Carl Thomas

An excellent cd sung in english with a libretto to guide you. This two cd set is very much worth owning and is conducted by the composer. It is not like the usual mass in that it employs two orchestras, singers, dancers and two choruses.

This is one of the biggest embarrassments of Bernstein's career. In the late 60s/early 70s, everyone was trying to make Catholicism "hip and cool and relevant" in an attempt to appeal to the youth culture of that time. That's why we have time pieces like Jesus Christ Superstar and songs like "Put Your Hand in the Hand" -- a song which would fit nicely here, by the way, so you get the picture. The fact that Bernstein is Jewish, and therefore non-Catholic, didn't seem to deter or bother anyone involved in this ridiculous project. With its dippy-hippy lyrics ("God said it's good to be poor") and mindnumbingly dumb "theological" reflections ("I believe in one God, but I believe in three" huh?) this "mass" is hopelessly dated. This, after all, is a theater piece, not a liturgical mass in the great tradition of Catholic composers such as Beethoven Bruckner and Mozart. As it tries so hard to fit into the youth culture of the early 70's, it ultimately rests there and never transcends into anything musically interesting, spiritually uplifiting, or spiritually challenging. Strong point: "A Simple Song" which is, a simples song from the Psalms sung by Alan Titus without -- mercifully -- any cynical interpolations. Otherwise, file this with the Godspell movie soundtrack.

Even though I always considered L. Bernstien to be my favorite conductor, it took me a long time to like his "Mass". I would listen to it every year or two and gradually it grew on me. Though Bernstien's music is unmistakable, he draws on Mahler, Stravinsky, Ives, Copland and Gershwin. This piece reveals musical genius and also presents an interesting approach to the Christian faith.

P.S. Bernstien also wrote a symphony called "Kaddish" which is based on Jewish prayers. Like Gustav Mahler, Bernstien must have been quite a seeker and we are to benefit from his variety of religious experiences.

A Bernstein classic. You feel like singing it
over and over and never get tired of it.
An excellent musical way to communicate with God.

If you have have a home theater system with very good speakers, listen to this CD in surround. Leonard Bernstein conceived the music in quad, using the space intelligently, and it still holds up.

Hats off to original recording engineer Don Puluse (quad was bleeding edge back then) and to CD remixing engineer John McClure.

Was very pleased with the music. Couldn't have been better. I do wish Mr. Beveridge's Maggot was included, tho. Some of the in-film music also could have been included, but overall I enjoyed the CD.

I am very pleased with this soundtrack, the music is beautiful. The reason I gave it a 4 is because it is somewhat repetative.

Beautiful soundtrack... this is all of the music that the composer, Carl Davis, created for the movie. There are 24 tracks on this disc and the music is so lovely. It really takes you back into the movie, especially track 14, Pemberley, and track 15, Darcy Returns. Melvyn Tan's performances on the pianoforte are beautiful. It is also a chance to hear more complete selections rather than just bits and pieces used in the movie. Play this in the background when you can't take the time to watch the movie.

Other reviewers commented on the fact that many of the selections from the movie that they wanted to hear once again were not on the soundtrack. The music pieces they mention are what Mr. Davis refers to as source music, anything played or sung by the people in the movie. Much of the source music is available as MP3s if you do your research -- suggestions are the IMDB web site & right here on Amazon. Voi Che Sapete from Mozart's The Marriage of Figaro (Lizzie sings this at Pemberley with Darcy looking on]; Beethoven's Andante Favori (Georgianna's piece immediately afterward); Haydn's "My Mother Bids Me Bind My Hair" (poor Mary starts to play this at the Netherfield Ball and is fortunately interrupted by Mr. Bennett) -- can all be found on Amazon as MP3 downloads. Unfortunately, you will have to purchase an entire CD to have a copy of Mr. Beveridge's Maggot. Be aware that the selections will not be arranged as they were in the movie, nor performed by the same people, but many of them are worth having for their own sake.

I also recommend getting the book, The Making of Pride and Prejudice, for the lovely chapter devoted to the music.

This soundtrack is wonderful. I love this movie and the music fits it to a "T". It's great to pop in while on the way to or from work, just to unwind.

This is a pleasant soundtrack, but I was very disappointed in the "dance montage". I was expecting to hear all of the dance music, including (especially) the tune that Darcy and Miss Bennet danced to. However, that particular track was less than a minute of okay music. It wasn't my favorite. If I want to hear all the dance music, I guess I can watch the DVD.

