Showcase of Showcase of Grammy AMG RollingStone Lyrics365 MP3.com MTV
Rock & Pop (Rolling Stone & MTV 2000)
A complete list of all the lyrics
"Yesterday"
- The
Beatles
"Hotel
California" - The
Eagles
"Brown
Eyed Girl" - Van Morrison
"Smooth"
- Santana
featuring Rob
Thomas
"Proud
Mary" - Creedence Clearwater Revival
"Just
My Imagination" - The Temptations
"The
One I Love" - R.E.M.
"I
Wanna Be Sedated" - The Ramones
"Don't
Speak" - No
Doubt
"No
Diggity" - Blackstreet
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Dance Music
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William Jansen and His Album "A Tribute to Julio Iglesias for Dancing" Listen to sample music of William Jansen's. 33
Anos :
rumba
Sin
Excusas Ni Rodeos
: rumba
Intentando
Otra Vez Enamorate
: rumba
Cambalache
: tango
for more details ..... Click HERE. |
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Excellent Dance Music and the CD : WRD ULTIMATE LATIN ALBUM 2
I
Love You 'Cause I Want To
: jive
for more details ..... Click HERE. |
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Excellent
Dance Music and the CD : WRD ULTIMATE LATIN ALBUM 3
Jurame
: rumba 24 bpm
Si
Quieres :
rumba 24 bpm
Baby
Likes To Rock It
: jive 42 bpm
King
of the New York Streets
: jive 38 bpm
Dance
with Me :
chacha 30 bpm Ande
Yo Caliente
: chacha 31 bpm
for more details ..... Click HERE. |
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Excellent
Dance Music and the CD : WRD ULTIMATE BALLROOM ALBUM 3
Queen
of the Night
: tango 32 bpm
Always
: slowfox 29 bpm There's
A Rainbow Round My Shoulder
: slowfox 29 bpm Life
Goes To A Party
: quickstep 50 bpm
Apasionata
: slow waltz 29 bpm Until
It's Tiime For You To Go
: slow waltz 29 bpm Could
I Have This Dance
: slow waltz 29 bpm
for more details ..... Click HERE. |
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"Once You Had Gold" and others - Casamusica Ballroom Magic Once
You Had Gold
: slow waltz 28 bpm - a classical style music.
Lejos
De Ti :
tango 32 bpm I'll
Build A Stairway To Paradise
: slowfox 28 bpm Beale
Street Blues
: slowfox 28 bpm She's
Hot To Go
: quickstep 52 bpm for more details ..... Click HERE. |
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"Take My Love, Take My Love" and others - Casamusica Ballroom Swing Take
My Love, Take My Love
: slowfox 29 bpm Wednesday's
Child :
slow waltz 29 bpm for more details ..... Click HERE. |
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DANCELIFE - The Best Collection Series - Rumba, Chacha, Waltz, Tango, Slowfox, Quickstp BROWN
EYES BLUE : slowfox 28 bpm THIS
BUSINESS OF LOVE : slowfox 28 bpm BOY
OF MY DREAMS : slowfox 28 bpm for more details ..... Click HERE. |
Waltz - Time in a bottle
Foxtrot - I left my heart in San Francisco
Tango - Tango Jack
Viennese Waltz - My favorite things
Rumba - My rumba
Merengue - E1 Meneito
Samba - Hot hot hot
Cha-cha - Me Gusta Eastar Viva
Mambo - Mambo Cinco
East coast swing - Blue monday
Hustle - Queen-a-licious
1. Gloria Gaynor "I WILL SURVIVE"
2. Thelma Houston "DON'T LEAVE ME THIS WAY"
3. Sister Sledge "WE ARE FAMILY"
4. Madonna "VOGUE"
5. Van McCoy "THE HUSTLE"
6. Donna Summer "LAST DANCE"
7. The Village People "Y.M.C.A."
8. Chubby Checker "THE TWIST"
9. C&C Music Factory "GONNA MAKE YOU SWEAT"
10. Bee Gees "STAYIN' ALIVE"
11. Aretha Franklin "RESPECT"
12. KC & The Sunshine Band "GET DOWN TONIGHT"
13. Love Unlimited Orchestra "LOVE'S THEME"
14. Sylvester "YOU MAKE ME FEEL (MIGHTY REAL)"
15. Rob Base & DJ E Z Rock "IT TAKES TWO"
16. Michael Jackson "DON'T STOP TILL YOU GET ENOUGH"
17. The Trammps "DISCO INFERNO"
18. Martha & The Vandellas "DANCING IN THE STREET"
19. Evelyn "Champagne" King "SHAME"
20. KC & The Sunshine Band "THAT'S THE WAY (I LIKE IT)"
21. Cheryl Lynn "GOT TO BE REAL"
22. Diana Ross "LOVE HANGOVER"
23. LaBelle "LADY MARMALADE"
24. Shannon "LET THE MUSIC PLAY"
25. Dee Dee Sharp "MASHED POTATO TIME"
26. Chic "LE FREAK"
27. The Kingsmen "LOUIE LOUIE"
28. Michael Jackson "BILLIE JEAN"
29. CeCe Peniston "FINALLY"
30. Vicki Sue Robinson "TURN THE BEAT AROUND"
31. The Emotions "BEST OF MY LOVE"
32. Bee Gees "YOU SHOULD BE DANCING"
33. Diana Ross "UPSIDE DOWN"
34. Patrice Rushen "FORGET ME NOTS"
35. The Weather Girls "IT'S RAINING MEN"
36. Snap! "RHYTHM IS A DANCER"
37. Salt-N-Pepa "PUSH IT"
38. McFadden & Whitehead "AIN'T NO STOPPIN' US NOW"
39. The O'Jays "LOVE TRAIN"
40. Madonna "INTO THE GROOVE"
41. Hues Corporation "ROCK THE BOAT"
42. MFSB "Love Is The Message"
43. Kool & The Gang "CELEBRATION"
44. Chic "GOOD TIMES"
45. Andrea True Connection "MORE, MORE, MORE (PART 1)"
46. A Taste Of Honey "BOOGIE OOGIE OOGIE"
47. Sly And The Family Stone "DANCE TO THE MUSIC"
48. The Capitols "COOL JERK"
49. The Isley Brothers "SHOUT"
50. Soul II Soul "BACK TO LIFE (HOWEVER DO YOU WANT ME)"
51. Gloria Gaynor "NEVER CAN SAY GOODBYE"
52. The Commodores "BRICK HOUSE"
53. Anita Ward "RING MY BELL"
54. First Choice "DOCTOR LOVE"
55. Little Eva "THE LOCO MOTION"
56. George McCrae "ROCK YOUR BABY"
57. Dr. Buzzards Original "Savanah" Band "CHERCHEZ LA FEMME"
58. Lionel Richie "ALL NIGHT LONG (ALL NIGHT)"
59. Ritchie Valens "LA BAMBA"
60. Cher "BELIEVE"
61. Pointer Sisters "JUMP (FOR MY LOVE)"
62. Peaches & Herb "SHAKE YOUR GROOVE THING"
63. Donna Summer "LOVE TO LOVE YOU BABY"
64. Lipps Inc. "FUNKYTOWN"
65. Wilson Pickett "LAND OF 1,000 DANCES"
66. Prince "1999"
67. Irene Cara "FLASHDANCE"
68. The S.O.S. Band "TAKE YOUR TIME (DO IT RIGHT)"
69. Junior Walker & The All Stars "SHOTGUN"
70. James Brown "GET UP (I FEEL LIKE SEX MACHINE)"
71. David Bowie "LET'S DANCE"
72. Silver Convention "FLY ROBIN FLY"
73. Robin S "SHOW ME LOVE"
74. Bobby Brown "MY PREROGATIVE"
75. James Brown "I GOT YOU (I FEEL GOOD)"
76. Donna Summer "I FEEL LOVE"
77. Chaka Khan & Rufus "AIN'T NOBODY"
78. The Whispers "AND THE BEAT GOES ON"
79. Blondie "HEART OF GLASS"
80. Barry White "YOU'RE MY FIRST, MY LAST, MY EVERYTHING"
81. Paula Abdul "STRAIGHT UP"
82. Wild Cherry "PLAY THAT FUNKY MUSIC"
83. Marvin Gaye "GOT TO GIVE IT UP"
84. Los Del Rio "MACARENA (BAYSIDE BOYS MIX)"
85. Eddie Kendricks "KEEP ON TRUCKIN'"
86. Whitney Houston "I WANT TO DANCE WITH SOMEBODY"
87. MFSB & The Three Degrees "TSOP (The Sound of Philadelphia)
88. M.C. Hammer "U CAN'T TOUCH THIS"
