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Andrew R. Barnard (Leola, Pa United States)

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Shostakovich: Violin Concerto No. 1, Prokofiev: Violin Concerto No. 1
Shostakovich: Violin Concerto No. 1, Prokofiev: Violin Concerto No. 1
Price: £19.08

0 of 2 people found the following review helpful
4.0 out of 5 stars Chang and Rattle offer ravishing sounds, but should there be more comprehensive vision?, 25 Nov. 2011
You have to hand it over to Rattle and his Berliners that they'll always make for wonderful accompanists, in large part because they're never content to merely accompany. Sarah Chang is in for more than good playing; she's in for the most exquisite of sounds coming from an orchestra whose playing will easily outshine that of a soloist. I think Chang meets the challenge fairly well. She plays with conviction, with a mastery of her scores that proves she's earned her place in front of the Berliners.

The Shostakovich Concerto No. 1 is a restless work that can easily come across as a bunch of disconnected emotions. I feel that Chang and Rattle do a fine job, although I think they could have given more. Certainly their playing is enough to send you out of this world, with super sonics from EMI. While I don't think the concerto asks for its interpreters to sound overly confident, one can ask for sense to be made out of the piece. It needs to point somewhere, even when the music is tossing and turning. Both Chang and Rattle master the individual moments with the utmost of clarity, but I desire more clear direction. That's not to say that the music gets out of hand. In fact, I can sense reticence, which isn't a blessing in a piece that asks for the musicians' all. The opening Nocturne sounds a bit aimless; the Scherzo is biting and tense, but still emotionally vague. But in the Passacaglia, Rattle and Chang stop trying to hide their feelings. For the first time in the concerto, I wonder if I'll need my handkerchief. It is unbearably sad, both Chang and Rattle striking the very depths of our souls. Present is the vision I felt was lacking in the two proceeding movements. Chang plays the Cadenza impeccably, unleashing anguish and hope all at once. In the Burlesque, Rattle finally lets loose, allowing humor and dashing spirits to come on the scene. Pure joy and fun never take over, but I think that was Shostakovich's intention. In the end, I feel that the 1st half of the concerto is a bit too superficial, but my complaints in the 2nd half are very small. Perhaps the aimlessness in the opening half was intentional. Either way, my criticisms are immaterial, and I still get a lot out of this unique performance.

I'm not moved by the Prokofiev Concerto as much as the Shostakovich, but Chang and Rattle certainly play it very well. Sometimes I sense the same reticence that was present in the Shostakovich; Rattle in particular seems to want to linger, and he doesn't have much drive. But is this approach suited to the piece? Certainly this is not a concerto to raise the roof. Right now I find myself fence sitting. Do Rattle and Chang master the work, or do they lack some of the same vision they did in the Shostakovich? Before I can clearly answer the question, I'll have to figure the piece itself out. I'll keep listening and see what happens. What is not to be questioned is the accuracy of this performance, one that will ravish your ears with wonderful details.

In closing, this is a fine disc. Chang proves herself to be a violinist of the first rank and Rattle continues to prove that his orchestra is capable of things that were before thought impossible. The absence of direction subtracts some from the enjoyment of the disc, but is still worth hearing. I'm not regretting my purchase of it and I look forward to the years of listening that are ahead.

Brahms - Symphony No 1; Tragic Overture (LSO, Haitink)
Brahms - Symphony No 1; Tragic Overture (LSO, Haitink)
Price: £8.13

1 of 1 people found the following review helpful
4.0 out of 5 stars Fine Brahms, but not very personal, 25 Nov. 2011
Brahms is a composer who asks for interpreters are willing to go far beyond the written notes, and into a world of dark beauty that's always personal. But there's always the temptation to get too caught up in the roughness and fate that can be present in his music. That's not to say that those elements don't exist. Rather, they need to be kept in proper balance, and they should never be emphasized to the point where one misses the Brahms that tugs at your inner being. That's true even in the 1st symphony, where Brahms is still young and full of fiery passion and determination.