Pure represents the initial international, read US, CD release of Hayley Westenra. Other albums had been released outside of the US market, but Pure is an excellent cross-section of the wide ranging vocal talent of a sixteen year old New Zealand Popera. This is a must have CD for fans of pitch perfect singers. Her signature piece is Pokarekare Ana. This album has two versions: a basic and extended version. I recommend listening while looking at the CD cover photo. It is amazing to me that such a voice comes out of such a wonderfully talented young woman. If you fall in love with the album and the artist, you will have to have the DVD Hayley Westenra, Live from New Zealand. She is seventeen in it. She takes chances as demonstrated on the cut Wuthering Heights. Hayley has the voice of an angel and probably is one. Highly recommended as the first of many Hayley Westenra albums

I had heard a few songs from this collection and really liked them. She's young but I would like to see how she matures as an artist.

I would have given this 5 stars, except for the execrable "Wuthering Heights" track, which she starts by emitting a note that could only be described as shrieky. I literally jumped the first time I heard it, and it's still unpleasant. Didn't anybody listen to that track before the CD was released? It sounds like a siren (a police siren, I mean), and I don't mean to be nasty because I think she's good, but it sounded as if she was struggling to hit that note, and there was no need for it. She could have taken it down a half-tone and the effect would not have been alarming, the way it is now.

She should also work a bit on her enunciation. For the longest time, when I listened to "Across a Universe of Time" I kept hearing "tell me your vision OF SUNNY DELITE" (instead if "a story begun") She isn't helped in that department by overwrought arrangements. Whoever's arranging the music should work with her fragile voice.

But I'm looking forward to her development as an artist. Just stop screaming, Hayley!

I first discovered Hayley Westenra on Celtic Woman. Then, I heard the song "Wuthering Heights." Contrary to popular opinion, or so it seems, I think this song is amazing, even in her younger years. It's amazing that she can hit the notes, let alone make them beautiful and moving. (Of course, it helps if you've read the book and understand everything behind them...)

I agree that a few of her songs are just a liiiitle too generic, but she definately makes up for it in 90% of her songs, which is more than most artists can say. She only gets better as the years go on, and it is definately worth getting her later CDs as well.


Enjoy!!!

In the interest of full disclosure, I'll say upfront that I'm a huge fan of Hayley's. Pure serves as her debut album for most of the world, and she's an amazing young woman. She has one of the most naturally beautiful voices I've ever heard, and I think it's almost genetically impossible for her to sing anything that doesn't come out lovely. As a singer and music teacher, I also appreciate her technique and near-flawless diction. (She realizes that words have final consonants that should be pronounced even when singing! What a concept!!) Everything I say in this review is in the overall context of noting that Pure is a CD that I listen to over and over.

There are 13 tracks in the US version, with a mix of familiar ("Amazing Grace"), classical ("In Trutina" from Orff's Carmina Burana), and other pieces. Of special note are two Maori songs (Pokarekare Ana and Hine e Hine) whose simple melodies showcase Hayley's admirable lyricism.

This isn't a perfect album. Hayley's taste at this point in her career seems to favor flowing melodies, medium tempos, and sustained lines that show off her voice wonderfully, and the sentiments often are not particularly deep. (She seems to be a very mature teenager, but she is still very young, and the song choices reflect that). As a result, there's a certain sameness to many of the songs that can leave one craving a little more variety. (This is solved on her second album, Odyssey.) An exception to the sameness is "Heaven," an upbeat calypso-inspired ditty about untimely death(!)

And then there's the last track, "Wuthering Heights." Hayley's been quoted as saying this is one of her favorite songs. It contradicts everything else I've said in this review. She shrieks, she swoops, she screeches, she's often unintelligible (thank goodness for the lyrics in the CD insert!). This is Hayley-tries-rock-music and Hayley-goes-wild. It was probably fun to sing. Maybe she needed to get it out of her system. To me, it's just strange.

But there are 12 other tracks that make this remarkable CD well worth having.

Just recently discovering Hayley Westenra I have become an 81 year old fan. I think her voice is outstanding and her selections great. She sang a duet on her 2004 DVD with a Teddy Tahu Rhodes who I'm trying to get his CD's. It's great to have another Sarah Brightman.

If your not a huge fan of classical music but want the stuff found in mainstream movies, get this album.

I love this cd. The majesty and power of the music is overwhelming.

If you like a strong, powerful melody, you'll like this cd

I bought this CD to use in my classroom as listening examples. I'm not just a super big fan of some of the performances, but they are all good and for the price you can't beat it. That's why I gave it 5 stars. It's worth more than it costs by far.

