07.24.07
Fintan on Joe
Fintan O’Toole answers PROPERLY (unlike my effort) why this case got so much attention.
sub reqd so here’s the column
Everyone remembers, of course, the young mother who met a violent death in her own home in the Dublin commuter belt in 2004, and whose husband was subsequently charged with her murder. Who could forget the awful fate of Colleen Mulder, strangled to death in Dunshaughlin? Or that of Mamie Walsh, the Waterford mother of two, whose body was found in the boot of her car in August that year, covered in a bloodstained sheet and with a rope tied loosely around her neck?
At the trial of Samuel Jennings, who was found guilty of her murder, the members of her family who had been present when the car boot was opened said, in words of searing clarity: “How poor Mamie looked on the outside then is how we all feel on the inside now.” Or Dolores McCrea, a mother of four, whose burnt body was found at the back of her house in Co Donegal that same year? The murder trial of her husband heard that he had told his children he would rip his wife’s guts out and stab her.
Or, if you’re like me, you’ve forgotten all of these cases already. The initial reports on the violent deaths of these women were shocking. The trials were upsetting. But these events passed through the media mill in a more or less routine fashion. They gave us our little fix of horror and heartbreak, our regular reminder of the barbarism that can lie just under the surface of normality, and then we moved on.
In May, when the Court of Criminal Appeal ordered a retrial of the man who had been found guilty of Colleen Mulder’s murder, the news hardly made it into the “other court stories in brief” columns.
None of these women were less human than Rachel O’Reilly. None of their families, friends and neighbours were less devastated, horrified or appalled by their deaths than Rachel’s were. If motherhood is the special ingredient that turns a violent death into an epic media event, Colleen Mulder, Mamie Walsh and Dolores McCrea had it too.
If sheer awfulness is what makes us pay attention, these deaths had it in spades. So why did the murder of Rachel O’Reilly and the trial and conviction of her husband, Joe, become one of the biggest media events of recent years, while the other death and trials were treated as routine events? The only answer I can think of is a painful one for anyone who takes pride in the profession of journalism. The story became so big because the coverage was shaped by the killer.
If that seems like an over-dramatic claim, consider the account of the journalist who set the agenda, Mick McCaffrey, then a crime reporter with the Evening Herald .
In the Sunday Tribune , where he now works, McCaffrey described how, just weeks after Rachel’s murder, Joe O’Reilly “suggested showing the newspaper around the bungalow which he said was still covered in Rachel’s bloodstains”. McCaffrey already suspected that O’Reilly may have killed his wife. He subsequently understood O’Reilly’s behaviour as that of a psychopath getting a thrill from having everybody see him at the scene of his triumph. He “thought this was psychotic behaviour but as a journalist it was a fantastic story”.
His editors clearly thought so too. The Herald’s front page ran the strapline “Exclusive: Inside murdered Rachel’s dream home” and the banner headline “Blood marks spot where mum’s vicious killer struck”. Beneath a photograph of bloodstains on a wall, there is one of Joe O’Reilly sitting proudly in the middle of the room where he killed his wife.
It is like one of those now-repulsive pictures of a big-game hunter in a pith helmet with his rifle in his hands and his foot resting on the dead body of a tiger. In return for a “fantastic story”, journalism was feeding the monstrous ego of a psychopath.
It was also providing Joe O’Reilly with what may be the best grounds he has for an appeal. In a case that depended entirely on circumstantial evidence, and therefore on the willingness of the jury to read a pattern of guilt into disjointed fragments of suggestion and implication, it can be argued that the swathes of tendentious coverage fatally polluted the process of objective judgment.
Even if this proves not to be the case, it is impossible to argue that the media coverage as a whole has been in the public interest. Allowing a suspected killer to display his victim’s bloodstains is a “fantastic story” only because it panders to our craving for grotesque sensation. But this story went far beyond sensationalism. The Herald , and to some extent the Late, Late Show , allowed a killer to influence the reporting of his crime. Joe O’Reilly upped the ante and all the media, to one degree or another, played along.
He decided that he did not wish to be treated as a routine little thug, and we obliged by turning his squalid, banal evil into a national epic.
Even if he has lost the game, he will take a sickening satisfaction from his ability to decide how it was played.
P O'Neill said,
July 25, 2007 at 12:26 am
The RTE website is plugging their interviews with him. No signs of reconsideration there of whether they were used.
Adrian said,
July 25, 2007 at 2:29 pm
O’Toole, as usual, is right on the mark.
I agree with P O’Neill. I actually went to RTE’s website yesterday and started to watch the Late Late interview with O’Reilly. I watched for about a minute before deciding I wasn’t going to buy into this anymore and switched it off. The whole thing appealed to the voyeur in all of us and the tabloids are still milking it. The front page of The Sun yesterday had the headine: “Dark Lord Joe”. It had a picture of O’Reilly next to Darth Vader and the sub-head said that Joe like to dress up as his “evil” hero. Another tabloid said that he’s now peeling potatoes in prison. Jesus. Is this what passes for news in Ireland today?
