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Big Baroque Box



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Big Baroque Box

Big Baroque Box
From eOne Music

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  • Amazon Sales Rank: #1 in Digital Music Album
  • Released on: 2012-09-04
  • Running time: 52047 seconds

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98 of 100 people found the following review helpful.
5305 Tracks!
By the Bach Guild
Here's the detailed track listing!

Antonio Vivaldi
Concerto for Guitar, Strings and Continuo in D major, RV93
Weiner Solisten* ; Wilfried Bottcher* ; Karl Scheit* 
1. i. Allegro giusto 3.40
2. ii. Largo 5.33
3. iii. Allegro 2.17

John Dowland
Two Galliards
Weiner Solisten* ; Wilfried Bottcher* ; Karl Scheit* 
4. i. The King of Denmark, His Galliard, P.40 1.39
5. ii. Captain Digorie Piper, His Galliard, P.19 2.15

Giuseppe Torelli
Concerto for Violin and Guitar
Weiner Solisten* ; Wilfried Bottcher* ; Karl Scheit* 
6. i. Allegro 2.10
7. ii. Adagio 3.53
8. iii. Allegro 1.54

Vivaldi
Concerto for Guitar and Viola d'amore in D Minor, RV540
Weiner Solisten* ; Wilfried Bottcher* ; Karl Scheit* 
Paul Angerer 
9. i. Allegro 5.45
10. iii. Largo 3.35
11. iii. Allegro 3.34

Ferdinando Carulli
Concerto for Guitar in G Major
Weiner Solisten* ; Wilfried Bottcher* ; Karl Scheit* 
12. i. Allegro 9.04

Johann Sebastian Bach
Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014
James Buswell* < performer >; Fernando Valenti* < performer >
13. i. Adagio
14. ii. Allegro
15. iii. Andante
16. iv. Allegro

Bach
Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015
James Buswell* < performer >; Fernando Valenti* < performer >
17. i. Adagio
18. ii. Allegro assai
19. iii. Andante un poco
20. iv. Presto

Bach: Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016
James Buswell* ; Fernando Valenti* < performer >
21. i. Adagio
22. ii. Allegro
23. iii. Adagio ma non tanto
24. iv. Allegro

Bach
Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017
James Buswell* ; Fernando Valenti*
25. i. Siciliano
26. ii. Allegro
27. iii. Adagio
28. iv. Allegro

Bach
Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018
James Buswell* ; Fernando Valenti*
29. i. Largo
30. ii. Allegro
31. iii. Adagio
32. iv. Vivace

Bach
Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019
James Buswell* ; Fernando Valenti*
33. i. Allegro
34. ii. Largo
35. iii. Allegro
36. iv. Adagio
37. v. Allegro

Domenico Scarlatti
Kenneth Cooper*
38. Sonata in D Major, K. 492
39. Sonata in D Minor, K. 141
40. Sonata in A Major, K. 208
41. Sonata in A Minor, K. 532
42. Sonata in G Major, K. 105
43. Sonata in G Major, K. 455
44. Sonata in G Major, K. 375
45. Sonata in C Minor, K. 84
46. Sonata in C Major, K. 502
47. Sonata in A Major, K. 322
48. Sonata in F Minor, K. 184
49. Sonata in F Major, K. 296
50. Sonata in F Minor, K. 239

William Hill
51. The Bird Fancyer's Delight
Rene Clemencic*

Girolamo Frescobaldi
52. Canzona per canto solo
Rene Clemencic* ; Christiane Jaccottet*

Telemann
53. Partita No. 5 in E minor, TWV 41:e1
Rene Clemencic* ; Christiane Jaccottet*
i. Andante
ii. Vivace
iii. Presto
iv. Vivace
v. Siciliana
vi. Vivace
vii. Presto

Jakob Van Eyck
54. Four Pieces
Rene Clemencic* 
i. Batali
ii. Wilhelmus van Nassouwen
iii. Alarm
iv. Ick woe weld at den krygh anginck

Vivaldi
55. Sonata No. 1: "Il Pastor Fido"
Rene Clemencic* ; Christiane Jaccottet*

August Norminger
56. Old German Dances
Rene Clemencic* ; Christiane Jaccottet*

Servaes deKoninck
57. Sonata No. VII
Rene Clemencic* ; Christiane Jaccottet*

58. Victoris codex
Six Pieces
Rene Clemencic* ; Christiane Jaccottet*
i. Hagnal
ii. Chorea polonica
iii. Chorea hungarica
iv. Tantz
v. Germanica Chorea
vi. Chorea Sponsa

59. Giovanni Palestrina - arr. Bassano: Introduxit Me
Rene Clemencic* ; Christiane Jaccottet*

60. Erasmus Widmann: Musicalischer Tügendspeigel
Rene Clemencic* ; Christiane Jaccottet*
i. Margaretha Dantz
ii. Foelicitas Gagliarda
iii. Maria Dantz
iv. Catherina Gagliarda
v. Johanna Dantz
vi. Helena Gagliarda

Telemann
Concerto in B-flat for 2 flutes, 2 oboes and strings, TWV 54:B2
Esterhazy Orchestra* ; David Blum* 
61. i. Andante
62. ii. Presto
63. iii. Cantabile
64. iv. Allegro

