Lisa Lynne

I purchased this CD, anticipating deep, soulful Celtic Music, and what I received was a sort of "Celtic New Age" brew of elevator/shopping mall music that lacks any authentic depth or soul. If Lisa Lynn had simply recorded a cd of her own harp music, my review would have exceeded five stars. Her own genius is watered down and made tasteless by the lack of melody as well as the amateur sounding arrangements of the other instruments. The rather garish cover art should have been my first red flag. If you buy this one, you can't say that no one warned you...

When I ordered this CD, I was extremely enthusiastic to hear work by the amazing Lisa Lynne. After hearing the first track, "Sister Moon", I simply fell in love with it. I packed it with me wherever I went. I drove my dear mum crazy trying to get it into the CD player in her car. But in the end, she loved it, too.

My favorite will always be "Knight Ride", a bloody terrific action-sweet piece. By the way, "Fields of Gold" was the one that caught my attention in the samples. Lynne and her crew replay the tune so well that it almost got me up and dancing.

Overall, I'd give this outstanding CD 10 stars if I could. So if you have a heart for Celtic, soothing, or simply magical tunes...well, buy the CD!

I bought this cd after hearing bits and pieces of the songs. What I thought I was getting was a great Celtic compilation, however when I actually sat down and listened to the whole thing, I found that I was, for the most part, wrong. Don't mistake what I'm saying--this is a very good cd, and, yes, the songs are played on Celtic instruments in the Celtic "style." However, the music that is played is very non-celtic. What I mean is that, besides two or three of the tracks, the music that is played isn't Celtic at all--it's "regular" music played on Celtic instruments. Most of the tracks start out Celtic-sounding, but by the end of the song you feel like you're listening to more of a Celtic pop band. What I was looking for was an Irish Celtic cd, and what this one turned out to be was more of an American Celtic cd which, in reality, is more like New Age than Celtic.

Now, I did give this cd four stars, and that's because it is still a very good cd. I was disappointed with the song selection, but other than that the cd is practically flawless. If you're looking for a good cd containing some Celtic music, then I would suggest this. However, if you're looking for a Celtic cd that makes you feel like you're in Ireland, living among the Celts themselves, then please look elsewhere.

When I bought this my boyfriend rolled his eyes as he always dose when I buy new age type CDs. When I played it later that night he fell in love with the ethirical sounds of the harp, and the divine wistle of the flute. Now I have to fight him to take this CD to work or any where for that matter. A must have for any one who loves great music and wonderfully produced albums.

Harpist Lisa Lynne, formerly known as Lisa Lynne Franco, is featured in cheerful arrangements crafted by herself and fellow instrumentalists George Tortorelli and David Arkenstone. These contemporary compositions, truly an ensemble effort, borrow from traditional motifs and add modern ambience and edge. Instrumentation used includes mandolin, dulcimer, guitars, cittern, arch lute, violin, cello, gamba, bass, electronic keyboards, percussion, and the distinctive, fluid flute and whistle-playing of George Tortorelli. When I first heard this CD, I was in the midst of reading a fantasy story by Mercedes Lackey entitled "The Eagle and the Nightingales", published as part of the trilogy compilation "The Free Bards". It occurred to me, as I looked at the cover painting by Nora Koerber for "Daughters of the Celtic Moon" and the photographs of Lisa dressed in period garb, that there was some similarity to Lackey's descriptions of her harp-toting bardic heroine "Nightingale". Then I noticed that the fourth track on this album is actually entitled "Nightingale", and later realized that Lackey and Lynn had both collaborated with David Arkenstone on his album "The Celtic Book of Days". A case of mutual inspiration? Or mere coincidence in a small world? Regardless, I find Lynne's music quite complimentary to the spirit of Lackey's brave, gentle and loving character. If you like this CD, check out Lynne's extensive discography. A visit to her website will reveal her complete history of releases, with wonderfully long clips to listen to and without any confusion caused by name changes.

Gardiner's recordings of Bach's "sacred masterworks" were considered near-definitive when they were initially released during the 1980's. Since then numerous other "period performance practice" versions of these works have appeared, yet despite competition from such early-music luminaries as Suzuki and Herreweghe (to name only two), Gardiner's have retained their benchmark status.