Dave said,
July 25, 2007 at 3:39 pm
He has a point but it also has a lot to do with the trial being in July.
John of Dublin said,
July 25, 2007 at 4:36 pm
Yes, Fintan has put it perfectly. That was what caught me right from Joe’s first appearance in front of cameras at the press conference within a day of the murder.
Sarah said,
July 25, 2007 at 5:40 pm
but doesn’t it make you feel all grubby that he was the one leading it and managing it and everyone fell in behind him? And its only because of his sociopathic charachteristics that we know Rachel’s name and not the names of the other women who were murdered. We were complicit in his game…..
Niall said,
July 25, 2007 at 9:42 pm
Humans are pretty pathetic.
Fintan may be right, but the problem is that if the same thing happened again tomorrow, we’d do the same thing again.
Sarah said,
July 26, 2007 at 7:24 am
Yup! but you know that was a really good column because it exposed our own behaviour to us – we didn’t even know what we were doing….
Ray said,
July 26, 2007 at 8:46 am
Well, next time someone you don’t know is accused of killing someone you don’t know, in a case that doesn’t affect your life in any way, you could, perhaps, stop reading the coverage?
Sarah said,
July 26, 2007 at 9:22 am
indeed. I switched off Anton Savage earlier. Exploring even further derivatives of the case he played part of the Late Late Show interview and had on some american guy who was going to tell us how he knew he was lying. Given that half the bloody country knew I don’t know why we need an expert on the radio simply as another excuse to keep banging on about it.
Now I am listening to The Only Classical Album You’ll Ever Need. Great stuff, especially the The Pearlfishers. I love the way they describe the music. It lists the formal title followed by “made famous by the Hovis Ad”, “made famous by the movie Raging Bull”, “The Onedin Line”etc
I am just wondering why though, if its The Only Classical Album I’ll Ever Need, they produced The Only Classical Album You’ll Ever Need Volume 2?
Petula said,
July 26, 2007 at 12:54 pm
“but doesn’t it make you feel all grubby that he was the one leading it and managing it and everyone fell in behind him?”
Em no, not everyone fell in behind him. Although the Hearld ran big front page headlines about Joe O’Reilly ad nauseam, I wouldn’t dream of buying it so didn’t read about this case until it came to trial.
And while I might laugh at the doctored photo of him on the front of the Star peeling spuds, again wouldn’t buy it if my life depended on it. Ditto the Sun.
These tabloids – and the Indo and Mail come to think of it – are intent on dumbing us all down and shouldn’t be allowed into the house in my opinion! Thank heavens there are a few Fintan O’Tooles left because given the limited scope for talented young writers now, in a few years’ time, i’ll be all junk.
joseph said,
July 26, 2007 at 5:58 pm
“Now I am listening to The Only Classical Album You’ll Ever Need. Great stuff, especially the The Pearlfishers. I love the way they describe the music. It lists the formal title followed by “made famous by the Hovis Ad”, “made famous by the movie Raging Bull”, “The Onedin Line”etc”
Sorry Sarah, but I simply have got to wade in here.
Firstly, good music is good music and “classical” while a useful tag is often a bit intimidating or off putting for so many people. So much so that there can be a sort f inverted snobbery that takes place [Big mistake and big loss to such people who indulge such notions or instincts]
Nevertheless accepting this tag it would be well nigh impossible to find a piece of “classical music” that has been incorporated within a collection that was bad or even not very good.
From Bach to Beethoven or ravels Bolero its all good!
Now lets look at some specifics. Classical collections are virtually limitless in their variety and value, however if one wants a truly wonderful and representative collection that WILL ENRICH YOUR LIFE then you simply cannot
avoid adding to your collection the following: .
Classic Experience Volume 1-4: 8cd: Box Set
http://www.hmv.co.uk/hmvweb/displayProductDetails.do?ctx=12;3;27;-1&sku=531937
I am not exaggerating when I tell you that this collection will change your life!
[By how much is not so clear?]
I first bought this collection as tapes/cassettes, sometime starting around 1991 volume by volume as and when I cam across them at various airports or record stores in general.
What made this collection so fantastic was the beautiful illustrations and evocative iconic little drawings and the detailed little history about each and every track! Well after I eventually got all four of the volumes it was well and truly the age of the CD so now I have of course since bought all four volumes on CD which was well worth it.
Simply put this is a feast for your senses and I simply have never come across such a well put together and comprehensive collection that educates and inspires all in one.
ALMOST ALL OF THE VERY BEST OF ALL THE GREATS ARE THERE.