Telemann
Concerto in D for 3 trumpets, 2 oboes, timpani and strings, TWV 54:D2:
Esterhazy Orchestra* ; David Blum* 
65. i. Intrada
66. ii. Allegro
67. iii. Largo
68. iv. Vivace

Telemann
Suite in G major, TWV 55:Anh. G1, "La Putain"
Esterhazy Orchestra* ; David Blum* 
69. i. Overture: Allegro
70. ii. Masquerade
71. iii. Loure
72. iv. Minuet
73. v. Rondeau
74. vi. Sarabande
75. vii. Marche
76. viii. Minuet and Trio
77. ix. Bourree
78. x. Hornpipe

Telemann
Esterhazy Orchestra* ; David Blum* 
79. Concluding Music from the Tafelmusik for 2 flutes and strings

Giovanni Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
80. Sancta et Immaculata Virginitas (Sacrae Symphonae, 1597)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
81. O Magnum Mysterium (Concerti, 1587)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
82. Nunc Dimittis (Sacrae Symphonae, 1597)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
83. Angelus Ad Pastores (Concerti, 1587)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
84. O Jesu Mi Dulcissime (Sacrae Symphonae, 1615)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
85. Exaudi Desu (Sacrae Symphonae, 1597)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
86. Hodie Completi Sunt (Sacrae Symphonae, 1615)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
87. O Domine Jesu Christie (Sacrae Symphonae, 1597)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
88. Canzona Quarti Toni A (Sacrae Symphonae, 1597)

Gabrieli
Gabrieli Festival Orchestra* ; Gabrieli Festival Chorus* 
89. Inclina Domine (Concerti, 1597)

Henry Purcell
90. Three-Voice Fantasia No. 1, in D Minor, Z.732
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
91. Three-Voice Fantasia No. 2, in F Major, Z.733
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
92. Three-Voice Fantasia No. 3, in G Minor, Z.734
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
93. Four-Voice Fantasia No. 5, in D Minor, Z.739
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
94. Four-Voice Fantasia No. 6, in A Minor, Z.740
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
95. Four-Voice Fantasia No. 1, in G Minor, Z.742
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
96. Four-Voice Fantasia No. 7, in E Minor, Z.741
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
97. Four-Voice Fantasia No. 2, in B-flat Major, Z.736
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
98. Four-Voice Fantasia No. 8, in G Major, Z.742
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
99. Four-Voice Fantasia No. 3, in F Major, Z.737
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
100. Four-Voice Fantasia No. 4, in C Minor, Z.738
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
101. Four-Voice Fantasia No. 9, in D Minor, Z.740
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
102. Fantasia Upon One Note, 5 Voices in F Major, Z.745
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
103. In Nomine, 7 Voices, Z.747
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
104. In Nomine, 6 Voices, Z.746
Musicus Concentus Wien* ; Nikolaus Harnoncourt* 

Purcell
Abdelazer or the Moor's Revenge, Z.570
Hartford Chamber Orchestra & Fritz Mahler
105. i. Overture
106. ii. Rondeau
107. iii. Air
108. iv. Air
109. v. Minuet
110. vi. Air
111. vii. Jig
112. viii. Hornpipe
113. ix. Air

Purcell
Musick's Handmaid, Lessons 1-6
Hartford Chamber Orchestra & Fritz Mahler
114. i. Song Tune in C Major, Z. T694
115. ii. Con Spirito, Z.647
116. iii. March in C Major, Z648
117. iv. New Minuet In D Minor, Z.T689
118. v. Minuet in A Minor, Z.649
119. vi. Minuet in A Minor, Z.650

Purcell
The Married Beau, Z.603
Hartford Chamber Orchestra & Fritz Mahler
120. i. Overture
121. ii. Hornpipe
122. iii. Slow Air
123. iv. Trumpet Air
124. v. Jig
125. vi. Hornpipe
126. vii. March
127. viii. Hornpipe on a Ground

Purcell
Musick's Handmaid, Lessons 7-12
Hartford Chamber Orchestra & Fritz Mahler
128. i. A New Scotch Tune in G (Z. 655)
129. ii. A New Ground in E Minor (Z. T682)
130. iii. A New Irish Tune (Z. 646)
131. iv. Rigadoon in C (Z. 653)
132. v. Sefauchi's Farewell, in D Minor (Z. 656)
133. vi. Minuet in D Minor (Z. T688)

Purcell
The Gordian Knot Untied, Z.597
Hartford Chamber Orchestra & Fritz Mahler
134. i. Overture
135. ii. Air
136. iii. Rondeau Minuet
137. iv. Air
138. v. Jig
139. vi. Chaconne
140. vii. Air
141. viii. Minuet

Purcell
Harpsichord Suite No. 6 in D, Z.667
Hartford Chamber Orchestra & Fritz Mahler
142. i. Prelude
143. ii. Almand
144. iii. Hornpipe

Purcell
The Virtuous Wife, Z.611
Hartford Chamber Orchestra & Fritz Mahler
145. i. Overture
146. ii. Slow Air
147. iii. Hornpipe
148. iv. Minuets I and II
149. v. Allegro