The earliest performance in this compilation is the *Mass in b Minor* (dating from 1982). This remains an extraordinary account of a much-recorded piece. Gardiner manages to integrate drama, exultation and contemplation in just proportion (something surprisingly few conductors achieve in this work). His tempi are often brisk, but never breathless, and his choir sings with admirably clear diction and astonishing agility. The only qualification concerns the soloists who, though good, are surpassed by those on many rival recordings; the problem is that their rather wan timbres don't fit well with Gardiner's bold, vivid conception of the work.

Next came the *St John Passion*, and it set new standards for period performance practice. Here the soloists declaim the text more expressively than in the Mass; Rolfe-Johnson, in particular, proves an oustanding Evangelist. The contribution of the choir is, once again, a great asset, and Gardiner leads an interpretation notable for its dramatic intensity. Even those who usually prefer a more traditional approach will find that Gardiner doesn't stint on excitement or inwardness.

Gardiner's *Christmas Oratorio* marks an even higher order of achievement. If you're benchmark in this work is Karl Richter's 1965 recording, you will find Gardiner even more thrilling: he lifts Bach's dance-rhythms with a heady exuberance that makes Richter (whose rendition has always been the most festive among modern-instrument versions) seem square and stolid. Compare, for instance, Richter and Gardiner in "Ehre sei Gott" (the angelic chorus in Part II) and you will see what I mean. Gardiner's soloists (Rolfe-Johnson/Bär/von Otter/Argenta) stand up remarkably well, too, in comparison with Richter's admittedly stellar team (Wunderlich/Ludwig/Crass/Janowitz). Since the *Weihnachtsoratorium* is close to the top of my short list of favorite Bach, I have heard nearly every recording (modern and period performance practice), and I can confindently say that none comes close to conveying Gardiner's sense of exultation.

The *St Matthew* was last to be recorded, in 1989. By then Gardiner had mellowed somewhat in his approach; rhythms are sprung less insistently, tempi are a wee bit more relaxed, and he favors some legato phrasing (without obscuring the all-important motivic cells) that might have seemed out of style earlier in the decade. This is the kinder, gentler Gardiner one recognizes from his *Bach Pilgrimage* cantata performances of 1999-2000 (also highly recommended). Admittedly, I rather miss the more abrasive style Gardiner favors in the *St John*, but this *St Matthew* is still a superb performance. Perhaps because the "Great Passion" is intrinsically a more expansive, less concentrated work, Gardiner emphasizes its prayerful and penitential aspects over its spectacular musico-dramatic effects. The effect is less bracing than we might have expected from him, but no less enjoyable in the long run (even if it takes a while longer to warm up to this peformance than to the others in this set).

The recordings are beautifully balanced, intimate, yet conveying a welcome ecclesiastical ambience. Gardiner would remind us that these are essentially liturgical works, for all their dramatic, even epic, splendor, and it is gratifying to hear them as if placed favorably within a medium-sized church acoustic.

Universal missed an opportunity by not including Gardiner's fine *Magnificat* and Cantata BWV 51 (featuring Emma Kirkby, unique in all the world), which Phillips recorded around the same time as the B-Minor Mass. Since Universal owns the copyright on Phillips as well as DG/Archiv, there would have been no obstacle to their inclusion. More serious is the omission of texts and tranlations. But these are minor quibbles in light of such a formidable bargain. Urgently recommended to neophytes and veteran collectors alike.

Below are the Amazon.com asin numbers for all four of the works in this box:

St. Mathew Passion - B0000057DG (1989)
St. John Passion - B0000057CW (1990)
Christmas Oratorio - B0000057D5 (1990)
Mass in b minor - B0000057CN (1990)

The numerous reviews already posted for each work say it all.

Many period instrument productions lack the interpretive element more commonly found in traditional performances. Not so with Mr. Gardiner. You don't just hear authentic music, you feel the passion and the poetry in it like never before.
I find no weaknesses to speak of in any of these recordings. The soloists are top notch, the choirs are well balanced, the orchestral playing is brilliant, the music breathes with spiritual and poetic inspiration, and the recorded sound is both detailed and atmospheric.