However an addition that is also well worth it, is:
“The No.1 Classical Album”
Which has such gems as
[CD 1]
Tracks
19 Romance from The Gadfly (shostakovich)
20 Zadok the Priest (handel)
[ CD 2]
Tracks
7 The Jazz Waltz 2 (my favorite) (shostakovich)
8 Symphony No 3 (Gorecki)
10 Blow The WInd (Pook)
Finally, If you then included
“Best Classical Album In The World Ever”
which crucially has Piano Concerto No. 21 In C-Mozart – which is not to be found in the CDs I mention thus far.
http://www.hmv.co.uk/hmvweb/displayProductDetails.do?ctx=12;3;27;-1&sku=336976
You could claim truly to have arguably no further need of any more Classical music [Though that would be a great pity].
In other words the collection of the three CDs I have listed pretty much covers almost all of the greatest and most popular classical music
Postscript
One other fantastic collection which is very hard to come, by but an all time great collection which really would complete having the “Ultimate” or “Definitive” Classical collection would be. “The Essential Classics” by a company called Star direct I think. I got them on cassettes back around 1990 1991-2 and it is a super collection with some really good /different versions of some well known tunes/pieces
To conclude, I defy you or anyone else [who actually like MUSIC] to not be bowled over by the collections I have mentioned, in particular the “CLASSIC EXPERIENCE” collection.
irishpancake said,
July 27, 2007 at 11:14 am
Hey there
go here
http://www.play.com/Music/CD/4-/532413/The-Complete-Classic-Experience/Product.html
and save yourself €14approx. for the same box set.
BTW, make sure you pay in £sterling, as their € prices are inflated
irishpancake said,
July 27, 2007 at 11:22 am
joseph
another link to Play.com just in case this is the Essential Classics you are looking for.
http://www.play.com/Music/CD/4-/127789/Essential-Classics-Collection/Product.html
tom said,
July 27, 2007 at 1:37 pm
I think I have got to wade in here myself.
Sarah, if you want to listen to (for example) Mozart’s 21st Piano Concerto, buy a CD of Mozart’s 21st Piano Concerto. This has the benefit of containing the entire piece rather than just the ’slow’ movement in the middle.
I cringe when I see these track listings. “Ode To Joy” by Beethoven. It means nothing without the context of the larger work around it, and if it’s the 3 minute ‘remix’ it’s actively obnoxious.
“In other words the collection of the three CDs I have listed pretty much covers almost all of the greatest and most popular classical music”
I’m afraid that isn’t quite true. It isn’t possible to put 400 years of musical tradition on three CDs and believe that it comes close to covering anything.
Yes I am a snob.
Sarah said,
July 27, 2007 at 2:22 pm
Tom, technically true BUT my problem would be that I don’t know that Mozart’s 21st Piano Concerto is that gorgeous piece of music used on X ad or in Y film. The ONLY CLASSICAL ALBUM BEST ONE IN THE WORLD EVER VOL 3 has the advantage of picking out those popular bits and serves an introduction. If I was any good I’d listen to it and then go on to buy the whole version of the CD. HOWEVER, I went to see Turandot in Verona. Nessun Dorma is the only decent aria in the whole thing. So the “best bits” CDs could actually be the best bits.
And btw Lyric don’t play any of them. Can’t we dumb down Lyric a bit? Half the time when I turn it on there is silence as one movement finishes and another starts. Sometimes I think the station is broken.And the pieces usually seem a bit weird. Except for the lunchtime request programmes which bug the hell out of me by announcing the dedication before AND after the piece. Its bad enough having to put up with cheerful felications to John and Mary in the car on the way to Clare in the traffic and the rain saying hello to Bridie, Tom, Jimmy and all the gang listening back at home in wherever cos its Bridie’s birthday and they’d love to be back with them but can’t because bla bla bla bla BLA ONCE, but TWICE, bloody hell.
John Kelly provides the oasis of calm one needs…
Gerry said,
July 27, 2007 at 2:36 pm
Tom I’m surprised at you. You can’t capture the majesty of
piano concert 21 on a CD! She should buy he sheet music and learn to play it herself or get one of her children to. Anyone who listens to “recordings” is rejecting the fact that Mozart wrote it for playing at home or in public but that each performance was unique and of the moment. He knew nothing of our modern ways. Listening to the CD is the equivalent of buying a plane ticket, flying to Vienna, finding his grave, digging it up, locating his skull and pissing in the eye socket. I thought you cared more for his music than that. I was wrong.
liam said,
July 27, 2007 at 2:49 pm
Mozart’s “Greatest Hits” is, without doubt, his best album.
joseph said,
July 27, 2007 at 3:14 pm
tOM tOM tOM
Oh such silly and pretentious nonsense! “I am a snob” No your an idiot with notions of grandeur.
There is nothing obnoxious about abridged versions of the great works of some of the best liked pieces of classical music, and in fact it is your very sort of mindset I was referring to when I was saying some people can be put off and intimidated by many of the associations of classical music plus some of the incredibly pompous and pretentious rubbish that often surfaces.
