(Larger Image)
|
Re: Bach
by (Composer: Magnus Fiennes) (Performer: Lara St. John) (Performer: Yoad Nevo) (Performer: Matthew Sharp) (Performer: Robbie Jacobs) (Performer: Christopher Laurence) (Performer: Christopher Lawrence) (Performer: Andrew Findon) (Performer: Anna Noakes) (Performer: Phil Todd)
Product Group: Music
Studio: Sony
ISBN: B00023GGLC
EAN: 0827969302224
UPC: 827969302224
Audio CD
Original Release Date: 2003-01-01
Release Date: 2004-05-25
SKU: C031ZZY
Condition: Used: Very Good
Comments: Clean uscratched CD with original case and booklet. zspz 100% satisfaction guaranteed. All orders include an e-Book about starting your own Internet Business in PDF format. FREE Domestic DELIVERY CONFIRMATION! We ship daily Mon-Sat and will let you know when your item has shipped along with your e/DC number. [HI, AK, PR, VI, GUAM, SAIPAN & West Coast customers, please use Expedited Shipping, otherwise it may take longer than the estimated 14 business days.] Items are from a smoke free and air conditioned environment.
|
Editorial Reviews
|
Amazon.com
Two things must be said immediately: (1) Lara St. John is a spectacular violinist and (2) any resemblance between the music on this disc and that of J.S. Bach is largely incidental. True, Bach himself freely arranged and re-used his works in other contexts, and this is often cited to justify recasting bits and pieces of them in a highly idiosyncratic, often experimental style totally alien to his own. However, though St. John claims that she and her collaborators have "a huge respect for Bach's music," it is difficult to resist the impression that this is simply a launching-pad for an unabashed ego-trip. Her tone contrasts strangely with the electronic instruments and sounds too close to the microphone, but seems an oasis of natural beauty; one longs for its reappearance whenever she rests. She gets only a few chances to display her virtuosity; one of them is the finale of the A-minor unaccompanied sonata, the sole selection originally written for violin (inexplicably called "Bombay Minor"). St. John plays it brilliantly, but toward the end a tabla joins her with rhythms that seem unconnected to her part. The music generally is a teaser. Some melodies are unfamiliar, some famous, but often impossible to identify in these unaccustomed surroundings. The opening selection's title, "Goldberg 2," presumably indicates a connection with the "Goldberg" Variations that defies discovery, while the last selection is unmistakable: the "Badinerie" from the B-minor Suite. St. John plays the solo flute part, again not fast but brilliantly; she rests while the group engages in far-flung modulations. In two pieces St. John plays a duet with herself, one violin sounding darker than the other and just different enough to create the illusion of two players, and there is a lovely, simple duet for violin and cello that actually sounds like Bach. Now will the real Johann Sebastian please stand up? --Edith Eisler
|
Customer Reviews
|
Great Homework Music
Rating  (5)
Date: 2007-01-21
2 out of 4 customers found this reveiw helpful
I love this album I feel that it creates an excellent mood that most classical music would bring down. It is just upbeat enough to keep your thoughts engaged yet soft enough to where you can still concentrate. I love listening to this album when I am cooking or doing homework. Great Job Ms. St John.
|
|
Experimental effort
Rating  (1)
Date: 2006-08-17
10 out of 11 customers found this reveiw helpful
Of course, people vary in their values, views, psychologies, etc. Thus, we have the Normal Distribution (bell-shaped curve). At one end of the classical listening public are the purists. These folks will not like this album. It takes great liberties with Bach. Worse, the title seems to allude to its being "real" classical music. I too have deep misgivings about the title. On the other side of the spectrum are the "early adopter" types who like innovation, creativity, etc. I do. However, when you brainstorm, you generate lots of ideas--but afterwards you eliminate the losers and evaluate the survivors. Apparently, that step was overlooked for this album. I respect their attempt at innovation. But, it just didn't work for me. Indeed, this is one of the CDs I enjoyed the least of all I've heard. The mixture of Bach & other themes was discordant--not integrated. Some of the playing was okay to good, some was not. It sounded synthetic in more than one way. If it had been a "live" recording of an improvisation session, one might justify it, but it wasn't. I refuse, however, to attribute motivations to others--so I don't know why they released this CD--I doubt other reviewers do either. Nevertheless, some will love this recording. After all, harmony is in the ear of the listener.
|
|
Worse than anything I've heard in years...
Rating (1)
Date: 2006-06-01
7 out of 11 customers found this reveiw helpful
Sony should not have made this album... But then, a big company can afford to make mistakes from time to time. This album, however, is just about Lara and her musical choices. It is not about music, certainly not Bach's. I also doubt Lara really wanted to promote "Muzak" or pop beats of any kind. She night have wanted to show herself as a a "forward thinking" young lady, who "moves with the times". A person who is willing to step on the most "holly" musical icons for no clear reason or logic. This album could never helped her sagging career, anyway. I bought it for $2.39 and now I see it's available for as little as 0.89. It is not often that one makes such an obvious mistake in choosing what to record. This artist was recognized by some to be fairly serious about her craft. Many others thought differently. But this pathetic album is the clearest proof that behind the pretty face was nothing of substance, ever.
|
|
Great Googly Moogly --- This Stinks!
Rating (1)
Date: 2006-05-19
8 out of 13 customers found this reveiw helpful
Really, what can you say about this? After releasing albums of "serious music" that were uninspired but more or less competent, the dark forces behind Lara St. John's career must have decided that it was time to go where the real money was at --- the dreaded "crossover" genre. With this mishmash of an album (all resemblance to JS Bach is purely coincidental), Ms. St. John's credibility as an artist has taken a serious hit. Even the Amazon.com reviewers (not the most unforgiving lot normally) have opened up broadsides on this album, from what I've read.
Most of the selections have an "ambient" quality that reminds me more of Muzak, as it lulls the listener into a stupor. However, not all the selections are soporifics; "Bombay Minor" has to qualify as one of the most positively stupid things I have heard in an awful long time. For sheer comedy value, I would recommended listening to it, maybe just once. Big fun.
From what I understand, this album was not a raging commercial success. One wonders where Ms. St. John turns from here. She has pretty much run Bach into the ground. What next? Four Seasons anyone?
|
|
Pushing the envelop of classic
Rating  (3)
Date: 2006-01-15
4 out of 5 customers found this reveiw helpful
Miss St. John's repertoire is wide and impressive - spanning Baroque to Modern, concerto to chamber, solo to crossover. However, while creative and adventurous, this CD is not quite her finest musical expression - but it can be an enjoyable foray nevertheless if you like this type of thing.
The CD notes give an overview of the project: "Violinist Lara St. John is one of classical music's most adventurous performers, so it can come as no surprise that she has chosen to the music of J. S. Bach in a bold, new direction for this recording. Collaborating with the imaginative composer/producer Magnus Fiennes, she realizes a fresh, contemporary interpretation of Bach's music, through soundscapes that draw on the influences of world music, jazz and pop."
It will also be no suprise that all will not like or accept such "contemporary interpretations" as this with the "sacred cannon" of classical music. Yet, in all art and music, there is always a powerful element - and freedom - of individuality in interpretation and expression. Of course, there is also the freedom for the listener to praise or reject it. Regardless, for those who are not put-off to such ventures, there will be much to enjoy in both the creative "interpretations" as well as St. John's richly-textured playing that is highlighted by a most-vivid DDD sound quality. To note is her appealing phrasing in pieces like "The Sicilian," "Largo" or "Prelude" which exude an aria-like expression against the backdrop of the synthesized, rhythmic soundscape. As compared to some of her young peers, her style is lucid and not afraid to venture a bit to gain some new nuances of expression to "enliven" the music. In this recording she plays a 1779 "Salabue" Guadagnini (Turin) on loan to her whose tonal qualities are big, expressive and rich.
Yet, the superposition of the pure, earthy tones of Lara's violin against the somewhat-contrived, synthetic ambiance created by the electronic instruments (computers really) strike an uncomfortable dichotomy that is hard to fully integrate. And the ears seem to preferentially gravitate to St. John's natural tone and melodic leading. It's the same effect (conflict) found in the synthesized "classical" music of groups like Mannheim Steamroller where he synthetic aspects create a trite and "saccharine effect" that leaves one unfulfilled. But, in a couple pieces - like "Ten Fifty Two" (based on a Bach Concerto), there is more synergy between the acoustic and electronic worlds. More than anything, it is St. John's sheer talent and beautiful tone that creates any real appeal.
This music will have a narrow audience and appeal (although I actually enjoyed many of the tracks more than I expected to). It should not be judged as classical music but for what it is - a personal adventure and exploration. But, such "saccarined" music does not have much "staying power" over time, and its electronic textures do not wear well with repeated listening. To experience Lara St. John at her best, hear her "Gypsy" CD - a genre perhaps where this talented, free-spirited musician best finds her element.
|
|
|