How does Haitink do in giving us Brahms that sees the whole picture? Well, he certainly does a fine job, and he has one of the greatest of orchestras to help him out. At the same time, I don't sense anything in his interpretation that is remarkable or novel. It's all played very well, but could we ask for more than good playing? That's not to say that Haitink merely runs through the work. He does know how to deliver strong orchestral playing that is saturated in power. Perhaps my complaint is that he is too rough, unable to ever surround me with heartbreaking beauty. And while the LSO is a great orchestra, it doesn't come close to rivaling the sound that the Berlin Philharmonic can give this music. I can't help but compare this to Rattle's recent recording of this symphony with his Berliners. Not only does Rattle succeed in delivering more excitement and a far bigger sound, but he's inwardly touching, allowing the beauty of the music to flow out in a way that is deeply moving. And while Haitink maintains interest, he simply isn't on the same level.

To summarize, this is a fine reading, even if it doesn't say anything out of the ordinary. Those wanting a solid, interesting reading of this symphony won't be disappointed, although you can certainly do better elsewhere.

Bruckner: 9 Symphonies
Bruckner: 9 Symphonies
Price: £17.90

31 of 35 people found the following review helpful
5.0 out of 5 stars Looking for a relaxing Bruckner set? Steer clear of this one!, 25 Nov. 2011
This review is from: Bruckner: 9 Symphonies (Audio CD)
Perhaps you've noticed that this set has received an exorbitant amount of fame, with many reviewers pointing to this as the definitive set of the Bruckner symphonies. Karajan, we're told, has worked wonders with his Berliners, making for an amazing musical experience.

But I want you to know that this is a terrible set to acquire if you want your Bruckner to be a pleasantry. Perhaps you want to hear the composer interpreted in a matter-of-fact way, eschewing anything that would threaten to grip you or move you too deeply. Karajan cares nothing for the relaxation of his listeners, and he seems to pride himself in his monumental approach to the symphonies. He is taking us to grand heights, soaring above the practicality of life. For this reason, it wouldn't make good background music. It would be too disturbing and moving to listen to this music without giving it your full attention.

Maybe I've scared you away, but I hope and think not. Who ever said that the chief concern in Bruckner is pleasantness? Karajan refuses to let himself be constrained, and his vision in these symphonies is staggering. He is a magnificent master of building the music, preparing us for the impassioned climactic moments without letting go too soon. It would be easy to get lost in the vast scope of things, resulting in chaos. But with Karajan on the podium, never fear. He has a strong grip over his orchestra and everything is done with control, yet vitality is still present. This is not impersonal Bruckner; this is simply Bruckner that is speaking of things that aren't in our reach. The music transports us out of this world, into the skies, if not into heaven itself.

This is what gives this set its almost mysterious nature. Penning a review of this set is no easy task, simply because this is the kind of music that I find to be almost sacred, making it difficult to jot my thoughts down on paper. I'll simply say that it has been a rewarding experience for me to listen to this music, leaving me inspired on every page.

If you're wondering if I think Karajan's way with Bruckner is the only way, I'll be quick to say no. There are certainly other ways one could look at these symphonies, perhaps in a less bombastic way that would spend more time delving into the intricacies of the individual moments. But I don't think anyone is ever going to give us Bruckner that will make us forget Karajan, so glorious is his vision. I don't hesitate to recommend this to all music lovers alike--unless you are wary of the unearthly, of course.
Comment Comments (3) | Permalink | Most recent comment: Sep 6, 2013 11:37 AM BST

Britten: Les Illuminations / Serenade for Tenor, Horn & Strings / Nocturne
Britten: Les Illuminations / Serenade for Tenor, Horn & Strings / Nocturne
Price: £10.52

4 of 6 people found the following review helpful
5.0 out of 5 stars Rattle dares to take Britten out of Britain, 25 Nov. 2011
Often it seems as if though there is an unwritten agreement that the music of Great Britain is intended to be played only by its own musicians. There are exceptions to the rule, of course; Americans don't seem to hesitate too much. But how often do the major non-British European orchestras play real British music? Of course the pop classics like Holst's Planets see their share of non-British interpreters, but whoever said that the Planets are very British to begin with?

Of course Sir Simon Rattle is British, and he frequently played music of his home country with British orchestras. But on this disc, featuring Ian Bostridge singing Britten, he takes a bold move, as he's conducting the Berlin Philharmonic. I'll argue that they're the world's greatest orchestra, and they can produce sounds that don't come from British orchestras. This isn't to say that I don't like British orchestras--far from it. It's just that the rarity of hearing the Berliners in this music makes it a special treat. I'd feel much the same way about other top-notch European orchestras, particularly the Vienna Philharmonic. But enough talk about how unique it is that the Berlin Phil is playing this music. You want to know how the music actually turned out.

