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Voices From The Past: Bela Bartok's 44 Duos & Original Field Recordings
Tantara Records · May 2014CD$18.99 -
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SaleTwo Classic Political Film Scores - Revueltas: Redes - Copland: The City / Gil-Ordóñez, PostClassical Ensemble
Naxos · Mar 2022CD$19.99$13.99 -
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Vivaldi: The Four Seasons & Other Concerti / Whelan, Chandler, La Serenissima
Avie Records · Sep 2015CD$19.99 -
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Vivaldi: The Four Seasons & other concertos, Vol. 1 / Chandler, La Serenissima
Signum Classics · Feb 2025CD$20.99 -
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Lost Sessions from The Netherlands / Blossom Dearie, Metropole Orkest
Fondamenta · Sep 2021CD$19.99 -
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Great Classic Film Music / Sutherland, Philharmonic Concert Orchestra
SOMM Recordings · Jul 2019CD$20.99 -
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Anderson: Sleigh Ride & Other Holiday Favorites / Slatkin, BBC Concert Orchestra
Naxos · Oct 2008CD$19.99 -
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SaleHaydn: Symphony No. 103 & "Theresa" Mass / Bevan, Christophers, Handel & Haydn Society
Coro · Sep 2022CD$20.99$10.49 -
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BRAHMS: DOUBLE CONCERTO FOR VIOLIN & CELLO
WARNER CLASSICS
Vinyl
$27.99
Aug 29, 2025
Perlman already had a recording of the Brahms Double Concerto to his name - on that occasion sharing the bill with Mstislav Rostropovich, conducted by Bernard Haitink (1979). He creates an equally sumptuous dialogue here with Yo-Yo Ma. The two performers match one another for brio and lyricism, their playing informed by the same sense of joyfulness, as their enthusiasm and generosity of spirit combine. Indeed, the coherence of sound, vibrato and intonation of these two soloists, each at the peak of his powers, reveals a fellowship both instrumental and spiritual. The vigour of the attacks and power of the phrasings, sustained by dazzling playing from the orchestra, add a rarely achieved Romantic dimension to this performance, transforming it into a veritable feast for the ears.
LIVE AT ART D'LUGOFF'S TOP OF THE GATE VOL. 1
2XHD
Vinyl
$107.49
Apr 05, 2024
The two volumes capture two complete sets of the Bill Evans trio with bassist Eddie Gomez and drummer Marty Morell on October 23, 1968, at Art D'Lugoff's legendary Village Gate club in New York City. It's the only Evans recording released from The Village Gate. The trio had been together only for several weeks when these recordings were made. The leader's playing remains a wonder to behold. The quality of the ideas that flowed from his brain to his hands is unmatched in the history of jazz piano. Never the flashiest nor the loudest player, Evans had a quiet grace and an exquisite impressionistic touch that to this day remain unequaled. 'Bill Evans Live at Art D'Lugoff's Top of the Gate... rivals Evans's revered Village Vanguard recordings for Riverside in June '61. The music is frighteningly vivid - like being seated at a table on stage amid the musicians.' - Wall Street Journal. Tracklist: Side A Emily Witchcraft Side B Yesterdays 'Round Midnight Side C Someday My Prince Will Come Mother of Earl Side D Here's That Rainy Day My Funny Valentine
Miguel Del Aguila / Salon Buenos Aires
Bridge Records
CD
$18.99
Oct 13, 2009
Miguel del Aguila has for several years now been making quite a name for himself throughout the Americas. He has been a prize-winner of awards such as the Kennedy Centre Friedheim. He was Composer-in-Residence with the New Mexico Symphony Orchestra. However his music has hardly ever percolated beyond America.
This is not the first CD to contain some of his music but I believe it’s the first to be devoted entirely to him. He has been described as a composer of “turbulent fantasy” and the anonymous booklet notes here comment that in his music there is “captivating interplay, even fertile tension, between Classical formal balance and Romantic excess”. I have to say that this Uruguayan composer is a typical example of cross-over, not though manufactured, but with a real living and genuine language so beloved of those for whom modern music normally takes too much concentration time.
The opening work is infectious and clever. “Charango Capriccioso” is built gradually from a very still and quiet start to a manic climax via repeated and obsessive syncopated rhythmic patterns. It then peters out after massive chords to a thoughtful and forgiving coda. The recording seems a little choked when the music is at its most wild. Perhaps the volume is tricky to adjust at the beginning; nevertheless this piece creates a promising opening impression.
The second work ‘Presto II’ is an enlarged version of the finale of his Second String Quartet which Aguila wrote whilst living in Vienna where the form is considered to be ‘sacrosanct’. Apparently its performance was reviewed as “not serious” by the local press. It is frenetic and spends most of its time in 7/8 time. It finds time to take a bow towards 1920s Jazz. It also contains ‘col legno’ and ‘sul pont’ effects and ends with a shout from the players. Good fun.
I have to describe ‘Life is a dream’ as a heroic failure, despite the fact that it is quite original and at times catchy. The composer has translated a poem by Pedro Calderon del Barca (1600-1681) about the meaning of life. This is narrated, practically twice - incidentally there are two narrators; the female not named - at varying points during the work’s progress. The “reality” is represented on stage but there is a “distant reality ... personified by the first violin who finlly joins the on-stage performers.” There is then a dance - “a dysfunctional jota” - with the evocation of guitars. There’s a flavour of Andalusia and the Phrygian mode present throughout old Spanish music is much in evidence. It is a complex tapestry of a work and one hearing I felt was probably quite adequate. However for the purposes of this review I listened again and, sadly, found it even less revealing.
If you felt, as I did that Aguila is the musical grandson as it were of Astor Piazzolla then ‘Salon Buenos Aires’ will add further ‘confirmation’. The first movement is a Samba, which in addition to the rich instrumental mix adds some (uncredited) disembodied, vocalising, and demonstrates what we are told in the booklet notes that “The three movements comprise a nostalgic musical portrait of 1950s Buenos Aires” which “springs from the composer’s childhood memories”. The middle movement grows from and ends in mist but builds to a powerful climax. This is a ‘Tango to Dream’ transition. Its thickly contrapuntal middle section would have benefited from more air around the players. In fact the recording as a whole is rather too close for comfort at times. This is the longest movement but we move on to an irritating - to this reviewer anyway - ‘Obsessed Milonga’. I should not have been surprised because the notes quote the newspaper the Wiener Zeitung as describing the composer as “of obsessive vitality”. A Milonga is incidentally an earlier Uruguayan tango form. The flute leads off manically with the melody and the other players repeat it in various keys for the next four minutes.