And you get it all in one convenient box at a price that is unbelievable.

My only quibble would be the documentation. You get decent essays on the music, but the text being sung is not included. But, these works are so mainstream that you can easily find free texts on the internet, and likely with better English translations than is commonly found in booklets that accompany CDs. I would recommend doing that even if the booklet did contain the texts.

I got this CD for massage sessions. I thought it would be close to Steve Harplen's "Gift of Angels", but it wasn't. There are vocals on track #2, and the CD is only 37 minutes long.

I was extremely impressed with the rapid response to my purchase and the speed of it's delivery. It arrived in perfect condition- I look forward to future purchases.

Softly bewildered broken chords break the silence, echoing the way patients must often feel during the odyssey of serious or chronic illness... Then they modulate into a dreamy, hopeful tune in a major key, with a steady, comforting pulse of lower instruments below, nudging the listener on to accept a new routine of life that may lead to recovery or at least peace. "Hopes and Dreams" is another album of lush and gentle beauty by New Age harpist Lisa Lynne and her ensemble of talented instrumentalists. Here, she is joined in her original compositions by George Tortorelli on bamboo flutes, whistles and recorders, Nick Brown on guitars and bouzouki, Stephanie Fife on cello, Jem Moore on hammered dulcimer, co-producer Gil Morales on bass and keyboards, and John Wakefield on bells, chimes and hand percussion. The rich, nuanced, laid back sound they produce is truly calming and uplifting--the perfect, nurturing atmosphere in which to step out of the world of daily cares and seek healing or resolution. In the liner notes for this album, Lynne writes: "On my days home between tour dates, I drive my van full of harps [to City of Hope, a Los Angeles cancer treatment center]. We have workshops and concerts for patients and staff, and I play my harp in the various rooms, halls and treatment areas. I am humbled beyond words at the courageous and brilliant people that I have encountered at this place of hope and healing. They are the inspiration for this record, as most of this music has been written during my time there." Music born of love and offered in that spirit--who could ask for more? For other helpful, healing music, try Lynne's other recordings, and also those of harpists Hilary Stagg and Kim Robertson, and flutist Kay Gardner (especially her musical healing journey, "The Rainbow Path").

Composed at the City of Hope Cancer Center near Los Angeles, this music was developed during Lisa Lynne's frequent visits to the wards, chemotherapy rooms, and intensive care unit. Personally, I find it amazing that a busy musician would take the time to play to patients, helping to create a few moments of peaceful reflection in what is otherwise a traumatic process.

Lynne uses the Celtic harp, in consort with cello, dulcimer, acoustic guitar, various flutes, bells, and chimes. Most of the woodwind duties are carried by Lynne's partner George Tortorelli, who really does a lot of the album work, and should get equal billing. Nobody turns in virtuoso performances, but that's not what the album is about. Instead, the effect is meant to be melodic and soothing, and that's what it is.

The impact of the composition is what is important to the players, not the composition itself. Something that often gets put down as 'mood music.' But in this context I'm will to cut Lynne some slack. I do find listening relaxing and comfortable, and I don't have to mind that it isn't as complex as many of the composer/player efforts to which I am drawn. I don't mind relaxing every once in a while.

This was my 2nd CD purchase of Lisa Lynne. I previously purchased Moonsongs and couldn't wait to get this one. This one did not disappoint. Just as beautiful as the other one. Relaxing, but not boring. Great music to have dinner by, riding in the car, a romantic evening or even quieting a baby. This is sure to become one of your favorites.

Another exquisite musical work from New Earth Records, Lisa Lynne's Hope and Dreams is a soothing and beautiful composition. It guides us from the very first notes into a realm of harps and subtle melody, turning our attention away from the business of life towards soft nuances of being. At times it is uplifting and ethereal, reminiscent of the gentle light of the sun at dawn, illuminating a delicate landscape. At others, melancholic, tugging at the tender parts of our heart that still holding sadness, it coaxes out soft tears from the hidden folds of our being, so we can heal. New age music of true quality, perfect for those quiet and reflective moments or for gazing tenderly into a loved one's eyes

When you first hear this CD you'll feel really Love & peace, it's hypnotic and relaxing, it's sensual and mysterious, it's a great combination of magic instruments, The music is restful and so healing, and it really encourage you to enter a gentle oasis of peaceful sounds.