Let's go. The disc starts with Britten's Les Illuminations, which uses French texts. It's a bright, sprightly work, and it's unique to hear the mixing of French and British elements, not to mention the addition of a German orchestra. Bostridge sings with humor, but there's always a sense of mystery. Rattle and the Berliners prove to be wonderful accompanists, but that's an understatement. All musicians give their all, combing dashing spirits with a wistful singing quality. There's a certain quality about both Bostridge and Rattle that makes us feel as if though we're in a world of long ago.

Reviewers have accused Rattle and Bostridge of fussiness in the Serenade. Perhaps they are fussy, but I'm more than willing to forgive them for their flaws, due to the sheer glory of the sound. Fussiness may be fatal in a Beethoven symphony, but when we're talking about English texts set to music, it's forgivable. After all, these songs require intricate phrasing in order for them to take their effect. Certainly all involved play with beauty that tugs at your heart. Radek Baborak is a first rate horn player if there ever was one, and his solos, particularly in the Elegy, are beyond words. Rattle and the Berliners play with urgency, giving us soul that you don't get from the best of British orchestras. In the end, I'll let you decide its success, but I'm awfully sympathetic.

I haven't heard anyone offer much criticism for this version of the Nocturne, and it's for good reason. This is a beautiful account, livened by the addition of quite a few of Berlin's first desk soloists. Personally, this is my favorite work on the disc. I simply love Britten's poetic grasp on the music; it transports you into a world of enchanted dreams, just like a nocturne should. But that's not to say that this is music for the feeble minded. There are moments of pure terror (Prelude) to balance the ones of childlike ecstasy (Sleep and Poetry). Bostridge sings with conviction, and mystery where necessary, but he also knows how to don innocence. The work demands quite a lot of flexibility, and Bostridge has what it takes. Rattle and the Berliners deserve at least half the credit, with Rattle transporting his orchestra, allowing them to delve into the music. Again, the sounds this orchestra makes are unbeatable. It's tough to listen to the closing of the piece (Sonnet 43) without pulling your handkerchief out.

Rattle has dared to take Britten out of Britain. Has he been successful? I'll dare to say that he has.

Mozart: The Great Piano Concertos Vol.2
Mozart: The Great Piano Concertos Vol.2
Price: £5.99

7 of 7 people found the following review helpful
4.0 out of 5 stars Elegant Mozart, even though it lacks drama and passion, 25 Nov. 2011
Should Mozart be played for beauty's sake? This is a question that one will be forced to ask when listening to any interpretation of the composer. There is so much elegance and grace in his music that we will need to decide whether or not these are the qualities we want to be stressed. Alfred Brendel and Neville Marriner are certainly an interesting pair, both of them having played Mozart before coming together. I find them sharing the same vision in Mozart, at least for the most part. It's one that eschews any mannerisms or the slightest trace of sentimentality, to the point of sometimes avoiding sentiment, or missing out on the warmth in the works. It would be unfair to accuse them of just playing the notes, though, as they both have a sensitivity that goes beyond mere technical aspects of the work. Brendel in particular seems to be speaking of deep and profound things. You have to admire the dedication, nay allegiance, these musicians have to the scores they play.

But does their devotion cause them to play too safe? I hesitate to say yes, given their musical excellence, but there's no way around the fact that they remain in their seats when they could be transporting us to other worlds. If Brendel were the only musician involved, I would be much more sympathetic, but I find Marriner's ASMF to be stodgy; they're unwilling to take any risks. I'm always reluctant to judge Marriner in this way, simply because the result of what he's doing is obviously intentional, has he once said the goal of his Academy was to achieve a maximum of virtuosity "with a minimum of fuss". They gloriously in their efforts, but I think what he calls "fuss" is often what I want him to give. When Brendel is speaking of religious things, I don't find Marriner to be on the same level. But both of them could be called intellectual performers, and they're not very worried about the emotional effect of what they're playing. I find Brendel to be a brighter star in this world than Marriner, but it's clear that they get along.

In closing, this is a dream disc for all Brendel and Marriner fans. But the rest of us may find it too dry expressively. The choice is up to you the listener. Despite my reservations, there's nothing inferior about this kind of playing and there are some who, for good reason, will go into raves.