George Frideric Handel
Sonata In G Major, Op. 1, No. 5, HWV 363b
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
150. i. Adagio
151. ii. Allegro
152. iii. Adagio
153. iv. Bourree
154. v. Menuetto

Handel
Sonata in B Minor, Op. 1, No. 9, HWV367b
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
155. i. Largo
156. ii. Vivace
157. iii. Presto
158. iv. Adagio
159. v. Alla breve
160. vi. Andante
161. vii. A tempo di Minuette

Handel
Sonata in G Minor, Op. 1 No. 2, HWV360
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
162. i. Larghetto
163. ii. Andante
164. iii. Adagio
165. iv. Presto

Handel
Sonata in F Major, Op. 1, No. 11, HWV369
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
166. i. Larghetto
167. ii. Allegro
168. iii. Siciliana
169. iv. Allegro

Handel
Sonata in E Minor, Op. 1, No. 1b, HWV359
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
170. i. Grave
171. ii. Allegro
172. iii. Adagio
173. iv. Allegro

Handel
Flute Sonata in A minor (Halle Sonata No.1), HWV 374
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
174. i. Adagio
175. ii. Allegro
176. iii. Adagio
177. iv. Allegro

Handel
Flute Sonata in E minor (Halle Sonata No.2), HWV 375
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
178. i. Adagio
179. ii. Allegro
180. iii. Grave
181. iv. Minuet

Handel
Flute Sonata in B Minor (Halle Sonata No. 3), HWV 376
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
182. i. Adagio
183. ii. Allegro
184. iii. Largo
185. iv. Allegro

Handel
Flute Sonata in A Minor, Op. 1, No. 4, HWV362
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
186. i. Larghetto
187. ii. Allegro
188. iii. Adagio
189. iv. Allegro

Handel
Sonata in C Major, Op. 1, No. 17, HWV365
Paul Robison (Soloist*); Kenneth Cooper (Soloist*); Timothy Eddy (Soloist*)
190. i. Larghetto
191. ii. Allegro
192. iii. Larghetto
193. iv. A tempo di Gavatti
194. v. Allegro

Marin Marais
Alcione: Suite No. 2 "Airs pour les Eoliens & Les Eoliennes"
Vienna Concentus Musicus (orchestra*); Nikolaus Harnoncourt (conductor*)
195. i. Air, Gravement et pique
196. ii. Sarabande
197. iii. Gigue
198. iv. Menuet
199. v. Tambourin I and II
200. vi. Chaconne

Marais
Pièces de viole, Book 2: Fantaisie
Nikolaus Harnoncourt (soloist*); Georg Fischer (soloist*); Hermann Höbarth (soloist)
201. i. Gavotte
202. ii. Menuet
203. iii. Fantasie: Legerement

François Couperin
Concerts royaux: Concert No. 2 in D Major
Alice Harnoncourt (soloist*); Jürg Schaeftlein (soloist*); Nikolaus Harnoncourt (soloist*); Georg Fischer (soloist*)
204. i. Prelude; Gracieusement
205. ii. Allemande Fugue, Gayement
206. iii. Air tender
207. iv. Air Contrefugue, Vivement
208. v. Echos, Tendrement

Jacques Hotteterre
Première livre de pièces, Op. 2: Suite no 4 in E minor
Georg Fischer (soloist*), Leopold Stastny (soloist*), Nikolaus Harnoncourt (soloist*)
209. i. Allemande "La Fountainbleau," Gravement
210. ii. Sarabande "Le Depart," Doulouresusement
211. iii. Air "Le Fleuri," Gayement
212. iv. Gavotte "La Mitilde," Tendrement
213. v. Branle de Village, "L'Auteuille"
214. vi. Menuet "Le Beaulieu"

Etienne Du Tertre
Danceries
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)
215. i. Pavane
216. ii. Galliarde
217. iii. Branle I
218. iv. Branle II

Eustache du Caurroy: Fantasias on "Une Jeune fillete":
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)
219. i. Fantasy No.1
220. ii. Fantasy No.2
221. iii. Fantasy No.3
222. iv. Fantasy No.4
223. v. Fantasy No.5

Anthony Holborne
224. Pavan: "The Funerals"
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Thomas Morley
225. Fantasia: The Cricket
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Thomas Tompkins
226. Alman
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

John Cooper
227. Fantasia
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Elway Bevin
228. Browning
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Johann Somer
229. Auserlesene Paduanen: Pavan
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Johann Somer
230. Galliard from Auserlesene Paduanen
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Isaac Posch
231. Intrada
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Posch
232. Couranta
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Samuel Scheidt
233. Canzon On 'O Nachbar Roland'
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Gabrieli
234. Canzone a 8: "Fa Sol La Re"
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Gabrieli
235. Canzone a 4
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Giosetto Guami
236. Canzone a 8
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Tiburtio Massaino
237. Canzone a 8
Concentus Musicus Wien (orchestra*); Nikolaus Harnoncourt (conductor*)