Fact is that there are many pieces of classical music that are indeed best when they are shrunk back down to a more digestible/absorb able size – often being better without the context your refer to.
People create their own context for music depending any amount of variables personal to themselves or a collective experience shared at a particular occasion/s.
The Mozart piece mentioned is one that I have several versions hardly any of which are less than 7-9 minutes while the ssme would be true for the Blue Danube by Strauss. Often the abridged versions are far better and very well done. The best version I ever heard of “the Thieving Magpie” by Rossini was the one used in the Film Kubrick film “Clockwork Orange”
Which I got in a the CD box set called “Music From the Kubrick Films” in Easons.
You are correct to say that it s impossible to have al the best classical music condensed down to just a few CDs BUT if one was to be looking for a collection that was an excellent representation of the best of these hundreds of years then the CDs I mentioned are as good as any collection you will ever find. Snobs in music usually is all about those peoples attitudes and ignorance and says nothing about the music itself.
Funnily enough the last time I did as you suggested and got a CD of the entire piece of work associated with a particular piece I found the whole Cd to be largely a bore comparatively speaking.
Then it was Polovtsian (Prince Igor) dances by Borodin that I wanted to get my hands on because so many of the times it was on a compilation it was cut to pieces whereas the long and fuller version [13 minutes in this instance -though I have been happy with 8 before) was so much better and required listening. Well I got a CD called “The World of Borodin” but sadly much of it was just pretty boring and I only ever have used the single 13 minute track for the Polovtsian dances.
THERE IS A REASON SOME MUSIC IS MUCH MORE POPULAR AND WE HAVE SUCH COLLECTIONS- YES IT CAN BE HIT AND MISS BUT STILL A LOT OF GREAT COLLECTIONS TO BE HEARD AND FOUND OUT THERE
Good music is good music!
And one of the best ways to discover much of it is by going out and getting
Classic Experience Volume 1-4: 8cd: Box Set
joseph said,
July 27, 2007 at 3:24 pm
“You can’t capture the majesty of
piano concert 21 on a CD! She should buy he sheet music and learn to play it herself or get one of her children to”
Your just wrong! and u need to get real!
Music can be enjoyed and appreciated any way people wish it to be so.
I most assuredly can appreciate the majesty of piano concerto 21 on CD! even if it would be even more delightful if I could play it myself with a full backing of the rte O or the London philharmonic O etc etc
Nothin wrong with the idea of Mozart’s greatest hits either. You can get Ennio Morricones best of hits, anytime in Easons so why not Wolfy Amo
tom said,
July 27, 2007 at 3:53 pm
Gerry – fair points.
Joseph – I’m going to have to assume you are taking the piss.
Sarah – I would make an exception for opera collections. Italian opera in particular is not so different from pop music and it can survive the pop music treatment. They are also a good way to collect recordings by singers you like without forking out €30 for every complete opera they ever recorded. So fair enough go for it.
On the broader question – music is just like art or literature, it isn’t necessarily supposed to be ‘easy’ or even beautiful. Sometimes it takes a bit of effort to understand it and appreciate it. I would have thought that was a given. And you wouldn’t go to see Macbeth at the theatre and not bother with Act 1 because “Act 2 is the best bit”.
Joseph said,
July 28, 2007 at 8:57 am
“Joseph – I’m going to have to assume you are taking the piss.”
Which is just a cowardly way to avoid having to say your wrong and then try brush over your awful attitude by making further silly comments.
Good music is good music.
People know what they like and they dont usually have to suffer or work to enjoy music! And they sure as hell do not need someone like you telling them how and when or why they should derive pleasure from LISTEN TO/APPRECIATE MUSIC
Gerry said,
July 28, 2007 at 9:50 pm
Joseph Joseph, If Amadeus had two one bullet i’m afraid it would be you first and Tom would be spared although next. e mail means we cannot see your face but yours is the most hilarious recommendation of classical music I have ever read
‘Which I got in a the CD box set called “Music From the Kubrick Films” in Easons.’
If this isn’t Leon it is worthy of him. My hat is off.
Joseph said,
July 29, 2007 at 8:22 am
Gerry Gerry Ger
Wonderful to know there are people who know the mind of a man who has been dead for a few hundred years!
While one can only guess as to why you would find it funny that anyone should merely suggest some EXCELLENT classical music compilations.
I stand over my suggestion of
Classic Experience Volume 1-4: 8cd: Box Set
Good music is good music
As for the reference to the CD Box set of Music From the Kubrick Films!
Here to I was pointing out that the abridged version of the “Thieving Magpie was as good a version as you will ever find.