If I have been a little luke-warm so far then all changes with the last work. ‘Clocks’ is for piano quintet and the composer might well have called it ‘A Clock Museum’. This is original, colourful and pleasing. It falls into six sections. The first 'Shelves of Clocks’ sets up a ‘tocking and a ticking’ with the use of a polyphony of very high pizzicatos and harmonics. There are sharp staccato piano notes. In movement two, ‘Midnight Strikes’ there are clangorous, resonant chords. The third is ‘The Old Clock’s tale’ which is romantic and generally slightly ‘Hollywood’ in effect. ‘Sundial 2000BC’ is great fun incorporating some rugged rather primeval vocal work with which we might associate Roman ritual. It features a 3+3+2 dance rhythm. ‘Romance of Swiss Clocks’ makes a fascinating contrast being rather twee and flecked with bon-bons. Finally there is the longest movement, the riotous ‘The Joy of keeping time’ based on various South-American dance rhythms. This ends with the clocks in an empty museum indulging in something near to a musical orgy.
The whole disc is played with great enthusiasm. I’m not mad on the recording quality as mentioned above but the booklet is useful with photos and succinct musical asides.
-- Gary Higginson, MusicWeb International
This is not the first CD to contain some of his music but I believe it’s the first to be devoted entirely to him. He has been described as a composer of “turbulent fantasy” and the anonymous booklet notes here comment that in his music there is “captivating interplay, even fertile tension, between Classical formal balance and Romantic excess”. I have to say that this Uruguayan composer is a typical example of cross-over, not though manufactured, but with a real living and genuine language so beloved of those for whom modern music normally takes too much concentration time.
The opening work is infectious and clever. “Charango Capriccioso” is built gradually from a very still and quiet start to a manic climax via repeated and obsessive syncopated rhythmic patterns. It then peters out after massive chords to a thoughtful and forgiving coda. The recording seems a little choked when the music is at its most wild. Perhaps the volume is tricky to adjust at the beginning; nevertheless this piece creates a promising opening impression.
The second work ‘Presto II’ is an enlarged version of the finale of his Second String Quartet which Aguila wrote whilst living in Vienna where the form is considered to be ‘sacrosanct’. Apparently its performance was reviewed as “not serious” by the local press. It is frenetic and spends most of its time in 7/8 time. It finds time to take a bow towards 1920s Jazz. It also contains ‘col legno’ and ‘sul pont’ effects and ends with a shout from the players. Good fun.
I have to describe ‘Life is a dream’ as a heroic failure, despite the fact that it is quite original and at times catchy. The composer has translated a poem by Pedro Calderon del Barca (1600-1681) about the meaning of life. This is narrated, practically twice - incidentally there are two narrators; the female not named - at varying points during the work’s progress. The “reality” is represented on stage but there is a “distant reality ... personified by the first violin who finlly joins the on-stage performers.” There is then a dance - “a dysfunctional jota” - with the evocation of guitars. There’s a flavour of Andalusia and the Phrygian mode present throughout old Spanish music is much in evidence. It is a complex tapestry of a work and one hearing I felt was probably quite adequate. However for the purposes of this review I listened again and, sadly, found it even less revealing.
If you felt, as I did that Aguila is the musical grandson as it were of Astor Piazzolla then ‘Salon Buenos Aires’ will add further ‘confirmation’. The first movement is a Samba, which in addition to the rich instrumental mix adds some (uncredited) disembodied, vocalising, and demonstrates what we are told in the booklet notes that “The three movements comprise a nostalgic musical portrait of 1950s Buenos Aires” which “springs from the composer’s childhood memories”. The middle movement grows from and ends in mist but builds to a powerful climax. This is a ‘Tango to Dream’ transition. Its thickly contrapuntal middle section would have benefited from more air around the players. In fact the recording as a whole is rather too close for comfort at times. This is the longest movement but we move on to an irritating - to this reviewer anyway - ‘Obsessed Milonga’. I should not have been surprised because the notes quote the newspaper the Wiener Zeitung as describing the composer as “of obsessive vitality”. A Milonga is incidentally an earlier Uruguayan tango form. The flute leads off manically with the melody and the other players repeat it in various keys for the next four minutes.
If I have been a little luke-warm so far then all changes with the last work. ‘Clocks’ is for piano quintet and the composer might well have called it ‘A Clock Museum’. This is original, colourful and pleasing. It falls into six sections. The first 'Shelves of Clocks’ sets up a ‘tocking and a ticking’ with the use of a polyphony of very high pizzicatos and harmonics. There are sharp staccato piano notes. In movement two, ‘Midnight Strikes’ there are clangorous, resonant chords. The third is ‘The Old Clock’s tale’ which is romantic and generally slightly ‘Hollywood’ in effect. ‘Sundial 2000BC’ is great fun incorporating some rugged rather primeval vocal work with which we might associate Roman ritual. It features a 3+3+2 dance rhythm. ‘Romance of Swiss Clocks’ makes a fascinating contrast being rather twee and flecked with bon-bons. Finally there is the longest movement, the riotous ‘The Joy of keeping time’ based on various South-American dance rhythms. This ends with the clocks in an empty museum indulging in something near to a musical orgy.
The whole disc is played with great enthusiasm. I’m not mad on the recording quality as mentioned above but the booklet is useful with photos and succinct musical asides.
-- Gary Higginson, MusicWeb International
Voices From The Past: Bela Bartok's 44 Duos & Original Field Recordings
Tantara Records
CD
$18.99
May 27, 2014
"•Containing both the old and the new, this album features not only Béla Bartók’s 44 Duos but also all the existing original field recordings made by Bartók in the early 20th century of the folk music that inspired them.
• The purpose of this albumis to connect the listener to these original folk melodies.
• The field recordings appear here—for the first time together on one album—with permission from the varied sources that house them in Austria, Slovakia, and Hungary."
Two Classic Political Film Scores - Revueltas: Redes - Copland: The City / Gil-Ordóñez, PostClassical Ensemble
Naxos
CD
$13.99
$19.99
Save 30%
Mar 11, 2022
Revueltas and Copland wrote prolifically for film, and these scores are their greatest achievements in the medium. The scores were crafted for two of the most formidable and politically motivated films of the time. Redes is a story of victimized fishermen in Mexico - and the subject matter drew from Revueltas passionate music that Copland himself admiringly described as 'vibrant and colorful'. The City is a documentary that reveals the musical missing link between Copland's 'urban' and 'country' idioms, prescient of minimalism, and masterly in construction and effect. Without narration or dialogue, both scores are heard here for the first time in full.