89. Donna Summer "MACARTHUR PARK"
90. Tanya Gardner "HEARTBEAT"
91. Dead Or Alive "YOU SPIN ME ROUND"
92. Johnnie Taylor "DISCO LADY"
93. Sly Sly & The Family Stone "Thank
you For Lettin' me be Myself again"
94. Parliament "FLASHLIGHT"
95. The Jackson 5 "ABC"
96. Ray Charles "WHAT'D I SAY"
97. ABBA "DANCING QUEEN"
98. Rod Stewart "DO YA THINK I'M SEXY"
99. B-52'S "ROCK LOBSTER"
100. Will Smith "GITTIN' JIGGY WIT IT"
Classical Music
If you have fond memories of the strange world of Umberto Eco's novel The Name of the Rose, or of Sean Connery in the film version then this disc is for you. Recorded at Fontfroide, one of France's oldest Cistercian monasteries, this collection of 12th century chants will draw you into the sounds of the Latin Middle Ages. The granite voices of the Ensemble Organum make for a sure-footed guide.
The Flemish composer Josquin Desprez (or Josquin des Prés) is recognized as the greatest musical genius of the late Middle Ages. His masterpiece the Missa Pange Lingua represents the height of Franco-flemish polyphony and occupies a place in musical history as important as Bach's Mass in B, Mozart's C Major Mass or Miles Davis' Flamenco Sketches. The performance on this disc is unrivalled.
English to the core, Peter Phillips and his early music group The Tallis Scholars have few rivals when it comes to the sacred music of the Renaissance. In fact, this album exploded onto the market when it was released back in the '80s. The luxurious beauty of Allegri's Miserere and the controlled spirituality expressed in Palestrina's Missa Papae Marcelli are presented with great depth and refinement.
Often considered the father of German music, Heinrich Schütz was the first German composer to have assimilated the treasures of Italian music (and especially Venetian) while still producing music of great vision. The works heard on this disc number among his greatest masterpieces, echo the religious fanaticism and the barbaric slaughter that ravaged Germany during the Thirty Years War (1618-1648), a war worse than the Yugoslav conflict today. Recorded in East Germany at the height of the Cold War, the great Dresden Holy Cross Choir traces its roots back to Schuütz himself. The sound engineering is superb.
Recorded "live" in Venice in San Marco's Basilica where Claudio Monteverdi was choir master for several decades, this superb version of the Vespers of the Blessed Virgin breathes new life into this work. Under the leadership of British conductor John Eliot Gardiner, for whom this music holds few secrets, the English Baroque Soloists and the Monteverdi Choir demonstrate tremendous virtuosity.
Generations of pianists and harpsichordists have been nourished during their formative years on Domenico Scarlatti's keyboard sonatas (555 in total!). They are not only dazzling in their virtuosity, but contain a wealth of musical material. Composed partly for Princess Maria Barbara of Portugal, betrothed in 1729 to Fernando who was later to become King of Spain, these short pieces represent the pinnacle of Spanish baroque music. Young French harpsichordist, Pierre Hantaï, brings out all the elegance and fireworks of these compositions.
It was the great Spanish cellist Pablo Casals who resurrected these Six Cello Suites. Today, they are a yardstick by which to measure the technical ability of any cellist. Even though Pablo Casals, Janos Starker, Yo-Yo Ma, Paul Tortelier, Anner Bylsma, and Mstislav Rostropovitch have each given a significant interpretation of this corpus, none has achieved quite the same exquisite balance as Pierre Fournier (1906-1990). A great Bordeaux!
The organ is central to Bach's music and the Six Trio Sonatas are considered by most specialists as the Cantor's perfect cycle. Dutch organist Ton Koopman, an extraordinary virtuoso, communicates the intimacy of this music. Played on a splendid instrument in the Waalse Church in Amsterdam, this recording will satisfy even the most demanding listeners.
Just like the Brandenburg and keyboard concertos, the violin concertos illustrate Bach's ease and mastery in the concerto genre. Over and above their virtuoso writing, these works have a rythmic seduction which makes them irresistable. Through his elegant and totally committed playing, Austrian violinist Thomas Zehetmair (b. 1961) breaks new ground in an already rich catalog.
The daily bread of all piano students, The Well-Tempered Clavier was in fact composed for the harpsichord! It is an immense encyclopedia of forty-eight preludes and fugues. Many great pianists today maintain that this vast cycle still sounds best played on a harpsichord. The brilliant Dutch harpsichordist Ton Koopman takes on this great masterpiece to bring out its multitude of colors and moods. Recommended piano versions include Edwin Fischer, Sviatoslav Richter and Friedrich Gulda.
In the Saint Matthew Passion, Bach blends metaphysical reflection into the drama of the Crucifixion. Tenor Peter Schreier (born in Meissen, near Dresden, in 1935) not only interprets the role of the envangelist, but also directs the exquisite Dresden orchestra and Leipzig choir. While remaining absolutely correct musicologically, this version possesses the dynamic and breadth that one searches for in vain in interpretations on period instruments.
Henry Purcell was the greatest English composer of the baroque era. The music on this disc illustrates the stupefying ease with which he created the illusion of suspended time. Alfred Deller (1912-1979) was a pioneer in bringing back to life not only this long-forgotten répertoire, but also the equally forgotten voice of the countertenor.
Clearly identified with Elizabethan music, the Englishman John Dowland is above all known for his music for lute. This collection contains some of his major works and is interpreted by Paul O'Dette, without a doubt the greatest living lutenist.
Given its premiere at the Court of Versailles in 1745, this ferocious and devastating comedy in which Jupiter pretends to fall for the nymph of the frogs, had an impact comparable to Airplane. One would have to wait for Shostakovitch's The Nose before hearing another work going as far in burlesque and the absurd. Directed with lots of camp by Marc Minkowski (b. 1962).
