
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Mahler: Symphony No. 4 [Hybrid SACD]
from: San Francisco Sym
: :Heinrich Schütz's Christmas Story, besides being a historical milestone, has always been one of 17th-century music's crowd-pleasers--the former because it's the ancestor of Christmas oratorios by Bach, Charpentier, and even Berlioz; the latter because it presents engaging depictions of the characters in the Nativity story with a cornucopia of colorful instruments (piping recorders for the shepherds, a galumphing bassoon (representing the gait of the camels?) for the three wise men, regally blaring cornets for King Herod, and pompous trombones for his priests). As you might expect, there are a number of ...
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Britten - A Midsummer Night's Dream / Bowman, Watson, Gomez, D. Jones, Graham Hall, Herford, Maxwell; Hickox
: :Heinrich Schütz's Christmas Story, besides being a historical milestone, has always been one of 17th-century music's crowd-pleasers--the former because it's the ancestor of Christmas oratorios by Bach, Charpentier, and even Berlioz; the latter because it presents engaging depictions of the characters in the Nativity story with a cornucopia of colorful instruments (piping recorders for the shepherds, a galumphing bassoon (representing the gait of the camels?) for the three wise men, regally blaring cornets for King Herod, and pompous trombones for his priests). As you might expect, there are a number of ...
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