Noël Coward Sings "Sail Away" and Other Coward Rarities (Rec
Harbinger Records
CD
$18.99
Jan 01, 1999
1999 marks the Coward Centenary, and this release gets things off to a fine start with recordings of Noel singing his score for Sail Away, including many songs that were cut before the opening! Also here are some extremely rare recordings he made in 1944 in Calcutta, India(!), and excerpts from the demo of the unproduced show Later Than Spring. 26 cuts!
The Handel Collection / Christophers, The Sixteen
Coro
CD
$74.99
Mar 01, 2010
Harry Christophers and The Sixteen have long been celebrated for their recordings and performances of Handel. Over the past three decades Harry Christophers and his award-winning ensemble have expanded their Handel repertoire to take in his greatest works. They have also made numerous recordings of Handel’s masterpieces and this twelve CD boxed set features a selection of some of their finest discs along with three remarkable solo albums featuring The Sixteen’s celebrated orchestra and acclaimed sopranos Sarah Connolly, Ann Murray and Elin Manahan Thomas.
Reviews of some of the original recordings that make up this set:
Coronation Anthems
By any standards this is a major release. Even in a year which is seeing, predictably, a glut of Handel releases, many of them extremely fine, this stands out. Harry Christophers and The Sixteen have enjoyed tremendous success at home and abroad with performances that have caught the imagination of a public outside (as well as inside) the traditional concert hall (and, to add a quick plug, they will be the subject of next month’s cover story). And here, perhaps more than in any other of their excellent recent issues, they show just why.
This is an opulently sung and played Handel disc but also a cunning one. Christophers has thought deeply about how to pace these works, how to marshall his resources for maximum but never superficial effect. The opening of Zadok the Priest, for instance, so familiar to us all, is here subdued, hushed and steady. When the melody opens out, The Sixteen add power and sheen, giving a sudden surge. It reminds one of the historian Charles Burney's observation of Handel (quoted by Christophers) that "when he did smile, it was his sire the sun, bursting out of a black cloud".
A tremendous issue. One to keep on the shelves and return to frequently.
-- Gramophone [4/2009]
A good modern recording of Samson is overdue. It is extraordinary that this fine work, composed within weeks of Messiah, and in Handel’s day possibly the most popular of all his oratorios, should be represented on the Gramophone Database only by one version recorded nearly 20 years ago and the unidiomatic and heavily cut Harnoncourt recording made in 1992. The new one does not obliterate memories of the old, which captures performances by a generation of British Handel interpreters at their finest (Dame Janet Baker, Helen Watts, Robert Tear, Benjamin Luxon and John Shirley-Quirk, as well as several admirable younger singers). But the new version gives a complete and straightforward account of the work, in tune with styles of Handel performance favoured today. Except in one particular: most conductors of period-instrument groups tend to favour faster tempos than those Harry Christophers generally chooses. This is a decidedly leisurely reading of the work; clearly Christophers has a sense of its magnitude, of the big issues with which it is involved and the nobility of its utterance, and he will not let himself be hurried. I think there are times, especially in the final act, where quicker tempos would have been helpful towards the maintenance of the oratorio’s momentum. Similarly, I wish that he had moved a shade more swiftly during the recitatives, and – or this may be the editors – from one number to the next, simply to sustain the dramatic impetus more strongly. I suspect, however, that Christophers is probably less concerned with the drama of the work than with its religious and philosophical aspects, and of course with presenting a direct and faithful realization of it: a perfectly legitimate approach and one that I am sure many will applaud.
He has an excellent cast. Thomas Randle is well equipped for Samson, a firm, strong tenor, with a hint of baritonal quality in his middle and lower registers. There is no bombast here. “Total eclipse” has much of pathos but no heroics. “Why does the God of Israel sleep” is done with some power, and the renunciation of Dalila (“Your charms to ruin”) is weightily sung; and there is plenty of fire in his rejection of the Philistine braggart Harapha but never at the cost of musical singing. It is not strongly characterized: an estimable performance but one that does not quite catch you by the throat. Samson’s father Manoah is sung with characteristic warmth and depth of tone and feeling by Michael George: listen for example to his “Thy glorious deeds” in Act 1. His bass contrasts aptly with the tauter, more focused one of Jonathan Best’s Harapha. Mark Padmore contributes some well-placed singing as both the Israelite and the Philistine man. Lynne Dawson does the same as the woman from both camps (and also the Virgin, echoing Dalila in one appealing number); she contributes a vigorous “Let the bright seraphim” (which here has a brief choral section at the end, surviving in Handel’s manuscript but probably never heard before). I enjoyed Lynda Russell’s soft, seductive Dalila, a modest role, confined to Act 2; but perhaps above all Catherine Wyn-Rogers excels as Micah, with beautifully intense singing and concentrated tone in all her music – her phrasing in “Then long eternity” and the heartfelt expression in “Return O God of hosts”, for example, are quite outstanding. Stylistically the performance is cautious, with only modest added ornamentation and brief cadenzas, but of course the requisite appoggiaturas in the recitative: if an error, it’s certainly in the right direction.
The Sixteen provide clear and spirited choral singing throughout, suitably jolly in the Philistine music, duly noble in that for the Hebrews. I was struck by the unusual clarity of texture in the choruses, attributable both to Christophers’s direction and insistence on firm tone and incisive articulation and to the work of the engineers. Altogether a welcome issue.'
-- Stanley Sadie, Gramophone [8/1997]
Esther
"There can be little question that the true heroes of the present recording are Christophers, who conducts the work with a fervent conviction that makes the excellent Hogwood look at times a little prosaic, and his quite magnificent chorus, who sing throughout with an incisive precision, superb articulation, and clarity of diction that is often electrifying. Michael Chance sings a wonderful Priest (his intensely moving “O Jordan, Jordan” is one of the highlights of the set) that eclipses that of Drew Minter, and Nancy Argenta provides a poignant reminder of the singer she was with a radiantly joyful “Praise the Lord.” Haman, the one character of real interest (there are surely pre-echoes of Saul in his downfall), is powerfully sung by Michael George...this is a quite splendid performance of a work more often mentioned by historians than heard, a fate it certainly does not deserve."