Handel's Messiah offers a more extrovert vision of the story of Christ than the more metaphysical Bach passions. The undisputed champion of Handel, John Eliot Gardiner interprets what is considered one of his masterpieces with the sympathy which comes from total understanding of the score.
Handel's celebrated Water Music was composed for the glory of George I of England. It was first played in 1717 during extravagant royal festivities on the river Thames. John Eliot Gardiner and his unrivalled English Baroque Soloists put just the right spin on these stately tunes.
Notoriously overrecorded, Antonio Vivaldi's The Four Seasons also have an annoying habit of turning up as music-whilst-you-wait on switchboards of banks and other financial institutions. Like all masterpieces, they have given rise to countless interpretations. British conductor Trevor Pinnock's splendid and intelligent version (on period instruments) remains unequalled.
Haydn's oratorio The Creation, where he puts to music the birth of the universe, has two spectacular bits: "Chaos" and the final chorus. This version ranks as the most polished and the most accomplished in terms of the orchestra and chorus. It is one of Herbert von Karajan's greatest records.
Symbolizing the height of Viennese classicism, Haydn's four London symphonies are the equal of the great symphonies of Mozart and Beethoven...with a sense of humor thrown in! Eugen Jochum (1902-1987), who mastered these scores like nobody else, leads the Dresden Staatskapelle, the oldest and most aristocratic of German orchestras.
Haydn's piano sonatas, masterpieces adored by Beethoven, are pieces bubbling with intelligence. Known for his iconoclastic and sometimes "off the deep end" readings of Bach and Mozart, the great Canadian pianist Glenn Gould (1932-1982) signs a recording whose refinement and tonal nobility inspire admiration.
Despite having been finished after his death by his student Franz Xaver Süssmayer, Mozart's Requiem remains one of Western music's all time "hits". Karl Böhm's second version for Deutsche Grammophon (the first, recorded on Philips, was splendid) is one of those rare recordings which makes history. A classic.
According to Wagner, Don Giovanni was "the opera of operas"; In other words, it is unthinkable not to include it in your record library. Warning! Don't buy the wrong version. Thanks to an exuberant orchestra and soloists, this recording under the leadership of Josef Krips is fabulous and the famous dinner scene where Don Giovanni defies the statue of the Commandeur (better than Hammer Studios!) is simply terrifying.
An opera which dramatizes the struggle between good and evil, innocence and sin and all the rest, The Magic Flute has an improbable cast of hallucinogenic characters: Papageno, the batty bird-catcher; Pamino and Tamino as the perfect TV sitcom suburban couple; Sarastro a crusty old bore; and the unforgettable Queen of the Night - an unlikely cross between a Studio 54 drag queen and a New York feminist. Up to you to find the moral to this story. The "tongue in cheek" German conductor Otto Klemperer (1885-1973) keeps a straight face throughout.
In just six chock-full CDs, Philips gives you Mozart's most famous symphonies. Why Krips? Because his frank and luminous musical direction gets straight to the point.
Like the Beethoven "Emperor" concerto, the Mozart piano concertos exist on a plane of their own. Their supernatural beauty makes them immediately accessible. Mozart has rarely ever sounded so right as he does in the hands of the Czech-born pianist Rudolph Serkin (1903-1991). Available at mid-price on Sony Classical, this collection is terrific value for money.
Imagine packing your favorite piano into a rented van, driving out into the French countryside, stopping at a particular wheat field that strikes you just so, rounding up some of the locals and giving a historic performance of Mozart sonatas in a barn. That should give you an idea of the appeal of Ukranian-born Sviatoslav Richter, who at 80 is today's leading draw in concert pianists. Critics often say that Mozart piano sonatas are too difficult for children and too easy for adults. Richter proves the opposite.
Number one on the hit parade since 1808, Beethoven's Fifth was the first symphony to be recorded in its entirety. That was in Berlin in 1913 and the conductor Artur Nikisch was the Karajan of the time. Since then, there is no counting the number of recordings from excellent to impossible. Pay your money and take your choice. Many go for Carlos Kleiber (b. 1930), a conductor who, despite an intense cult following, is seen as rarely on the rostrum as Marlon Brando is on the screen. Warning! The recordings are rare, but once heard are not forgotten.
Beethoven's late piano sonatas present challenging enigmas for even the greatest of players. As a result, interpretations vary widely from one artist to the next, because of the intimate engagement between performer and composition through which meaning is either intuited from the piece or projected onto it. Some say Solomon (1902-1988), an English pianist, alas dead, was the one to get to the heart of these strange compositions.
There is no need to be a musicologist to understand that the marriage between pianist and conductor is so total that they have produced a performance truly worthy of the name Emperor. Whoever has not heard the "sincerity" of their second movement (adagio un poco mosso) has missed one of the miracles of recorded music. If you must have a stereo recording, choose the Michelangeli/Giulini version on Deutsche Grammophon.
A work which achieves great warmth, without pyrotechnical indulgence. Beethoven's violin concerto has been the subject of other splendid interpretations: Menuhin/Furtwängler (EMI), Ostrakh/Cluytens (EMI), Schneiderhan/Jochum (DG), Heifetz/Toscanini (RCA-BMG), Perlman/Giulini (EMI) to give some examples. The somewhat feverish interpretaion of Leonid Kogan has the great advantage of being accompanied by blood and guts interpretations of the Brahms and Tchaikovsky concertos. Two CDs for the price of one: who could resist?
In the Missa Solemnis, Beethoven succeeds where Mahler, ultimately failed - to produce "absolute" music which knows no frontiers. Karajan, haunted by this enormous challenge, produced no less than four versions. Recorded in 1966, this interpretaion (not to be confused with the bloated one recorded in the '80s for DG) is blindingly beautiful, but venomous.
Composer, conductor and violinist, the German Louis Spohr was with Weber and Mendelssohn one of the major figures of early Romanticism. Clearly, music to be played "out of doors", these two brilliant works for strings and woodwinds have an irresistable pastoral charm. The Berlin Octet is simply glorious. Superb sound engineering.
When choosing a recording of the Schubert Impromptus, you might turn to the Swiss pianist Edwin Fischer (1886-1960). He remains the model for all; but if the date (1938) throws you, choose one of the two versions recorded by his distinguished pupil Alfred Brendel, who once said of Schubert's music: "Without it I should probably be less 'human.' "
Composed four years after the famous Unfinished, the "Great" Symphony in C (1826) is the strongest orchestral work written between the Beethoven's Ninth (1827) and Bruckner's Fifth (1877). The tough-skinned George Szell (1897-1970) belonged to that extinct race of conductor-dictators. The Cleveland Orchestra, which became under his reign (1946-1970) one of the best in America (with Chicago and Philadelphia) possessed, in his hands, the power, lines and class of the most legendary Lamborghini.
Chamber music is as central to Schubert's oeuvre as it is in Brahms. The Quintette in C for two violoncellos, which Schubert finished just before dying of syphilis, is one of his most emotionally disturbing works (not to be confused with the inoffensive Trout piano quintet). The Viennese Weller Quartet which had its moment of glory in the '60s, has left us a version which could be easily termed definitive.