This is a who's-who of great pieces of music you have heard all of your life, and never knew the names and stories! I listened to it over and over in the car and had my own concert! A friend borrowed it to add music to his Home Movies and it was perfect!

I bought this CD mostly for "Entry of the Gladiators," which everyone will recognize as classic circus music. The performance on this CD (by Erich Kunzel and the Cincinnati Pops) is the best available version of Entry of the Gladiators. The rest of the CD offers mostly excerpts of classical music.

I remember this album when I was in the 7th grade. I love this album. I play it all the time. This album shows that he sings of love with a voice so real, so passionate, and you know he has been there before. This album places us in a nostalgic state. This album is about romance. This album has been certified Platinum. Remember, this was 2000.

i was shocked that this cd was actually good. great voice and great sound. good one to have in anyone's cd collection.

This is a wonderful album to relax to or just do chill out and relax. His style is hypnotic and smooth. His voice is like velvet and the songs flow nicely together.

Even the intro is good!

My favorites are:

You Ain't Right, Giving You All My Love, Come To Me, I Wish, My Valentine, Woke Up In The Morning, Summer Rain and Cadillac Rap (LOL).

This IS a TRUE baby-maker!

4.5 stars from me!

LISTEN? THIS ALBUM SHOULD EASILY GO DOWN AS ONE OF THE GREATEST R&B ALBUMS OF ALL TIME. I HAD TO PURCHASE THE EMOTIOTIONAL CD AGAIN FROM AMAZON BECAUSE MY FAVORITE SONG ON THE CD "SPECIAL LADY" WAS SCRATCHED. I HAVE ALL THREE OF CARL THOMAS RELEASES INCLUDING HIS NEWEST PROJECT "WHICH I HAVEN'T OPENED YET", AND THIS IS ONE OF THE TOP FIVE R&B ARTIST OF THIS GENERATION, SIMPLY BECAUSE HIS VOICE, SONGWRITING ABILITY AND JUST PURE ARTISTRY DEFINE WHAT A REAL R&B ARTIST SHOULD BE. THIS EMOTIONAL ALBUM IS ONE OF THE FEW ALBUMS THAT LIVES UP TO THE TITLE OF THE ALBUM. IT'S A SHAME THE WAY THE MUSIC INDUSTRY DISCARDS TRUE TALENT AND FRONTPAGES GIMMICKY, "NO TALENT" ACTS. CT YOU'LL ALWAYS HAVE A TRUE FAN HERE. KEEP PUTTING OUT GREAT MUSIC NO MATTER WHAT. EMOTIONAL, MUST HAVE ALBUM!

A wonderful album. I have several copies of Handel's Messiah, but the performance of the Hallelujah Chorus by Robert Shaw's singers is exceptional, outstanding. I was inspired to have my young son listen to this album: Verdi's "Dies Irae", Orff's "O Fortuna", and Handel's "Hallelujah Chorus".

Notice that there are 3 versions of "Dies Irae" on this album. It's nice to hear others. I am not normally a fan of Requiems. I will say that I do like Bach's Mass in B Minor and the Kyrie Eleison excerpted here is beautiful.

I just enjoy in it very much. The best of the choir music in very good performance.

This CD could be the cornerstone of your choral music library! Wonderful performances of all of the essential choral pieces give a wonderful introduction to choral music for someone new to it, and also give a nice sampler of the best pieces for someone already familiar with the music. Listening to each excerpt may inspire you to purchase the entire work!

As you would expect of performances by Robert Shaw's groups, these performances are really extraordinary and show the best of American choral singing.

The three stars I have given this album are not for the performances, which are all tremendous and deserve five stars or more, but for the idea of releasing this sort of compilation. Every single one of these selections is part of a larger Shaw-recorded work already released by Telarc, and you are far better off seeking the complete recordings that all these pieces are from, than just buying a mere "sampler". (Shaw, however, never did get around to recording the complete " L' Enfance du Christ".) Of course, that can be very expensive for some people, and if one cannot afford all those recordings, I suppose this is the next best thing. One can't shake off the feeling, however, that because Shaw is no longer with us, Telarc is desperately trying to give the impression that "new" Shaw recordings are constantly being released by them, when the truth is that nearly all the new ones are mere recyclings. (The last complete Robert Shaw album released by Telarc was Dvorak's "Stabat Mater", a CD well worth buying.)

This album is so up-lifting. As the music soars, so do your spirits.

Shaw's final recording of the Mass in B minor is a devotional, almost religious experience, despite being placed in a concert hall.