-- Brian Robins, Fanfare
Delirio Amoroso
"Like most Coro releases to date, this is a reissue of a disc originally put out by the now-defunct Collins Classics label. The present disc dispenses with services of The Sixteen to feature three of the Italian cantatas composed during Handel’s prodigious Italian sojourn (1706–1710), all of those here dating from the first half of 1707. The most conventional in form is Clori, mia bella, a pastoral in which—over the course of four brief da capo arias alternating with secco recitative—a young man experiences the varying emotions attached to the uncertainties of love. The spirit of the piece is none too serious, Handel’s music utterly delicious. Both the other cantatas are more ambitiously planned, providing ample evidence of the young composer’s often-innovative approach to the form. Armida abbandonata, scored for just two violins and continuo, but here done with a fuller body of strings, has as its subject the abandonment of the sorceress Armida by the Christian knight Rinaldo as related in Tasso’s Gerusalemme liberata, a topic to which Handel was to return in his first London opera, Rinaldo. It opens with a remarkable accompanied recitative in which the singer is accompanied by two violins senza basso, then proceeds to a heartbroken aria of ravishing beauty, and a highly dramatic accompanied dramatic recitative in which the scorned Armida gives vent to her conflicting emotions.
The semidramatic Delirio amoroso is designed on an even grander scale, the vocal writing being more virtuosic, with each of its arias having an obbligato part. The text by Handel’s Roman patron Cardinal Benedetto Pamphili also taps into the fashionable Arcadian theme. In her delirium, the scorned and distraught Chloris follows her unfaithful dead lover to Hades, only to be rejected once more. Out of compassionate love, she leads him to Elysium, where a beautiful Entrée prefigures the idea of Gluck’s blessed spirits.
The much admired, indeed much loved, Irish mezzo Ann Murray makes no pretence of being an early-music singer, but she brings considerable style to these splendid examples of Handel’s burgeoning flair and invention. The voice itself sounds lovely, and it is produced with an enviable ease, floating and phrasing Handel’s wonderful melodies with real musicality. Equally as important are Murray’s strong powers of communication and feeling for text."
-- Brian Robins, Fanfare
Heroes and Heroines / Sarah Connolly
"And the mezzo lode continues to run as rich and high-quality as ever, supplying the world with yet another first-rate singer. Of course, Sarah Connolly hasn't exactly come out of nowhere: she's been a member of The Sixteen Choir and has made acclaimed appearances for the past several years in opera roles and concerts throughout the U.S. and Europe. This collaboration with her former Sixteen conductor, Harry Christophers, reveals the impressive maturity and technique of Connolly along with Christophers' solid command of Handelian drama. The repertoire may not be the most common collection of arias (only one is very familiar), but the selection is no less engaging for that; the idea of this recital was to "depict not only the close links between opera and oratorio in Handel's works but also equate the position of hero and heroine." Interesting programming concept aside, what you hear is top-notch Handel singing in some very characterful and artistically challenging pieces.>
From Connolly's first notes, "Sta nell' Ircana" from Alcina, we have no doubt about this voice's considerable dramatic capabilities, and we can't help but be impressed with both her range (free of discernible register breaks) and ease of delivery from top to bottom. By the aria's end she's confirmed the power of her lowest register notes and ability to fully embody and project her character. I'm not wild about her "ha-ha-ha-ha-ha" articulation in one of the aria's repeated figures, but since she doesn't exhibit this annoying mannerism anywhere else, I assume it's an intended "effect" (imitating the orchestral figures, perhaps?) and only mention it because it's so striking and uncharacteristic of her singing in general.
Connolly is just as convincing and her voice is as lovely in the slower arias, including "Mi lusingha il dolce affetto" from Alcina (all seven minutes of it!). Her breath control is amazing and she completely enthralls with her attractive, sensible ornaments. And she's lucky to have such a partner in Christophers and his attentive orchestra: listen as he takes Connolly's lead from the intro to Ariodante's tender "Scherza infida" and hands her a perfectly set atmosphere of sorrow and tragic determination. This is the highlight of the CD, Connolly's subtle vocal shading, expressive phrasing, and vibrant tone varying from gently floating to more emphatically projected--the definition of captivating.
Other listeners may cite the following "Dopo notte", a brisk, high-energy aria from the same opera, as the most impressive of Connolly's performances, and it would be hard to argue in light of the singer's command of the reams of rapid runs and wildly leaping lines while maintaining the flow and emotional intensity of this fiendishly difficult seven minutes of music. And then there's the beloved and oft-performed "Verdi prati", which Connolly renders as sensitively and with as sumptuous a tone and smoothly-spun legato as we could hope for. The final "Where shall I fly?" from Hercules is a magnificent display of virtuoso vocalism, although I still prefer Stephanie Blythe's more fluid, richer-voiced rendition--purely a matter of personal taste. And again, much credit must go to Christophers' smart orchestral leadership and to the crisply pointed accents, finely honed rhythms, and warm sound of the Symphony of Harmony and Invention, recorded to the highest modern standard."
--David Vernier, ClassicsToday.com [10/11/2004]
Reviews of some of the original recordings that make up this set:
Coronation Anthems
By any standards this is a major release. Even in a year which is seeing, predictably, a glut of Handel releases, many of them extremely fine, this stands out. Harry Christophers and The Sixteen have enjoyed tremendous success at home and abroad with performances that have caught the imagination of a public outside (as well as inside) the traditional concert hall (and, to add a quick plug, they will be the subject of next month’s cover story). And here, perhaps more than in any other of their excellent recent issues, they show just why.
This is an opulently sung and played Handel disc but also a cunning one. Christophers has thought deeply about how to pace these works, how to marshall his resources for maximum but never superficial effect. The opening of Zadok the Priest, for instance, so familiar to us all, is here subdued, hushed and steady. When the melody opens out, The Sixteen add power and sheen, giving a sudden surge. It reminds one of the historian Charles Burney's observation of Handel (quoted by Christophers) that "when he did smile, it was his sire the sun, bursting out of a black cloud".
A tremendous issue. One to keep on the shelves and return to frequently.