The undisputed master of the song for voice and piano, Schubert composed more than 600 melodies, many of which are masterpieces. At the head of this enormous production figures the immortal Winterreise. Originally written for tenor, this cycle expresses with a unique poetic and dramatic force man's disarray when confronted with his own solitude and death. Here, Schubert is the equal of the greatest Greek dramatists.
"Music of the elves", said Richard Strauss of Mendelssohn's Ein Sommernachtstraum and with Mendelssohn (and Bach) being the key composer of Leipzig, where would you find more magical music? The Leipziger musicians who recorded this version drank it in with their mother's milk. If your cousin's getting married next month, offer her this album - the Wedding March still works!
Neither opera, nor oratorio, The Damnation of Faust is a "dramatic legend" that opera houses are deathly frightened to produce. It is French composer Hector Berlioz's most ambitious work. Sir Colin Davis, who has championed Berlioz more than any other conductor, knew how to grasp two essential components: visual invention and metaphysical reflection. If you are fed up with the Faust myth, try Romeo and Juliet, a steamy work even more difficult to pigeon-hole, with Seiji Ozawa leading the Boston Symphony Orchestra (Deutsche Grammophon).
Hector Berlioz's most famous work, the Fantastique is one of the most often recorded symphonies. After extraordinary versions by Beecham/Orchestre National de l'ORTF (EMI), Markevitch/Orchestre des Concerts Lamoureux (Deutsche Grammophon) or Davis/Concertgebouw of Amsterdam (Philips), the American conductor David Zinman and the Baltimore Symphony have come as quite a surprise. Instead of banging us over the head with this music like so many of his colleagues, Zinman's fat-free approach turns this music into pure crystal.
Polish-born, Frederic Chopin is generally considered history's greatest spokesman for the piano. The Nocturnes and Preludes are but two of several ingenious cycles written when Chopin was at the height of his career in 19th century Paris. Admired and heavily courted by wealthy and aristocratic patrons, Chopin excelled in poetic and refined composition for the piano, which sometimes took the form of concise, though dense, musical verse. Samson François (1924-1970) is a legend in France. A big risk-taker, his Nocturnes and Préludes can sound like a jazz improvisation.
This album has toured the planet. Italian pianist Arturo Benedetti Michelangeli (1920-1995), who Roumanian conductor Sergiu Celibidache considered the greatest living musician, imposes the most elegant and virile vision of Chopin's music.
Legions of pianists have lost their way while trying to perform these two treacherous sonatas. The Polish-born French pianist Vlado Perlemuter (b. 1904) knew how to reveal their secrets. His hard-line, uncompromising approach exposes the raw strength of these Chopin works. The Funeral March of the second sonata, generally played with pomposity, demonstrates noble accents and a ferocious beauty which place it amongst the greatest interpretations.
Dark and imposing, the B-Minor Sonata is no laughing matter. Favoured by pianists who specialize in the grand manner, it has all the style and melodrama of a Gothic horror story. Richter's torrential performance is perfectly threatening. The two piano concertos, conducted by the Russian Kirill Kondrashin, are almost absolute perfection.
The Twelve Transcendental Studies were for the 19th century piano what the effect of the World-wide Web is on computing. Almost impossible to play, and in mediocre hands bordering on cheap thrills, they literally propelled piano technique into the 20th century. The phenomenal Georges Cziffra (1921-1994), who supported his family at five as a circus act in his native Hungary, is simply mind-bending.
After Bizet's Carmen, Charles Gounod's Faust is the most famous French opera. Unmistakeably French, Faust is a throwback to a time when opera in Paris had to have a ballet sequence danced by pretty girls to keep the aristocrats, bankers and industrialists of the Third Republic happy. Michel Plasson's version featuring José van Dam's terrific Méphisto would have never seen the light of day without three Americans with impeccable French (Richard Leech, Cheryl Studer and Thomas Hampson). The definitive recording for probably a long time to come.
Three hundred and sixty-five days a year, Carmen is produced somewhere - making it the world's favourite opera. Some audiences only hear the camp sparkle associated with Bizet's vision of Spanish culture, though German philosopher, Friedrich Nietzsche, considered Carmen superior to any of Wagner's operas. It is not by chance that most of Bizet's peers (Wagner included) envied the young French composer's musical and dramatic genius. Three versions vie for the top rating on record: de los Angeles/Beecham (EMI), Troyanos/Solti (Decca) et Berganza/Abbado (Deutsche Grammophon). For some, the last distinguishes itself by a slim margin for its stylistic rightness (Abbado's lively and well chiseled direction) and the distinguée Carmen of Teresa Berganza.
Was Jascha Heifetz (1899 or 1901?-1987) the greatest violinist this century? Many violinists think so, though an equal number are less inclined to place Heifetz above Fritz Kreisler, David Oïstrakh, Nathan Milstein, Henryk Szeryng, Yehudi Menuhin, Zino Francescatti, Leonid Kogan or Isaac Stern. One thing is certain. Nobody played the violin with as much brio. His detractors said that he was insurpassable - in second-rate music. Released as part of the Références series, an excellent historical collection on EMI, this disc presents Heifetz in virtuoso pieces. The verdict is clear: whoever has not heard Heifetz play the Introduction and rondo capriccioso has not heard anything. But, that should not prevent you listening to him play Bach, Mozart, Brahms and Beethoven.
Compared to the sinister strains of Verdi's Requiem, that of Fauré's is peaceful and reassuring. Inundated with light this music's disarming beauty shuns an affected or saccharine interpretation - a trap that conductor Michel Corboz cleverly avoids.
Iberia, a series of twelve pieces for piano, remains a little-known masterpiece. Composed between 1905 and 1908, this cycle glorifies the Arabo-Andalusian songs and dances which gave birth to flamenco; the colours and fragrances of Sevilla or Malaga; the weight of ancestral traditions and beliefs (bull-fighting, religious processions, gypsy rites....). Without Artur Rubinstein, the great pianist Alicia de Larrocha would probably still be unknown to music-lovers. His discovery of her immense talent while visiting Spain would later give this artist's career a new boost. Recently reissued by EMI, the first recording of Iberia exhales the most devouring duende.
Okay, fine, so it sounds scratched and there is no libretto. But what atmosphere! Boris Godunov is the story of a nobleman at the end of the 16th century who, in order to become Czar, had an infant's throat slashed. Supported by legendary artists, the seven-foot Soviet bass Mark Reizen was as much Boris in this 1948 Moscow recording as Schwarzenegger was Terminator or, if you prefer, James Earl Jones was the voice of Darth Vader.
Like David Niven, pianist Benno Moiseiwitsch was the epitome of distinction. Born in 1890 in Odessa (which at the time was a remarkable reservoir of pianists), Benno Moiseiwitsch possessed an unsurpassed knowledge of the keyboard. The Pictures at an Exhibition are a real war horse. Moiseiwitsch's (1945) recording takes what in so many recordings is a tireseome schlep through a gallery and opens your eyes to its real glories.
Nobody can resist Tchaikovsky's last three symphonies when conducted by Mravinsky. Those who pretend the contrary are lying. Head of the Leningrad Philharmonic for half a century, Yevgeny Mravinsky (1903-1988) terrorized his musicians....his audiences too.
