Forever Classics contains a single disc. Features over 18 hours of the most popular classical music digitally recorded to the highest specifications. Previously released as a 16-cd set, it is now available in a special dvd edition giving instant access to all 16 cds on 1 dvd Forever Classics . This unique dvd performs like a regular dvd and can also be enjoyed purely for listening pleasure Forever Classics . Playable with or without the use of your television. Multi-language, composer biographies. Forever Classics was released May 21, 2002 on the Prism Leisure label.
This pairing of concertos Nos 25 and 27, recorded with Chamber Orchestra of Europe, is Piotr Anderszewski’s third Warner Classics album of Mozart concertos. “In Mozart I tend to prefer to direct from the keyboard,” he explains, “His concertos are like chamber works … The piano is in dialogue with the orchestra, conversing and interacting all the time. The two works are very different… No 25 is very grand, complex and sophisticated; No 27, Mozart’s final piano concerto, is in a major key, but underneath it I sense an incredible sadness… It always amazes me how deep this music is.”
The Sony/BMG Original Album Classics series brings together 5 CD's of rare and out of print titles with some best sellers from the Sony/BMG Rock catalog. Many of these albums have been unavailable on CD for some time and are sought after by collectors. Each set is presented in a high quality, rigid cardboard slipcase containing five vinyl replica mini LP sleeves. This 5 CD collection of original releases featuring George Duke includes the albums From Me To You, Reach For It, Don't Let Go, Follow The Rainbow, and A Brazilian Love Affair.
Compiled from recordings dating from 1965 to 1974, this EMI/Gemini double-disc of Bartók's string concertos and other works features Yehudi Menuhin at the peak of his powers, with support from two important Bartók specialists and their sympathetic orchestras. Menuhin is admirably backed in all the concertos by Antal Dorati and the New Philharmonia Orchestra, and Pierre Boulez and the BBC Symphony Orchestra provide meticulous accompaniment in the two Rhapsodies. The resilient Viola Concerto and the splendid Violin Concerto No. 2 are essential listening, both for their masterful writing and for the vigorous performances Menuhin and Dorati deliver.
Released in 1974, this 2-LP set devoted to the 6 Brandenburg Concertos supplanted the old Erato reference by Kurt Redel – the stereophonic version of 1962. It remains precious testimony to the art of Jean-François Paillard, a musician who assuredly deserves to be re-evaluated, like Louis Auriacombe, who had, with the Toulouse Chamber Orchestra, made magnificent recordings devoted to 18th-century music for Le Club Français du Disque. With their intimate chamber tone, these Bach recordings celebrated the 20th anniversary of Erato (founded in 1953) and also remain an example of the achievement of a performing aesthetic that has now become marginal.
A five disc compilation of French musician Jean-Michel Jarre. Includes albums such as "Oxygene" (1976), "The Concerts In China" (1982), "Chronology" (1993), "Metamorphoses" (2000).
Decca was a fairly wide-ranging label whose trademark sound was a strain of commercially palpable hillbilly pop perfected by producer (and, beginning in 1958, label head) Owen Bradley. These three discs offer an assortment of stars (Patsy Cline, Buddy Holly, Bill Monroe, Loretta Lynn), subordinates, and the uncelebrated. The latter, in fact, are what makes this box stand out. A great deal of the fun comes from antiquated time pieces like Johnny Wright's "Hello Vietnam" ("I hope theworld will come to learn/That fires we don't put out will bigger burn") or that master of the hayseed soliloquy Red Sovine's "If Jesus Came to Your House" ("Would you have to change your clothes before you let him in?/Or hide some magazines and put the Bible where they'd been?"). Overall, From The Vaults serves as an evocative sampler of what a rural jukebox was playing when Gunsmoke ruled the tube.
The long-awaited first collaboration between two icons, Count Basie and Frank Sinatra, did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the '60s where his band was more popular and better-known than it ever was, even in the big-band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career. Propelled by the irresistible drums of Sonny Payne, Sinatra careens up to and around the tunes, reacting jauntily to the beat and encouraging Payne to swing even harder, which was exactly the way to interact with the Basie rhythm machine – using his exquisite timing flawlessly.