Search - Peter Breiner, Peter Breiner Chamber Orchestra :: Beatles Go Baroque

Meh

David Rysdam | Milford, NH United States | 02/01/2003

(3 out of 5 stars)

"I listened to the samples online and it sounded intriguing. But the actual album is kind of bland. It has none of the pop of the Beatles themselves. Good generic classical music, though."

A WELL ESTABLISHED TRADITION

Richard | Blackpool England | 04/30/2004

(5 out of 5 stars)

"The Beatles had hardly been going for 5 minutes before the Liverpool chamber group led by Fritz Speigl decided to put out a Baroque piece called "Eine Kleine Beatlesmusik" plus another called "The Beatlecracker Suite" and this was before the Americans had a go via Joshua Rifkins's "Baroque Beatles Book" on the Nonesuch label (which included the "Last Night I said..." Canata.
Fact is if you plough through the Goldberg Variations of Bach you will discover one that plays the first 6 notes of "She loves you" in exactly the same rhythm!!!"

A splendid time is guaranteed for all!

Tym S. | San Francisco, CA USA | 11/02/2009

(4 out of 5 stars)

"This baroque take on The Beatles arranges concerto medleys in the styles of Handel, Vivaldi, Bach, and Corelli.



The Handel-style concerto is most effective in "Fool on the Hill", which has a slower and more stately pace now, winding wayward through contemplation. And the surprise pick "Honey Pie" turns the Victrola-era croon of the original into languid cello leads that suddenly spring into lively strings in alternation.



The Vivaldi medley surges in with a strong "A Hard Days' Night", followed by the wild card "Girl", with it's lovely lead violin. "And I Love Her" is as graceful and intimate a confession as you'd want, while "Paperback Writer" sways in as an unexpected waltz. The zesty closer "Help" bursts in with driving urgency that thrills, and a lovely clavichord trills through its middle. (A nice echo of the similar move in The Beatles' "In My Life", played by producer George Martin).



The Bach section strides in with the unexpected "Eight Days a Week", then gives "She's Leaving Home" the reverent and layered formality of a rondeau, capturing the stunned and hurt parents from the original lyric. "Yellow Submarine" is of course upbeat but the sudden group shout of "Hey!" in the middle makes it even more fun.



The last medley, in modes akin to Corelli, turns "Here Comes the Sun" into a delightful dialogue of bright string sections, almost tripping over each other in excited response. To close out their ambitious 'White Album', The Beatles had written "Goodnight" as a spoof of schmaltzy string arrangements. Here, arranger Peter Breiner converts that over-the-top wink into a simple and understated beauty that honors the great lullaby melody.



The liner notes referring to original Beatles song releases are thorough but flawed: CDs get credited as LPs, reissues as first printings, and John Lennon is assumed as author of "Paperback Writer" instead of Paul McCartney. But Breiner has done a fine, thoughtful addition to the growing canon of great baroque Beatles albums."