This is an interesting CD. It includes a few songs by many English composers.

Season of the Soul will lower your blood pressure and help you to relax. I use it in my first grade classroom when I want the children to work quietly - and it works!

For me, this CD has indeed accompanied me through the seasons of my own heart and soul. In times both joyous and tragic, this CD seems to be the perfect 'companion', as it were, along my emotional journeys.

The music is deeply evocative, with melodies and arrangements that are truly angelic! Lisa's harp remains the heartbeat through most of these songs with the flute singing beautifully alongside.

I can't speak highly enough of this CD. I can only say you'd be a fool to pass it up.

....but what they do is FANTASTIC! Romantic, relaxing, & stimulating all at the same time. I play this CD over & over again!:)

I tried to buy this CD reading previous reviews! have to thank you all! for me that I love celtic music (McKennitt, Enya, Sound Garden= I really appreciated this unknown artist...at least to me. If you love harp and sfot and relaxing music that s very good CD, for haunting atmosphere.
Well done Lisa.

I'm not usually a fan of this type of music, but I came upon this CD in yoga class. The beauty of this music really stood out and I was compelled to enjoy it, rather than regard it as simply background music.

I purchased this CD in August. I listened to it one time and gave it as a White Elephant gift at Christmas. It would be difficult to tell when one song ends and another begins if it weren't for a break between songs. It is a very long CD and you will certainly get your money's worth. I'm sure that some people appreciate plinky-plinky music. A little over the top for my taste.

This music is thick and dense with harp and hammer dulcimer and so much more - and relaxing. The mixture of the Celtic with the Persian sounds as if it wouldn't work but it does, swirling around your ears and painting images in your brain. The pieces almost sound as if they were from some wonderfully exotic music box.

The music is as gentle as a light spring rain, awakening your senses to the world around you. If you like Enya, give this cd a try. You will really enjoy Lisa Lynne's music and arrangements.

Here, harpist Lisa Lynne offers seamless arrangements for harp and ensemble, featuring flutist and multi-instrumentalist George Tortorelli, as well as the Persian ensemble Lian and the Renaissance string duo Angelica. The combination of traditional tunes, mild Near Eastern colorings, and a touch of modern sensibility make for a pleasant listening experience. Yet the rich instrumentation and lovingly varied construction of Lynn's arrangements keep the music interesting as well as relaxing. In addition to being incredibly prolific as a recording artist, Lynne continues to demonstrate an admirable dedication to her art and her audience by maintaining an unbelievably frequent schedule of weekend performances across the country. Check out her website for an appearance near you and experience the magic of her music in person! If you enjoy Lynne's compositions, you might also like the warm, gentle ensemble works of hammered dulcimer player Jerry Read Smith and friends.

This is the only CD I have of Lisa Lynne. This CD is absolutely spectacular! The songs don't all sound the same and it keeps you refreshed while not being to upbeat. A great CD to relax too.

Songs from 1987's "Smile" make this well worth the price. The previously unreleased material from the late, great Howard Ashman deserves to have it's moment in the spotlight.

Also, there's Judy Kuhn's beautiful performance on "Starfish", Christine Baranski's vampy turn on "Sherry".

Finally, there's" New Words" from "One, Two, Three, Four, Five". This show has been restaged, by small theatre groups, under the title "History Loves Company". "New Words" is by far the best number of this show and Liz Callaway's voice fills with love as she sings this lullaby.

For a consummate musical theatre fan who's heard it all, this disc is a refreshing look at what has been lost over the years.

Some of these songs desrve to be unsung. But then you get a showstopper like Sherry and you wonder how could this show have flopped? That number alone makes this cd worth purchasing.I also enjoyed Marvin Hamlisch's toe tapping title song - Smile.There are also a few other lovely melodies which makes this cd a nice addition to a Broadway collection.