Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

A GREAT GUITAR COMPILATION, 04 Aug 2008
As the previous reviewer said, this is a great introduction to the world of classical guitar music. As usual with ClassicFM Cd's, the quality of the music on offer is superb, with a few well known pieces that have been arranged for the guitar; like Elgar's Nimrod etc.. As said before, if your new to this style, or you want something to just relax to, then you can't go wrong with this.

'My first classical guitar album', 28 Jun 2008

This Classic FM 2CD collection of classical guitar music was released at the same time as the Classic FM `Full Works' series of 50 separate CDs, so was slightly upstaged and pushed to the back of the class.

However, it's Classic FM's first serious venture into the area of classical guitar music and with this in mind I think it's a well considered offering. It's not the `Ultimate' of course as the title claims - even a large collection of John Williams, Julian Bream and Andres Segovia wouldn't scratch the surface - but it does score well I think for its success at displaying the versatility of the instrument.

Obvious inclusions are Stanley Myers' `Cavatina' (made famous by the film The Deerhunter) but more interesting perhaps are the transcriptions, from piano, of pieces such as Einaudi's `Le Onde' and Satie's `Gymnopedie No. 3' which I think really show off the ability of the instrument to play a wide range of musical styles.

The recordings are good, as is usual of Classic FM products, and the range of guitarists - John Williams is of course included, but many lesser known players are also on offer - provides a variety of playing techniques.

While certainly not the `Ultimate', this is a highly recommended and entertaining collection.

Sacred Arias is Katherine Jenkins' last album in her deal for Universal before she moves to Warner for another six-album deal, and she has decided to go out with a bang--albeit a quiet one. While her previous outing, Rejoice, saw the Welsh mezzo-soprano striking out more than ever towards the world of pop, Sacred Arias, as the title suggests, sees her return to her religious-classical roots with comfortably familiar tunes like "Abide with Me", "Ave Maria", "Pie Jesu" and even "Silent Night". The mood on Sacred Arias is as refined and peaceful as you'd expect given the title, and though there's an abundance of well known material here, Jenkins also offers us the more obscure charms of "Missa Criolla", a dreamy version of Leonard Cohen's "Hallelujah" and a soulful take on "Down in the River to Pray". Other classical pieces include "Panis Angelicus" and Barber's haunting vocal piece "Agnus Dei", which help make this a triumphant final flourish for both her and Universal. --Danny McKenna

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

A GREAT GUITAR COMPILATION, 04 Aug 2008
As the previous reviewer said, this is a great introduction to the world of classical guitar music. As usual with ClassicFM Cd's, the quality of the music on offer is superb, with a few well known pieces that have been arranged for the guitar; like Elgar's Nimrod etc.. As said before, if your new to this style, or you want something to just relax to, then you can't go wrong with this.

'My first classical guitar album', 28 Jun 2008

This Classic FM 2CD collection of classical guitar music was released at the same time as the Classic FM `Full Works' series of 50 separate CDs, so was slightly upstaged and pushed to the back of the class.

However, it's Classic FM's first serious venture into the area of classical guitar music and with this in mind I think it's a well considered offering. It's not the `Ultimate' of course as the title claims - even a large collection of John Williams, Julian Bream and Andres Segovia wouldn't scratch the surface - but it does score well I think for its success at displaying the versatility of the instrument.

Obvious inclusions are Stanley Myers' `Cavatina' (made famous by the film The Deerhunter) but more interesting perhaps are the transcriptions, from piano, of pieces such as Einaudi's `Le Onde' and Satie's `Gymnopedie No. 3' which I think really show off the ability of the instrument to play a wide range of musical styles.

The recordings are good, as is usual of Classic FM products, and the range of guitarists - John Williams is of course included, but many lesser known players are also on offer - provides a variety of playing techniques.

While certainly not the `Ultimate', this is a highly recommended and entertaining collection.


Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

A GREAT GUITAR COMPILATION, 04 Aug 2008
As the previous reviewer said, this is a great introduction to the world of classical guitar music. As usual with ClassicFM Cd's, the quality of the music on offer is superb, with a few well known pieces that have been arranged for the guitar; like Elgar's Nimrod etc.. As said before, if your new to this style, or you want something to just relax to, then you can't go wrong with this.