Nobody can resist Tchaikovsky's first piano concerto in the hands of Horowitz and Toscanini. Those who claim the contrary are liars. In this 1940 "live" performance Horowitz throws himself on the finale like a vampire on his victim.
Music of exquisite madness with a slight hint of scandal, the Nutcracker Ballet was the Grateful Dead of its time. Tchaikovsky used instrumental combinations as unheard of in his day as the Grateful Dead's use of harmonics in rock in theirs. The famous Mercury sound engineering accentuates even more the acid trip effect.
Anton Dvorak's "New World" Symphony is a veritable post-card vision of America as seen by a Czech composer still mad about Brahms and German music. Despite other world-class versions (Kubelik/Berlin, Deutsche Grammophon; Fricsay/Berlin, Deutsche Grammophon; Toscanini/NBC, RCA-BMG...), Ancerl's super-Czech version remains the ne plus ultra.
Dvorak's Cello Concerto is the most famous and most often played of the repertoire for this instrument. There are some ten recordings of this work by the Russian-born Mstislav Rostropovitch (including pirate-versions). Splendid recordings for the most part, his first recording, made in Prague in the '50s, is still the most arresting.
Rimsky-Korsakov never feared the critics. With its heavy-duty bazar orientalism, Shéhérazade has the irresistible kitsch of Marlene Dietrich in Kismet. Still, let yourself be seduced by this highly effective Russian music that Stravinsky copied more than once.
As in the literary works of Rudyard Kipling (1865-1936), Edward Elgar's music glorifies the power and values of Victorian and Edwardian England. Influenced by the post-romantic aesthetic, the compositions on this disc express with poignant sincerity the ineluctable decline of the British Empire. If the languid and nostalgic atmosphere of James Ivory's recent films (Howards End, Remains of the Day ) moved you, this is a disc for you.
The Resurrection with its "Rise ye the dead" is the the most Catholic composition of the Jewish composer Gustav Mahler. It boasts several great interpretations: Walter/Sony Classical, Klemperer/EMI, Bernstein/DG - but the one that Bernard Haitink just made with the Berlin Philharmonic is reviting. Audiophiles will definitely get their money's worth. Play it loud - and to hell with the neighbors.
Completed in 1904, Mahler's Sixth, with its boot noises and war sounds prefigures the butchery of World War I. Sir John Barbirolli's (1899-1970) recording gives you not just the Battle of Verdun, but above all the fall of the Austro-Hungarian Empire. Warn your neighbors.
The orchestral music of Richard Strauss is a surprising yet brilliant mix of Mozart and Wagner. A master of swooning elegance, his success was (and remains) enormous. Without Strauss, hollywood music wouldn't exist. The perfect Strauss orchestra the Dresden Staatskapelle reinvents, under the baton of Rudof Kempe, "wide-screen" music.
Strauss was the last of the Romantics. Composed in 1948, given its premiere in 1950 by Kirsten Flagstad and Wilhelm Furtwängler, the Four Last Songs are Strauss' testament and mark the end of an era. The german soprano Elisabeth Schwarzkopf was in complete symbiosis with this soaring music, in total disregard of musical trends of the time.
Jean Sibelius' music is one of the most visual there is. It traces blinding horizon lines and is striking by its leonine power. Recently rereleased on a budget-priced CD, it includes the first and last symphony of the Finnish composer who, for obscure reasons, destroyed the manuscript of his Eighth Symphony. This is the most astonishing Sibelius disc ever published.
The work of a visionary mind, obsessed with the occult arts, Alexander Scriabin's music smells of sulfur. His own son-in-law Vladimir Sofronitzky, a notorious heroine addict, and Vladimir Horowitz, as mad as he was brilliant, had a privileged relationship with Scriabin's piano music. Every bit as stunning as his two illustrious predecessors, the Korean Kun Woo Paik distinguishes himself from them through his Zen perspective on this music.
Sergei Rachmaninoff is a real case: a rather austere and depressed personality, he wrote music of shameless sensuality. Dark works full of irony, lush musicality and robust virtuosity, Rachmaninoff's Second and Third Piano Concertos always find an audience. While the second is particularly seductive and figures on the c.v. of any working pianist, the third piano concerto has always been reserved for only the most legendary pianistic talents. It requires the forces of a crack orchestra and a powerful chef. The joke amongst pianists attending a performance is: how many notes did he or she drop on the way through? American pianist Byron Janis not only plays them all, but takes you "surfing" from climax to climax with compelling insight and power.
Rossini confessed to have wept on only three occasions: when his first opera flopped, when he heard Niccolo Paganini play the violin, and the day his stuffed turkey with truffles fell overboard during a boat outing! As is generally the case with Rossini's music, The Barber of Seville is all good natured fun and farce. Given its premiere in Rome in 1816, the opera is about an old man who is engaged to marry a young girl - young enough to be his grand-daughter. After a thousand gags reminiscent of Laurel and Hardy skits, the astute barber, Figaro, will do just about anything to break up this match. Leading an irresistible team of actors and singers, Claudio Abbado has signed one of his greatest recordings. Warning! His recent remake of the Barber (in which Placido Domingo sounds utterly swamped) has little to commend it.
Given its premiere at La Scala in Milan in 1831, Norma is the prototype of the Italian bel canto opera. With a simple but effective plot (a Gallic woman falls for a Roman) and its generous helpings of songfulness, this melodrama has long since established itself as one of the stable hits of the opera repertoire. Norma was one of Callas' three or four pet operas. Here she shares the stage with tenor Franco Corelli (b. 1923), the number one sex symbol of post World War II Italian opera.
Violetta was one of Maria Callas' greatest roles: that of a high priced courtesan (she calls you, you don't call her) who gives the best parties in Paris, falls in love too late with the son of a disapproving main-line family and takes forever to die of TB. Callas' devastating 1958 "live" performance in Lisbon is one of opera history's greatest moments and transforms Violetta into the equal of ancient Greek tragedy's most sublime heroines.
Based on Victor Hugo's play Le Roi s'amuse, Rigoletto is about a hunchbacked widower who keeps his daughter under lock and key. So what happens? Somebody steals her, of course. Middle-period Verdi, Rigoletto is one of the most "italian" operas. A luxurious cast, an unrivalled chorus (la Scala!), this recording is an ideal choice for those just getting into opera.
In opera, sex and violence always make for a good story. Mozart's Don Giovanni, Puccini's Tosca, Wagner's The Valkyrie, Richard Strauss' Salomé, Berg's Lulu, and Shostakovitch's Lady Macbeth, needn't envy A Clockwork Orange. Neither does Verdi's Otello. Adapted from Shakespeare's tragedy, this late Verdi opera keeps one breathless for nearly two hours. Compared to Toscanini's punchy version (RCA/BMG, mono) Solti's dazzling first recording (made in Vienna in 1977) is simply essential. Not to be confused with Solti's later and clearly less successful version with Luciano Pavarotti in the title role.
Complete with ear-shattering fanfares announcing the Last Judgement, Verdi's Requiem can seem on first hearing like a liturgical monstrosity. Dedicated to the memory of the Italian writer Alessandro Manzoni and given its premiere in Milan in 1874, this death opera rivals some of the most powerful albeit overblown pages of Victor Hugo's La Légende des Siècles. Still, the then 84-year-old Toscanini's furia will leave you flabbergasted.
The action is set in Rome in June 1880 during the Battle of Marengo. Mario Cavaradossi, Bonaparte's favorite painter, is Tosca's lover. Scarpia, Naples' sinister police chief, has sworn Cavaradossi's ruin. With three roles minted in gold (Maria Callas, Giuseppe di Stefano and Tito Gobbi), its dramatic tension, voluptuous and impressionist music, Tosca is the proverbial must!
Puccini's La Bohème is a work whose perfection defies analysis. Like Mozart's Don Giovanni, Wagner's Tristan and Isolde, or Janacek's little known The Cunning Little Vixen, no matter how hard you look for a flaw, you can't find it. Very few operas can compete in terms of melodic and poetic grace. Herbert von Karajan's recording deserves the same remarks.
Throughout his life Claude Debussy struggled against the massive influence of Richard Wagner. One of the complete novelties of Debussy's music was that it rejected the thick textures of German music, turning towards the South and the Mediterranean for inspiration. Available on the EMI budget series "La Voix de son Maître", this album contains Debussy's three orchestral masterpieces: La Mer - Prélude à l'après-midi d'un faune, Nocturnes. L'Orchestre National de l'ORTF (today's French National Orchestra) turns in a distinguished performance under the transparent and remarquably committed direction of Jean Martinon.
Several months after the death of Arturo Benedetti Michelangeli (1920 - 1995), Deutsche Grammophon reissued on two compact discs what originally had been released on three separate full price CDs. This new edition is thus excellent value for money. Rather than limiting these works to their French idiom, the ingenious Italian pianist glorifies their universal import. Michelangeli was the only pianist to dare to emphasize the occasionally monumental structure of this music. Worse still, to put his finger precisely on what Debussy owed to Wagner. Listen to La Cathédrale engloutie (The Sunken Cathedral).
A genius at orchestration, Maurice Ravel knew better than anybody how to hit the listener right between the eyes. Listen to the Boléro whose hypnotic rythm brings to mind the sassy creations of Christian Lacroix, or the delirium of La Valse, as provocative as Jean-Paul Gaultier. The legendary French conductor Pierre Monteux's musical direction is as classic as a Dior suit.
The Concerto for the Left Hand is one of the four or five most perfect concertos of the repertoire. Ravel wrote this strange masterpiece for the Austrian pianist Paul Wittgenstein, who had lost his right arm in the trenches of World War I. Samson François and André Cluytens channel with incredible ease the concise energy of the tightly-knit proportions of this concerto. Their interpretation of the more traditional Concerto in G is on the same order.
Born in Cadix, the son of an Andalusian father and a Catalan mother, Manuel de Falla like his compatriot Isaac Albeniz contributed to the rebirth of Spanish music at the turn of the century. El amor brujo is derived from an old gypsy tale about a couple, Candelas and Carmelo, that the ghost of Candelas' dead lover trys to destroy. The opera's famous Fire Dance draws its inspiration from gypsy flamenco, a musical tradition that fascinated Falla. The Catalan Josep Pons, who conducts the original 1915 version of the score, paints this music in the darkest hues.
Born in Moravia (Czech Republic), Leos Janacek was a kind of Czech Debussy. Like the Hungarian composer Bela Bartok, Janacek struggled against the expansionism of Germanic music. He wrote rough, brassy music which dipped heavily into the raw sounds of his native culture. The two works on this disc are excellent examples of Janacek's special brand of musical poetry. World Music enthusiasts should tune in without hesitation.
There is nothing more barbaric or refined than the music of the Hungarian Bela Bartok - by far the best World Music ever! The dizzying rythms and colours of Music for Strings, Percussion and Celesta recall the most primitive forms of musical expression. This piece has the intensity and impact of gypsy flamenco, Indian râga and African polyrythms. Tame by comparison, the Concerto for Orchestra is a hundred times richer and more exciting than any possible combination of MIDI files.
The premiere of Igor Stravinsky's Rite of Spring in Paris in 1913 triggered a riot in the Théâtre des Champs-Elysées: fist-fights, booing, verbal abuse, stink-bombs and more. Why all the noise? Because of the primitive power of Stravinsky's music and the supposed obscenity of the ballet's choreography. Today, the ballet is a big hit with audiences around the world and has even made its début on CD-ROM. The ballet Petrushka is based on an old Russian farce. Pierre Boulez's musical direction is impeccable.
First danced in Paris in 1910 by the then celebrated Ballets Russes, the two-act Firebird is based on an old Russian legend about Czar Ivan's annihilation of the green-fingered wizard Katshei with the aid of a magic bird. The orientalist music is saturated with colour and recalls Rimsky-Korsakov's Shéhérazade. The Swiss conductor Ernest Ansermet (1883-1969) was a close friend of composer Igor Stravinsky.
Prokofieff's Third Piano Concerto is the most electrically charged of the five. American pianist Byron Janis and the Russian conductor Kirill Kondrashin sprint through this ironic and rather breathless score like a couple of Olympic champions. Their performance of this concerto easily qualifies as the greatest ever recorded. The Rachmaninoff Piano Concerto No. 1 is also stunning.
Czech-born composers, Erwin Schulhoff, Pavel Haas, Gideon Klein and Viktor Ullmann all have in common that they died during deportation, victims of Nazi barbarism. The works presented on this CD convey influences from Bartok and Stravinsky and reveal deeply original composers that we are only just beginning to discover. Gerd Albrecht, leading the top-drawer Czech Philharmonic Orchestra, communicates these scores with intense commitment.
The most important composer of the Soviet Empire (15 symphonies, 15 quartets...) Dimitri Shostakovich is in some circles considered the Beethoven of the 20th century. Caught between the dictates of the Stalinist regime and his own artistic conscience, he left behind works of suffocating pessimism. Given its premiere in 1937, the Fifth Symphony owes a great deal to Tchaikovsky. Under the baton of Yevgeny Mravinsky, it becomes a veritable crucifixion.
Schoenberg, Berg and Webern, the leading composers of the Second Viennese School, still put off many people. Most music lovers consider their music forbiddingly abstract, dry and even agressive. In order to discover these so-called inhospitable areas of the repertoire, try Herbert von Karajan who, with boundless cheek, claimed to have made this music as accessible as Mozart, Beethoven or Schubert.
Gershwin, Copland, Barber: the Holy Trinity of North American music! Leonard Bernstein and his Californians have definitively settled the issue.
Brazilian Heitor Villa-Lobos is the only Latin American composer to have earned a place in mainstream repertoire. His music sometimes suggests the generous, luxuriant vegetation of the Amazonian Jungle. The Bachianas Brasileiras are a series of Brazilian homages to Bach. Villa-Lobos made these recordings in Paris shortly before his death. They have since toured the globe.
The minimalist school, led by American composers Steve Reich and Philip Glass, welcome tonality and popular culture in their composition. This places their works in total opposition to the highly complex, often mathematical-based systems, known as comtemporary music since the '50s, and which meets with ever-dwindling public appeal. The minimalists are determined to fill the concert halls once more. Ardent partisans of both trends are locked in fierce debate with some crying "miracle!", whilst others cry "imposture!" This excellent recording will let you judge for yourself.