The performance here is very much cut from the same cloth as his earlier recording made in 1960 after touring all over the U.S. giving this huge piece in one-night stands. Tempi are broad and spacious, the sound rich and full. The soloists are all top rate. The music breathes in several passages wonderfully, especially the closing "Dona nobis pacem." The pathos of the "Et incarnatus" and "Crucifixus" is especially striking.

Shaw's interpretation falls into the traditional side of that tedious "HIP vs. Everything Else" debate, meaning his orchestra and chorus are quite large compared to more recent interpretations.

The complaint, here is this: look VERY CLOSELY at the track list. The Kyrie, Gloria, and Symbolum Nicenum are NOT subdivided into a track for each movement. That's not a detriment to the performance, but it does make the set difficult to work with when studying specific areas within the piece. The Symbolum Nicenum especially is so long, even a track division after, say, the "Et resurrexit" would be preferable to none at all. It's a shame that such a good performance is marred by Telarc's presentation.

Nonetheless, an all-around great reading (but don't miss some of the others, like Robert King or Karl-Friederich Beringer).

If lush choral singing is what you're looking for, this is the recording for you.

Whenever I chance to listening to the "Kyrie Eleison, Dona Nobis Pacem, Sanctus...SAHnctus...SAHNCTOOS!" I must admit they are so deeply entrenched into my bloody emotions...They move from deep in the Pit of my Stomach, to my heart, back to my Spinal-column, finally into my wee bits of Cerebreal Memory! Since 1970's, I first began to listen to Shaw's glorious 33 1/3 RCA Recording: It either sent cold chills or warm thoughts start me to singing or meditating!

Finally in mid-1970's in Westminister Choir College, we began to rehearse in the Cavernous Temple University Cathedral with its' reverb of 35-40 seconds! Alongside those awesome soloists from NYC, adding to the Orchestra from NY Philarmonic, we thoroughly enjoyed heading: Tommy Pyle, Ara Bebarian, Florence Kopplev, and tenor Seth McCoy! Whenever we took a break I had chances to chat with Tom Pyle or Seth McCoy. They gave great Respect, Love and Admiration for Sir Robert. I finally began to understand him as both a kind person and tremendously gifted-human Being...The Only one of his kind!

When we first recorded, "The Christmas Nativity" in the Atlanta Symphony Chorus, I often caught a glimpse of tears trickling down his expressive face, near the ending of Dona Nobis Pacem! He both gave all of himself and asked his singers to do as much from themselves! With fond memories, retired Chaplain Fred W Hood

This recording is interesting in that Robert Shaw took a one-voice-to-a-section balance for some of the choruses rather than using massed forces throughout. I like the effect, but am ready to admit that it's not quite kosher. In addition, all of his soloists are excellent except for bass Thomas Paul, a longtime NYC veteran of the Bach-Mozart circuit, who just was not in good voice here. The problem is that, even more so than Sir Georg Solti, Shaw makes "the crooked straight and the rough places plain," sacrificing the exciting edginess of Bach's counterpoint in favor of more homogenous textures. As the performance went on, I found myself more and more engaged by the soloists and less and less by the chorus....not a good thing in a work that is about 80% choral!

Of the existing versions, John Eliot Gardiner's is probably the best, but if you seek out the old Peter Schreier recording on Philips you will be rewarded by a performance whose rhythmic and textual riches will delight you again and again. If you want a somewhat smoother Mass, the Solti recording has more enlivened orchestral and choral playing, though it borders on the over-reverent in tone and Bel Canto in style.

This remains the best recording of the B minor mass that I have ever heard. Each and every phrase soars to new levels. This recording, and of course, this mass, uplift the listener spiritually and intellectually. I own two other recordings of this mass, another by Robert Shaw with his own chorale and another with Herbert von Karajan. This second Robert Shaw recording, although wonderful, remains inferior to this Atlanta recording. I especially love the Credo, which very accurately portrays the trinity in its canonical form along with the unity of the father and the son with the "Et in unum Dominum, Jesum Christum." No recording more convincingly captures the reader's emotions and intellect in a spiritual ecstasy than this Robert Shaw Recording. Enjoy!