'My first classical guitar album', 28 Jun 2008

This Classic FM 2CD collection of classical guitar music was released at the same time as the Classic FM `Full Works' series of 50 separate CDs, so was slightly upstaged and pushed to the back of the class.

However, it's Classic FM's first serious venture into the area of classical guitar music and with this in mind I think it's a well considered offering. It's not the `Ultimate' of course as the title claims - even a large collection of John Williams, Julian Bream and Andres Segovia wouldn't scratch the surface - but it does score well I think for its success at displaying the versatility of the instrument.

Obvious inclusions are Stanley Myers' `Cavatina' (made famous by the film The Deerhunter) but more interesting perhaps are the transcriptions, from piano, of pieces such as Einaudi's `Le Onde' and Satie's `Gymnopedie No. 3' which I think really show off the ability of the instrument to play a wide range of musical styles.

The recordings are good, as is usual of Classic FM products, and the range of guitarists - John Williams is of course included, but many lesser known players are also on offer - provides a variety of playing techniques.

While certainly not the `Ultimate', this is a highly recommended and entertaining collection.


Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


A must buy, 04 Mar 2007
I don't know much about classical music unlike the other reviewers for this CD. However, I was fortunate in that my mother bought me a record (remember them?) of Concertos no 1,3 and 5. You get

1. all 6 Brandenburg concertos beautifully played by English Chamber Orchestra. Normally albums of Bach's Brandenburg concertos only have three of the concertos. Having listened to a few of these, the quality of this CD is at least equal to those recordings in my opinion.

2. two additional concertos: the Concerto for Oboe, Violin and Strings and the Concerto for Flute and Strings. The first of these, as observed in the other reviews, is stunning.

I think this CD is fabulous to listen to and is a complete steal for the price.

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

Bach Concertos, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's music lies in his concerti, and naturally one wonders which recordings to buy with so much choice. I was totally struck by the performance of the concerti on this disc - I can honestly say that you need look no further, in particular for the recording of Bach's Concerto for Oboe and Violin. In a time and age where the question of baroque authenticity is rife, scholars, performers and music appreciaters have began to pose questions as to what one looks for in a performance, what is correct and incorrect and moreover, what makes a good performance. Timeless recordings like this answer these questions in no uncertain terms, and remind us that no amount of talking, philosophising and by-the-book reinventing of the past will substitute a truelly musically intuitive performance. Tess Miller and Carmel Kaine create something totally sublime - this disc is certainly one to own, even if only to hear this remarkable duo!

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

A GREAT GUITAR COMPILATION, 04 Aug 2008
As the previous reviewer said, this is a great introduction to the world of classical guitar music. As usual with ClassicFM Cd's, the quality of the music on offer is superb, with a few well known pieces that have been arranged for the guitar; like Elgar's Nimrod etc.. As said before, if your new to this style, or you want something to just relax to, then you can't go wrong with this.

'My first classical guitar album', 28 Jun 2008

This Classic FM 2CD collection of classical guitar music was released at the same time as the Classic FM `Full Works' series of 50 separate CDs, so was slightly upstaged and pushed to the back of the class.

However, it's Classic FM's first serious venture into the area of classical guitar music and with this in mind I think it's a well considered offering. It's not the `Ultimate' of course as the title claims - even a large collection of John Williams, Julian Bream and Andres Segovia wouldn't scratch the surface - but it does score well I think for its success at displaying the versatility of the instrument.

Obvious inclusions are Stanley Myers' `Cavatina' (made famous by the film The Deerhunter) but more interesting perhaps are the transcriptions, from piano, of pieces such as Einaudi's `Le Onde' and Satie's `Gymnopedie No. 3' which I think really show off the ability of the instrument to play a wide range of musical styles.

The recordings are good, as is usual of Classic FM products, and the range of guitarists - John Williams is of course included, but many lesser known players are also on offer - provides a variety of playing techniques.

While certainly not the `Ultimate', this is a highly recommended and entertaining collection.


Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


A must buy, 04 Mar 2007
I don't know much about classical music unlike the other reviewers for this CD. However, I was fortunate in that my mother bought me a record (remember them?) of Concertos no 1,3 and 5. You get

1. all 6 Brandenburg concertos beautifully played by English Chamber Orchestra. Normally albums of Bach's Brandenburg concertos only have three of the concertos. Having listened to a few of these, the quality of this CD is at least equal to those recordings in my opinion.