Bach: Keyboard Concertos, Vol. 1
Bach: Keyboard Concertos, Vol. 1
Offered by skyvo-direct
Price: £6.54

2 of 2 people found the following review helpful
4.0 out of 5 stars Maybe it's a bit one-sided, but the beauty is undeniable, 5 Nov. 2011
Murray Perahia is a pianist who thrives in the music of Bach, with all its beauty, grandeur, and poetry. Here he is joined by the Academy of Saint Martin in the Fields to conduct some of Bach's keyboard concerti from the piano. He's turned out to be a fine director who pulls some lovely sounds out of the famed orchestra that I don't think I've heard the likes of in any of their recordings with Marriner. Not Marriner isn't worth admiring--far from it--but Perahia makes music making so easy that Marriner can sound stodgy in comparison. Lyricism flows forth effortlessly from both Perahia and ASMF that is a wonder to behold. Everything is done with a marked intimacy, the kind of material that sounds like a carry-over from chamber music. Perhaps Perahia's main secret as a conductor is simply that his love for his music is contagious, allowing his partners to catch his creative vision. Everything is as light as a feather and Perahia's dashing spirit is full of vitality.

But, despite its charms, the one setback to this album, if you can call it that, is that darker side of Bach is never touched on. Gracefulness certainly reigns to a large degree in Bach, but what about the richness, the somberness that leads to resignation? I know you can bring these qualities out in Bach; Perahia's own solo recordings of the composer prove this, especially those wonderful Goldbergs and Partitas. And in the concerti field, there is always Perahia's later recording with ASMF of Bach's Triple and 5th Brandenburg concerti, where Perahia sees reflection and resignation in a powerful way. But here, Perahia opts instead for pure loveliness, making everything without a care in the world.

Perhaps you think that this different approach doesn't sound all that bad. You're right on. I certainly find it refreshing and delightful to hear. It's simply that when compared to Perahia's other Bach efforts it doesn't quite have the same emotional effect. I'm not going to try to take away from what Perahia has to offer though, because it does provide ravishing material. I'm going to continue to listen to it for the breathtaking beauty and joyful spirits it has to offer. It certainly is a treat.

Rimsky-Korsakov/Tchaikovsky: Orchestral Works (DG The Originals)
Rimsky-Korsakov/Tchaikovsky: Orchestral Works (DG The Originals)
Price: £7.78

4 of 4 people found the following review helpful
4.0 out of 5 stars A timeless Scheherazade, even if the Tchaikovsky doesn't quite come to life, 5 Nov. 2011
This disc features three of Russia's most familiar composition: Rimsky-Korsakov's Scheherazade and Tchaikovsky's 1812 Overture and Capriccio Italien. They are all so popular that almost everybody will recognize their famous tunes. So, of course, it should come as a breath of fresh air when musicians as great as Karajan and the Berliners try to tackle these masterpieces. Did they succeed in giving us something special?

Well, they certainly did in the Scheherazade. This is a work overflowing with a wealth of melodies combined with gripping drama. Karajan and the Berliners seem right at home in such a world. Karajan is gloriously intense, seeing all of the many mood changes, delivering them with finesse, while preventing things from getting out of hand (one of his greatest gifts as a conductor). Everyone wants to be kept awake during this work, and Karajan does the job. Clarity reigns even in the most climatic of moments, the buildup to the sinking of the ship in particular. Karajan has a wonderful eye for detail and even though this disc is from the 60's, you can pick up on wonderful contrasts that are present throughout. And I shouldn't forget to mention the win of the performance--the 3rd movement. Here the Berlin strings take us out of this world with the power of their beauty and elegance. I didn't know such a thing was possible in this work, but it appears that it is. Despite this recording's age, it is just as indispensible now as it was when it first appeared on LP.

After hearing the Scheherazade, the Tchaikovsky sounds unsatisfying in comparison. Karajan is still intense, to be sure, but I don't hear him pulling out as many thrilling moments. Sometimes the music can border on sounding dull, and that is not what I want in my Tchaikovsky. It's strange, because Karajan has worked wonders with Tchaikovsky elsewhere. Perhaps he, like me, considers these works, particularly the 1812, to be overhyped and doesn't have much interest in the music. The average listener won't notice these setbacks, because things are still interesting to a degree, but experienced listeners will probably complain. In order for these works to really make an impression, solemnity will be out the window. But that is exactly what Karajan tries to incorporate, which keeps things from really coming to life. It wouldn't have hurt to throw more fun into the picture. At least that's how I feel.