As it happens in two of the Films featured on this box collection:
Barry Lyndon
Clockwork Orange
Have considerable use of classical music. They served asan excellent intoduction to pieces of music I had up to then either never heard or had not been familar with. These included:
Hohenfriedberger March
Piano Trio In E-Flat, (Second Movement)
Sarabande [easily one of the most powerful pieces of music ever]
The Cavatina From “Il Barbiere Di Siviglia”
March From Idomeneo
To name but a few.
I am not sure what your point is as you sinply make fun of someones suggestions without making a single one of your own.
“Popular” compilations are an excellent gateway into the world of “classical” music but the problem is that it is never quite correct to have such a tag if it is exclusive. In hundreds of years time, the likes of songs like “Paint it Black” “Dear Prudence” and countless other works by “popular” artists will doubtless be regarded as “classical” in a more broader sense.
As long as people enjoy listening to music then that is ultimately all that counts.
I repeat again
Good music is good music
Perhaps you can be so good as to tell us all, which from the list I give below, are not worthy of the highest admiration.
Joseph said,
July 29, 2007 at 8:25 am
* 1. Handel
Arrival of the Queen of Sheba
ASMF, Sir Neville Marriner 1984
* 2. Sibelius
Intermezzo from Karelia Suite
Bournemouth Symphony Orchestra, Paavo Berglund 1982
* 3. Ravel arr. Branca
Bolero
Frank Pourcel and his Orchestra 1971
* 4. JS Bach
Air ‘on the G String’
Halle Orchestra, Orwain Arwel Hughes 1984
* 5. Khachaturian
Adagio from Spartacus
Royal Philharmonic Orchestra, Yuri Temirkanov 1986
* 6. Gershwin arr. Grofe
Rhapsody in Blue
London Symphony Orchestra, Andre Previn 1986
* 7. Tchaikovsky
Dance of the Reed Flutes
Royal Philharmonic Orchestra, Andre Previn 1986
* 8. Tchaikovsky
Sugar Plum Fairy, Coda and Pas de Deux
Royal Philharmonic Orchestra, Andre Previn 1986
* 9. Grieg
Morning, from Peer Gynt
ASMF, Sir Neville Marriner 1983
* 10. Vivaldi
Opening from Spring, from The Four Seasons
Kennedy, English Chamber Orchestra 1988
* 11. Rachmaninov
Rhapsody on a Theme by Paganini
CBSO, Cecile Ousset, Simon Rattle 1984
* 12. Dvorak arr. Bates
Largo from the New World Symphony
London Philharmonic Orchestra, Zdenek Macal 1982
* 13. Elgar
Nimrod from the ‘Enigma’ Variations
London Symphony Orchestra, Sir Adrian Boult 1986
* 14. Massenet
Meditation from Thais
New Philharmonia Orchestra, Lorin Maazel 1977
* 15. Vaughan Williams
Fantasia on Grensleeves
Sinfonia of London, Sir John Barbirolli 1963
* 16. Pachelbel
Canon
ASMF, Sir Neville Marriner 1974
Joseph said,
July 29, 2007 at 8:25 am
* 1. Copland
Fanfare for the Common Man
Mexico City Orchestra, Enrique Batiz 1986
* 2. Rossini arr. Bates
William Tell Overture
The Philadelphia Orchestra, Riccardo Muti 1985
* 3. Wagner
Ride of the Valkyries
London Philharmonic Orchestra, Sir Adrian Boult 1980
* 4. Prokofiev
Montagues and Capulets from Romeo and Juliet
The Philadelphia Orchestra, Riccardo Muti 1982
* 5. Mussorgsky arr. Bates
Night on the Bare Mountain
Royal Philharmonic Orchestra, George Pretre 1963
* 6. Holst
Mars from The Planets
London Symphony Orchestra, Andre Previn 1986
* 7. J Strauss I
Radetzky March
The Strauss Orchestra of Vienna, Willi Boskovsky 1982
* 8. Tchaikovsky
1812 Overture
Oslo Philharmonic Orchestra, Mariss Jansons 1987
* 9. Prokofiev
Troika
London Symphony Orchestra, Andre Previn 1985
* 10. J Strauss II
The Blue Danube
The Strauss Orchestra of Vienna, Willi Boskovsky 1982
* 11. Boccherini
Minuet
ASMF, Sir Neville Marriner 1986
* 12. Mozart arr. Pourcel
Turkish Rondo
Franck Pourcel and his Orchestra 1961
* 13. Offenbach
Barcarolle
Studio Two Symphony Orchestra, Vilem Tausky 1969
* 14. Tchaikovsky
Waltz from Sleeping Beauty
The Philadelphia Orchestra, Riccardo Muti 1984
* 15. Mascagni
Intermezzo from Cavalleria Rusticana
Studio Two Symphony Orchestra, Vilem Tausky 1969