2. two additional concertos: the Concerto for Oboe, Violin and Strings and the Concerto for Flute and Strings. The first of these, as observed in the other reviews, is stunning.

I think this CD is fabulous to listen to and is a complete steal for the price.

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

Bach Concertos, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's music lies in his concerti, and naturally one wonders which recordings to buy with so much choice. I was totally struck by the performance of the concerti on this disc - I can honestly say that you need look no further, in particular for the recording of Bach's Concerto for Oboe and Violin. In a time and age where the question of baroque authenticity is rife, scholars, performers and music appreciaters have began to pose questions as to what one looks for in a performance, what is correct and incorrect and moreover, what makes a good performance. Timeless recordings like this answer these questions in no uncertain terms, and remind us that no amount of talking, philosophising and by-the-book reinventing of the past will substitute a truelly musically intuitive performance. Tess Miller and Carmel Kaine create something totally sublime - this disc is certainly one to own, even if only to hear this remarkable duo!

The very best, 13 Dec 2008
It's hard to get excited about this music, most of it played to death on Classic FM. However, the quality of the performances and the recordings are so exemplary I could enjoy these all over again.

Buy these even if you have the music already. You really owe your collection this CD.

Detail you just dont hear elsewhere!, 11 Oct 2007
One might have thought that the Ballet suites have been recorded too many times, for anyone to get excited about 'another' recording! In truth these are fabulous performances, with inner detail that I have to say I haven't heard in any other recordings! At an incredibly low price, I urge anyone thinking of buying a recording of the suites to look no further.
A superb cellist and wonderful conductor, golly how we will miss him!

Outstanding Tchaikovsky disc, 23 Oct 2003
Outstanding versions of Tchaikovsky’s three popular ballet suites. The Berlin Philharmonic is in glowing form and Mstislav Rostropovich on the rostrum sounds inspired as none else. Warmly and dynamically recorded, with plenty of orchestral detail, this thrilling disc may stand as a criterion from the analogue era.
If you only need the suites, or if you think this music no longer holds any surprises for you, this is the CD to go for. Highly recommended.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

A GREAT GUITAR COMPILATION, 04 Aug 2008
As the previous reviewer said, this is a great introduction to the world of classical guitar music. As usual with ClassicFM Cd's, the quality of the music on offer is superb, with a few well known pieces that have been arranged for the guitar; like Elgar's Nimrod etc.. As said before, if your new to this style, or you want something to just relax to, then you can't go wrong with this.

'My first classical guitar album', 28 Jun 2008

This Classic FM 2CD collection of classical guitar music was released at the same time as the Classic FM `Full Works' series of 50 separate CDs, so was slightly upstaged and pushed to the back of the class.

However, it's Classic FM's first serious venture into the area of classical guitar music and with this in mind I think it's a well considered offering. It's not the `Ultimate' of course as the title claims - even a large collection of John Williams, Julian Bream and Andres Segovia wouldn't scratch the surface - but it does score well I think for its success at displaying the versatility of the instrument.

Obvious inclusions are Stanley Myers' `Cavatina' (made famous by the film The Deerhunter) but more interesting perhaps are the transcriptions, from piano, of pieces such as Einaudi's `Le Onde' and Satie's `Gymnopedie No. 3' which I think really show off the ability of the instrument to play a wide range of musical styles.

The recordings are good, as is usual of Classic FM products, and the range of guitarists - John Williams is of course included, but many lesser known players are also on offer - provides a variety of playing techniques.

While certainly not the `Ultimate', this is a highly recommended and entertaining collection.


Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


A must buy, 04 Mar 2007
I don't know much about classical music unlike the other reviewers for this CD. However, I was fortunate in that my mother bought me a record (remember them?) of Concertos no 1,3 and 5. You get

1. all 6 Brandenburg concertos beautifully played by English Chamber Orchestra. Normally albums of Bach's Brandenburg concertos only have three of the concertos. Having listened to a few of these, the quality of this CD is at least equal to those recordings in my opinion.

2. two additional concertos: the Concerto for Oboe, Violin and Strings and the Concerto for Flute and Strings. The first of these, as observed in the other reviews, is stunning.

