The CD unlocks bonus content via Push Entertainment, including free downloads from hot new developing artists and videos by today's hot NOW artists.
The CD unlocks bonus content via Push Entertainment, including free downloads from hot new developing artists and videos by today's hot NOW artists.
She captured the hearts of millions and became a worldwide YouTube phenomenon with over 300 million hits. An inspiration for those who have a dream, the talented Susan Boyle presents her stunning debut album. Susan surprised the world with her powerful, heart stopping voice when she walked onto the Britain's Got Talent stage. Now with a beautiful and diverse album she will, once again, defy preconceptions. I Dreamed a Dream, the album, crafted by world acclaimed producer Steve Mac, demonstrates Susan Boyle's extensive musical ability. Featuring her signature songs, `I Dreamed a Dream' & `Cry me a River' the album also includes a haunting rendition of Rolling Stones "Wild Horses", Madonna's `You'll See, The Monkees `Daydream Believer' and "Who I Was Born To Be" an original recording written specially for Susan. Susan enthused; "It was my greatest ambition to release an album and I have finally achieved it. This amazing journey has helped me find my own identity and fulfill my wish. There is happiness out there for everyone who dares to dream."
There's no such thing as too much Glee! Featuring 17 more songs from the hit FOX show including "Imagine", "Jump" and "My Life Would Suck Without You"Track Listing:
Her Goldberg variations are beautifully done and exceptionally thoughtful, there is no question about that. She plays with authority and technique second to none. Eschewing the staccato affect of Glenn Gould, her style is far more akin to Murray Perhaih and others that seek more transluscent legato.
This is not to say she cannot pound the keyboard or turn a phrase with the best of them -- listen to Variation 16 for that. Compared to the last recording of the Goldbergs I heard, by Perhaia, hers is warmer, more humane and perhaps less driven. But she is not afraid to change course in mid-stream -- listen to her abrupt tempo change in Variation 19 and the hop to return to rapidity in Variation 20.
Certainly this is outstanding pianism captured in an elegant sound field and presented for the listener is a 5 X 5 X 5 setting that is up to current DDD standards. I'd like to hear more of the train of thought or stream of consciousness cerebral approach I've heard in Bach from Richter and Elena Kuschnerova but I wouldn't suggest this is a bad performance lacking those qualities. For me, it's not the pinnacle; still, it's a beautifully retouched scan of Bach's masterpiece delivered on a 1903 instrument that sounds like it was made yesterday.Help other customers find the most helpful reviews Was this review helpful to you?
My preference in a review is to emphasize the positives of a recording. For this one, first, the piano generally has a nice sound, and is pleasantly recorded at least most of the time; second, this recording works well as background music. Listened to too closely, or listened to for the arc of the music from its opening aria back to the aria again, then the music continuously breaks down in various ways. This is because, whatever claims may be made for Dinnerstein's technique, it seems either ill-suited to this music, strives too often to be too "delicate" in a work that has many more moods than merely delicate, or because of lapses in technique or judgment or both. It may also be this blanket "delicateness" that results in the frequently excessively slow tempos; all the more so, when Dinnerstein plays nearly every repeat with little to no variation.
With the opening aria, at 5'39 seconds, it is probably not the slowest ever, but nevertheless manages to come off with such a plodding lack of energy that it easily seems twice as long. The contrast that Variation 1 provides for the Aria is world-famous, and an unfortunately welcome relief after the aria in the present case; nevertheless, in Variation 2 and Variation 3 the tempo is so unremitting that they actually seem to run together. The same happens again from Variation 6 to 7. Though comparisons with other recordings are usually facile, nevertheless, switching to one of Nikolaeva's renditions of the Aria and first two variations immediately discloses how thick-fingered Dinnerstein's delivery is.
Is this simply an over-refined persnicketiness on the part of someone too accustomed to his favorite version of the Goldberg Variations? No, since people of all levels of musical sensibility can hear and feel the energy of a committed reading of these pieces, especially when one listens closely. Compare, for instance, how the notes in the left hand right at the very beginning of the opening Aria are nicely "drawn out" compared to being "pushed out" throughout Variation 2 and 3, and even more so in Variation 19. Such playing sometimes works (Variation 13), but much more often makes for a dragging, even muddy quality of the playing that is hard to miss.
In a variation where this works, such as Variation 13, there is indeed a delicacy, though even here the tempo is so belabored that delicacy starts to morph into dullness. And in fact, this over-application of delicacy may be the thing that makes it "safe" for an Oprah recommendation, while also completely missing the very varied number of moods in these pieces that are anything but delicate. Overall, there is a very narrow emotional range of playing here; as if there are only two states, "delicate" and "everything else".