Probably the greatest British composer of the Twentieth Century, Benjamin Britten was also the least dogmatic in his approach. His completely open regard for aesthetics led him untiringly towards new horizons. The album brings together three major vocal works, notably the unforgetable Serenade for Tenor, Horn and Strings. Based on verse by John Keats, Ben Johnson and William Blake, this work is a strange combination of dark, pastoral and mystical moods. It reaches a throbbing peak in The Elegy which sets to music Blake's poem, The Sick Rose. Britten's razor-sharp conducting marries the fluid and golden timbre of Peter Pears with the rich, velvet tone of Barry Tuckwell's French horn in such a way as to make this disc indispensable for anyone interested in English music.
Miscellaneous
Led Zeppelin / Stairway To HeavenThe Doors / Light My Fire
The Beatles / Hey Jude
The Kingsmen / Louie Louie
Johnny B. Goode / Chuck BerryDerek And The Dominos / Layla
The Who / Won't Get Fooled Again
Elvis Presley / Jailhouse Rock
Don McLean / American Pie
James Brown / I Got You (I Feel Good)
Jimi Hendrix / Purple Haze
The Rolling Stones / Sympathy for the Devil
The Kinks / You Really Got Me
Simon and Garfunkel / Bridge Over Troubled Water
Elvis Presley / Hound DogThe Beatles / Let It Be
The Jimi Hendrix Experience / All Along The WatchtowerAerosmith / Walk This Way
The Temptations / My Girl
Bill Haley And His Comets / Rock Around The Clock
Marvin Gaye / I Heard It Through The Grapevine
Steppenwolf / Born To Be Wild
Ray Charles / What'd I Say
Lynyrd Skynyrd / Free Bird
Buddy Holly and The Crickets / That'll Be The Day
Led Zeppelin / Whole Lotta Love
Aerosmith / Dream On
The Mamas & The Papas / California DreaminÕ
The Troggs / Wild Thing
Crosby, Stills and Nash / Suite: Judy Blue EyesJerry Lee Lewis / Great Balls Of Fire
The Buffalo Springfield / For What It's Worth
Bob Dylan / Blowin' In The Wind
The Beatles / Twist And Shout
Billy Joel / Piano Man
The Beatles / She Loves You
David Bowie / Space Oddity
The Beatles / Strawberry Fields Forever
Led Zeppelin / Kashmir
Patsy Cline / Crazy
The Clash / London Calling
The Rolling Stones / Jumpin' Jack Flash
Led Zeppelin / Rock & Roll
Elvis Presley / All Shook Up
Rod Stewart / Maggie May
Elvis Presley / Heartbreak Hotel
The Beach Boys / God Only Knows
Chubby Checker / The Twist
Little Richard / Good Golly, Miss Molly
Cream / Sunshine Of Your Love
The Beach Boys / California GirlsEddie Cochran / Summertime Blues
Carl Perkins / Blue Suede Shoes
The Beatles / A Hard Day's Night
James Taylor / Fire and Rain
Them / Gloria
Marvin Gaye / Sexual Healing
The Rolling Stones / Start Me Up
Boston / More Than A Feeling
The Police / Roxanne
Queen / We Are The Champions
Jefferson Airplane / Somebody To Love
Ben E. King / Stand By MeJerry Lee Lewis / Whole Lot Of Shakin' Going On
Wilson Pickett / In The Midnight Hour
Spencer Davis Group / Gimme Some Lovin'
Bruce Springsteen / Thunder Road
Bob Marley and the Wailers / No Woman No CryRitchie Valens / La Bamba
The Carpenters / We've Only Just Begun
The Temptations / Papa Was a Rolling Stone
L'Amour-Toujours-L'Amour
I'll see you in my dreams
Ma-He's making eyes at me
Say it with Music
Somebody stole my Gal
Who's sorry now
Indian love call
Singing in the rain
The man I love
If you were the only girl
Someone to watch over me
Lover, come back to me
I'll get by
With a song in my heart
Stardust
I'll be with you in apple blossom time
Somebody loves me
Shuffle along
Georgia
Mexicali Rose
Lady be good
Rose Marie
Sleepy time gal
Why do I love you
I can't give you anything but love
More than you know
You do something to me
You are the cream in my coffee
1930s
What is this thing called love
Georgia on my mind
All of me
Dream a little dream of me
How deep is the ocean
Smoke gets in your eyes
Blue moon
The very thoughts of you
I'm in the mood for love
The way you look tonight
In the still of the night
Falling in love with love
All the things you are
If I didn't care
Body and soul
Little white lies
Dancing in the dark
April in Paris
It's only a paper moon
Everything I have is yours
I only have eyes for you
Begin the beguine
These foolish things remind me of you
I've got you under my skin
My funny valentine
Where or when
September song
I'll never smile again
1940s
You stepped out of a dream
Pennsylvania 6-5000
A string of pearls
That old black magic
I couldn't sleep a wink last night
I'll walk alone
I love you for sentimental reasons
If I loved you
Now is the hour
Almost like being in love
A fellow needs a girl
On a slow boat to China
Some enchanted evening
All or nothing at all
the anniversary waltz
My foolish heart
As times goes by
People will say we're in love
Dream
Laura
To each his own
Tenderly
Mam'selle
Baby, it's cold outside
Mona Lisa
Don't get around much anymore
1950s
La vie en rose
The little white cloud that cried
Unforgettable
Your cheatin' heart
Secret love
You, you, you
Love is a many-splendored thing
If I give my heart to you
Love me tender
April love Maria
All I have to do is dream
Put your head on my shoulder
There's no tomorrow
I get ideas
let me go, lover
Chances are
Somewhere along the way
Stranger in paradise
Misty
Don't let the stars get in your eyes
Moments to remember
friendly persuasion
Three coins in the fountain
The twelfth of Never
Tears on my pillow
1960s
Are you lonesome to-night
Lay lady lay
Moon river
I left my heart in San Francisco
As long as he needs me
More
I want to hold your hand
Baby love
Stop! In the name of love
Strangers in the nights
A natural woman
Can't take my eyes off you
The windmills of your mind
If ever I would leave you
Let it be me
Sunny
What kind of fool am I
Call me irresponsible
The days of wine and roses
Unchained melody
She loves me
Red roses for a blue lady
I fall to pieces
You're my soul and inspiration
Good morning starshine
Light my fire
I never loved a man
1970s
We've only just begun
Ain't no mountains high enough
Ain't no sunshine
You are the sunshine of my life
The most beautiful girl
Mandy
Laughter in the rain
My eyes adored you
Breaking yup is hard to do
I like dreamin'
Three times a lady
How deep is your love
They long to be close to you
How can you mend a broken heart
She's a lady
The first time ever I saw your face
Behind closed doors
handy man
I will always love you
Still crazy after all these years
Don't go breaking my heart
Nobody does it better
Please, Mister postman
Miss you
Always and forever
The rose
1980s
Endless love
Almost paradise
Against all odds
Didn't we almost have it all
At this moments
Tonight I celebrate my love
The lady in red
Hold me
Somewhere out there
You and I
Baby come to me
Open arms
Never gonna let you go
Hard to say I'm sorry
1990s
Don't know much
All my life
Here and now
Right here waiting
Wonderful tonight
Can you feel the love tonight
I will always love you
How am I supposed to live without you
Wind beneath my wings
In your eyes
Color of the wind
More...
