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Gloryland Hybrid SACD - DSD, Import


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Audio CD, Hybrid SACD - DSD, Import, October 10, 2006
$19.99 $7.76

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
listen  1. I'm on my Journey HomeAnonymous 4 2:13$0.99  Buy MP3 
listen  2. An Address for All - Like Noah's Weary DoveAnonymous 4 4:19$0.99  Buy MP3 
listen  3. Wayfaring StrangerAnonymous 4 and Darol Anger 3:56$0.99  Buy MP3 
listen  4. Wayfaring Stranger (Instrumental)Darol Anger & Mike Marshall 1:37$0.99  Buy MP3 
listen  5. Where We'll Never Grow OldAnonymous 4 3:30$0.99  Buy MP3 
listen  6. EcstasyAnonymous 4 and Darol Anger 3:22$0.99  Buy MP3 
listen  7. The Wagoner's LadSusan Hellauer 2:48$0.99  Buy MP3 
listen  8. Mercy-SeatAnonymous 4 and Darol Anger 4:11$0.99  Buy MP3 
listen  9. Return AgainAnonymous 4 2:50$0.99  Buy MP3 
listen10. The Lost GirlAnonymous 4 and Darol Anger 3:51$0.99  Buy MP3 
listen11. PalmettoAnonymous 4 3:25$0.99  Buy MP3 
listen12. Pleading SaviourAnonymous 4 and Darol Anger 2:20$0.99  Buy MP3 
listen13. MerrickAnonymous 4 and Darol Anger 4:23$0.99  Buy MP3 
listen14. The Shining ShoreAnonymous 4 and Darol Anger 4:43$0.99  Buy MP3 
listen15. Saint's DelightAnonymous 4 and Darol Anger 3:58$0.99  Buy MP3 
listen16. Just Over in the GlorylandAnonymous 4 and Darol Anger 2:55$0.99  Buy MP3 
listen17. You Fair and Pretty LadiesMarsha Genensky 3:35$0.99  Buy MP3 
listen18. Parting Friends - Wayfaring StrangerAnonymous 4 and Darol Anger 2:42$0.99  Buy MP3 
listen19. Green PasturesAnonymous 4 and Darol Anger 3:55$0.99  Buy MP3 

Amazon's Anonymous 4 Store

Music

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Photos

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Biography

ANONYMOUS 4

RUTH CUNNINGHAM
MARSHA GENENSKY
SUSAN HELLAUER
JACQUELINE HORNER-KWIATEK

Renowned for their unearthly vocal blend and virtuosic ensemble singing, the four women of Anonymous 4 combine historical scholarship with contemporary performance intuition to create their magical sound. Celebrating their 25th anniversary during the 2011-12 season, the ensemble has ... Read more in Amazon's Anonymous 4 Store

Visit Amazon's Anonymous 4 Store
for 26 albums, 3 photos, videos, discussions, and more.

Product Details

  • Performer: Anonymous 4
  • Composer: William Walker, American Traditional, James C. Moore, Thomas W. Carter, William Houser, et al.
  • Audio CD (October 10, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Hybrid SACD - DSD, Import
  • Label: Harmonia Mundi Fr.
  • ASIN: B000H0MGUK
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (39 customer reviews)
  • Amazon Best Sellers Rank: #648,871 in Music (See Top 100 in Music)

Customer Reviews

I have another CD of their music.
Linda Witt
Incredibly beautiful voices singing hymns and spirituals in perfect harmonies.
Claude Lieber, MD
These were birthday gifts to her and she loves the music.
Amazon Customer

Most Helpful Customer Reviews

100 of 105 people found the following review helpful By P. Vogel on September 21, 2006
Format: Audio CD
This is another gorgeous set of music from Anonymous 4. However, these ladies do come from the classical rather than the vernacular tradition. If you're very committed to either performing style this album may not appeal to you.

As is often the case when classically trained singers sing gospel or popular songs or broadway, pitch and clarity of tone is more important to these singers than emotional commitment (though that's not absent). If you're from the folk side, you may find the performances too formal, even to the point where "all the tunes sound alike."