To summarize, the Scheherazade is given a stunning performance that demands a listen, while the Tchaikovsky asks for more. But given the quality of the former work, you've got to own this disc. The recording quality is very good considering that it's from 1967. Buy this CD as if though you were only getting the Scheherazade, and there's no way you'll be disappointed.

Beethoven - Symphonies Nos 4 and 8 (LSO, Haitink)
Beethoven - Symphonies Nos 4 and 8 (LSO, Haitink)
Price: £9.35

1 of 1 people found the following review helpful
5.0 out of 5 stars This disc is actually a gem--the best thing in Haitink's cycle, 5 Nov. 2011
Haitink's Beethoven symphonies set with the LSO is one that I have found fascinating, and it never ceases to interest me. That's not to say that it is perfect, as there are things about it that keep it from being entirely successful, but nonetheless, Haitink's approach is always interesting, always fresh. My biggest complaint with it was that it didn't touch much on Beethoven's masculine side, and Beethoven's unrivaled symphonic genius was never fulfilled. This is mainly a concern in the odd numbered symphonies, where Beethoven shows off his structural mastery more than in the even numbered ones. Haitink's approach, with its sensitivity and sense of humor works wonderfully in the 4th and 8th symphonies that are on this disc. I still think Haitink could have given us more of Beethoven's structural genius, but what he does say is so musical that it's tough to say much bad about it.

I won't go into too much more detail, but I should point out a few things about how Haitink achieves what he does. First of all, Haitink's underlying view of the works is not one of frightening power but rather of cheerfulness and wit. You'll realize the potential these works have to be disarmingly tuneful. It could be argued that this is the whole point of these works, as the power in the odd numbered symphonies far surpasses these. Either way, Haitink carries through with his argument, and he's convincing almost from beginning to end in both the 4th and 8th symphonies. Both are good, but I'll have to give the nod to the performance of the 8th, where Haitink's freshness is particularly refreshing. Haitink's period awareness is present and the music is complete with fine articulation. You certainly won't be able to sit still as Haitink delves into the music, pulling out plenty of fun. I can't listen to it without wanting to smile.

In closing, even if Haitink's complete set has things lacking, this disc is the very best of his efforts, and there's no reason that you shouldn't check it out.

Elgar: Violin Concerto / Vaughan Williams: The Lark Ascending
Elgar: Violin Concerto / Vaughan Williams: The Lark Ascending
Price: £14.28

2 of 4 people found the following review helpful
5.0 out of 5 stars A deeply satisfying reading, transporting us to Elgar's reflective world, 5 Nov. 2011
Sir Edward Elgar's Violin Concerto is a work that takes the listener into a rare world of autumnal reflection and regret. Elgar is famous for his rich melancholy, but it comes to the surface in the violin and cello concertos in a way it never does elsewhere. Its soaring melodies makes it one of the world's greatest ever violin concertos. Perhaps what is most striking about the work is how it is so sad, yet so rejuvenating at the same time, in a way that only the cello concerto can match. It's all too neglected on this side of the pond, and any recording of it should be greeted with adulation.

But Kennedy and Rattle's performance of the work is extra special. Both artists are authorities in the English world (Rattle is obviously England's brightest star on the Classical scene) and are fully prepared for the challenges that accompany performing the work. Unlike some violin concertos, this is not predominately a virtuosic work. Sure, the violin writing is brilliant and a strong technique is imperative, but we're only talking about a small portion of the difficulties. The concerto asks for the listener to look beyond the notes and into the realm of thoughtfulness Elgar has created. The interpretive challenges are very real, asking for real emotion balanced by control. Only the most mature of musicians can fulfill this potential. Of course Kennedy had already proved that he could master the concerto, with his earlier reading of the concerto with Handley and the LPO, also on EMI. That recording was a success, but here Kennedy is more inspired, free to unleash his emotions in a more powerful way. Handley is no Rattle, and the man at the podium here is hard to beat. In particular, Rattle sees the depth and range of emotion, creating tension by contrasting sorrow and hope. I think this is exactly what Elgar wanted, and Kennedy isn't a step behind Rattle. Both musicians know just how to guide our ears to appreciating the emotion in the work, without leaving any of it out or overdoing it. I don't know what you're thinking, but to me, there's simply nothing left to ask of musicians who can make the work into a moving, beautiful journey that leaves one in deep thought.

