Beatles Go Baroque

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Beatles Concerto Grosso No. 1 (in the style of Handel) (more info)
Performed by: Peter Breiner Chamber Orchestra
Composed by: John Lennon Peter Breiner
Conducted by: Peter Breiner


1. She Loves You - A tempo giusto - 2:19
2. Lady Madonna - Allegro - 2:19
3. Fool On The Hill - Adagio - 2:46
4. Honey Pie - Allegro - 2:10
5. Penny Lane - Allegro - 3:39


Beatles Concerto Grosso No. 2 (in the style of Vivaldi) (more info)
Performed by: Peter Breiner Chamber Orchestra
Composed by: John Lennon Peter Breiner
Conducted by: Peter Breiner


6. A Hard Day's Night - 2:36
7. Girl - 2:31
8. And I Love Her - 3:06
9. Paperback Writer - 3:34
10. Help - 2:20


Beatles Concerto Grosso No. 3 (in the style of J.S. Bach) (more info)
Performed by: Peter Breiner Chamber Orchestra
Composed by: John Lennon Peter Breiner
Conducted by: Peter Breiner


11. The Long And Winding Road - Overture - 4:57
12. Eight Days A Week - Rondeau - 2:34
13. She's Leaving Home - Sarabande - 3:45
14. We Can Work It Out - Bourree - 2:02
15. Hey Jude - Polonaise - 4:22
16. Yellow Submarine - 1:51


Beatles Concerto Grosso No. 4 (more info)
Performed by: Peter Breiner Chamber Orchestra
Composed by: John Lennon Peter Breiner
Conducted by: Peter Breiner


17. Here Comes The Sun - 1:37
18. Michelle - 3:28
19. Goodnight - 3:12
20. Carry That Weight - 1:42

Reviews

A splendid time is guaranteed for all! (Nov 1, 2009)
Reviewer:Tym
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... 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. (read more)