I saw this production in LA with the original Broadway cast, and while I thought it was emotional and VERY well acted, it was also musically forgettable. I mean, 'songs that sound pretty powerful while you hear them that you couldn't sing a note from ten seconds later' forgettable. Yes, there are some interesting songs like the afore mentioned "Salty Teardrops", "Roosevelt Petrucius Coleslaw", and "Lot's Wife", but it still doesn't stay with you. The EMOTION does, but alas, the melodies do not. And I've sang in an award-winning gospel group for years, but ANY of those melodies stay with you and these don't. Not too mention that when you hoped that it might finally be over, you realized it was only the intermission! I have not experienced anything like THAT in a musical since Anthony Newley's "Chaplin", and that's NOT a good sign! A first act should not feel that long....

Also, the reviewer above was only half right: No, "Avenue Q" did not deserve Best Musical, but "Wicked" most certainly DID! Over-hyped or not, it still was head and shoulders above anything else that year. I would've enjoyed THIS show better as a straight drama, but as a Musical I'm afraid it misses the mark.

I never had a chance to see the original production on Broadway and after listening to this CD that upsets me. Caroline, or Change has a great score and a good story. The actors are excellent and pure. Tonya Pinkins is amazing in the role of Caroline. If this show came out after shows such as "Wicked" and "Avenue Q" I think it would have had a better chance to be noticed. With shows like "Grey Gardens" and "Spring Awakening" now out on Broadway I believe that there is now an audience for smaller, original, quality shows like "Caroline, Or Change" (I am not saying that "Avenue Q" is not quality or original but "Avenue Q" and "Wicked" flooded the news especially when it came to the Tony's). I would highly recommend this CD to anyone who likes a high quality show.

I traveled from DC to NY twice to see this production in 2004. Trust me...What you hear on this CD is what I saw and heard in the Theatre!! I agree with the previous reviewers in that this musical is years ahead of it's time. Years from now it will be mentioned along with Sondheim works and Dreamgirls as musicals that were on the cutting edge of musical theatre!!!

I haven't seen the production but as much of the story, including dialogue, is sung, and the full score is presented on the CD, this is the next best thing to being there. I DO NOT agree that the show is ahead of its time. It continues the wonderful tradition I was afraid would die with Sondheim. A tradition of the intellectual musical. It has tremendous depth - emotional, intellectual, musical. If you haven't seen the show I'd advise that you read the lyrics as you listen, otherwise its somewhat difficult to follow, but BUY IT. Like Sweeney Todd, A Little Night Music, Company and Sunday in the Park with George you'll hear something new every time you listen.

i LOVE this show. Tonya Pinkins is phenomenal as Caroline, and Anika Noni Rose is likewise as wonderful as Emmie. Its a shame that Caroline, or Change came out when it did - it was up with some hard competition that year, what with Wicked coming out as well. I think had Tonya not been up against the amazing, not to mention my IDOL Idina Menzel, she would have taken home the Tony, hands down. I think the show was also ahead of its time, meaning Broadway probably wasn't ready then, or, in my opinion, now for a show of this magnitude, but man! what an amazing show indeed. definitely in my top favorite shows. I would recommend this show to just about anyone.

Me encanta las Arias y las canciones ,exelente voz y disertacion ,perfecto para los amantes de una de las voces mas bellas de opera Jussi Bjorling.

Unless, you are as crazy as I am about Bjorling and willing to buy everything available anyway, this is the collection to purchase.

It includes the best of all the other compilations. The sound is very clean: much better than some of the records that I have with the same material.

The French stuff is wonderful -- especially Le Reve. There is something so melancholic about his voice. He doesn't need to act or add anything phony. As soon as he opens his mouth, you know this story is not going to end well.

The collection covers more than 20 years. It's amazing that the voice changed so little. His voice lost none of it beauty or power over the years.

Best Beethoven Adeliade ever. What a pity he never recorded any Schubert song cycles.

My God, this collection even includes Adam's Julsang -- which as far as I know existed only in a Swedish RCA 33 rpm. You will never think of "Oh, Holy Night" the same way again.

If you have not listened to Bjorling before, you will never think of some other famous tenors the same way either.

And a bargain. Two disks for $17? Start here.

What a mix of pieces of which to compare and contrast. Through it all, Steven Isserlis takes us on a wide and varied journey! He truly is one talented artist. Well worth the money. Get a copy and give thanks!