All my loving, the Beatles
And I love her, the Beatles
Color my world, Chicago
Coming around again, Carly Simon
Could it be magic, Barry Manilow
Endless love, Diana Ross & Lionel Richie
Find one hundred ways, Quincy Jones
Hearing your voice, the Moody Blues
How can I tell you, Cat Stevens
I do, I do, I do, Abba
I need you, America
I should have known better, the Beatles
I wish, Stevie Wonder
I'll Never leave you, Harry Nilsson
I've been searching so long, Chicago
In my world, The Moody Blues
Just the way you are, Billy Joel
Just you'n me, Chicago
Knocks me off my feet, Stevie Wonder
Lend your love to me tonight, Emerson, Lake & Palmer
Lessons learned, Dan Fogelberg
Looks like we made it, Barry Manilow
Lost in Love, Air Supply
Love of my life, Abba
My romance, Carly Simon
Need her love, Electric light orchestra
P.S. I love you, the Beatles
Rubylove, Cat Stevens
Say you'll be mine, Christopher Cross
She's always a woman, Billy Joel
So deep within you, The Moody Blues
So far away, Carole King
Strange Magic, Electric Light Orchestra
Summer soft, Stevie Wonder
The right thing to do, Carly Simon
Three times a lady, Commodores
Until the night, Billy Joel
Weekend in new England, Barry Manilow
Whenever you're away from me, ELO & Olivia Newton John
Wishing you were her, Chicago
Without you, Harry Nilsson
You are the sunshine of my life, Stevie Wonder
You make lovin' fun, Fleetwood Mac
You take my breath away, Queen
You're my home, Billy Joel
She describes infinity, Scott Cossu
Openings, William Ellwood
Down to the moon, Andreas Vollenweider
A winter's solstice, Windham Hill artists
Childhood memory, William Ackerman
Out of Africa,
Barefoot ballet, John Klemmer
Keys to imagination, Optimystique, out of silence, Yanni
Something, the Beatles
In the mood, Glenn Miller
I won't last a day without you, Paul Williams
You are so beautiful (to me), Joe Cocker
Lessons Learned, Dan Fogelberg
One Summer Dream, Electric Light Orchestra
Closer to believing, Emerson, Lake & Palmer
Just the way you are, Bill Joel
Coming around again, Carly Simon
Watching and waiting, The Moody Blues
You've got a friend, James Taylor
Wedding song, Brit Lay
Chuck Mangione: feels so good; main squeeze; chase the clouds away
Dan Fogelberg & Tim Weisberg: twin sons of different mothers
George Benson: livin' inside your love; breezin'
George Winston: Autumn; winter into Spring
John Klemmer: Touch; Lifestyle (living & loving)
Jean-Pierre Rampal & Claude Bolling: Suite for flute & jazz piano
Johann Pachelbel: Canon in D
And I love her, the Beatles
Color my world, Chicago
Endless love, Diana Ross & Lionel Richie
Find one hundred ways, Stevie Wonder
Hearing your voice, The moody blues
Just the way you are, Billy Joel
Lessons learned, Dan Fogelberg
She's always a woman, Billy Joel
The most beautiful girl in the world, Frank Sinatra
Unforgetable, Nat King Cole
I wanna be loved by you, Marilyn Monroe
Andreas Vollenweider: Down to the moon
David Lanz:Heartsounds; Seasons; Impressions; Pianoscapes
George Winston: Autumn; winter into spring; summer
Justo Almario: Forever friends
Liz Story: Solid colors
Paul winter: sun singer; wintersong
William Ackerman: past light; it takes a year; childhood & memory
Windham Hill artists: a winter's solstice; a winter's solstice II
Yanni: reflections of passion; keys to imagination; out of silence
A night to remember, Cyndi Lauper
Anticipation, Carly Simon
August, Eric Clapton
Captured Angel, Dan Fogelberg
Desire, Bob Dylan
Fantasy, Carole King
Girls just wanna have fun, Cyndi Lauper
I'm your baby tonight, Whiteney Houston
In the dark, The grateful dead
Lawyer in love, Jackson Browne
One night of sin, Joe Cocker
Spend the night, The Isley brothers
Still crazy after all these years, Paul simon
True blue, Modonna
Give and take, Eric Tingstat & Nancy Rumbel
Romance (Music for Piano), on the Narada Label
Beauty of love, Shardad
Euphoria, Ottmar Liebert & Luna Negra
The sacred fire, Nicholas Gunn
Forest, George Winston
MCMXC a. D.
The Friends of Mr. Cairo, Jon Anderson & Vangelis
Homeland; Give and take; In the garden, Eric Tingstad & Nancy Rumbel
Ain't no sunshine, Willie Jolley
That's what Friends are for, Dionne Warwick
Bridge over troubled waters, Simon & Garfunkel
Thank you fro being a friend, Andrew Gold
You've got a friend, James Taylor
Stand by me, Ben E. King
Sexual healing, Marvin Gaye
I feel like makin' love, Bad company
I want your sex, George Michael
Afternoon delight, Starland vocal band
Let's spend the night together, Rolling stones
Natural woman, Aretha Franklin
Wishing you were her, Chicago
Far away, Carole King
Missing you, Jim Reeves
I miss you like crazy, Natalie Cole
Missing you now, Michael Bolton
Always and forever, Heatwave
Forever and ever, Amen, Randy Travis
Our love is here to say, Harry Connick, Jr.
The anniversary song, Richard Tucker
More today than yesterday, Spiritual staircase
Lady, Kenny Rogers
Endless love, Diana Ross
Always on my mind, Willie Nelson
I honestly love you, Olivia Newton John
Through the years, Kenny Rogers
Longer than, Dan Fogelberg
Evergreen, Barbra Streisand
When a man loves a woman, Percy Sledge
Crazy for you, Madonna
Wind beneath my wings, Bette Midler
Closer to believing, Emerson, Lake & Palmer
I am waiting, Yes
I will always love you, Whitney Houston
Nights in white satin, Moody Blues
Love me do, the Beatles
I just called to say I love you, Stevie wonder
You are the sunshine of my life, Stevie wonder
The way you do the things you do, Temptations
What a wonderful world, Louis Armstrong
How sweet it is, James Taylor
It had to be you, Harry Connick, Jr.
Tom Scott, Harry Connick, Jr. Yanni, George Benson, George Winston, Enya, Natalie Cole, Billie Holiday, David Sanborn, Kenny G, Stan Getz, Earl Klugh, David Lanz, Andreas Vollenweider, Liz Story, William Ackerman, Grover Washington, Jr. Luther Vandross, David Benoit, Richard Clayderman, Larry Carlton, Shepherd Moons, Watermark, the celts, Enya
Most Romantic Piano Concertos
Mozart's Piano Concerto N0.21 in C
Beethoven's Piano Concerto No.5 in E flat
Schulmann's Concerto in A minor for piano & Orchestra
Grieg's Concerto in A minor for Piano & Orchestra
