| | Guitar Heroes / Lagq CD Los Angeles Guitar Quartet CDS
 (3 Customer Reviews)
| Category | Classical, Romantic Period, Chamber Music/Recitals, 20th Century Period, Enhanced CD, Opera, Song, Quartet, Super Audio, Operetta, Intermezzo, Zarzuela |
**Super Audio CD (SACD) Hybrid**
This CD will play in standard CD players.
A Super Audio CD player is required to take advantage of the SACD sound technology. Guitar Heroes / Lagq Music | List Price | $18.98 (You save $4.39) | | Label | Telarc Distribution | | Orig Year | 6/22/2004 | | All Time Sales Rank |  686  | | CD Universe Part number | 6745025 | | Catalog number | 60598 | | Discs | 1 | | Release Date | Jun 22, 2004 | | Mono/Stereo | Multi | | Recording Time | 1 1 | | Additional Info | SACD Hybrid |
Guitar Heroes / Lagq Music Guitar Heroes / Lagq Classical Review Average Rating: (4 out of 5 stars)  A fun surround experience
I first heard this CD in stereo and wasn't near as impressed as when I finally got in on my high res surround system. It was very fun hearing each player come from his own speaker. The arrangements for four players are very good and, of course, these players are magnificent. A keeper!
Submitted by fletcher2 (Mendocino, CA USA) 
Was This Review Helpful? Yes No Sound like old stereo but with four discrete channels
I knew Billy Kannengeiser when he was a teenager. He was a guitar prodigy then but I didn't think he'd become famous. He participated in a psychology experiment I did for graduate school. I'm wondering what ever became of his brother Steve who was a friend of mine. Getting back to Billy, I remember the time his band won the battle of the bands at Livingston High School. They played a famous "Yes" song and now I notice he's written a tribute to Steve Howe.
Submitted by sandyseeworld (Sandy Schantz - sandyseeworld@comcast.net)
Was This Review Helpful? Yes No A Novel Idea - and with the World's Best Instrument
O.K. Thanks to the late great Chet Atkins, I'm biased. I DO think that guitars properly played make some of the finest musical sounds around. In fact it was the last track, the Chet tribute, which made me buy the album. It's worth it for me on that one alone. The LACG's handling of his magic "Blue Ocean Echo/Country Gentleman" is so sweet and delicate - and dedicated,truly, to the maestro. The only reason that for me it doesn't make the five star category is maybe partly my own fault. Travelling from The Ventures (Still performing after 45 years...) through Chet to Doyle Dykes and Steven King means I search in vain here - if I want to be selfish (though I was close to high emotion with the Django track, too) This is a beautifully played set all through, though, and ANYONE with an interest in the sounds of the guitar - especially acoustic -should buy this and just sit back. Welldone, LACG, and hey, thought about doing some real Kentucky style finger pick together? Now THAT would have me with goosebumps on every track! Let's have a volume two, anyway. Excellent sound - of course, it's Telarc - on SuperAudio.
Submitted by i.d.lees (Kilmarnock, Ayrshire)
Was This Review Helpful? Yes No | Have you heard this album? |  |
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During his long life, Bach must have written and improvised thousands of fugues. For any occasion(secular or sacred), for any instrumentation (be it a single instrument or large ensemble), for compositions with or without text, the fugue was for him an invaluable vehicle to give shape to his inexhaustible inspiration. Was his musical output already an art of fugue by its compass and nature, his mastery and control over this form found its synthesis in a work called The Art of Fugue, or as its title reads in German: Die Kunst der Fuge.In this work Bach grouped together fugues and canons, all based on one theme. As such it stands next to other great mono-thematic works like the Goldberg Variations, Musikalisches Opfer and Einige Canonische Veränderingungen.Since Die Kunst der Fuge was published one year after Bach's death, the work is often connected with the last years of his life. A closer study of the history of the work reveals, however, a long genesis.In counterpoint studies written by Wilhelm Friedemann Bach and corrected by his father in the mid thirties of the 18th century, we find the first traces of the the-art-of-fugue-theme. During these years Bach developed more complex techniques of fugal writing in pieces he used for the 2nd part of Das wohltemperierte Klavier. In Die Kunst der Fuge, Bach combines the use of one theme for several fugues and canons and the complex techniques of fugal writing in a new work.Could his contemporary and colleague Johann Mattheson have challenged him to do so?In his book, Der Vollkommene Capellmeister (1739!), we find the following remark: 'Of double fugueswith three subjects, there is, as far as I know, nothing else in print but my own work… which I, out ofmodesty, would comment to no one. On the contrary, I would much rather see something of the same sort published by the famed Herr Bach in Leipzig, who is a great master of the fugue'. The appearance of a manuscript with the title 'Die Kunst der Fuga' (a title not written in Bach's handwriting but in that of his son in law, Johann Christoph Altnickol), of which the beginnings date from the early forties, maybe1742, does not exclude a connection between the two works.The relation between the two works is more apparent in Bach's use of the name Contrapunctus, for every single fugue. Mattheson applies the term exclusively to fugues and defines it literally as 'Gegensatz', a melody set against a theme ('Punkt' or 'Satz'). In this, the main attention of the content of the pieces shifts from the fugue as a form to its contrapuntal procedure.But the work was not finished with the completion of the manuscript. It may have even been so that, writing the fair copies of the last contrapuncti, Bach started to revise fugues that were already written out in the manuscript. By 1746 (the last section of the manuscript is ...
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