-- Gramophone [4/2009]
A good modern recording of Samson is overdue. It is extraordinary that this fine work, composed within weeks of Messiah, and in Handel’s day possibly the most popular of all his oratorios, should be represented on the Gramophone Database only by one version recorded nearly 20 years ago and the unidiomatic and heavily cut Harnoncourt recording made in 1992. The new one does not obliterate memories of the old, which captures performances by a generation of British Handel interpreters at their finest (Dame Janet Baker, Helen Watts, Robert Tear, Benjamin Luxon and John Shirley-Quirk, as well as several admirable younger singers). But the new version gives a complete and straightforward account of the work, in tune with styles of Handel performance favoured today. Except in one particular: most conductors of period-instrument groups tend to favour faster tempos than those Harry Christophers generally chooses. This is a decidedly leisurely reading of the work; clearly Christophers has a sense of its magnitude, of the big issues with which it is involved and the nobility of its utterance, and he will not let himself be hurried. I think there are times, especially in the final act, where quicker tempos would have been helpful towards the maintenance of the oratorio’s momentum. Similarly, I wish that he had moved a shade more swiftly during the recitatives, and – or this may be the editors – from one number to the next, simply to sustain the dramatic impetus more strongly. I suspect, however, that Christophers is probably less concerned with the drama of the work than with its religious and philosophical aspects, and of course with presenting a direct and faithful realization of it: a perfectly legitimate approach and one that I am sure many will applaud.
He has an excellent cast. Thomas Randle is well equipped for Samson, a firm, strong tenor, with a hint of baritonal quality in his middle and lower registers. There is no bombast here. “Total eclipse” has much of pathos but no heroics. “Why does the God of Israel sleep” is done with some power, and the renunciation of Dalila (“Your charms to ruin”) is weightily sung; and there is plenty of fire in his rejection of the Philistine braggart Harapha but never at the cost of musical singing. It is not strongly characterized: an estimable performance but one that does not quite catch you by the throat. Samson’s father Manoah is sung with characteristic warmth and depth of tone and feeling by Michael George: listen for example to his “Thy glorious deeds” in Act 1. His bass contrasts aptly with the tauter, more focused one of Jonathan Best’s Harapha. Mark Padmore contributes some well-placed singing as both the Israelite and the Philistine man. Lynne Dawson does the same as the woman from both camps (and also the Virgin, echoing Dalila in one appealing number); she contributes a vigorous “Let the bright seraphim” (which here has a brief choral section at the end, surviving in Handel’s manuscript but probably never heard before). I enjoyed Lynda Russell’s soft, seductive Dalila, a modest role, confined to Act 2; but perhaps above all Catherine Wyn-Rogers excels as Micah, with beautifully intense singing and concentrated tone in all her music – her phrasing in “Then long eternity” and the heartfelt expression in “Return O God of hosts”, for example, are quite outstanding. Stylistically the performance is cautious, with only modest added ornamentation and brief cadenzas, but of course the requisite appoggiaturas in the recitative: if an error, it’s certainly in the right direction.
The Sixteen provide clear and spirited choral singing throughout, suitably jolly in the Philistine music, duly noble in that for the Hebrews. I was struck by the unusual clarity of texture in the choruses, attributable both to Christophers’s direction and insistence on firm tone and incisive articulation and to the work of the engineers. Altogether a welcome issue.'
-- Stanley Sadie, Gramophone [8/1997]
Esther
"There can be little question that the true heroes of the present recording are Christophers, who conducts the work with a fervent conviction that makes the excellent Hogwood look at times a little prosaic, and his quite magnificent chorus, who sing throughout with an incisive precision, superb articulation, and clarity of diction that is often electrifying. Michael Chance sings a wonderful Priest (his intensely moving “O Jordan, Jordan” is one of the highlights of the set) that eclipses that of Drew Minter, and Nancy Argenta provides a poignant reminder of the singer she was with a radiantly joyful “Praise the Lord.” Haman, the one character of real interest (there are surely pre-echoes of Saul in his downfall), is powerfully sung by Michael George...this is a quite splendid performance of a work more often mentioned by historians than heard, a fate it certainly does not deserve."
-- Brian Robins, Fanfare
Delirio Amoroso
"Like most Coro releases to date, this is a reissue of a disc originally put out by the now-defunct Collins Classics label. The present disc dispenses with services of The Sixteen to feature three of the Italian cantatas composed during Handel’s prodigious Italian sojourn (1706–1710), all of those here dating from the first half of 1707. The most conventional in form is Clori, mia bella, a pastoral in which—over the course of four brief da capo arias alternating with secco recitative—a young man experiences the varying emotions attached to the uncertainties of love. The spirit of the piece is none too serious, Handel’s music utterly delicious. Both the other cantatas are more ambitiously planned, providing ample evidence of the young composer’s often-innovative approach to the form. Armida abbandonata, scored for just two violins and continuo, but here done with a fuller body of strings, has as its subject the abandonment of the sorceress Armida by the Christian knight Rinaldo as related in Tasso’s Gerusalemme liberata, a topic to which Handel was to return in his first London opera, Rinaldo. It opens with a remarkable accompanied recitative in which the singer is accompanied by two violins senza basso, then proceeds to a heartbroken aria of ravishing beauty, and a highly dramatic accompanied dramatic recitative in which the scorned Armida gives vent to her conflicting emotions.
The semidramatic Delirio amoroso is designed on an even grander scale, the vocal writing being more virtuosic, with each of its arias having an obbligato part. The text by Handel’s Roman patron Cardinal Benedetto Pamphili also taps into the fashionable Arcadian theme. In her delirium, the scorned and distraught Chloris follows her unfaithful dead lover to Hades, only to be rejected once more. Out of compassionate love, she leads him to Elysium, where a beautiful Entrée prefigures the idea of Gluck’s blessed spirits.
The much admired, indeed much loved, Irish mezzo Ann Murray makes no pretence of being an early-music singer, but she brings considerable style to these splendid examples of Handel’s burgeoning flair and invention. The voice itself sounds lovely, and it is produced with an enviable ease, floating and phrasing Handel’s wonderful melodies with real musicality. Equally as important are Murray’s strong powers of communication and feeling for text."