* 16. Tchaikovsky
Dance of the Little Swans
London Symphony Orchestra, Andre Previn 1985
* 17. Elgar
Pomp and Circumstance March No.1
London Philharmonic Orchestra, Vernon Handley 1981
Joseph said,
July 29, 2007 at 8:26 am
* 1. Orff
O Fortuna from Carmina Burana
Philharmonia orchestra and Chorus, Riccardo Muti 1980
* 2. Tchaikovsky
Scene from Swan Lake
Royal Philharmonic Orchestra, George Weldon 1960
* 3. Delibes arr. Bates
Flower Duet from Lakme
National Opera Orchestra, Alain Lombard, Mady Mesple, Danielle Millet 1971
* 4. Grieg
In The Hall of the Mountain King
Halle Orchestra, Sir John Barbirolli 1969
* 5. Bizet
Overture from Carmen
Opera Orchestra of Paris, George Pretre 1964
* 6. Bizet
Chanson boheme from Carmen
Opera Orchestra of Paris, George Pretre, Maria Callas 1964
* 7. Mozart
Rondo from Eine Kleine Nachtmusick
ASMF, Sir Neville Marriner 1977
* 8. Rossini
Largo al factotum from the Barber of Seville
Philharmonia Orchestra, Alceo Galliera, Tito Gobbi 1958
* 9. Mozart
Rondo from Horn Concerto No.4
ASMF, Sir Neville Marriner, Barry Tuckwell 1977
* 10. Albinoni arr. Giazotto
Adagio
ASMF, Sir Neville Marriner 1974
* 11. Tchaikovsky
Waltz of the Flowers from The Nutcracker
Royal Philharmonic Orchestra, George Weldon 1960
* 12. Beethoven
Fur Elise
Moura Lympany
* 13. Elgar
First Movement from Cello Concerto
London Symphony Orchestra, Sir John Barbirolli, Jacqueline du Pre 1965
* 14. Faure
Pavana
French National Radio Orchestra, Sir Thomas Beecham 1961
* 15. Delibes
Pizzicati from Sylvia
New Philharmonia Orchestra, Sir Charles Mackerras 1970
* 16. Satie
Gymnopedie No.3
CBSO, Louis Fremaux 1974
* 17. Puccini
Nussun dorma from Turandot
Philharmonic Orchestra of Strasbourg, Alain Lombard, Jose Carreras 1978
* 18. Barber
Adagio for Strings
The Philadelphia Orchestra, Eugene Ormandy 1985
* 19. Puccini
O Mio Babbino Caro from Gianni Schicchi
London Symphony Orchestra, Sir Charles Mackerras 1970
Joseph said,
July 29, 2007 at 8:26 am
* 1. Handel
Alla Hornpipe from the Water Music
Royal Philharmonic Orchestra, George Weldon 1961
* 2. Vivaldi
Summer from the Four Seasons
Kennedy, English Chamber Orchestra 1989
* 3. JS Bach arr. Bates
Sleepers’ Wake
South German Madrigal Choir and Consortium Musicum, Wolfgang Gonnenwein 1969
* 4. Beethoven arr. Bates
Shepherds’ Hymn from the Pastoral Symphony
The Philadelphia Orchestra, Riccardo Muti 1988
* 5. Waldteufel arr. Bates
The Skater’s Waltz
Monte Carlo Opera Orchestra, Willi Boskowski 1976
* 6. JS Bach
Badinerie from Suite No.2
ASMF, Sir Neville Marriner 1985
* 7. Verdi
La Donna e Mobile from Rigoletto
Orchestra of Rome Opera House, Francesco Molinari Pradelli, Nicholai Gedda 1968
* 8. Mozart
Rondo from A Musical Joke
Philharmonia Orchestra, Guido Cantelli 1957
* 9. Ravel
Daybreak from Daphnis and Chloe
London Symphony Orchestra, Andre Previn 1982
* 10. Vaughan Williams
First Movement from Symphony No.6
New Philharmonia Orchestra, Sir Adrian Boult 1967
* 11. R Strauss
Sunrise from Also Sprach Zarathustra
London Philharmonic Orchestra, Klaus Tennstedt 1990
* 12. Wagner
Prelude to Act III of Lohengrin
New Philharmonia Orchestra, Sir Adrian Boult 1971
* 13. Holst
Jupiter from The Planets
New Philharmonic Orchestra, Sir Adrian Boult 1967
* 14. Tchaikovsky arr. Bates
Romeo and Juliet
London Symphony Orchestra, Andre Previn 1973
* 15. Rossini arr. Bates
The Thieving Magpie
Philharmonia Orchestra, Carlo Maria Giulini 1965
* 16. Tchaikovsky arr Bates
Excerpts from the Pathetique and Manfred Symphonies
Philharmonia Orchestra, Riccardo Muti 1980
* 17. Sibelius
Finlandia
Halle Orchestra, Sir John Barbirolli 1966
Joseph said,
July 29, 2007 at 8:27 am
* 1. Dvorak arr Bates
Symphony No.9
Oslo Philharmonic Orchestra, Mariss Jansons 1989
* 2. Smetana
Vltava from My Country
Staatskapelle Dresden, Paavo Berglund 1979
* 3. Rossini arr. Bates
The Barber of Seville Overture
Philharmonia Orchestra, Riccardo Muti 1980
* 4. Verdi
Brindisi from La Traviata