Jean Philippe Rameau
Anton Heiller (soloist*)
238. Pièces de clavecin: No. 6, Le rappel des oiseaux
239. Pièces de clavecin: No. 10, Musette en rondeau in E major
240. Nouvelles suites de pièces de clavecin: No. 14, Les sauvages
241. Nouvelles suites de pièces de clavecin: No. 11, La poule
242. Nouvelles suites de pièces de clavecin: No. 15, L'enharmonique
243. Nouvelles suites de pièces de clavecin: No. 16, L'égiptienne
244. Pièces de clavecin: No. 14, Les niais de Sologne [with 2 Doubles]
245. Pièces de clavecin: No. 20, Rondeau in D minor "Les cyclopes"
246. Nouvelles suites de pièces de clavecin: No. 4, Les trois mains
247. Nouvelles suites de pièces de clavecin: No. 8, Tambourin
248. Nouvelles suites de pièces de clavecin: No. 7, Gavotte [with 6 Doubles] in A minor
249. Premier livre de pièces de clavecin: No. 1, Prélude in A minor
250. Pièces de clavecin: No. 19, Rondeau in D major "Les tourbillons"
251. Pièces de clavecin: No. 12, Rondeau in E minor "La villageoise"

François Couperin
Anton Heiller (soloist*)
252. Pièces de clavecin, Book 3: Ordre 17 in E minor - Les petits moulins à vent
253. Pièces de clavecin, Book 3: Ordre 14 in D major/D minor - Le carillon de Cithère
254. Pièces de clavecin, Book 2: Ordre 8 in B minor - Passacaille in b minor
255. Pièces de clavecin, Book 2: Ordre 6 in B flat major - Les baricades mistérieuses
256. Pièces de clavecin, Book 3: Ordre 18 in F minor/F major - Le tic-toc-choc ou Les Maillotins
257. Pièces de clavecin, Book 2: Ordre 11 in C minor/C major - Les Fastes de la grande et ancienne menest
258. Pièces de clavecin, Book 3: Ordre 13 in B minor - Les folies françoises ou Les dominos
259. Pièces de clavecin, Book 3: Ordre 15 in A minor/A major - Le dodo ou l'amour au berceau
260. Pièces de clavecin, Book 3: Ordre 19 in D minor/D major - Les Calotins et les Calotines
261. Pièces de clavecin, Book 3: Ordre 13 in B minor - L'âme en peine
262. Pièces de clavecin, Book 4: Ordre 26 in F sharp minor - L'epineuse
263. Pièces de clavecin, Book 4: Ordre 24 in A minor/A major - L'amphibie

Telemann
Suite for flute, strings & continuo in A minor, TWV 55:a2
Camerata of St. Andrew (orchestra*); Leonard Friedman (conductor*); Susan Milan (soloist*)
264. i. Ouverture
265. ii. Les Praisirs
266. iii. Air a l'Italien
267. iv. Menuets 1 and 2
268. v. Rejouissance
269. vi. Passepied
270. vii. Polonaise and Lento from Ouverture

Telemann
Burlesque de Quichotte: , suite for strings & continuo in G major, TWV 55:G10
Camerata of St. Andrew (orchestra*); Leonard Friedman (conductor*)
271. i. Ouverture
272. ii. Don Quichotte Awakens
273. iii. His Attack on the Windmills
274. iv. The Love Sighs for the Princess Dulcinea
275. v. The Tossing of Sancho Panza
276. vi. Rosinante's Gallop
277. vii. The Gallop of Sancho Panza's Donkey
278. Telemann: Burlesque de Quichotte: viii. Don Quichotte's Rest

Telemann
Concerto for flute, violin, cello, strings & continuo in A major (Tafelmusik I/3), TWV 53:A2:
Camerata of St. Andrew (orchestra*); Leonard Friedman (conductor*); Susan Milan (soloist*)
279. i. Largo
280. ii. Allegro
281. iii. Grazioso
282. iv. Allegro

William Boyce
Symphony No. 1 in B-flat Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
283. i. Allegro
284. ii. Moderato e dolce
285. iii. Allegro

William Boyce
Symphony No. 2 in A Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
286. i. Allegro assai
287. ii. Vivace
288. iii. (Presto) Allegro

William Boyce
Symphony No. 3 in C Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
289. i. Allegro
290. ii. Vivace
291. iii. Minuetto

William Boyce
Symphony No. 4 in F Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
292. i. Allegro
293. ii. Vivace ma non troppo
294. iii. Gavotte (Allegro)

William Boyce
Symphony No. 5 in D Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
295. i. Allegro ma non troppo; Allegro assai
296. ii. Tempo di Gavotta
297. iii. Tempo di Minuetto

William Boyce
Symphony No. 6 in F Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
298. i. Largo: Allegro
299. ii. Menuetto

William Boyce
Symphony No. 7 in B Flat Major
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
300. i. Andante; Spirituoso
301. ii. Moderato
302. iii. Jigg (Allegro assai)

