Glenn Gould: A State of Wonder - The Complete Goldberg Variations 1955 and 1981

Glenn Gould's recording debut in 1955 of Bach's Goldberg Variations took the world by storm. His decidedly un-Romantic view, absolute technical skill, startling lucidity, and right-on rhythmic changes, combined with his eccentricities--audible humming, sometimes outrageously fast tempi--made him an instantly legendary pianist and elucidated Bach's music in a whole new way. Gould's final recording, 26 years later, was also of the Goldbergs. It's a more relaxed, sometimes much slower, more inward reading (although still very much his own, complete with oddly ferocious attacks and accents), in which he offers repeats of the first half of 15 of the Variations. Both performances are glorious, each in its own way, and this luxurious new set of three CDs is entertaining, a joy to hear, and revelatory; it belongs in any music lover's collection. The third CD is devoted to outtakes and chatter from recording sessions. At one point, Gould improvises "God Save the King" and exhibits how it turns into "The Star-Spangled Banner." And a long interview with critic Tim Page offers great insight into Gould's weird humor and unique outlook. A must-have collection. --Robert Levine

TRACK LIST:

Disc: 1
1. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 1. Aria
2. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 2. Variation 1
3. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 3. Variation 2
4. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 4. Variation 3. Canon on the unison
5. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 5. Variation 4
6. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 6. Variation 5
7. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 7. Variation 6. Canon on the second
8. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 8. Variation 7
9. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 9. Variation 8
10. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 10. Variation 9. Canon on the third
11. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 11. Variation 10. Fughetta
12. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 12. Variation 11
13. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 13. Variation 12. Canon on the fourth
14. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 14. Variation 13
15. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 15. Variation 14
16. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 16. Variation 15. Canon on the fifth
17. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 17. Variation 16. Overture
18. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 18. Variation 17
19. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 19. Variation 18. Canon on the sixth
20. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 20. Variation 19
21. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 21. Variation 20
22. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 22. Variation 21. Canon on the seventh
23. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 23. Variation 22. Alla breve
24. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 24. Variation 23
25. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 25. Variation 24. Canon on the octave
26. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 26. Variation 25
27. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 27. Variation 26
28. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 28. Variation 27. Canon on the ninth
29. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 29. Variation 28
30. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 30. Variation 29
31. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 31. Variation 30. Quodlibet
32. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 32. Aria da capo
Disc: 2
1. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 1. Aria
2. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 2. Variation 1
3. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 3. Variation 2
4. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 4. Variation 3. Canon on the unison
5. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 5. Variation 4
6. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 6. Variation 5
7. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 7. Variation 6. Canon on the second
8. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 8. Variation 7
9. Goldberg Variations, for keyboard (Clavier-Ãœbung IV), BWV 988 (BC L9): 9. Variation 8
10. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 10. Variation 9. Canon on the third
11. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 11. Variation 10. Fughetta
12. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 12. Variation 11
13. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 13. Variation 12. Canon on the fourth
14. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 14. Variation 13
15. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 15. Variation 14
16. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 16. Variation 15. Canon on the fifth
17. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 17. Variation 16. Overture
18. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 18. Variation 17
19. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 19. Variation 18. Canon on the sixth
20. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 20. Variation 19
21. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 21. Variation 20
22. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 22. Variation 21. Canon on the seventh
23. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 23. Variation 22. Alla breve
24. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 24. Variation 23
25. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 25. Variation 24. Canon on the octave
26. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 26. Variation 25
27. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 27. Variation 26
28. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 28. Variation 27. Canon on the ninth
29. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 29. Variation 28
30. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 30. Variation 29
31. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 31. Variation 30. Quodlibet
32. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): 32. Aria da capo
Disc: 3
1. Glenn Gould discusses his performances of the Goldberg Variations with Tim Page (Interview)
2. Studio Outtakes from the 1955 Goldberg Variations Recording Session SOME OF THE CUSTOMER REVIEWS ABOUT THIS MUSIC [ SAMPLE ] 1) A GREAT CD SET TO HAVE - These two performances of the Goldberg Variations have been reissued so many times. But what makes this new reissue stand out is the bonus interview & outtakes of the 1955 recording sessions, plus all brand new remastered sound using Direct Stream Digital technology, with 2.83 MHz sampling frequency yielding high resolution results on standard CD. I was a little hesitant to purchase this set at first because I already own both versions of these piece. But after I bought and listened to it, I must say I don't regret it at all. In 1981, Gould recorded his latest thoughts on the Goldberg Variations. Some people expressed the opinion then that the digital Lp & CD sound was unkindly analytical, lacking timbre, causing the notes to appear disconnected from each other. Twenty years have passed since Gould's untimely death and to honour him and set the record straight, Sony Music returned to the analogue master tapes made at the same session. In the early 1980's, digital technology was in its infancy and technically imperfect. By contrast, analog technology had reached its peak. As a precaution of early digital imperfection, what many recording companies did, including Sony Music, was running two recording medium simultaneously side-by-side at the recording session and mark analog version as "safety master" in case there's anything wrong with the digital masters. From the technical notes in the booklet of this CD set, when Sony gave the green light to this "State of wonder" project, Sony A&R, reissue producer and two sound engineers as well as a project adviser, Mr. Tim page, made a Digital vs. Analog comparison and they found that the analog safety master has much superior sound that no one had ever heard before. Then the vote was unanimous to reissue the 1981 version using the analog safety master, instead of digital, for the first time after 21 years it was recorded. This analog safety master was unedited, untouched, so they had to acquire the original score marked by Glenn Gould and original records producer, then they edited the tapes to exactly duplicate the sequences chosen for the original release by Glenn himself. The difference of sound quality is not superficial. Even untrained ears can notice it. Now, there are the sonorities so painfully absent before, providing the necessary connection between the notes. This performance now sings. Well, so does Gould but that becomes an attraction, not a distraction. The third disc had Gould chatting with Tim Page about the two recordings with illustrations. Also, the never before released 1955 outtakes of Goldbergs' session. This package is no mere re-exploitation of existing recordings. It does honour to Glenn Gould. By Andrew Schafer on September 28, 2002 2) A wonder, a treasure - Two decades after his death, Glenn Gould's art remains undiminished in stature, as lustrous and diamond-hard as his carefully sculpted recorded interpretations. This CD brings together in one deluxe package his two recorded performances of Bach's Goldberg variations, the first of which shot him to immediate, lasting, and deserved prominence on the musical scene. Even now, close to five decades after its release, the clarity, brilliant technique and sheer energy Gould brings to Bach in this 1955 performance takes one's breath away. Historically accurate performance it is not, but something more important--a rendition that brings the music back to life, fresh and new. The later, valedictory recording, released just before Gould died of a stroke in 1982, makes a fascinating contrast, generally slower and more contemplative (with more repeats taken, though not all), and oddly demarcated inner voices and accentuations that nevertheless illuminate the complexities of Bach's music in a way perhaps no one has done before or since. The sound, remastered from analogue tapes made at the time of the original digital recording, is even better than in the original release There is a third disc that includes an "interview," carefully scripted, with Gould by the critic Tim Page. It is not surprising that someone as obsessed with the process of producing the perfect musical recording as Gould was would have wanted to exercise the same control over a verbal discussion as well! As a bonus there are also outtakes from the 1955 recording sessions. The packaging includes numerous photographs of the pianist in various stages of his life, as well as essays by Gould, Page, and others. This is an album that should be in every pianist's, piano aficionado's, and music lover's collection. Bravo! By klavierspiel VINE VOICE on November 18, 2002 For Detail Click –Glenn Gould: A State of Wonder - The Complete Goldberg Variations 1955 & 1981