With Variation 20, the disc finally seems to pop out of the largely unvarying musical attitude it has exhibited, if only because the variation in question particularly demands total change of mood. In the opening 15 seconds, there's a degree of the expected snappiness (notwithstanding one suspiciously sour, if not missed, note), but when the rushing triplets arrive, the various runs seem to run together (pun not intended) the first time through, and even more messily in the second half (despite some nice dynamics). It really sounds as if Dinnerstein's fingers are becoming fatigued by the final go round. One does not need to be a musicologist to hear this. The usual returns again with Variation 21, providing another drawn out reading that moves around like something that stops moving when you look at it. Equally so, Variation 22 starts off delicately and singingly enough, but morphs into something strident by the end.
Aspirations to delicacy or not, in Variation 23, the various 32nd note runs that are supposed to sparkle and punctuate either the right hand or the left (depending on which half of the piece is being performed) turn into oatmeal; particularly grotesque is the passage from both 58" to 1'16", and again at 1'27" with the repeat. With Variation 25, the flatness of delicacy has returned full-force. In Variation 26, the opening seems to hit what 23 missed, although the ornament that caps the long ascending rise the first time around (at 25 seconds) is so awkward that it might prompt an involuntary laugh, while the muddiness of the playing before the second repeat (and during the second repeat for that matter) is hard to take.
Again, this is not simply the griping of someone being overly fussy about the music. These are errors untutored ears can hear. Variation 27, for instance, is virtually unrecognizable in its woodenness (Feltsman and especially Canino stray in this direction as well) and length. 15 seconds into the piece, Dinnerstein seems to become lost in the contrapuntal motion, only then to reprise matters with more splotches of accompaniment. Variation 28, at least, keeps the trills fluttering, even when the chords in the left hand nearly march through with galoshes on. Variation 29, however, seems to become completely lost in itself; by this time, the recording quality also seems to have dropped off. I cannot think of a time when the impression created in me of a performance could be described as "incoherent," but it truly seems to be the case here.
Ultimately, whether one deems this disc too erratic or merely idiosyncratic, it still has a place in the catalog of recorded Variations. All the same, this should be the pinnacle neither for connoisseurs nor the unfamiliar alike. However, if this recording succeeds in sparking a listener's curiosity to hear the many other, far more insightful readings of these singularly amazing little masterpieces, then so much the better.
It is worth mentioning that one reviewer, John P. Boyce, writes that Bach himself would prefer this reading to all others. John P. Boyce (at the time of this review) has written only two reviews for Amazon, both of which are absolutely glowing 5-star reviews. (His second is for David L. Post's first novel.) Given that John P. Boyce may be the same person who commissioned David L. Post's "Variations and Fugue on a Bach-Busoni Chorale" for performance by Simone Dinnerstein herself (see [link removed by Amazon.com], for instance), the objectivity of his reviews may warrant being questioned.
And of course the "Hip Hop Violinist" herself, Miri Ben Ari who has been featured with such hip hop artists as Kanye West, Scarface, Talib Kweli, Akon, Styles P and others.
I first listened to the snippets of the album, because as much as I love this kind of thing, it's often very hit or miss. For every Miri Ben Ari or Apocalyptica there's a whole slew of others that make you want to burn your ears off.
After listening to three snippets, I immediately bought it. Even if it had been 10 dollars I would have gotten it, because this is really good music.
He covers a wide range of Rock music from Nirvana (Smells Like Teen Spirit) and Guns N'Roses (November Rain) back to Aerosmith (Walk this way) and Led Zeppelin (Kashmir), and also throws in some classical classics such as Beethoven's 5th and Toccata.
I remember the first time I heard Apocalyptica was while viewing the film "Your Friends and Neighbors" in the theater while living in Charlottesville Virginia. I heard them playing Metallica songs on Cellos during the opening and closing credits and was amazed. I had never heard anything like that before.
I felt that again while listening to Garrett's album because I think even though I've heard this type of thing before, it's still something that takes me aback. It's not something you hear every day. You don't turn on the radio and hear this. You tend to hear the same 10-25 songs a day (several times a day) and there's very little exposure to true artists like Garrett.
One of the definite highlights of this album has to be, hands down, his track "Vivaldi vs. Vertigo" in which he brilliantly mashes up the classical Vivaldi with U2's "Vertigo". I actually listened to this several times and just marveled at how great it worked together.
Also his performance of Aerosmith's Walk this way was a powerhouse due to Garrett's fiery violin playing, and the guitars of Orianthi, who was featured in Michael Jackson's "This is It" movie).