When I first realized that Kennedy had recorded The Lark Ascending with Rattle, I thought, "You mean that crazy guy with the spiked hair is going to understand Vaughan Williams' pastoral sentiments? Leave me alone!" At that point I thought my classic Brown/Marriner/ASMF account was unbeatable. The other recordings I had heard previously, including Chang/Haitink, Hahn/Davis, and Benedetti/Litton left me firmly decided that there was no beating Brown in the work. Until I heard Kennedy, that is. He had my own my knees, fighting the tears. It's unfair to give him all the credit, however, as Rattle deserves at least half the prize. Marriner is a great conductor, but he's not on the same level as Rattle, who pulls out details in the piece that I didn't know were there. There's more to the piece than mere pastoralism, and Kennedy and Rattle know this. Oh the sheer beauty of their sound! Words don't describe this kind of music making, so I let you discover it for yourself. Just know that you're in for a treat.

In closing, this is a fantastic disc. Prepare to sit back and do some serious thinking on life, as that is what the music will inevitably make you want to do.
Comment Comments (2) | Permalink | Most recent comment: Dec 8, 2014 11:59 PM GMT

Vaughan Williams: Choral Works
Vaughan Williams: Choral Works
Offered by EliteDigital UK
Price: £17.95

6 of 6 people found the following review helpful
5.0 out of 5 stars There are some things in life that we will never understand..., 5 Nov. 2011
...and one of them is the neglect these Vaughan Williams compositions have received. Friends, how can I describe my feelings for this disc, one that has touched me to the core every time I have listened to it? Here Vaughan Williams is at his very best, brimming with pastoral folksiness. But there's more to it than that; I don't know if I've ever heard any other Vaughan Williams that sends such memories sweeping over me. Vaughan Williams describes the world of my dreams, where days are spent wandering through the countryside, without a care in the world. It's sad to see that, when I posted this review, Amazon is no longer selling it. Just by it used from one of Amazon's independent sellers.

This disc starts out with "A Song of Thanksgiving", written to celebrate the victory of the Allies in WWII. I know it wasn't written with our American holiday in mind, but I tend to pull it out the most around Thanksgiving, as the lyrics are well suited to the general festive mood. It is overflowing with warm hymn-like tunes that will inevitably cause your spirit to soar. I don't know if I'll ever be able to listen to the glorious opening in B flat without chills going down my spine. But one of the most memorable moments comes in the eerie middle section in the minor, where the speaker reads verses in Isaiah, with the female choir echoing him, with the strings setting the background, going back and forth from G sharp minor and A minor chords. I could go into the joys hearing the boys' choir break forth into a luxuriant D Major, or the effect of the solo soprano offering the unaccompanied last word, but you get the idea.

The Three Choral Hymns cover in turn Easter, Christmas, and Whitsunday. Each of them are unique in their own way, proving what an exceptional choral writer Vaughan Williams really was. I'm not as touched by these works as the Song of Thanksgiving, but they're wonderful all the same.

The Magnificat was inspired by Debussy's Prelude to the Afternoon of a Faun. It is a dreamy composition, quite unlike anything else I've ever heard by Vaughan Williams, possibly because Vaughan Williams was trying to sound like Debussy. There's restlessness to it, with a strong sense of melancholy. If you're looking a piece the captures the jubilancy of the virgin birth, this isn't it, but you don't want to miss the dark wonder of what Vaughan Williams conveys.

My personal favorite on the disc is the "Shepherds of the Delectable Mountains", with the text taken from Bunyan's Pilgrim's Progress. I haven't commented on the musicians up to this point, but given that a super star comes on the scene in the piece, I can't ignore him. His name is Bryn Terfel. There's no one else in the world that is more ideal when it comes to singing British music. His rich, booming voice that takes the role of "Pilgrim" is, on its own, worth the price of the entire disc. Vaughan Williams perfectly captures the mood that Bunyan describes in his allegory. It's beautifully elusive, with a decided yearning quality. It is the kind of music that sends you into a far off land, a land of long ago.

The Hundredth Psalm that concludes the disc takes the famous Doxology tune and transforms it into an amazing choral masterpiece. Vaughan Williams' rendition of the tune is sure to be the best we're ever going to hear. I certainly love it.

In closing, this is a wonderful disc, featuring music that we should all hear more often. Grab if it you get a chance.
Comment Comments (2) | Permalink | Most recent comment: Oct 2, 2014 8:55 PM BST

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