From the other side, people from a classical background may find the singer's adoption of some traditional phrasing and pronunciations off-putting (though it many cases it's necessary in order for the lyrics to scan). The same problem exists when singing songs from "Guys and Dolls": Do you correct the grammar or sing the words as written?. The two instrumentalists use a rougher tone than people used to classical music may find acceptable (though early-music enthusiasts will probably feel right at home).

In addition, the four singers don't sound close-miked. Instead, the miking creates a sense of space (as if the group was singing in a church or meeting hall). If you're used to the sound created by placing the microphones close to the singer's lips (more typical in recording modern singers) as opposed to a "cathedral-like" effect (more typical of recording classical choral music) the result can be distancing.

However, when traditions collide something new happens. It's hard to predict if the result will appeal to you (or whether you even feel the combination is worth doing).
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26 of 26 people found the following review helpful By L. Audell on December 7, 2006
Format: Audio CD
I purchased this CD after hearing the music contained within performed live in concert at Royce Hall on the UCLA campus. The evening was magical and the performance was enlightening.

By enlightening I refer to the fact that Anonymous 4 has some thing to say on this album about American music; and that is, that there is a thread that connects Medieval European music to early American music. Moreover the thread is religious in origin specifically relating to church choirs plying religious tunes to the faithful through the centuries.

In short this recording is best thought of as a church choir version of local old Appalachian Hymns. Albeit, with the most heavenly voices on the planet. No screechy overweight church sopranos here.

The blend and pitch is exquisite, the choice of tunes thoughtful and the accompaniment perfectly balanced to the voices (in concert it was mentioned that this recording was supposed to be "a cappella music with instruments").

I agree with the reviewer who stated that the use of far-miking is distracting to the recording. This was not the case when the group played in concert nevertheless the women all stood about three to four feet from the microphones.

This music is definitely not African-American spiritual music. A rendering by these musicians of that music would be awful indeed.
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20 of 20 people found the following review helpful By Axes Spinning on February 15, 2007
Format: Audio CD
I've been a fan of Anonymous 4 for years, and have seen them in concert. I also sing many of the songs included on the CD on a regular basis, for they come from a nineteenth century American, a cappella shaped-note songbook titled The Sacred Harp. Anonymous 4's haunting renditions turn these gritty, sometimes harsh harmonies into ethereal beauties, while taking away none of the intense essence that is Sacred Harp. A southern singer once said to me that Sacred Harp is "heavy metal music for country folk." Well, Anonymous 4 have taken that "heavy metal" and refined it into purest silver tones--silver tones that coat the common-metal core so important to this music, for it was and is music of the common people. If you enjoy shape-note music, early American music, Anonymous 4, or simply crave something different, I highly recommend this CD to you.
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5 of 5 people found the following review helpful By laguna_greg on July 17, 2008
Format: Audio CD
I'm completely in love with this album, both the performances and the music itself. I know there is a diversity of opinion about a group like Anonymous 4 performing music like this, and I can understand why. They don't do a typical "period" performance of the works, which usually comes out as dry as a stick and about as interesting (and yet still inaccurate somehow). But they also aren't ignoring what scholars have learned about performance practice either. They have managed to strike a balance between the two, and the performances come off as fresh, tasteful and engaging in a genre that has all but fallen off the map.

The music itself presents an interesting sound that will be largely unfamiliar to contemporary listeners. Many reviewers have remarked about the "raw" sound of some of the traditional shape note music, and they're not responding to the quality of the voices or lack thereof per se. Rather, this rawness comes from the compositional technique, namely, a preponderance of open intervals such as the fifth, fourth and octave, coupled with a modal-sounding avoidance of the 3rd and 7th degrees of the scale in the melodic lines. The first track is a typical example, and the sound here is open and raw because it's chock full of fourths, fifths, octaves and little else; the ringing effect is magnified by the group's consistently perfect intonation. These procedures are not modal in the strict sense, yet they do make one think of the Ars Antiqua of the 12th century and for the same reason. Compare that sound with track 9, "Return Again". This piece spends a lot of time emphasizing the interval of the third and the sixth, so it consequently sounds amazingly sweet and full in contrast.

Then there are the performances.
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