-- Brian Robins, Fanfare
Heroes and Heroines / Sarah Connolly
"And the mezzo lode continues to run as rich and high-quality as ever, supplying the world with yet another first-rate singer. Of course, Sarah Connolly hasn't exactly come out of nowhere: she's been a member of The Sixteen Choir and has made acclaimed appearances for the past several years in opera roles and concerts throughout the U.S. and Europe. This collaboration with her former Sixteen conductor, Harry Christophers, reveals the impressive maturity and technique of Connolly along with Christophers' solid command of Handelian drama. The repertoire may not be the most common collection of arias (only one is very familiar), but the selection is no less engaging for that; the idea of this recital was to "depict not only the close links between opera and oratorio in Handel's works but also equate the position of hero and heroine." Interesting programming concept aside, what you hear is top-notch Handel singing in some very characterful and artistically challenging pieces.>
From Connolly's first notes, "Sta nell' Ircana" from Alcina, we have no doubt about this voice's considerable dramatic capabilities, and we can't help but be impressed with both her range (free of discernible register breaks) and ease of delivery from top to bottom. By the aria's end she's confirmed the power of her lowest register notes and ability to fully embody and project her character. I'm not wild about her "ha-ha-ha-ha-ha" articulation in one of the aria's repeated figures, but since she doesn't exhibit this annoying mannerism anywhere else, I assume it's an intended "effect" (imitating the orchestral figures, perhaps?) and only mention it because it's so striking and uncharacteristic of her singing in general.
Connolly is just as convincing and her voice is as lovely in the slower arias, including "Mi lusingha il dolce affetto" from Alcina (all seven minutes of it!). Her breath control is amazing and she completely enthralls with her attractive, sensible ornaments. And she's lucky to have such a partner in Christophers and his attentive orchestra: listen as he takes Connolly's lead from the intro to Ariodante's tender "Scherza infida" and hands her a perfectly set atmosphere of sorrow and tragic determination. This is the highlight of the CD, Connolly's subtle vocal shading, expressive phrasing, and vibrant tone varying from gently floating to more emphatically projected--the definition of captivating.
Other listeners may cite the following "Dopo notte", a brisk, high-energy aria from the same opera, as the most impressive of Connolly's performances, and it would be hard to argue in light of the singer's command of the reams of rapid runs and wildly leaping lines while maintaining the flow and emotional intensity of this fiendishly difficult seven minutes of music. And then there's the beloved and oft-performed "Verdi prati", which Connolly renders as sensitively and with as sumptuous a tone and smoothly-spun legato as we could hope for. The final "Where shall I fly?" from Hercules is a magnificent display of virtuoso vocalism, although I still prefer Stephanie Blythe's more fluid, richer-voiced rendition--purely a matter of personal taste. And again, much credit must go to Christophers' smart orchestral leadership and to the crisply pointed accents, finely honed rhythms, and warm sound of the Symphony of Harmony and Invention, recorded to the highest modern standard."
--David Vernier, ClassicsToday.com [10/11/2004]
Vivaldi: The Four Seasons & Other Concerti / Whelan, Chandler, La Serenissima
Avie Records
CD
$19.99
Sep 01, 2015
Adrian Chandler, who founded the period-instrument ensemble La Serenissima 21 years ago, has produced a dozen enlightening, acclaimed, and award-winning albums for AVIE. After many years of anticipation, Ade turns his attention to the touchstone of Vivaldi’s concerto output, The Four Seasons. As one has come to expect, he brings something unique to an interpretation brimming with vitality and originality. Putting this most popular of classical works into context, Ade rounds out the recording with Vivaldi concertos for bassoon, including the famous La Notte, and world premiere recordings of two concertos for the violin in tromba marina, a hitherto obsolete instrument that was used during Vivaldi’s lifetime.
KING,THE
HINDSIGHT RECORDS
CD
$13.99
Mar 29, 2024
Now available on CD, the Century Records Direct-to-Disc series invites you to embark on a journey through the very best in late 70s post-bop, fusion and big band jazz. Next up: Benny Goodman, featuring the classic hits 'Ain't Misbehavin', 'Lady Be Good' and 'Here's That Rainy Day'.
Lane: Sleighbell Serenade / Sutherland, Royal Ballet Sinfonia
Naxos
CD
$19.99
Mar 24, 2023
Philip Lane has long been a stalwart of British Light Music and this recording provides an excellent survey of his concert works. London Salute marked the 60th anniversary of BBC, while the lyrical and frivolous Diversions on a Theme of Paganini was originally written for brass quintet. Partly inspired by childhood memories, the Cotswold Dances reflect the composer's own part of the country, Gloucestershire and the Cotswolds. Composed for clarinet soloist Verity Butler, the Divertissement quotes liberally from Lane's earlier works, the most popular of which is the Sleighbell Serenade, a piece that has been performed all over the world.
BEST OF
ATLANTIC
CD
$16.49
Jan 31, 1990
Eddie Harris's influence as a saxophonist was monumental, and this compilation highlights some of his greatest contributions to the fields of rhythm, funk, and jazz. The iconic "Freedom Jazz Dance" and the sax solo of "Listen Here" electrify. Features the love theme from The Sandpiper "The Shadow Of Your Smile" and much more.
Vivaldi: The Four Seasons & other concertos, Vol. 1 / Chandler, La Serenissima
Signum Classics
CD
$20.99
Feb 14, 2025
Baroque giants La Serenissima return with their new recording of Vivaldi's Four Seasons, among other concerti for ensemble by Antonio Vivaldi. Recognized for 'whipping up a storm with Vivaldi,' La Serenissima is 'one of Britain's best-loved chamber orchestras' (The Telegraph) known for championing a host of neglected Italian baroque composers and its outstanding performances. Uniquely, the group's entire repertoire is edited from source material by founder and violinist Adrian Chandler. Praise for Vivaldi recordings by La Serenissima on Signum Classics: "After being obsessed by the composer and his music world for more than 30 years, Chandler by now is Vivaldi incarnate" - The Times
CHICAGO CHRISTMAS (2019)
RHINO
CD
$16.96
Oct 11, 2019
2019 holiday release from the legendary "rock band with horns". Produced by founding member Lee Loughnane, Chicago Christmas is the 37th album of the band's career and it's fourth holiday collection. Whereas it's previous releases focused more on traditional Christmas songs, the new record spotlights holiday music the band wrote especially for the album. Along with the new songs, the album also features the band's interpretations of two holiday standards: "Here We Come A Caroling" and "Sleigh Ride." It's the second time Chicago has recorded "Sleigh Ride." A different version appears on Chicago XXXIII: O Christmas Thee (2011). The album's other non-original track is a soulful Chicago interpretation of the Hal David and Burt Bacharach classic, "What The World Needs Now Is Love," which founding member Robert Lamm thought had a timely message for the holidays. Chicago Christmas features original compositions by many of the band members, along with unmistakable horn arrangements by founding member James Pankow. The album was recorded and mixed by Tim Jessup.
Lost Sessions from The Netherlands / Blossom Dearie, Metropole Orkest
Fondamenta
CD
$19.99
Sep 10, 2021
There were many highlights to her musical career: the concerts she gave in the Netherlands between 1968 and 1989 feature prominently among them. This release is a faithful rendition, thanks especially to the remarkable audio quality. Dearie masterfully performed in all the instrumental formations, from solo shows to the great Metropole Orchestra. She sang repertoires of every kind, from film music – she brought a new dimension to “Raindrops Keep Falling on my Head” – to Joni Mitchell’s “Both Sides Now”, sensitively revisited. Not to forget a masterpiece whose music she composed, “Winchesterin Apple Blossom Time”, with Marilyn Monroe-style boo-be-doops – two superb versions of which can be enjoyed here, as well as her other compositions, those mentioned, and “Bring All Your Love Along”, whose first recording, made in Laren, 1982, is featured here. Blossom, so aptly named, bids the audience adieu, and makes a graceful bow.
Les Violons des Lumieres
Ricercar
CD
$20.99
May 10, 2024
We follow the success of the album devoted to Jean-Marie Leclair by continuing our exploration of the rich 18th-century violin repertoire. Leclair's success in the late 1720s acted as a catalyst and many other talented composers emerged in his wake. Those years were particularly favorable to the instrument and the prowess of each violinist was closely scrutinized by observers: the title of Premier violon de France was the subject of fierce competition. This positive and adulatory atmosphere resulted in a great proliferation of sonatas for violin, out of which we have chosen the six jewels that appear here. The greater part of these works are recorded here for the first time.
WE'RE NEW AGAIN - A REIMAGINING BY MAKAYA MCCRAVEN
XL RECORDINGS
Vinyl
$32.49
Feb 07, 2020
Vinyl LP pressing. To mark the tenth anniversary of the release of I'm New Here, the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. We're New Again follows in the footsteps of Jamie xx's highly acclaimed 2011 remix album We're New Here and is McCraven's first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings. One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a Chicago-based drummer, producer and beat maker, [who] has quietly become one of the best arguments for jazz's vitality.
Great Classic Film Music / Sutherland, Philharmonic Concert Orchestra
SOMM Recordings
CD
$20.99
Jul 19, 2019
This fine collection of arguably the Greatest Film Music ever written brings together on one album music from some of the most memorable films ever made. Opening with the unforgettable music from the ground-breaking 1977 movie ‘Star Wars’ by the greatest living composer of film music, John Williams, this selection includes a unique 14-minute concert suite of music from the film. Other Williams scores for Stephen Spielberg blockbusters include those for the unforgettable fantasy ‘E.T. – The Extra-Terrestrial’ and the haunting science fiction ‘Close Encounters of the Third Kind’. This album also looks back to the heyday of Hollywood, with scores by Max Steiner – from ‘Gone With the Wind’ – and the undisputed Master of the genre, Erich Wolfgang Korngold, with music from ‘The Adventures of Robin Hood’ and the weepie ‘Escape Me Never’. The hit theme from ‘The Big Country’ by Jerome Moross is also here, and British music from legendary U.K. movies widens the scope of this unique collection, with two great film scores by Sir William Walton – ‘Henry V’, starring Laurence Olivier, and ‘The First of the Few’ – the famous ‘Spitfire Prelude and Fugue’ – as well as the great Ron Goodwin’s memorable ‘633 Squadron’ alongside music from two Soviet composers: Prokofiev’s score for ‘Alexander Nevsky’ and Aram Khachaturian’s famous ‘Adagio from Spartacus’, featured in the romantic historical drama ‘Mayerling’. All in all, this SOMM release should form part of any collection, conducted by the great Scottish-born Maestro Iain Sutherland, directing the Philharmonic Promenade Orchestra of Hilversum.
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REVIEW:
Expertly recorded by conductor Iain Sutherland and the Philharmonic Concert Orchestra, Great Classic Film Music captures the magic of cinema through the music we know and love.
– Classic FM
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REVIEW:
Expertly recorded by conductor Iain Sutherland and the Philharmonic Concert Orchestra, Great Classic Film Music captures the magic of cinema through the music we know and love.
– Classic FM
Anderson: Sleigh Ride & Other Holiday Favorites / Slatkin, BBC Concert Orchestra
Naxos
CD
$19.99
Oct 28, 2008
It's hard not to like Leroy Anderson, a skilled orchestral craftsman with a rich supply of clever ideas, an ingratiating musical imagination, and, thank heaven, a sense of humor. Most of his music embodies the term "American light classical", and you can't listen to pieces such as Sleigh Ride or Bugler's Holiday without a smile and feeling just a bit lighter of spirit. The selections featured here, billed as a "collection of Leroy Anderson's holiday music", are taken from Naxos' excellent multi-volume series devoted to Anderson's orchestral music. Although it's not clear why such numbers as Horse and Buggy, The Waltzing Cat, and The Golden Years are here, in style and mood they take nothing away from the more obvious Christmas/holiday pieces. And while it's possible to imagine just a bit more personality and panache in the articulation in some places (à la Boston Pops), Leonard Slatkin is an unqualified expert in this repertoire, and he leads his British orchestra with consummately entertaining style, all of it most favorably recorded.
Four years ago Decca released A Leroy Anderson Christmas, which contains many of the same works featured on this program--performed both by the Boston Pops and Arthur Fiedler (Sleigh Ride) and by Anderson conducting his own orchestra. Although that one is worthy for its historical aspects, this one is superior for its consistently high-quality performances, much more satisfying ambience, and first-rate sound. Highly recommended.
--David Vernier, ClassicsToday.com
Four years ago Decca released A Leroy Anderson Christmas, which contains many of the same works featured on this program--performed both by the Boston Pops and Arthur Fiedler (Sleigh Ride) and by Anderson conducting his own orchestra. Although that one is worthy for its historical aspects, this one is superior for its consistently high-quality performances, much more satisfying ambience, and first-rate sound. Highly recommended.
--David Vernier, ClassicsToday.com
THAT DRUMMER'S BAND
FABULOUS
CD
$6.99
Nov 07, 2003
The most famous of drummers in Big Band jazz and Swing, Gene Krupa's reputation continues today nearly 30 years after his death. Only the late Buddy Rich has an equal fame. Krupa without doubt established the drum solo as an integral part of Jazz and later rock. In 1938 he formed his own orchestra. Amongst his band's best known recordings are the vocals with Anita O'Day, featured here. Tracks include; "Let Me Off Uptown","Ball of Fire","Jungle Madness", "Drummin' Man", "Drum Boogie".