I was just listening to anything "interesting" in cello music & just took this like any other cd. I was hooked from the onsert.The tone of Isserlis is awesome, Beethoven's "Andante con Variazion" with harpschord accompanyment is just great. I continued to listen and things started hitting up when I heard a sorrowful soprano voice by Felicity Lott in Berlioz's "La Captive" song & the piano, cello move around it Oh! my God then & then I decided to purchase it, actually i had decided to purchase "Folk Cello" by Rautio & Ylonen(not available on Amazon, US)then i ended up using my last penny for Isserlis CD.The soprano returns again on Taverner's "The child Lives" with the same impact Wow !what a voice.This was very good for me because I like opera very much & to find it in this setting with the cello & piano was a bonus.ALL tracks in this cd are the greatest ever with a variety of styles from different composers but one song that really captured my imagination was Leonard's "Donkey & Driver" especially at the end. According to the story (as written by artist):there was this donkey trotting merrily along the road when its driver decides to sing a very beautiful sorrowful song well this is said to be a very busy donkey with people to see & their cultures clash then who wins? well listen to the song especially the last part when the cello mimics the sound of the donkey a rebelious one at that.All songs background are also included, the interpretations of the soprano songs in English are also included. Also check out the last song which was enhanced by isserlis when he says he was "hooked" by Carl vine's "Inner world" as played by David Pereira the dedicatee of the work.This is one of the most trilling cello renditions I like the warmth, the tone that is almost humanically lyrical.Well I guess if u love cello & u dont have this then u are missing out.

'Cello World' is a model recital disc, conceived as a recreation of a typical turn-of-the-20th-century programme of short 'encore pieces'. Naturally, the bulk of the pieces privelege the essence of the cello, its deep, meditative, wistful melancholy - Schumann's sleepy 'Intermezzo', Villa-Lobos' evocative 'Song of the Black swan', Dvorak's romantically sad 'Romantic Piece no. 4', Rachmaninoff's rich 'Lied', Scriabin's atypically accessible 'Romance'.

this low-key mood is interleavened with moments of pure play - Beethoven's mischievous 'andante con Variazioni', a delightful tussle between (transcribed) cello and harpsichord that evokes a blithe aristocratic 18th century world rather than the composer's usual Romantic intensity; Popper's impish 'Dance of the Elves', Seiber's lovely Kreisler pastiche 'Dance Suite'.

There a couple of musical jaw-breakers to 'enlighten' the conservatism of the presumed audience - Tavener's sub-Gorecki 'The Child Lived', and the galloping epic 'Inner World' by Carl Vine, actually played by David Pereira, recorded on amplified CD, full of distorted computer echoes, and a lot more exciting and accessible than it should be.

Most cherishable for me is a little Francophone section near the start - Debussy's unexpectedly sprightly '(Nocturne et) Scherzo'; Berlioz's lyrically lilting 'La Captive', sung by Felicity Lott, for today at least the most beautiful song ever written; Faure's characteristically soulful 'Morceau de concours' (written as a Conservatoire sight test!); Leonard's deliciously funny 'Donkey and Driver', the cello playing the obstinate animal; and Saint-Saens' 'The Swan', a watery dream that defies over-familiarity.

There cannot be many greater British 'cellists than Steven Isserlis. He commissioned and premiered John Tavener's "The Protecting Veil" in 1989, to huge acclaim, and has championed for many years the 'cello music of Saint-Saens and Schumann. His playing is very energetic and intense (a 'cellist friend of mine noted that you can hear his fingers stopping the strings!) and his musicality shines as brightly as a precious jewel.

It is therefore very good to find this disc. It covers an eclectic range of styles: a set of Beethoven variations (with harpsichord accompaniment) opens the programme, whereas the last track is a strange and colourful work by Carl Vine with electro-acoustic effects produced by an amplified CD; we are also treated to a set of jazzy variations by Matyas Seiber and the wistful "Song of the Black Swan" by Villa-Lobos. Some tracks show the 'cello as a solo instrument, accompanied (these include "Romances" by Scriabin and Rachmaninov, and a "Nocturne" by Debussy) and otherwise (for instance the intriguing "Chonguri" for plucked strings by Sulkhan Tsintsadze). There is a dazzling display in the form of David Popper's "Elfentanz," but there is also a sober and calm use of the instrument in Tavener's "The Child Lived" (which features fine singing from Felicity Lott and shows how far the ''cello soundscape' has affected the composer since he was first approached by Isserlis). There is even a piece by one of Isserlis' relatives, and to hear him perform it is reminiscent of Julian Lloyd-Webber's recordings of music by his father and brother.

Everything about this disc is a joy. The music is good, the performance sparkles, the programme works despite being so varied, and the notes (by Isserlis himself) are witty and delightful to read. Highly recommended!

This cd relaxes me when I am working at the computer or driving the car. It covers a wide range of tempos but always pleases. A good cello lover's collection. Some pieces almost make me cry they have so much feeling.