Garrett, who studied at Julliard under the legendary wings of Itzhak Perlman, shines brightly on this album, and I imagine that he's got a great career ahead of him.
If you enjoy creative and highly enjoyable music, then this album is for you. The great thing about this album, and others like it, is it really shows you that there's no more lines in music. There's nowhere you can't go.
There are no more limits. The only limitation is your imagination and your creativity and your abilities. As the famous quote says, "If you can dream it, you can achieve it".
And no better example of that lies at the heart of this album.Help other customers find the most helpful reviews Was this review helpful to you?
Now, I'm not a big fan of rock / metal, so I'm probably not the intended audience for the album, although I did watch MTV in its infancy and had a fascination with White Lion, Poison and Guns n' Roses as a kid. David's violin is eerily effective at angsty caterwauling on Nirvana's "Smells Like Teen Spirit," and imparts menace on Metallica's "Master of Puppets." However, I question some of the production choices: in the middle of Paul McCartney & Wings "Live and Let Die," the interlude sounds like the soundtrack from the classic computer game The Secret of Monkey Island: Special Edition [Online Game Code]. Led Zepplin's "Kashmir" fares better; the haunting "Kashmir" has echoes of Rimsky-Korsakov's "Song of India" woven throughout. "Walk This Way" had a kind of hoedown vibe; it would have been infinitely cooler to mashup "Walk This Way" with "Cotton-Eyed Joe"(see Vivaldi vs. Vertigo below).
The classical side of the house fares better, with hardcore versions of Albeniz's "Asturias," Bach's Toccata and Fugue in D-Minor (the unofficial Halloween anthem) and "Winter" from Vivaldi. The version of "Asturias" veers into ad-libbing, but also incorporates some delightful Spanish flair into the orchestra's cues. The Toccata was great. Vivaldi vs. Vertigo, however, lacked the rock punch found on David's version of "Summer" on "David Garrett." U2 was almost lost in the background; I would have added some much-needed drama by moving the U2 vocals as the intro to the song, counting in with "uno, dos, tres, catorce" rather than muddying the vocals in the background (again, I wasn't familiar with "Vertigo," so I had to look it up and listen to the song to recognize it woven into Vivaldi vs. Vertigo).
In my opinion, the original song "'80s Anthem" was bland; it sounded a lot like some of David's original compositions off his previous albums (songs like "A New Day," "Chelsea Girl," "Eliza's Song," etc.). I would have much rather seen David's earlier works "Rock Prelude" and "Rock Toccata" recycled; those tracks are way more hardcore than anything on "Rock Symphonies." The much-hyped appearance of Orianthi on "Walk This Way" was kind of muted (although I've heard that the David / Orianthi duet really rocks in his live concert DVD from Berlin); there are more poignant guitar solos elsewhere (there's a lovely call-and-response line in the intro to "Live and Let Die" that was heavenly, but the guitar mostly fades into the background).
Overall, Rock Symphonies is a good album, not great. It kind of grew on me after a few days of listening, but there weren't nearly as many catchy songs as on David's previous releases, nothing with the edge-of-your-seat intensity of "Smooth Criminal" or AC/DC's "Thunderstruck" or even David's original crossover compositions like "Rock Prelude" or "Rock Toccata." If I had to sum up "Rock Symphonies" in one word, it would be "underwhelming." However, David's one of those artists who is even more impressive live, so I'm giving these songs another chance. I've pledged to PBS and am looking forward to seeing David perform these songs live in concert on his Rock Symphonies DVD filmed in Berlin. I'll also order the German version of the Rock Symphonies DVD, which has nearly twice the tracks as the PBS version.
Verdict: fans of David will want to snap this up (and the accompanying PBS pledge exclusive Rock Symphonies DVD filmed in Berlin), but newcomers are better off checking out David's earlier work such as his eponymous North American debut David Garrett or Virtuoso.Help other customers find the most helpful reviews Was this review helpful to you?
This time around, Danger Mouse produced only a trace, the groovy organ-sprinkled time-shifting "Tighten up". Everything else was produced by the pair.
I love the diversity between the songs, sung by fuzzy falsetto-"Everlasting light", the funky Blues sonic "Next girl" (very White Stripes), psychedelic "she went for a long time" and falsetto-cantata "the only", the quivering guitar instrumental "black mud", the Ballad of harpsichord absolutely beautiful ' too afraid to love you ", the simmering ballad" I'm not a "and the pair of sixties soul-channeling of the unknown" Brother "and" Never give you up "(cover of Jerry Butler).
This is an album that thing absolutely fabulous. To those who think that there's almost no good music made these days, simply turn to top 40 radio and TV and discover gems like this.help other customers find the most useful reviews This review was helpful?