William Boyce: Symphony No. 8 in D Minor:
I Solisti di Zagreb (orchestra*); Antonio Janigro (conductor*)
303. i. Pomposo; Allegro
304. ii. Largo (Andante)
305. iii. Tempo di gavotta (Risoluto)
11 of 12 people found the following review helpful.
5Wow!
By Penny
This is an insanely beautiful collection of music! I've only listened to a few tracks so far, it will take me a few days to find the time to make my way through this collection. I wasn't familiar with Boyce's symphonies, so I started there and found them to be charming. I look forward to making my way through this collection, and know it will be a standard go to for work time hours, as well as entertaining.
8 of 9 people found the following review helpful.
5If it ain't Baroque - A Really Wonderful Collection for the Price!
By Ben Up the Tree
I'm kind of a Classical Music super collection hoarder. I have probably own 2,000+ classical recordings through various albums purchased from Amazon. This one is really wonderful. More than a mere sampling, this set feels like a sonic adventure due to the vast array of songs and is incredibly relaxing. I would totally recommend.
See all 8 customer reviews...
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We Are Never Ever Getting Back Together



Product Details
We Are Never Ever Getting Back Together

We Are Never Ever Getting Back Together
From Big Machine Records, LLC

Price:$0.99
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  • Amazon Sales Rank: #1 in Digital Music Track
  • Published on: 2012-08-14
  • Released on: 2012-08-14
  • Running time: 193 seconds

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31 of 39 people found the following review helpful.
2What to say...what to say
By Chris
First off, I am not a hater or internet assassin. I am huge Fan of Taylor's. I love all three albums and her.

This song is different and all pop. Country radio is playing a version of it but its very similar to the pop one.

I am not judging until I hear the whole album. Is this well written and thoughtful, no. Is it catchy and in the vain of Call Me Maybe, yes. It is what I call a summer song.

I am eager to hear how this record goes. I loved her last record Speak Now. It was grown up, mature, and thoughtful.
I hope this song is not foreshadowing.

Time will tell.

Chris
11 of 13 people found the following review helpful.
4Relatable, catchy, still very "Taylor".. just more pop
By Ginger R.
Even at first listen, you can tell Taylor is using co-writers this time around. I wasn't surprised to learn that Max Martin was one of them for this track (Martin is responsible for many Britney Spears & P!nk hits.) Therefore, I can see why this song is getting mixed reviews.

On one hand, it is pure pop, making it seem somewhat shallow.. even if the lyrics are still very Taylor-esque, just not quite as much story-telling this time. On the other hand, only Taylor Swift could come out with a pure pop song & have it be a "different" sound for her. If this was a new artist on the scene, I'm not sure this song would be a hit for them. But because we wouldn't expect this from Taylor, it ends up seeming original in a way. It is intriguing to think what direction her album will be going based on this song.

Since the album doesn't drop til the end of October, I'm sure she will release another single before then. So critics shouldn't judge quite yet. In the meantime, enjoy a more fluffy pop song that only Taylor could make seem refreshing. I personally really enjoy it, especially because I can relate to the break-up-then-make-up relationship it's describing. Part of Taylor Swift's genius is how relatable she is, so in my mind, this style still suits her.

However, a caveat: I'm not a country music fan, so her divergence from that genre would not affect or disappoint me anyway.
4 of 4 people found the following review helpful.
3A Swift-Nitpicker's Paradise
By sovereign73811
A small warning to those who may only see stars instead of this text: I've heard the whole song and have only one opinion about Taylor Swift (Yes, it's OK to capitalize off of bad relationships...I think we can all see what's next with some of her latest headlines with the Kennedy family, no offense).

One more warning: nerdy references have been added for hyperbole.

So now a new album is on the way and we are given a little sample of what possibly lies ahead in "Red." First time I heard this song I couldn't make heads or tails of it; the basic melody's structure is interesting but things like acoustic guitar spots then drowned out by electric guitar riffs conflicted me. It wasn't until the fifth time I figured it out: she's one ticked off girl beyond words...so she turned it into a song instead. Shoot, the same solution to her songs before...and before, and before, and before, and - I need an aural cleanser...where's my John Williams CD set?

The worst part about the song? The beat. Perhaps I'm the only one who thinks that modern music that has that overly heavy bass beat is like strapping a bunch of overloaded phasers to my head then make like I'm having fun by rocking what's left of it back and forth (don't say I didn't warn you). Worse still, it seems to be the most dominant sound in the whole song! At least in her prior work, there's usually more going on...namely with the guitar but the guitar doesn't seem to do much but repeat the same riffs. If I'm not mistaken that was the instrument that got her into music right?

The best part of this song? Well, now that I've got it in, I can't this piece of work out. Swift still has the ability to "swiftly" take a tune and utterly implant the thing in your memory, and not just the refrain part...the whole thing. Credit must be given where it's due; without this the song's nothing...special...I miss her older songs already because many of them were more unique (Teardrops, Love Story, Mean, etc.).

I must not end without something completely different-ly weird. What could improve this music and make break from her style? A Latin jazz sound right? Yeah think about it. In fact let me give you an example for you Playstation 3 owners out there. Load up Ratchet and Clank Future: A Crack in Time, go to the Bernilius Sector, and switch your radio to the Deep Space Jams station. Just imagine the mash-up (try not to take this one too seriously OK?).