A Handel Celebration / Christophers, The Sixteen
Coro
DVD
$20.99
Jun 01, 2010
HANDEL Coronation Anthems . Organ Concerto, op. 4/4. Salve Regina 1. Semele 1 : Endless Pleasure, Endless Love; My Racking Thoughts; O Ecstasy of Happiness! … Myself I Shall Adore. Solomon: Arrival of the Queen of Sheba • Harry Christophers, cond; The Sixteen Ch and O (period instruments); 1 Carolyn Sampson (sop) • CORO 16083 (DVD: 120:00) Live, London 8/12/2009
This BBC Proms concert, titled A Handel Celebration , commemorates the 250th anniversary of Handel’s death and the 30th anniversary of the founding of The Sixteen, which got its name from the fact that the original chorus had 16 members. The forces used here are a bit larger than those Harry Christophers usually employs. The mixed-voice chorus numbers 30, and the orchestra is listed at 42 members, although it does not appear that they are all onstage at the same time.
The Sixteen has been one of the best period-instrument groups since its founding, and one can see and hear here that both chorus and orchestra remain at the top of their form. Christophers leads performances that are respectful of Handel’s scores, with well-chosen tempos. The orchestra plays with precision (with the occasional slightly sour note to be expected of a live performance), and the chorus projects the words of the four Coronation Anthems vividly. Carolyn Sampson is outstanding in the Salve Regina and the three excerpts from Semele . In the Semele selections, she more than sings the notes; she uses her body and face to create the character she is portraying.
I have stated before that I do not see much use for a DVD preserving a concert because of the limited variety of visual images available in such a setting. Sampson’s portrayal of Semele does, however, provide some justification for seeing as well as hearing her performance, especially in the case of “Myself I Shall Adore.” Christophers hands Sampson a mirror before she begins the aria, and she uses it in giving an engaging performance that draws laughter from the audience, followed by a well-deserved ovation.
The version of the organ concerto featured here is the original version. Although Handel’s organ concertos were written to be performed between the acts of his oratorios, in the first performances in London of Athalia , the concerto was written to be performed before the final (“Hallelujah”) chorus and integrated into it. That is the version we get here, with the chorus.
The DVD has a short interview with Christophers during the intermission of the concert and a slightly longer one as a bonus feature. For some unknown reason, one of the anthems and the Salve Regina are removed from their places in the concert and put into the bonus features section. The anthem My Heart Is Indicting originally concluded the first half of the concert, and Christophers refers to it in his intermission interview, a reference that is puzzling unless one knows that he had just performed the anthem. The Salve Regina was originally the second item in the second part of the concert. Their placement as bonus tracks is nonsensical. The only other bonus feature is written biographies of the principals.
Christophers has recorded most of this material on CD, all available on Coro. His Coronation Anthems is one of my two preferred versions. The organ concerto and the sinfonia from Solomon can be found as additional tracks on that CD. The Salve Regina and selections from Semele are not otherwise available from these forces.
For those who enjoy concert performances, this DVD is an easy recommendation. For the rest of us, the previously unrecorded selections, especially Sampson’s items from Semele , make this a tempting purchase.
FANFARE: Ron Salemi
Haydn: Symphony No. 103 & "Theresa" Mass / Bevan, Christophers, Handel & Haydn Society
Coro
CD
$10.49
$20.99
Save 50%
Sep 02, 2022
The Handel and Haydn Society celebrates Haydn with a dazzling pairing of two of the composer’s masterpieces. In one of his final performances as Artistic Director of the Society, Harry Christophers leads the ensemble and a stellar cast of soloists in Haydn’s monumental ‘Theresienmesse’ (Mass in B-flat major - Hob.XXII:12) and his Symphony No. 103 in E-flat major (Hob.I:103) the ‘Drumroll’ - one of Haydn’s twelve ‘London’ symphonies composed between 1791 and 1795 when London was the indisputable musical capital of Europe. “This chorus is consistently excellent, but something had lit a special fire under them...Of the “Theresienmesse” the chorus and orchestra made a brilliant tapestry.” (Boston Globe)
PARKING LOT SYMPHONY
BLUE NOTE RECORDS
Vinyl
$32.99
Aug 04, 2017
Vinyl LP pressing. 2017 release. Trombone Shorty's Blue Note-debut, Parking Lot Symphony, captures the spirit and the essence of The Big Easy, while redefining it's sound. Blazing through '70s funk, rock, hip-hop and R&B, Parking Lot Symphony was produced by Chris Seefried (Andra Day, Fitz and The Tantrums) and features songs co-written by Aloe Blacc, and Alex Ebert (Edward Sharpe & The Magnetic Zeros). The album also includes covers of songs by Allen Toussaint ("Here Come The Girls") and The Meters ("It Ain't No Use"). True to it's title, the album contains multitudes of sound-from brass band blare and deep-groove funk to bluesy beauty and hip-hop/pop swagger-and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as he says, "Music brings unity."
WHERE IS OUR HOMELAND? SONGS FROM TESTIMONIES
FORTUNOFF VIDEO
Vinyl
$27.99
Jan 29, 2021
Intricately and lovingly presented album of music assembled from video testimonials of Holocaust survivors. "The widely diverse compositions presented on the album recreate a multidimensional image of people's lives and the multiple identities they carried - as Jews by faith and roots, and as European citizens (Poles, Germans, Russians) by culture." 1. DOINA - BADKHEN'S SONG 2. POLISH ARMY SONGS 3. TRAYB DI KHVALYES (DRIVE YOUR WAVES) 4. WALC FRANCOIS 5. W POClAGU JEST TLOK (CROWDED TRAIN) 6. KADIMA (FORWARD) 7. IN DEM KLEIN EM DORF, IN SMILTSCHENZI (IN THE TINY TOWN OF SMILTSCHENZI) 8. TUCHI NAD BUDYSHCHEM (THE CLOUDS GATHERED OVER BUDYSHCHE) 9. STEPAN BLONDIN (STEPAN THE BLOND) 10. PROSCHAI, GOROD NASH RODIMYI (FAREWELL, OUR NATIVE CITY) 11. PLASZOW INMATES' SONG 12. TREBLINKA SONG OF HOPE 13. ANI MA'AMIN (I BELIEVE)