Alfredo Kraus, Renata Scotto, Ambrosian Opera Chorus, Philharmonia Orchestra, Riccardo Muti 1982
* 5. J Strauss II arr, Bates
Die Fledermaus Overture
Munich Radio Orchestra, Placido Domingo 1986
* 6. Mendelssohn arr. Bates
Symphony No.4 ‘Italian’
Berlin Philharmonic Orchestra, Klaus Tennstedt 1980
* 7. Tchaikovsky
Tea (Chinese Dance) from The Nutcracker Ballet
Royal Philharmonic Orchestra, Andre Previn 1986
* 8. Chopin
Minute Waltz
Dimitri Alexeev 1985
* 9. Mozart arr. Bates
Symphony No.40
ASMF, Sir Neville Marriner 1987
* 10. Elgar
Chanson de Matin
London Philharmonia Orchestra, Sir Adrian Boult 1977
* 11. Rodrigo
Adagio from Concierto de Aranjuez
Angel Romero, London Symphony Orchestra, Andre Previn 1977
* 12. Elgar
Symphony No.1
London Philharmonic Orchestra, Sir Adrian Boult 1977
* 13. Villa-Lobos
Aria (Cantilena) from Bachianas Brasileiras No.5
Barbara Hendricks, Royal Philharmonic Orchestra, Enrique Batiz 1986
* 14. Bizet arr. Bates
In the Depths of the Temple from The Pearl Fishers
Ernest Blanc, Nicolai Gedda, Paris National Theatre Orchestra, Pierre Dervaux 1961
* 15. Debussy
Clair de Lune from Suite Bergamasque
Daniel Adni 1972
* 16. Leoncavallo
Vesti la Giubba from Pagliacci
Jose Carreras, Philharmonia Orchestra, Riccardo Muti 1978
* 17. Verdi
Va Pensiero (Chorus of the Hebrew Slaves) from Nabucco
Ambrosian Opera Chorus Philharmonia Orchestra, Riccardo Muti 1978
* 18. JS Bach
Sleep May Safely Graze
ASMF, Sir Neville Marriner 1984
Joseph said,
July 29, 2007 at 8:27 am
* 1. Beethoven
Piano Concerto No.5 ‘Emperor’
Emil Gilels, The Cleveland Orchestra, George Szell 1968
* 2. Mendelssohn
The Hebrides
London Symphonic Orchestra, Andre Previn 1979
* 3. Rimsky-Korsakov
The Young Prince and The Young Princess from Scheherazade
The Philadelphia Orchestra, Riccardo Muti 1983
* 4. Prokofiev
Peter and the Wolf
London Philharmonic Orchestra, Sian Edwards 1990
* 5. Bizet
Farandole from L’Arlesienne
Philharmonia Orchestra, Herbert von Karajan 1959
* 6. Tchaikovsky
Trepak (Russian Dance) from The Nutcracker
Royal Philharmonic Orchestra, Andre Previn 1986
* 7. Luigini
Ballet Egyptian
Royal Philharmonic Orchestra, Anatole Fistoulari 1959
* 8. Rimsky-Korsakov
The Flight of the Bumble Bee
ASMF, Sir Neville Marriner 1987
* 9. Ponchielli
Dance of the Hours
Sinfonia of London, Robert Irving 1961
* 10. Khachaturian
Sabre Dance from Gayaneh
London Symphony Orchestra, Aram Khachaturian 1977
* 11. Dukas
The Sorcerer’s Apprentice
Oslo Philharmonic Orchestra, Mariss Jansons 1990
* 12. Stravinsky
The Rite of Spring
The Philadelphia Orchestra, Riccardo Muti 1979
* 13. Chabrier
Espana
The Philadelphia Orchestra, Riccardo Muti 1980
* 14. Tchaikovsky
Italian Caprice
Philharmonia Orchestra, Paul Kletzki 1959
* 15. Beethoven
Symphony No.9 ‘Choral’
James Morris, The Westminster Choir, the Philadelphia Orchestra, Riccardo Muti 1988
Joseph said,
July 29, 2007 at 8:28 am
* 1. Tchaikovsky
Violin Concerto
Christian Ferras, Philharmonia Orchestra, Constantin Silvestri 1958
* 2. Sibelius
March (alla marcia) from Karelia Suite
Halle Orchestra, Sir John Barbirolli 1966
* 3. Verdi
Anvil Chorus from Il Trovatore
Ambrosian Singers, Philharmonia Orchestra, Riccardo Muti 1986
* 4. Berlioz
Hungarian March from The Damnation of Faust
Philharmonia Orchestra, Herbert von Karajan 1959
* 5. Prokofiev
Finale from Classical Symphony
London Symphony Orchestra, Andre Previn 1978
* 6. Delibes
Waltz from Coppelia
New Philharmonia Orchestra, Sir Charles Mackerras 1970
* 7. Catalani
Ebben? Ne andro lontano from La Wally
Ghena Dimitrova, Munich Radio Orchestra, Lamberto Gardelli 1984
* 8. Liszt
Hungarian Rhapsody No.2
Philharmonia Orchestra, Herbert von Karajan 1959
* 9. Grieg
Piano Concerto
Cecile Ousset, London Symphony Orchestra, Sir Neville Marriner 1985
* 10. Beethoven
Turkish march from The Ruins of Athens
Philharmonia Orchestra, Efrem Kurtz 1960
* 11. Wagner
The Flying Dutchman Overture
London Philharmonic Orchestra, Sir Adrian Boult 1973