Phew! Yep, if you're reading this paragraph thanks for tolerating its length. Feel free now to...nitpick me...for now though, I'll go sit in the corner and think about what I've done...with my Carrie Underwood music - huh, I have Carrie Underwood music!?
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The Carpenter



Product Details
The Carpenter

The Carpenter
From RRE, LLC / Republic Records

Price:$7.99
Digital media products such as Amazon MP3s, Amazon Instant Videos, and Kindle content can only be purchased on Amazon.com.
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Availability: Usually ships in 1-2 business days
Ships from and sold by Amazon Digital Services, Inc.
Average customer review: 
(14 customer reviews)

Product Details

  • Amazon Sales Rank: #3 in Digital Music Album
  • Published on: 2012-09-11
  • Released on: 2012-09-11
  • Running time: 2797 seconds

Customer Reviews

Most helpful customer reviews
9 of 10 people found the following review helpful.
5Streamlined, but super consistent / super satisfying
By T. A. Daniel
Sometime after 2000, bluegrass and folk music started to experience a revival - bands were springing up from all parts of the western world playing music that was influenced by folksy do-it-yourself songwriting. It would be hard to say that the Avett Brothers aren't at least partly responsible for this uprising. The band has been around since the early 2000's, releasing 6 full-length records since their inception (among a ton of other releases) - their latest release is not only the 7th for the band, but it's also the second with Rick Rubin helming production duties. Rubin, who's worked with everyone from the Red Hot Chili Peppers to Jay Z to Johnny Cash, helped the band shave away some of their grittier aspects to make way for the infectious melodies of 2009's I AND LOVE AND YOU. 2012's THE CARPENTER finds the Avett Brothers continuing where they left off.

If I had to describe the Avett Brothers' sound, I'd say it falls somewhere between the blue-grassy stained Old Crow Medicine Show and the indie-sensibilities of Mumford & Sons. The album begins with "The Once and Future Carpenter," a song that relies on the band's trademark Americana lyrics. Following the first track, the album hits it's groove with three fantastic songs in a row ("Live and Die," "Winter in My Heart," and "Pretty Girl from Michigan.") The second track, "Live and Die" serves as the lead single promoting THE CARPENTER. It's an upbeat track, but it's defined by its dominant melody - it's a song that will be hard to get out of your head with lyrics to match: "Can't you tell that I am alive? Let me prove it to you." The next track, "Winter in My Heart" is one of the more somber tracks on the album. It begins with only vocals and guitar, but it slowly develops into a more haunting ballad - it strikes a balance of being both beautiful and heartbreaking. After the last notes play out, "Pretty Girl from Michigan" changes the pace considerably - if the previous track was one of the softest on the record, this track is one of the more rocking.

While I do think that the album peaks early, the remaining 7 tracks are not to be scoffed at. THE CARPENTER could be the Avett Brothers' most consistently satisfying release yet. "Through My Prayers" is a nice ballad that wears its sincerity like a badge of honor. "Down With the Shine" ventures towards blue-grass territory with wonderful results - its swaying melody (and horn section) is hard to resist. The upbeat "Geraldine" only lasts barely over a minute and a half, but it makes a lasting impression on the album. The album concludes with "Life," a final ballad with beautiful harmonies that just hits all the right notes. It's a terrific ending, and I think it's a great complement to the tonal qualities of the album's opener, "The Once and Future Carpenter."

The Avett Brothers made their name by working - their albums are earnest, sincere, and feel lived-in. The same kind of craftsmanship a carpenter would show for a piece of woodworking the band show with each record they release, and THE CARPENTER is no exception. For me, this might be the most consistently satisfying Avett Brothers record to date. I would recommend this album to anyone who enjoys Mumford & Sons, the Lumineers, or Old Crow Medicine Show. Essential tracks to sample/download: "Live And Die," "Pretty Girl From Michigan" and "Winter In My Heart."
2 of 2 people found the following review helpful.
4Avett Brothers - Craftsmen at work
By Red on Black
The days of the Avett Brothers coming across as some sort of newgrass country punk band are long behind them. Their last album "I and love and you" was a huge hit in the States and was produced Rick Rubin whose impeccable track record with artists like Johnny Cash, Tom Petty, Neil Diamond and a host of other bands sees him as one of the most recognisable big beards in American music. The Avett's new album essentially picks up where the brothers from Concord, North Carolina left off in 2010. This is great news for those who love the reflective heart wrenching alt country songwriting side of the band, perhaps less good news for those who hark back to the raucousness of early albums like "Mignonette". Progression however is the name of the game and once again "Carpenter" is an album that screams out for an audience the size of which has been generated for Mumford and Sons in the US not least for a band that can literally blow away all comers with their explosive live act. The recent Grammy backing of both acts to Bob Dylans "Maggie's Fram" was a joy to behold.

Standout tracks here include the opening track "The once and future carpenter" which is a gorgeous travelling road ballad full of lifting melodies, soaring vocals from the brothers and building crescendos which make for a sterling start to a very fine set of songs. The plaintive lament "Winter in my heart" does suffer slightly on the lyric front but its good song that builds to a fine climax. Much better however is another in the series of "Pretty Girl" songs which started back in 2002 with "Pretty Girl From Matthews". Here it is "Pretty girl from Michigan" and clearly whoever said female was, she struck an inspirational chord with the brothers who have produced one of their best ever old style rock 'n' roll ballads in this great tune. Another Avett's mainstay is a passing nod to the early Beatles and it comes in the form of "I never knew" with superb harmonies providing the underpinning driving force. Best of all is "February Seven" and effortless country heartbreak love song which speaks of "A wound across my memory/That no amount of stitches would repair". It will no doubt generate huge accompanying audience participation when played live. Irritatingly the penultimate song "Paul Newman versus the demons" seems like the albums token rocker and largely serves to disrupt the end of the album. It may improve on repeated listens but for now it jars rather than flows. Far more preferable is "Down with the shine" with a nicely picked banjo in the background and the final song "Life" a big reflective ballad to round off proceeding with considerable style.

Check some of the reviews on this site and some of the bands supporters are berating the fact that Rubin has again shaved off some of the rough edges of the Avett's and underplayed their former banjo fulled high energy. There is is something in this but clearly the brothers have been keen to emphasise their songwriting credentials in recent albums and it would be a pretty poor show if they constantly rehashed "Country Was" over and over again. That said they do need to think about what next after "Rubin" who has certainly brought a more cohesive and polished sound to the band. For now "Carpenter" is an album made for the fall, brimming full of introspective meditative ballads that seem to grow in character and stature on every listen. This reviewer will resist the urge to utilise some form of carpentry metaphor to finish suffice it to say that the Avetts new album is a solid construction fashioned from ancient materials and shows real craftsmen at work. Sorry couldn't resist.
1 of 1 people found the following review helpful.
5DEAR MUSIC APPRECIATORS
By Andrew H. Lee
Dear Music Appreciators,

I got to know The Avett Brothers through their album EMOTIONALISM, but I haven't been able to get excited about anything they've put out since that record. What's going on with them? I would imagine their live shows are still great but on record they seem to have lost some of their magnetic pull. EMOTIONALISM felt full of, well, emotion, and infectious energy - scrappy and soulful, kind of a lovable hillbilly crazy quilt of an album.

There was something about I AND LOVE AND YOU and now there's something about THE CARPENTER as well that just doesn't draw me in. The first song is great, and when I heard that acoustic guitar work I thought oh boy this is gonna be good. But things seemed to fizzle out from there...I feel guilty writing this for some reason...maybe it's not them, maybe it's me...maybe I need to spend more time with the music...

You know, it's funny, because I turned the record on again a few minutes ago, but this time I'm listening on my headphones...suddenly it's better.

Suddenly I like this album.

Songs that seemed kind of overdone before are now sounding just right. "Live and Die" doesn't seem kind of whiny and desperate anymore. With a pair of $45 Sennheiser headphones, a high quality stream, and my full attention, whiny and desperate now sounds heartfelt and imploring, with the banjo work and other instrumental details now resonating instead of falling flat.

"Winter in My Heart" doesn't seem boring and corny or like one of those weird slow numbers from The Muppet Show anymore - it seems like it's honest and delicate and kind of sad, and hey, maybe this actually would have been great on The Muppet Show - Kermit would certainly approve of the sentiment...

And then comes "Pretty Girl from Michigan" and this time I notice the lyric "You go back to the high life and I'll go back to the low - I should have known..." And this time the vocals, piano, strings, and plodding fuzzed out guitar work combine for a very Beatles a la Abbey Road flavor.

At the beginning of the next track a bit of Avett Brothers banter gets caught on tape - someone says "Roll it just like we been running. Feeling good" Then the band kicks into a high-energy kiss-off number called "I Never Knew You," loaded with Beatlesque backup vocals and harmonies.

Again with the Beatles references, I know, but once I actually paid attention to this album I started to hear and feel the heart behind it - and whether they were happy or sad or high The Beatles had loads of heart - well The Avett Brothers have it too, and I guess I'll have to work my way back through their catalog now - this time I'll bring my headphones and I'll try to pay closer attention.

Sincerely,

Constant Listener
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The Lumineers



Product Details
Tempest

Tempest
From Columbia

Price:$5.00
Digital media products such as Amazon MP3s, Amazon Instant Videos, and Kindle content can only be purchased on Amazon.com.
Buy at Amazon

Availability: Usually ships in 1-2 business days
Ships from and sold by SONY Music Entertainment Downloads LLC.
Average customer review: 
(63 customer reviews)

Product Details

  • Amazon Sales Rank: #2 in Digital Music Album
  • Released on: 2012-09-11
  • Running time: 4106 seconds

Customer Reviews

Most helpful customer reviews
67 of 79 people found the following review helpful.
5Great CD, But...
By BruBz
Great Music but don't waste your money on the "Limited Edition" All you get for the extra $7.00
is a cheesy booklet.Not even glossy photos.
Buy the basic CD. If you like Dylan you will like it.
47 of 55 people found the following review helpful.
4Dylan's roadhouse blues--dark, rowdy, haunting, and among his latter-day best
By Jack Tripper
There's been no singer-songwriter in the near 60-year history of rock music who's a better storyteller than Bob Dylan. He proved it with his (now legendary) humble folk beginnings, and he continues to prove it today, as evidenced by the very dark, very epic 'Tempest,' an album that can proudly stand next to the best of his post-'Blood on the Tracks' repertoire.

