Bestsellers > Classical Music > Historical Periods

Bestsellers > Classical Music > Historical Periods

Verdi: Requiem; Quattro pezzi sacri
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Verdi: Requiem; Quattro pezzi sacri

(more) »rank: 14241

from: Decca




Let Yourself Go
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Let Yourself Go

(more) »rank: 4038

by: Kristin Chenoweth, Jule Styne, George Gershwin, Richard Rodgers, Jeanine Tesori, Kurt Weill, Jerome Kern, Vincent Youmans, Ricky Ian Gordon, Richard Dworsky, Lawrence Ellington Duke / Brown, Harry Warren, Bobby Troup, Jason Alexander, Irving Berlin, Rob Fisher, The Coffee Club Orchestra


: :Kristin Chenoweth won a Tony for the supporting role of Sally Brown in the 1999 revival of You're a Good Man, Charlie Brown, made a memorably vampy Lily in the 1999 television film of Annie, and had an NBC sitcom created for her, Kristin! Now she grabs the spotlight in Let Yourself Go, her first solo recording. She mixes torchy standards ('My Funny Valentine,' 'How Long Has This Been Going On?') with Faith Prince-style sauciness ('If'), gets to show off her operatic and scat chops in the miniplay 'The Girl in 14G,' and shares a ...

Mozart for Meditation
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Mozart for Meditation

(more) »rank: 2242

from: Philips


: :Kristin Chenoweth won a Tony for the supporting role of Sally Brown in the 1999 revival of You're a Good Man, Charlie Brown, made a memorably vampy Lily in the 1999 television film of Annie, and had an NBC sitcom created for her, Kristin! Now she grabs the spotlight in Let Yourself Go, her first solo recording. She mixes torchy standards ('My Funny Valentine,' 'How Long Has This Been Going On?') with Faith Prince-style sauciness ('If'), gets to show off her operatic and scat chops in the miniplay 'The Girl in 14G,' and shares a ...

Mozart /Chopin/Rachmaninov: Richter - Classic Archive
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Mozart /Chopin/Rachmaninov: Richter - Classic Archive

(more) »rank: 15355

from: Euroarts


: :Most of this DVD was made at a 1989 London concert filmed by the BBC. The 74-year-old Richter insisted on a darkened hall, a 40-watt gooseneck lamp trained on the music stand the only light source on stage while he played. His purpose was to focus audience attention on the music, not on the performer. Whatever the intention, the results can be compared to a mystical ceremony, the pianist as High Priest invoking musical truths. This ceremonial aspect of the concert is heightened by Richter's austere platform manner and the black backgrounds that engulf the ...

Songs from the Labyrinth (Music by John Dowland)
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Songs from the Labyrinth (Music by John Dowland)

(more) »rank: 4188

from: Deutsche Grammophon


: : In choosing to cover the music of John Dowland (1563-1626), who is known as the 'melancholy madrigalist' from his output of cheerful ditties like 'Flow My Tears,' Police bandleader Sting has entered into a whole new realm of austere eeriness. Originally inspired by the gift of a lute, the rock superstar and activist sings the songs, deliciously sweet and tender or spirited by turn, accompanying himself, with Edin Karamazov sitting on lute and archlute. For listeners accustomed to hearing material of this period interpreted by rigorously trained early music stylists, especially countertenors and the ...

Menotti: Amahl and the Night Visitors
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Menotti: Amahl and the Night Visitors

(more) »rank: 3506

by: Gian Carlo Menotti, Thomas Schippers, Rosemary Kuhlmann Chet Allen, Andrew McKinley, David Aiken Leon Lishner


: :Back in the days when the forces that controlled television actually cared about art, it was perfectly normal to see original plays and live musical performances right in your living room. In 1950, Menotti was commissioned to write an opera for television, and on Christmas Eve, 1951, Amahl and the Night Visitors was performed by the NBC Television Theater. This recording, under the composer's personal direction, was made a few days later, and it remains the definitive version, even though the sound is very dated and rough in places. This story of a poor shepherd ...

Ode to Freedom: Bernstein Conducts Beethoven's Ninth Symphony in Berlin
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Ode to Freedom: Bernstein Conducts Beethoven's Ninth Symphony in Berlin

(more) »rank: 33403

from: Deutsche Grammophon


: :Back in the days when the forces that controlled television actually cared about art, it was perfectly normal to see original plays and live musical performances right in your living room. In 1950, Menotti was commissioned to write an opera for television, and on Christmas Eve, 1951, Amahl and the Night Visitors was performed by the NBC Television Theater. This recording, under the composer's personal direction, was made a few days later, and it remains the definitive version, even though the sound is very dated and rough in places. This story of a poor shepherd ...

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

(more) »rank: 17655

by: Gabriel Fauré, Maurice Duruflé, 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

Baroque Guitar
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Baroque Guitar

(more) »rank: 3422

from: RCA


: :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

Debussy for Daydreaming
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Debussy for Daydreaming

(more) »rank: 2933

from: Philips


: :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


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