* 12. Smetana
Dance of the Comedians from The Bartered Bride
Royal Philharmonic Orchestra, Rudolf Kempe 1960
* 13. Verdi
Force of Destiny Overture
Orchestra of La Scala Milan, Riccardo Muti 1987
* 14. Britten
Young Person’s Guide to the Orchestra
Minnesota Orchestra, Neville Marriner 1983
* 15. Mussorgsky
Promenade and The Great Gate of Kiev from Pictures at an Exhibition
The Philadelphia Orchestra, Riccardo Muti 1978
Joseph said,
July 29, 2007 at 8:33 am
No I dont have shares in the makers/producers of these CD collections!
Just a passion for good music and as I said before I defy anyone to say this is a bad selection. Does it have everything? NOPE!
But it is a darn good overview from which to learn even more.
Joseph said,
July 29, 2007 at 8:49 am
Curiously enough I notice that Fintan O Foolish [I like and often agree with him but sometimes he is just a fool!] had another interesting piece in the Irish Times about the Roma people within Europe and some related issues. he mentioned a story involving Franz Lizt and this caught my attention because the collection I suggested has within it
” 8. Liszt Hungarian Rhapsody No.2
Philharmonia Orchestra, Herbert von Karajan 1959″
The notes on the jacket for this CD go on to say the following
“Lizt grew up in a part of western Hungary surrounded by Gipsy encampments. In later life he visited them and studied their music. This spectacular showpiece embodies all the danger,color,gaudy excitment and noisy abandon of genuine gipsy music and does indeed incorporate several authentic tunes”
The point being that music be it classical or otherwise is at the end of the day music and is not some narrow field exsiting all on its own.
How amusing to think that the great LIZT studied their music! Well why wouldnt he if it was any good? Evidently it was and had some “classical” value!
Gerry said,
July 30, 2007 at 1:46 pm
what do you think of the argument that the composer wrote (in most cases) a complete work and that to listen to it ‘properly’ you should listen to the whole piece?
It is the equivalent of reading one of those Penguin 70 page extracts and saying you have read the best bit of Catch 22 and never reading the book.
Have you used these compilation CDs as gateways into the main pieces or just left it at enjoying the Hamlet ad music? Not that there is anything wrong with that – I have just never come across anyone recommending music in the way you have without joking. It’s very refreshing .
The Crewser said,
July 30, 2007 at 3:12 pm
The light hearted banter is all very fine but somebody’s life was ended and that is a serious matter. I find it absolutely unacceptable that after the decision has been handed down, the vultures in the tabloid media here and in some broadsheets also are hounding people who were involved as witnesses in the trial. There was a time when this type of thing would happen in the UK but now it seems our lot are determined to win the race to the bottom when it comes to gutter journalism. Some controls are called for as a matter of urgency to cutail what we have witnessed in sections of the media over the last week and particularly this past weekend.
tom said,
July 30, 2007 at 3:20 pm
Don’t knock it Gerry, ‘Bates’ is a top class arranger and I am sure Beethoven’s music is immeasurably improved thanks to his input.
“Arranging” Beethoven is like re-writing Shakespeare.
Gerry said,
July 30, 2007 at 5:16 pm
Bates is good Tom, I’ll grant you. But for me the Gibb’s work on Saturday Night Fever with a Fifth of Beethoven actually surpasses the original. Beethoven could write a tune but try dancing to it.
Sarah said,
July 30, 2007 at 6:25 pm
LOL. Great Gerry.
Personally I’m still coping with Joseph’s hit list.
Also I’ve discovered Country Mix 106.8 where they play songs like Islands in the Stream. That cheered me up no end. It’s such a shame I can’t sing. You wouldn’t be able to keep me away from the kariokes….