After a somewhat lean 1980's and even leaner early-mid 90's as far as quality output from Dylan, he's now in the midst of a pretty remarkable 15-year renaissance beginning with 1997's near-perfect 'Time Out of Mind.' Every album in that span has been extremely well-received and critically-acclaimed, and I have a pretty strong feeling this trend will continue with his latest. As someone who's been slightly burnt-out on Dylan over the past few years, I think it's safe to say he won't be coming out of my rotation anytime in the foreseeable future.

Right out of the gate his larynx sounds utterly destroyed on the swingin,' country-jukebox dance-floor number, "Duquesne Whistle," but that doesn't take anything away from the song. In fact, it adds a certain kind of charm, giving Dylan a swagger that's been wholly earned through his 50 years of musical storytelling and lessons. His voice is one that demands to be listened to--now as much as ever. And I dare you to stay still in your seat during this track.

After bringing it down a notch with the tender ballad, "Soon After Midnight," Dylan kicks it back into first with the rowdy Chicago blues stomp of "Narrow Way," and when his weary, gravelly voice spouts "It's a long road, it's a long and narrow way," you believe him wholeheartedly. And later, when he sings "I pay in blood, but not my own" on "Pay in Blood," you almost wish you didn't believe, so convincing are his words. "Scarlet Town" is one of Dylan's most haunting, most beautifully hypnotic songs of his career, and even at seven-plus minutes, it feels too short.

"Early Roman Kings" is another blues number, copping the oft-used and instantly recognizable "Mannish Boy" riff that Muddy Waters made famous six decades ago, and to good effect, but the centerpiece of the album is undoubtedly the 14-minute title track, a 45-verse waltz recounting, in Dylan's inimitable way, the Titanic disaster of 1912. He does justice to the victims of that tragedy, putting his heart and soul into each and every verse, even while slyly dropping "Leo" and "Rose" into the song, obvious references to James Cameron's 1997 blockbuster. The first time I heard it, I thought it ran a bit long, and had to control my urge to skip ahead. The next time I just drifted off and let Dylan bring me into his world, into HIS version of the event, and the result was powerful--even moving.

The album, while mostly filled with revenge and redemption-themed songs, closes on a much prettier note with "Roll On John," a loving tribute to John Lennon. Being the last of three straight epic, somewhat meandering tracks, one would think the listener would grow weary by this point, but that could not be further from the truth. This was another one that had to grow on me--as it initially seemed directionless and weirdly sung--but I soon viewed it to be one of the most beautiful, touching moments of Dylan's entire oeuvre, even quoting Lennon himself with "I heard the news today, oh boy," referring to his 1980 assassination.

It's a fitting, perfect end to what could be argued is his most impressive and consistent effort since 2001's 'Love and Theft,' possibly even since 'Time Out of Mind' from four years prior, though not quite on the level of that, or his 60's and 70's classics, imo. But that would be asking too much. There aren't many artists who've remained as relevant as he has for fifty years and thirty-five albums, while at the same time continually putting out such strikingly original work.

My hope is that he'll continue to do so for another decade, at least. But I count myself--and the world at large--as fortunate to have had him around for any length of time at all.

4.5 out of 5
21 of 26 people found the following review helpful.
5AT 71, DYLAN IS THE COOLEST GUY ON PLANET
By Mets Fan
This is one of Dylan's best albums. It rates up there with the best of his later works - TOOM, L&T, MT and easily rates up there with HW61, BOOT and BOB. Every cut on this album is great. 'Duquesne Whistle' is a great Bob Wills type of country swing - 'Soon After Midnight' sounds like a 1930's crooner song, but if you listen closely - the singer is stalking this woman. Narrow Way takes a Bo Carter/Mississippi Sheiks line "You'll Work Down To Me Someday" and builds a rocking cut that will definitely be played in many concerts of his Never Ending Tour. 'Long and Wasted Years' is talked by Bob and seems to me to be the couple from Brownsville Girl, 30-years later. 'Pay In Blood' is as angry as other Dylan classics such as "...Rolling Stone" or "Idiot Wind". One of the best songs on this album! Next is 'Scarlet Town'. I will say nothing about this song except listen to his voice and the lyrics. Haunting. An instant Dylan classic. 'Early Roman Kings' is Muddy Water's 'Mannish Boy' tune - but wow - what a great cut. Rocking, electric blues - again, destined for many Dylan concerts. 'Tin Angel' is another haunting killing song. His voice never sounded better (the rougher his voice is - the better). "Tempest' is 48 verses with no hook, telling the story (Dylan's version) of the sinking of the Titanic. It's a horror story - but his voice almost seems happy. It's one of those great Dylan curveball songs. Last cut on album is 'Roll On, John'. If you are a Lennon fan - Bob's voice and lyrics will give you chills. TEMPEST is a classic.
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