I think this CD is fabulous to listen to and is a complete steal for the price.

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

Bach Concertos, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's music lies in his concerti, and naturally one wonders which recordings to buy with so much choice. I was totally struck by the performance of the concerti on this disc - I can honestly say that you need look no further, in particular for the recording of Bach's Concerto for Oboe and Violin. In a time and age where the question of baroque authenticity is rife, scholars, performers and music appreciaters have began to pose questions as to what one looks for in a performance, what is correct and incorrect and moreover, what makes a good performance. Timeless recordings like this answer these questions in no uncertain terms, and remind us that no amount of talking, philosophising and by-the-book reinventing of the past will substitute a truelly musically intuitive performance. Tess Miller and Carmel Kaine create something totally sublime - this disc is certainly one to own, even if only to hear this remarkable duo!

The very best, 13 Dec 2008
It's hard to get excited about this music, most of it played to death on Classic FM. However, the quality of the performances and the recordings are so exemplary I could enjoy these all over again.

Buy these even if you have the music already. You really owe your collection this CD.

Detail you just dont hear elsewhere!, 11 Oct 2007
One might have thought that the Ballet suites have been recorded too many times, for anyone to get excited about 'another' recording! In truth these are fabulous performances, with inner detail that I have to say I haven't heard in any other recordings! At an incredibly low price, I urge anyone thinking of buying a recording of the suites to look no further.
A superb cellist and wonderful conductor, golly how we will miss him!

Outstanding Tchaikovsky disc, 23 Oct 2003
Outstanding versions of Tchaikovsky’s three popular ballet suites. The Berlin Philharmonic is in glowing form and Mstislav Rostropovich on the rostrum sounds inspired as none else. Warmly and dynamically recorded, with plenty of orchestral detail, this thrilling disc may stand as a criterion from the analogue era.
If you only need the suites, or if you think this music no longer holds any surprises for you, this is the CD to go for. Highly recommended.

Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff, with his primal rhythms and simple harmonic structure, probably breaks with stereotypes people may have about classical. The listener then gets an abrupt change of pace with luscious, delicate ballet melodies by Delibes, followed by all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio but embraces diverse styles ranging from Khatchaturian and Prokofiev to Bizet's the Pearl Fishers (opera) and Satie's Gymnopedie. Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in dynamic, living-tradition style, led by James Galway). Reviewer No. 2 is on target. This is a superb present for newcomers. More experienced listeners can relax and enjoy masterly programming of great classics, executed by fine performers and ensembles.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Long Live Classical Music, 12 Oct 2008

Classic FM has attempted to provide the classical music version of `rock anthems' to shake your head and punch the air to, an equivalent of Rainbow's `Long Live Rock 'n' Roll' anthem of the 1970's. Does it work? Yes of course it does because the Classic FM marketing team are in touch with the needs of today's classical music listeners.

The track list is comfortably predictable - Ride of the Valkyries (Wagner), Carmina Burana (Orff), Jupiter (from Holst's Planets), Pomp & Circumstance (Elgar's Land of Hope and Glory), A Night on a Bare Mountain (Mussorgsky) and many, many more.

Those `many more' include three outstanding performances - Alfie Boe's version of Nessun Dorma, David Garrett's virtuoso (and breathtakingly fast) violin performance of Flight of the Bumblebee, and a truly patriotic version of Rule, Britannia! by mezzo soprano Sarah Walker from the days when the Last Night of the Proms was bold enough to host a flamboyant, Union Flag clad woman displaying true unabashed patriotism.

Now THAT'S what I call an anthem, great stuff!


disappointing, 28 Aug 2008
I have a number of classic fm albums, and this one was the first real disappointment. Less of an 'anthem fest', more of an 'oh yes, that is not a bad tune'.

For me it is the audio equivalent of a film I saw many years ago called 'good guys wear black'. The advertising poster looked great - 6 scenes of excitinbg action portrayed. When I watched the film, they were the only scenes of any interest in the entire movie.

The adverts for this album were a bit like that for me.

A bit of a let down, but still good, 31 Jul 2008
Most of the material on this compiliation has already been included on other Classic FM CD's from the last 2 years. Also when you think of anthems, I think of uplifting, upbeat high tempo music, however this is none of these. However there is the odd track which comes pretty close to the mark.