Frozen

Walt Disney Animation Studios' 'Frozen' features eight original songs from Kristen Anderson-Lopez ('In Transit,' 'Winnie the Pooh') and Tony Award-winning songwriter Robert Lopez ('Avenue Q,' 'The Book of Mormon'), plus a phenomenal score by the composer of last year's Oscar-winning short 'Paperman,' Christophe Beck. The original motion picture soundtrack, which features the end-credit recording of 'Let It Go' by Demi Lovato as well as performances by Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff and more, is available for sale on Nov. 25, 2013. Directed by Chris Buck ('Tarzan,' 'Surf's Up') and Jennifer Lee (screenwriter, 'Wreck-It Ralph'), who also wrote the screenplay, and produced by Peter Del Vecho ('Winnie the Pooh,' 'The Princess and the Frog') 'Frozen' hits theaters in 3D on Nov. 27, 2013. 

2014 Academy Award(R) winner for Best Original Song 'Let it Go' and Best Animated Feature Film.

TRACK LIST:

1. Frozen Heart (Cast)

2. Do You Want to Build a Snowman? (Kristen Bell, Agatha Lee Monn and Katie Lopez)

3. For the First Time in Forever (Kristen Bell and Idina Menzel)

4. Love Is an Open Door (Kristen Bell and Santino Fontana)

5. Let It Go (Idina Menzel)

6. Reindeer(s) Are Better Than People (Jonathan Groff)

7. In Summer (Josh Gad)

8. For the First Time in Forever (Reprise) (Kristen Bell and Idina Menzel)

9. Fixer Upper (Maia Wilson and Cast)

10. Let It Go (Demi Lovato)

11. Vuelie (Featuring Cantus) (Score)

12. Elsa and Anna (Score)

13. The Trolls (Score)

14. Coronation Day (Score)

15. Heimr Arnadalr (Score)

16. Winter's Waltz (Score)

17. Sorcery (Score)

18. Royal Pursuit (Score)

19. Onward and Upward (Score)

20. Wolves (Score)

21. The North Mountain (Score)

22. We Were So Close (Score)

23. Marshmallow Attack! (Score)

24. Conceal, Don't Feel (Score)

25. Only An Act of True Love (Score)

26. Summit Siege (Score)

27. Return to Arendelle (Score)

28. Treason (Score)

29. Some People Are Worth Melting For (Score)

30. Whiteout (Score)

31. The Great Thaw (Vuelie Reprise) (Score)

32. Epilogue (Score)

SOME OF THE CUSTOMER REVIEWS ABOUT THIS MUSIC [ SAMPLE ]

1) Another Masterpiece From Disney - When it comes to Disney features, the music can make or break the movie. Many fans turned away entirely from Hercules because of the unexpected musical choices with the Gospel-style songs (although I am personally a fan), and to this day, I think that if Disney had made the music integrated into Tarzan the way they did the Broadway version, it would have ended up being a much bigger hit.

Well, Frozen is an absolute win in the musical category, and if you’re a fan of Broadway, then you will be very, very pleased.

The orchestral score from Christophe Beck is quite, quite lovely, and pulls you strongly in to the film right from the beginning. But as solid as the score is, the actual songs are where Frozen soars.

“Frozen Heart” starts the film off strong with a solid, sea-chanty-esque rhthym, “Do You Want to Build a Snowman?” establishes the relationship between the sisters and is heart-breakingly sweet and sad at the same time. “Reindeers Are Better Than People” is a cute little ditty featuring Jonathan Groff, and “Fixer Upper” is fun and energetic and will make great background music when walking through the Disney parks.

But there are three songs that everyone will be talking about.

“For the First Time in Forever” (and its reprise) is the adult counter-point to “Do You Want to Build a Snowman?” and is absolutely essential to understanding who both Anna and Elsa are. It has a great build throughout, catchy lyrics, and really fun visuals. Think of it in the same vein as other Disney "I Want" Songs, and you won’t be far off at all.

“Love is an Open Door” is a really lovely love-song duet, and in a different film, could easily be the one that everyone will remember at the movie’s end. The opening and closing of doors is a recurring theme in Frozen, and when the song plays, it is easy to see how Anna can be swept away by her handsome prince.

Incidentally, although we’re past the point where this should be surprising, Kristin Bell has quite a lovely singing voice, and she’s really fun to listen to throughout.

But the breakout hit song of Frozen is, without question, “Let it Go.”

Anyone familiar with Idina Menzel’s career knows this, but that woman has an amazing voice, with a tone very unlike many others. She isn’t always technically perfect, but she is incredibly talented, and the imperfections in her voice are what allow it to bring so much emotion to what she sings. If you only know her from watching Glee, than this may surprise you. If you’re familiar with her from Rent, then you know she has the pipes, but you may not be prepared for her ability to reach in to your heart and twist. If you know Menzel from listening to Wicked, then you know what I’m talking about.

I was introduced to Idina Menzel’s singing when she performed “Defying Gravity” at the 2004 Tony Awards, and fell in love, rushing out to purchase the soundtrack. Although I love the entire show, “Defying Gravity” was my favorite feminine power ballad of all time, and remains a regular on my iPod.

“Let It Go” is better.

By A. Einhorn on November 25, 2013

2) The Best Disney Soundtrack For the First Time In, Well, FOREVER! - I was at the premiere of Disney's "Beauty and the Beast" in 1992. I remember the feeling that everything in Disney animation was about to change for the better and for a very long time. The combination of story, animation, and above all, song, was the best that had been seen in a film since the 1950's, during the Silver Age of Disney animation. What Alan Menken and Howard Ashman had hinted at in "The Little Mermaid" was given full, beautiful voice in the songs from "Beauty and the Beast," and I knew that a new Golden Age of Disney animation was on its way.

I had that same feeling when I saw "Frozen" a week ago. It is to the new generation of Disney films what "Beast" was to the Disney animated films of the 1990's: a wake up to everything that makes a "Disney" film a truly "Disney" film, and not a Pixar want-to-be. Not a Dreamworks pop-culture retread, but a film by the company that made the animated film a viable and living art form.

"Frozen" is simply THAT good of a film. And apart from spectacular animation, a heartfelt and beautiful story, and top-notch voice acting, what makes "Frozen" that good is the music.

A perfect combination of song and score, the music by Christophe Beck (instrumental score) and Robert Lopez and Kristen Anderson-Lopez (songs), bring to life the story of sisters Elsa and Anna, princesses of Arandelle. Elsa has the magical power to control and create snow and ice, and as the movie opens, they are best friends who enjoy playing with snow and snowmen in the ballrooms of the palace. When an accident happens that causes things to change, the sisters are torn apart and the story begins.

Using traditional Scandinavian instruments, vocal techniques (including "kluning," a type of shepherds call), and a Norwegian choir (the all-female Cantus, who feature prominently in the opening titles), Beck's score is far more than just incidental music. It's as integral to the story as Alan Menken's instrumental music has been for his Disney animated films.

The opening piece, "Vuelie," is a breathtaking choral piece that sets the tone for the icy, Scandinavian backdrop as Lebo M's famous Swahili chants at the beginning of "The Lion King. Written by Norwegian composer Frode Fjellheim and adapted by Beck, the song combines traditional "Saami yoiking" and a Danish hymn. It evokes a cold and wintry feel while helping set the tonal culture of the film before the segue into a more traditional opening number.

That number is "Frozen Heart," sung by a chorus of ice gatherers. As the men work cutting the ice, the very traditional-sounding song tells the power of the ice, the curse of the ice, and relationship that this culture has with the winter. While it is appreciated for its strength and power, it is recognized as destructive due to the way it freezes everything in its wake. Visually, it's a fun song as the ice cutters work swiftly to load their reindeer-drawn sledge with giant pieces of ice. A young boy, Kristoff, and his pet reindeer, Sven, attempt to help with comic results.

The next song, "Do You Want to Build a Snowman?" tells, through poignant lyrics and great performances by the young Anna and, eventually, the grown-up version, what Anna feels as she is shut away from her sister, who unbeknownst to her, has been asked by her parents to hide away her magical gift. As a result, Anna feels like Elsa has shut her out and grows up nearly alone. Once best friends with Elsa, she is now nearly on her own--and by the end of the song, as tragedy strikes, it is clear that she truly is. It's one of those great "showtune" style numbers that helps advance the storyline while also being a great song. It's sung beautifully by the young Anna (voiced by Agatha Lee Monn and Katie Lopez--the songwriters' daughter) and Kristin Bell as the grown-up Anna. By the last refrain, it's definitely a poignant moment.

"For the First Time in Forever" is what Howard Ashman called the "I Want" song in the film. At least, it's Anna's. Finally grown up, finally ready for her sister to be crowned queen, her life is about to change. All the loneliness and shuttered away feelings she's had growing up are finally over--the gates of the castle are about to open and she won't be lonely anymore. It's a great "production" number in the film with lots of great movement, character animation, and sweeping visuals. It's a great song. It's a great "Disney" song. It feels "right." And sung so winningly by Kristin Bell, it turns Anna into an even more engaging and endearing character. Halfway through the song she is joined by Idina Menzel as Elsa, and the former "Wicked" star brings her Elphaba intensity to her character.

It's not a surprise that Menzel can sing, and she does, perfectly and beautifully, as Elsa. The real surprise is TV actress Bell, whose vocal performance is as important to the character as Jodie Benson was to Ariel. Without Benson's youthful naivete shining through as Ariel, she might have come across as a far less sympathetic character. Bell is so good as Anna, so warm, so fun, so endearing, and--she is a fantastic singer. To hold her own against a powerhouse like Menzel is something. To make a song like "For the First Time in Forever" feel as classic as "Part of Your World" or "A Dream is a Wish Your Heart Makes" shows the power of a great song combined with a great performer.

The film boasts not one, but two great love songs, and "Love is an Open Door" is a contemporary, pop-sounding duet between Anna and Hans, the prince of a neighboring kingdom. It's a cute and fun number in the film (reminding me a bit of "Kiss the Girl" from "The Little Mermaid"), but it's lyrically quite inventive, melodically interesting. Again, it's sung wonderfully by Bell, whose clear and pure soprano is a great match with Santino Fontana, who sings Hans with great gusto.

By this point, the audience is wondering when Menzel, probably the best known performer in the cast, is going to let loose with her big power number. And in that, "Frozen" doesn't disappoint. "Let It Go" is a lock for the Best Original Song Oscar, with it's powerful manifesto of breaking free from constraints and finally being able to be oneself. What is amazing about "Let It Go" is that, while it could come across a bit bitter, in the film, it's an absolutely delightful moment. In this moment, finally allowed to be herself after years of concealing her true self, Elsa lets loose with her power and creates a stunning ice castle. She smiles for the first time since the beginning of the movie, and Menzel's vocal performance is one of joy--yes, the "cold never bothered me anyway," says Elsa, but it's not out of bitterness, but a realization that finally, for the first time, she can be who she was created to be. In a film full of great songs, this one is obviously a standout.

Jonathan Groff, a Broadway actor best known for "Spring Awakening," delivers a truly memorable performance as Kristoff, the now-grown up ice gatherer whose business has been stymied once Elsa unleashes her power on the kingdom. Although possessed of a beautiful singing voice, Groff only has one song in the film, the silly (and silly-sung) "Reindeer(s) are Better Than People," which is a cute, throwaway number intended to show the relationship between Kristoff and his best friend, the reindeer Sven. Groff sings for both characters (and speaks for them in several very funny conversations in the film). It's a cute song.

The next big production number in the show is sung by Josh Gad (Tony nominee for "The Book of Mormon"). "In Summer" is a paean to the warmest time of the year--sung with great love and gusto--and a lack of understanding--by snowman Olaf. A great sidekick in the history of Disney's great sidekicks (Dopey, Jiminy Cricket, Timon & Pubmbaa), Olaf is a hilariously naive but funny character, and his big song is full of puns and laughs. It's even funnier onscreen. Gad gives it all he's got with big, belting vibrato, and he makes what is a minor comedic song into a moment when my audience burst into applause.

There's a reprise of "For the First Time in Forever," sung by Bell and Menzel that feels like a number from countless other sung-through shows in that it is mostly dialogue sung by the two sisters as they try to decide what will happen next. It's Anna's efforts to try to get her sister to relate to her--to show that she understands what Elsa is going through. It's a beautiful moment, but it doesn't end well. While it works on the recording, this is one of those songs that really needs to be seen in context to be fully appreciated.

One last love song, "Fixer Upper" is sung by some well-meaning trolls to try and get Anna and Kristoff together. Without giving anything away, these trolls feel very protective of Kristoff and really want him to get together with Anna. A song that celebrates that everyone has troubles of their own--each of us is a "fixer upper" and love can really change that--it's a welcome relief in the film when it shows up. It's another more "pop" in sound, but it's quite enjoyable, and the payoff at the end is fantastic. While I wish it wasn't the last song in the film, it's a great number nonetheless. And the trolls, led by Maia Wilson, turn the song into a gospel-lite number that really soars by the end.

Over the credits, Demi Lovato's version of "Let It Go" plays. While Lovato does a great job, the song doesn't have half the power of Menzel's version.

Like it has since "The Little Mermaid," Disney once again hasn't put the songs in order of how they appear in the film, meaning you don't get to experience Beck's score interspersed with songs the way you actually would. Which is sad, because many people are going to miss some truly great film music.

Beck does a great job mixing melodies introduced in the Lopez' songs into the instrumental cues, but even better, he truly unleashes the spirit of Scandinavian culture in the score. Whether it's traditional instrumentation, vocal ensembles, or even local instruments, al the "folk" elements of the score bring extra life and an underpinning sense of drama and purpose to the story's events. The hymn sung by the choir at Elsa's coronation, "Heimr Arandalr," translates as "Homeworld Arandelle," and celebrates the history and culture of the world inside "Frozen." It's a beautiful piece, beautifully sung.

Each instrumental track is unique in its own way, and although I am primarily a fan of the pieces clearly influenced by Scandinavian culture, I am confident that Beck will continue to write and develop exciting music for Disney films. The instrumental pieces I most find perfect in stand-alone ways (unlike an action cue, like the wolf chase) are the adaptations from songs in the film. In this, he doesn't disappoint, giving us several outstanding pieces, including the "Epilogue," which brings the whole film together, including every song--even "Do You Want to Build a Snowman?"

The Deluxe edition includes a second disk of demo versions of the songs and cues in the film, as well as a complete collection of songs cut from the movie as it went through production. The Lopez' introductions to the cut songs help give context and understanding to what went into each song and why it was cut. Standouts of the songs cut from the film (and which will probably show up in the Broadway version someday) include "We Know Better," a wonderful "sister power" song and "More Than Just the Spare," which anyone with an older sibling will be able to relate to. Sung very nicely by the composers, the cut songs show the amount of work that goes into an animated film and how big the changes in the story might get.

Beck includes many of his demo recordings for the instrumental score and all of them are quite nice--even when the synthesized strings get a little annoying. He includes the score for the original teaser trailer for "Frozen" as well as "source" audio for the folk instruments used in the background during the coronation scene. These are great for purists.

Rounding out the physical CD is a track only version of Menzel's "Let It Go." It's the original orchestral track used in the film, and it's certain there will be preteen girls all over the world practicing for their moment to shine in another Christmas production. Sadly, you only get one of these tracks with the CD, but the instrumental tracks for the other big songs in the show are available for download via iTunes. For all future showtune princesses (and their parents.)

As I said in my review for the film (at duanesm.com):

"The songs, by husband and wife team Robert Lopez and Kristen Anderson-Lopez, are uniformly excellent, and form a cohesive story that moves the film along, adds dimension and life to the characters, and helps the audience understand their hopes, dreams, and motivations. It’s the best collection of songs in one Disney film in the first time for, well, forever, and the composers deserve a multiplicity of awards both now and in the future for creating truly musical songs."

HIGHLY RECOMMENDED. Get your copy today!

By A Customer on November 25, 2013

For Detail

Click –Frozen

John Coltrane and Johnny Hartman Import, Limited Edition, Original recording remastered

Japanese limited edition release featuring an LP style slipcase cover. 24bit 96kHz digitally remastered. Another highlight in the history of Jazz. Part of the 'Impulse Best 50' collection.

TRACK LIST:

1. In A Sentimental Mood

2. Take The Coltrane

3. Big Nick

4. Stevie

5. My Little Brown Book

6. Angelica

7. The Feeling Of Jazz

For Detail

Click –John Coltrane & Johnny Hartman

Satie: Complete Piano Works / L'Oeuvre Pour Piano

Five CDs collecting Erik Satie's complete piano works is an occasion to celebrate under any conditions. The set is played with a just-right balance of whimsy, drama, and starkness by Jean-Pierre Armengaud. And there's a bonus. At first glance, the 100-page accompanying booklet is nothing too special--a timeline, notes in three languages, etc. But upon looking closely, you discover that the liner notes are exceptional and fascinating, with such spare nuggets as Satie's description of himself as a phonometrographer, a composer whose "scientific thinking dominates" his creative process. Also present are Satie's own written comments on many of the recorded pieces, nuggets of wisdom and fancy that rely profusely on visual and sensory imagery, aligning the composer with not only late-19th-century French poets, but also Impressionist painters and surrealist visionaries.

Armengaud, who's written his own book on Satie (in French), manages splendid efflorescence on the first CD (Famous Pieces) and the last (Works for Piano Duet, with Dominique Merlet), and he takes a funnily melodramatic approach to the second CD, Humorous Pieces (containing gems like "Floppy Preludes--for a Dog" and "Sketches and Irritations of a Fat Figurine"), all of which teeter and lilt with delighted looseness and retain a crisp edge. The remaining discs are Mystical Pieces and the crown jewel of the bunch, Surrealistic and Childish Pieces. Satie's ability to depict motion and space is unmatched on the latter set of works, with feints and jabs of spirited playfulness alternating with warpy, balletlike episodes that benefit deeply from Armengaud's interpretations. They're warm and crafty at once. Can Satie be taken at his word on any of his notes and descriptions of these works? Perhaps and perhaps not, as he was equal parts surrealist, childlike tinkerer, metaphysical scientist, and whimsical dramatist. --Andrew Bartlett. Shop Amazon - Top Rated in Musical Instruments

TRACK LIST:

Disc: 1
1. Trois Sarabandes: No.1
2. Trois Sarabandes: No.2
3. Trois Sarabandes: No.3
4. Allegro
5. Six Gnossiennes: No.1
6. Six Gnossiennes: No.2
7. Six Gnossiennes: No.3
8. Six Gnossiennes: No.4
9. Six Gnossiennes: No.5
10. Six Gnossiennes: No.6
11. Cold Pieces: Airs That Chayse Away: No.1 In A Very Unusual Manner
12. Cold Pieces: Airs That Chayse Away: No.2 Simply
13. Cold Pieces: Airs That Chayse Away: No.3 Invitingly
14. Cold Pieces: Crossed-Up Dances: No.1 Give It A Good Look
15. Cold Pieces: Crossed-Up Dances: No.2 Go On
16. Cold Pieces: Crossed-Up Dances: No.3 Again
17. Petite Sonate
18. Next To Last Thoughts: No.1 Idylle, A Debussy
19. Next To Last Thoughts: No.2 Aubade, A Paul Dukas
20. Next To Last Thoughts: No.3 Meditation, A Albert Roussel
21. Nocturne No.4
22. Nocturne No.5
23. Nocturne No.6
24. Trois Gymnopedies: No.1
25. Trois Gymnopedies: No.2
26. Trois Gymnopedies: No.3
Disc: 2
1. Tendrement
2. Gold Dust
3. Le Picadilly
4. I Want You
5. The Dreaming Fish
6. Fant Valse
7. Valse Ballet
8. Jack In The Box
9. Floppy Prlds - For A Dog: No.1 Voice Within
10. Floppy Prlds - For A Dog: No.2 Cynical Idyll
11. Floppy Prlds - For A Dog: No.3 Dog Son
12. Floppy Prlds - For A Dog: No.4 With Friendiness
13. Genuine Floppy Prlds - For A Dog: No.1 Severe Reprimande
14. Genuine Floppy Prlds - For A Dog: No.2 At Home Alone
15. Genuine Floppy Prlds - For A Dog: No.3 Only A Game
16. Shrivelled Embryos: No.1 A Holothurian's
17. Shrivelled Embryos: No.2 An Edriophtal
18. Shrivelled Embryos: No.3 A Podopthalmian's
19. Old Finery, Old Armour: No.1 At The Gold Merchant's
20. Old Finery, Old Armour: No.2 Dance in Armour
21. Old Finery, Old Armour: No.3 The Defeat Of The Cimbri
22. Chapters Turned In All Directions: No.1 The Chattering Wife
23. Chapters Turned In All Directions: No.2 The Bearer Of Heavy Stones
24. Chapters Turned In All Directions: No.3 The Regrets Of Those Unable To Get Out
25. Bureaucratic Sonatina
26. Sketches And Irritations Of A Fat Figurine: No.1 Turkish Yodel
27. Sketches And Irritations Of A Fat Figurine: No.2 Thin Dance
28. Sketches And Irritations Of A Fat Figurine: No.3 Espanana
Disc: 3
1. The Puppets Dance
2. Medusa's Trap: Quidrille - Valse - Not Fast - Mazurka - Quite Lively - Polka - Quadrille
3. Automatic Descriptions: No.1 On a Ship
4. Automatic Descriptions: No.2 On A Lantern
5. Automatic Descriptions: No.3 On A Helmet
6. Times Of Day, Then And Now: Venomous Obstacles
7. Times Of Day, Then And Now: Morning Light From Noon
8. Times Of Day, Then And Now: Stampeding Boulders
9. Children Smalltalk: The Bean King's War Chant
10. Children Smalltalk: What Little Princess Tulip Says
11. Children Smalltalk: The Almond Chocolate Waltz
12. Childish Scenes: Little Prld To Start The Day
13. Childish Scenes: Lullaby
14. Childish Scenes: The Grand Staircase March
15. Troublesome Trifles: Being Jealous Of One's Friend With A Big Head
16. Troublesome Trifles: Eating His Bread And Jam
17. Troublesome Trifles: Taking Advantage Of His Having Corns To Steal His Hoop
18. A Daydream Of Pantagruel's Childhood
19. New Cold Pieces: On A Wall
20. New Cold Pieces: On A Tree
21. New Cold Pieces: On A Bridge
22. Passacaille
23. Three Distinguished Waltzes Of A Jaded Dandy: His Figure
24. Three Distinguished Waltzes Of A Jaded Dandy: His Monocle
25. Three Distinguished Waltzes Of A Jaded Dandy: His Legs
26. First Minuet
27. Sports Et Divertissements
28. Music For The Filmed Entr'acte Of The Ballet 'Relache'
Disc: 4
1. Gothic Arches: No.1
2. Gothic Arches: No.2
3. Gothic Arches: No.3
4. Gothic Arches: No.4
5. Prld To The Heroic Door Of Heaven
6. Rose-Croix Processional Music: Entry Of The Members Of The Order
7. Rose-Croix Processional Music: Entry Of The Grand Master
8. Rose-Croix Processional Music: Entry Of The Grand Prior
9. Quatre Prlds: A Noble Damsel Feted By Norman Knights - 11th Century
10. Quatre Prlds: Prld D'Enginhard
11. Quatre Prlds: First Prld For The Nazarene
12. Quatre Prlds: Second Prld For The Nazarene
13. The Son Of The Stars: Prld To Act I: La Vocation
14. The Son Of The Stars: Prld To Act II: L'Inititiation
15. The Son Of The Stars: Prld To Act III: L'Incantation
16. Gothic Danses: For A Great Sorrow/In Which The Fathers Of The Most Venerable And Most Holy Church...
17. Tapestry Prld
18. Ornate Secular Verses
19. Nocturne No.1
20. Nocturne No.2
21. Nocturne No.3
Disc: 5
1. Parade: Prld Du Rideau Rouge/Prestigidateur Chinois - Jean-Pierre Armengaud/Dominique Merlet
2. Parade: Petite Fille Americaine/Rag-Time Du Paquebot - Jean-Pierre Armengaud/Dominique Merlet
3. Parade: Acrobates/Ste Au Prld Du Rideau Rouge - Jean-Pierre Armengaud/Dominique Merlet
4. Trois Petites Pieces Montees: De L'enfance De Pantagruel (Reverie) - Jean-Pierre Armengaud/Dominique Merlet
5. Trois Petites Pieces Montees: Marche De Cocagne (Demarche) - Jean-Pierre Armengaud/Dominique Merlet
6. Trois Petites Pieces Montees: Jeux De Gargantua (Coin De Polka) - Jean-Pierre Armengaud/Dominique Merlet
7. En Habit De Cheval: Choral - Jean-Pierre Armengaud/Dominique Merlet
8. En Habit De Cheval: Fugue Litanique - Jean-Pierre Armengaud/Dominique Merlet
9. En Habit De Cheval: Autre Choral - Jean-Pierre Armengaud/Dominique Merlet
10. En Habit De Cheval: Fugue De Papier - Jean-Pierre Armengaud/Dominique Merlet
11. Trois Morceaux En Forme De Poire: Maniere De Commencement - Jean-Pierre Armengaud/Dominique Merlet
12. Trois Morceaux En Forme De Poire: Prolongation Du Meme - Jean-Pierre Armengaud/Dominique Merlet
13. Trois Morceaux En Forme De Poire: I. Lentement - Jean-Pierre Armengaud/Dominique Merlet
14. Trois Morceaux En Forme De Poire: II. Enleve - Jean-Pierre Armengaud/Dominique Merlet
15. Trois Morceaux En Forme De Poire: III. Brutal - Jean-Pierre Armengaud/Dominique Merlet
16. Trois Morceaux En Forme De Poire: En Plus - Jean-Pierre Armengaud/Dominique Merlet
17. Trois Morceaux En Forme De Poire: Redite - Jean-Pierre Armengaud/Dominique Merlet
18. Apercus Desagreables: I. Pastorale - Jean-Pierre Armengaud/Dominique Merlet
19. Apercus Desagreables: II. Choral - Jean-Pierre Armengaud/Dominique Merlet
20. Apercus Desagreables: III. Fugue - Jean-Pierre Armengaud/Dominique Merlet
21. Fant Serieuse: Marche Franco-Lunaire - Jean-Pierre Armengaud/Dominique Merlet
22. Fant Serieuse: Grande Ritournelle - Jean-Pierre Armengaud/Dominique Merlet
23. Fant Serieuse: Valse Du 'Mysterieux Baiser Dans L'Oeil' - Jean-Pierre Armengaud/Dominique Merlet
24. Fant Serieuse: Grande Ritournelle - Jean-Pierre Armengaud/Dominique Merlet
25. Fant Serieuse: Cancan Grand-Mondain - Jean-Pierre Armengaud/Dominique Merlet

For Detail

Click –Satie: Complete Piano Works / L'Oeuvre Pour Piano