Having said this, the compilation is not unlistenable, although prehaps a bit more thought could have been put into the song choices. In future I feel Classic FM is in danger of doing another "Zadok the Priest" with some of these songs by thrashing them to death in placing them in every single album. Prehaps some different, rarely heard classical music is required?

A GREAT GUITAR COMPILATION, 04 Aug 2008
As the previous reviewer said, this is a great introduction to the world of classical guitar music. As usual with ClassicFM Cd's, the quality of the music on offer is superb, with a few well known pieces that have been arranged for the guitar; like Elgar's Nimrod etc.. As said before, if your new to this style, or you want something to just relax to, then you can't go wrong with this.

'My first classical guitar album', 28 Jun 2008

This Classic FM 2CD collection of classical guitar music was released at the same time as the Classic FM `Full Works' series of 50 separate CDs, so was slightly upstaged and pushed to the back of the class.

However, it's Classic FM's first serious venture into the area of classical guitar music and with this in mind I think it's a well considered offering. It's not the `Ultimate' of course as the title claims - even a large collection of John Williams, Julian Bream and Andres Segovia wouldn't scratch the surface - but it does score well I think for its success at displaying the versatility of the instrument.

Obvious inclusions are Stanley Myers' `Cavatina' (made famous by the film The Deerhunter) but more interesting perhaps are the transcriptions, from piano, of pieces such as Einaudi's `Le Onde' and Satie's `Gymnopedie No. 3' which I think really show off the ability of the instrument to play a wide range of musical styles.

The recordings are good, as is usual of Classic FM products, and the range of guitarists - John Williams is of course included, but many lesser known players are also on offer - provides a variety of playing techniques.

While certainly not the `Ultimate', this is a highly recommended and entertaining collection.


Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


A must buy, 04 Mar 2007
I don't know much about classical music unlike the other reviewers for this CD. However, I was fortunate in that my mother bought me a record (remember them?) of Concertos no 1,3 and 5. You get

1. all 6 Brandenburg concertos beautifully played by English Chamber Orchestra. Normally albums of Bach's Brandenburg concertos only have three of the concertos. Having listened to a few of these, the quality of this CD is at least equal to those recordings in my opinion.

2. two additional concertos: the Concerto for Oboe, Violin and Strings and the Concerto for Flute and Strings. The first of these, as observed in the other reviews, is stunning.

I think this CD is fabulous to listen to and is a complete steal for the price.

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

Bach Concertos, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's music lies in his concerti, and naturally one wonders which recordings to buy with so much choice. I was totally struck by the performance of the concerti on this disc - I can honestly say that you need look no further, in particular for the recording of Bach's Concerto for Oboe and Violin. In a time and age where the question of baroque authenticity is rife, scholars, performers and music appreciaters have began to pose questions as to what one looks for in a performance, what is correct and incorrect and moreover, what makes a good performance. Timeless recordings like this answer these questions in no uncertain terms, and remind us that no amount of talking, philosophising and by-the-book reinventing of the past will substitute a truelly musically intuitive performance. Tess Miller and Carmel Kaine create something totally sublime - this disc is certainly one to own, even if only to hear this remarkable duo!

The very best, 13 Dec 2008
It's hard to get excited about this music, most of it played to death on Classic FM. However, the quality of the performances and the recordings are so exemplary I could enjoy these all over again.

Buy these even if you have the music already. You really owe your collection this CD.

Detail you just dont hear elsewhere!, 11 Oct 2007
One might have thought that the Ballet suites have been recorded too many times, for anyone to get excited about 'another' recording! In truth these are fabulous performances, with inner detail that I have to say I haven't heard in any other recordings! At an incredibly low price, I urge anyone thinking of buying a recording of the suites to look no further.
A superb cellist and wonderful conductor, golly how we will miss him!

Outstanding Tchaikovsky disc, 23 Oct 2003
Outstanding versions of Tchaikovsky’s three popular ballet suites. The Berlin Philharmonic is in glowing form and Mstislav Rostropovich on the rostrum sounds inspired as none else. Warmly and dynamically recorded, with plenty of orchestral detail, this thrilling disc may stand as a criterion from the analogue era.
If you only need the suites, or if you think this music no longer holds any surprises for you, this is the CD to go for. Highly recommended.

Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase.