Just For Now [Live]
Editorial Reviews
Album Description
Recorded live in 1975 and unreleased until now, this moving session by jazz singer Irene Kral offers up some of her most heartfelt renditions of many tunes associated with Irene over the years, plus a few surprises not recorded before. This wonderful live recording was performed at The Catamaran Hotel in San Diego, California and features Irene Kral with Mike Wofford on piano, Bob Magnusson on bass, and Tony Morillo on drums. "Yet she remained an insiders favorite. Singing in a clear, diamond-hard voice, she offered a dose of the truth: love stories with no lacey trimmings, torch songs without self-pity, impeccably sculpted into neat vocal packages. Stereo Review critic Peter Reilly would call her singing "as classically pure and humanly radiant as a Renoir painting ... as fine and lasting as an Hermès wallet or a Rolls-Royce car." "But in 1975, when she made the splendid live recording you now hold, Kral was a Van Nuys housewife in the midst of a grueling battle with cancer." "But when Kral died at forty-six on August 15, 1978, no one could say she hadnt fulfilled her musical promise. This CD, culled from four performances at the Catamaran, a San Diego jazz spot, is Irene Kral at her peak." -James Gavin, New York City, 2003 [James Gavin is the author of Deep in a Dream: The Long Night of Chet Baker, published in 2002 by Knopf.]
Just For Now, Music, Irene Kral, Ballads, Jazz, Jazz Vocals, Never Before Released live recording from 1975 of jazz vocalist legend Irene Kral and a great rhythm section including Mike Wofford on Piano and Bob Magnusson on Bass., Pop, Traditional Pop, Vocal Jazz
Average customer rating:
- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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ASIN: B00006O0NT
Release Date: 2002-12-03 |
Tracks:
- Overture To 'Tannhauser'
- Domna, Pos Vos Ay Chausida
- We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
- Hungarian Dance No.7
- The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
- Violin Concerto In D Major (Adagio)
- But For A Long Time It Was Seen As The Instrument Of The Devil.
- The Soldier's Tale: Triumphal March Of The Devil
- The Manipulative Seductiveness Of The Gypsy Violin.
- Csardas Music
- The Violin And The Initiation Of Nature
- The Four Seasons (Spring, Mvt 1)
- Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
- The Four Seasons (Summer, Mvt 1)
- Like The Devil, The Violin Is A Master Of Disguise.
- Old Viennese Dance No.3 'Schon Rosmarin'
- The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
- Tzigane
- Do We Now Have The True Measure Of This Instrument? Not Just Yet.
- Caprice No.24
- The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
- Variations On A Theme Of Frank Bridge (No.7)
- Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
- Romeo And Juliet: Act IV
- Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
- The Four Seasons (Winter, Mvt 1)
- The Violin Muted
- Clair De Lune
- The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
- Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
- The Pizzicato Violin
- Pizzicato Polka
- In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
- Violin Concerto No.2 In G Minor (Slow Mvt)
- Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
- The Planets (Mars - The Bringer Of War)
- The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
- Hungarian Dance No.4
- Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
- The Four Seasons (Autumn, Mvt 1)
- Now The Same Technique, But The Sound Might Have Come From Another World.
- Bolero
- Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
- Cadenza To The Violin Concerto By Brahms
- Now Compare That With A Real Violin Duet.
- Forty-Four Duos (No. 1: Teasing Song)
- Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
- Forty-Four Duos (No.2: Maypole Dance)
- And Now What May Be The Most Beautiful Accompanied Violin Duet In History
- Concerto In D Minor For Two Violins (Largo)
- The Soul Of The Violin Is In Song; But What About This Weird Passage?
- Violin Concerto No.1 In D Major (Mvt 2)
- The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
- Symphony No.1 'Titan' (Mvt 1, Opening)
- Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
- The Sleeping Beauty (Act II, No.15: Entr'Acte)
- Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
- The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
- Also Sprach Zarathustra (Of The Afterworldsmen)
- Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
- Variations On A Theme Of Frank Bridge (No. 4)
- Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
- Four Sea Interludes (Dawn) From 'Peter Grimes'
- To End This Outing With The Violins, A Charming Little Elfin Dance
- Elfenreigen
Tracks:
- Introduction To The Viola
- Viola Concerto (Mvt 1)
- Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- Gayane Suite No.1 (Armen's Solo)
- Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- Passacaglia, Op.33b From 'Peter Grimes'
- The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
- Harold In Italy (Mvt 4)
- The Muted Viola: Intimate, Gentle, Poignant In Dvork
- Cypresses (No.9)
- The Massed Violas Of The Modern Symphony Orchestra In Mahler
- Symphony No.4 (Mvt 3)
- The 'Period' Viola In Bach
- Brandenburg Concerto No.6 (Last Mvt)
- The Cello: A Voice Of Unique Nobility
- Suite No.1 For Unaccompanied Cello (Prelude)
- Brahms And The 'Soul' Of The Cello
- Piano Concerto No.2 In B Flat Major (Mvt 3)
- Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- Symphony No.3 'Eroica' (Finale)
- But The Cello Is Not Condemned To Spend Its Life In The Basement.
- Elfentanz, Op.39
- Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- The Protecting Veil (Opening)
- A Cello With An Identity-Crisis: The Pizzicato Flamencan
- Flamenco
- Double-Stopping In The Lower Reaches Of The Cello's Range
- Solo Suiet For Cello And Piano (Sardana)
- It's In The Middle Register That The Cello Really Comes Into Its Own.
- Oriental Dance, Op.2 No.2
- It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
- Symphony No.9 (Finale)
- Introduction To The Double-Bass
- The Carnival Of The Animals (The Elephant)
- But The Double-Bass Can Be Intensely Expressive And Graceful.
- Elegy No.1 In D Major
- The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
- Capriccio Di Bravura
- Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
- The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
- Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Tracks:
- The Antiquity And Magic Of The Flute
- Prelude A L'Apres-Midi D'Un Faune
- The Versatility And Agility Of The Flute
- Orchestral Suite No.2 In B Minor (Badinerie)
- The Flute In Fifteenth-Century Spain
- Sa'Dawi
- Other Flutes: The Bass And Alto
- Chamber Music No.II
- The Piccolo - Aptly Named
- La Naissance D'Osiris (Mvt 6)
- From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- Suite No.1 For Small Orchestra (Valse)
- A Variety Of Techniques
- Chamber Music No.II
- Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- The Nutcracker (Act II, No.2: Scene)
- From The Transverse To The Vertical: The Baroque Recorder
- Recorded Suite In A Minor (Menuet II)
- An Unfamiliar, Early Vision Of The Instrument
- Naelden, Naelden
- The Bachian Oboe
- Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- Introduction To The Cor Anglais Or 'English Born'
- Symphony No.9 'From The New World' (Mvt 2)
- The Loneliness Of The Cor Anglais
- The Swan Of Tuonela
- The Cor Anglais Joins The French Horn In Haydn.
- Symphony No.22 'The Philosopher' (Opening)
- Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- Bolero
- The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- Gayane Suite No. 1 (Mvt 5)
- The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- The Range Of The Normal Clarinet Parts Goes Quite High...
- The Snow Maiden (Scene 5: Melodrama)
- ...And Quite Low.
- Peter And The Wolf (The Cat)
- The Clarinet As Concerto Soloist
- Clarinet Concerto In A Major (Rondo)
- But That's Not The Instrument Mozart Wrote It For; This Is:
- Clarinet Concerto In A Major (Rondo)
- Introduction To The Saxophone
- Hary Janos Suite (Mvt 4)
- The Soprano Saxophone Has Quite A Different Feel To It.
- L'Arlesienne Suite No.1 (Minuet)
- The Little Sopranino Sax Goes Even Higher.
- Bolero
- The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- Pictures At An Exhibition (The Old Castle)
- The Saxophone Can Be Quite Contagiously Good-Humoured.
- Sax-O-Phun
- The Puffa-Puffa Image Of The Bassoon
- Peter And The Wolf (Grandfather)
- The Bachian Bassoon, In Accompanimental Mode
- Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- And Ravel, Also In Spanish Mode, Does Likewise.
- Bolero
- The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- Symphony No.3 (Opening)
- The Eerie Bassoon In Its Highest Register
- The Rite Of Spring (Opening)
- Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- The Firebird Suite (1919, Berceuse)
- The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- Bassoon Concerto In G Minor (Finale)
- The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- The French Horn Under Its Woodwind Hat
- Wind Quintet, Op.43 (Last Mvt)
- Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- The Horn In Harmonious Blend With Strings In Another Quintet
- Horn Quintet, K.407 (Finale)
Tracks:
- The Trumpet As Virtuoso Soloist
- Brandenburg Concerto No.2 (Last Mvt)
- The Special Brillance Of Paired Trumpets
- Concerto In C For Two Trumpets, RV537 (Mvt 1)
- The Ceremonial Trumpet
- Fanfare For The Common Man
- Trumpets And Drums - An Incomparable Alliance
- Messiah (The Trumpet Shall Sound)
- The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- Piano Concerto In F (Slow Mvt)
- The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- Carmen Suite No.2 (Habanera)
- The Trumpet As The Voice Of Strength And Courage
- Carmet Suite No.2 (Toreador's Song)
- The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- Billy The Kid
- The Trumpet As Character Actor
- Pictures At An Exhibition (No.6)
- The Trumpet As The Voice Of God
- Mass In B Minor ('Et Exspecto')
- The Birth Of The Trombone
- Aenmerckt Nu Hier
- The Birth Of The Brass As A Family
- Canzon 12 In Double Echo
- The Trombone In The Eighteenth Century
- Trombone Concerto In B Flat Major (Finale)
- The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- Hosannah
- The Trombones Become Part Of The Orchestra.
- Symphony No.5 (Finale)
- The Wagnerian Trombone:/Overture To 'Tannhauser'
- The Trombone As Caricaturist
- Pulcinella (No.19: Vivo)
- The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- The Horn And The Hunt
- Horn Concerto No.4 In E Flat, K.495 (Finale)
- The Challenging Horn Of The Baroque
- Abaris Ou Les Boreades (Menuet)
- The Scarcity Of First-Rate Players In Handel's Time
- Walter Music (Minuet 1)
- The Horn As Magician/The Firebird Suite (1919, Finale)
- Horns And The Sound Of Nobility
- Overture To 'Tannhauser' (Opening)
- The Special Sound Of The Horn In Its Higher Register
- Mass In B Minor ('Quoniam Tu Solus Sanctus')
- The Trumpet-Like Sound Of Massed Horns
- Symphony No.3 (Mvt 1, Opening)
- The Tuba - Unfairly Maligned?
- Symphony No.6 (Mvt 3)
- The Tuba Perfectly Cast By Ravel
- Pictures At An Exhibition (Bydlo)
Tracks:
- Introduction. And We Begin With A Bang.
- Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- At The Opposite Extreme Is The Triangle.
- Piano Concerto No.1 In E Flat (Scherzo)
- Categories Of Percussion: Tuned And Untuned. The Side Drum
- Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- The Tambourine. One Of The Oldest Instruments In The World
- Den Hoboecken Dans
- Even Older Is The Originally Oriental Gong.
- Ma Mere L'Oye - Mother Goose (Laideronette)
- No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- Gymnopedie No.2
- The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- Rodeo (Hoe-Down)
- Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- Scherzi Musicali (Damigella Tutta Belle)
- A Still Earlier Example From Fifteenth-Century Spain
- Yo M'Enamori D'Un Aire
- The Birth Of The Bongo
- Symphonic Dances From 'West Side Story'
- From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- Onwards To The Tuned Percussion. First, The Timpani
- Also Sprach Zarathustra (Introduction)
- But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- Taking Advantage Of Tunability
- Music For Strings, Percussion And Celeste (Mvt 2)
- The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- Saint-Saens And The Xylophone
- The Carnival Of The Animals (Fossils)
- Ravel And The Xylophone
- Ma Mere L'Oye - Mother Goose (Laideronette)
- Introducing The Marimba/Carmen Suite (First Intermezzo)
- Introducing The Vibraphone
- The Treasure Of The Sierra Madre (Narange Dolce)
- The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- Introducing The Hungarian Cimbalom
- Folk Dances
- The Cimbalom And The Symphony Orchestra
- Hary Janos Suite (Mvt 3)
- Introducing The Tubular Bells
- Hary Janos Suite (Viennese Musical Clock)
- A More 'Up-Front' Approach From Rodion Shchedrin
- Carmen Suite (Introduction)
- But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Introducing The Celeste
- The Nutcracker (Dance Of The Sugar Plum Fairy)
- Magic, In The Use Of Collective Percussion
- Miroirs (La Vallee Des Cloches)
- Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- Brandenburg Concerto No.2 (Slow Mvt)
- The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- Petrushka (Russian Dance)
- The Anti-Romantic Piano As An Integral Part Of The Orchestra
- Music For Strings, Percussion And Celeste (Last Mvt)
Tracks:
- Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- Symphony No.3 'Organ' (Finale)
- But Things In Handel's Day Were Very Different.
- Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- The Organ Is Difficult To Classify.
- An Unexpected, Organ-related Guest
- Concerto Pour Zampogna (Last Mvt)
- Peasant-Fancying... And A Touch Of The Roaming Cowboy
- Les Miserables (Drink With Me)
- Outside Artefacts And The Power Of Association
- Mahler's Sleighbells
- Symphony No.4 (Opening)
- A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- Don Quixote (Variation VIII)
- National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- The Sitar Of India/Evening Raga: Bhapoli
- The Accordion For France (Especially Paris)/Paris Canaille
- The Zither For Vienna/The Third Man (Theme)
- The Cimbalom For Hungary/Folk Dances
- The Guitar As An Integral Part Of The Orchestra/Rondena
- There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Nocturnes
- Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- The Carnival Of The Animals (The Cuckoo)
- The Flute As An All-purpose Aviary
- The Carnival Of The Animals (The Aviary)
- The Oboe As Duck
- Peter And The Wolf (The Duck)
- The Recording Of Reality. Does It Work As Well?
- The Pines Of Rome (The Pines Of The Janiculum)
- The Recording Of Reality Electronically Reborn In New Guises
- Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- Symphony No.6 'Pastoral' (Andante Molto Mosso)
- Some Improbable Casting: The Violin As Braying Donkey
- The Carnival Of The Animals (Persons With Long Ears)
- A Truly Orchestral Hee-haw To Be Reckoned With
- Overture To 'A Midsummer Night's Dream'
- A Thunderstorm In A Million
- Symphony No.6 'Pastoral (Allegro-Allegretto)
- the Instrumental Depiction Of A Silent World
- The Carnival Of The Animals (The Aquarium)
- Saint-Saens' Menagerie Takes A Curtain Call.
- The Carnival Of The Animals (Finale)
Tracks:
- The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- Forty-Four Duos (No.4)
- A Great Contrast, Of Both Pitch And Character: Violin And Viola
- Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- Arrival Of The Standard String Trio: Violin, Viola, And Cello
- String Trio In B Flat (Menuetto)
- The String Quartet: Two Violins, Viola, And Cello
- String Quartet In F, Op.18 No.1 (Mvt 3)
- The String Quintet - When The Extra Instrument Is A Second Viola
- String Quartet No.5 In D, K.593 (Adagio)
- The String Quintet - When The Extra Instrument Is A Second Cello
- String Quintet In C (Mvt 3)
- The String Sextet: Two Violins, Two Violas, And Two Cellos
- String Sextet In B Flat (Mvt 2)
- The String Octet: The Standard String Quaret Times Two
- Octet In E Flat, Op.20 (Mvt 1)
- Double The String Octet: A Fully Fledged String Orchestra
- String Symphony No.2 (Finale)
- The Massed Strings Of A Symphony Orchestra
- Fantasia On A Theme Of Thomas Tallis
- Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- Wind Quintet In A Minor, Op.100 No.5 (Theme)
- In The First Variation It's The Horn That Gets The Lion's Share.
- Wind Quintet In A Minor, Variation 1
- In Variation Two The Torch Is Handed To The Bassoon.
- Wind Quintet In A Minor, Variation 2
- In Variation Three The Oboe Leads.
- Wind Quintet In A Minor, Variation 3
- Variation Four: Conversation Before Returning To A Solo-dominated Texture
- Wind Quintet In A Minor, Variation 4
- And Variation Five is Dominated By The Clarinet.
- Wind Quintet In A Minor, Variation 5
- The Next To Be Featured Is The Virtuoso Flute.
- Wind Quintet In A Minor, Variation 6
- Individual Farewells And A Closing Chorus
- Wind Quintet In A Minor, Variation 7
- A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- Octet In F (Mvt 3)
- The Early Classical Symphony Orchestra Of Haydn And Mozart
- Symphony No.29 In A, K.201 (Finale)
- Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- Canzon 28
- Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- Symphony No.5 (Finale)
- From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- Symphoy No.6 'Tragic' (Mvt 1)
- The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- When Large Doesn't Necessarily Mean Loud: Debussy
- Images (Gigues)
- A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- Turangalila Symphony (Chant D'amour 1)
- The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- Balle De Xerxes (Gavotte En Rondeau)
- Computer And Synthesiser: Friends Or Foes?
- Concerto In D Minor For Two Violins (Largo)
- A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')
Customer Reviews:
Instruments of the Orchestra - Great Reference Material!.......2007-04-04
This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!
Beginner or Expert.......2007-03-12
This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!
Very Informative and Enjoyable.......2006-11-20
Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!
Frank's view.......2006-08-19
This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.
Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08
I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.
The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!
I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
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Broadway: America's Music 1935-2005
Manufacturer: Decca Broadway
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Binding: Audio CD
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Similar Items:
- Grey Gardens - A New Musical (2006 Original Broadway Cast)
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- White Nights
ASIN: B000B8I93Q
Release Date: 2005-10-18 |
Tracks:
- Oh What a Beautiful Mornin'
- Summertime
- I Could Write a Book
- It Never Entered My Mind
- I Can Cook Too
- Make It Another Old Fashioned, Please
- If I Loved You
- My Heart Belongs to Daddy
- Thou Swell
- I Left My Heart at the Stage Door Canteen
- There's No Business Like Show Business
- South American Way
Tracks:
- Shall We Dance
- Ohio
- Luck Be a Lady
- Mack the Knife
- There's a Small Hotel
- Once in Love with Amy
- Yodel Blues
- Lazy Afternoon
- There Must Be Somethin' Better Than Love
- You're Just in Love
- Now Is the Time
Tracks:
- Impossible Dream
- Love Makes the World Go 'Round
- Try to Remember
- Put on a Happy Face
- I Say Hello
- Happiness
- She Loves Me
- What Kind of Fool Am I?
- Shy
- Consider Yourself
- Poor Little Person
Tracks:
- Magic to Do
- They're Playing My Song
- I Don't Know How to Love Him
- I Won't Send Roses
- Good Morning Starshine
- Don't Cry for Me, Argentina
- Hard Candy Christmas
- Diamonds Are a Girl's Best Friend
- Won't You Charleston with Me?
- Applause
Tracks:
- Phantom of the Opera
- Memory
- On My Own
- Muddy Water
- How Could I Ever Know
- American Dream
- I Know Him So Well
- Dr. Jazz
- Me and My Girl
- Suddenly Seymour
Tracks:
- Mamma Mia!
- Popular
- Seasons of Love
- Oh, the Thinks You Can Think
- Whatever Lola Wants
- Crazy
- How Deep Is Your Love
- Stars
- People Like Us
- I Go to Rio
Average customer rating:
- Loved this CD
- I LOVE this CD!
- Costello Partners with Hubris and Yields Variable Results
- what's so funny about peace, love, and understanding?
- No life in her (pop) art
|
For the Stars
Anne Sofie von Otter , and Elvis Costello
Manufacturer: Deutsche Grammophon
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- North
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ASIN: B00005A46I
Release Date: 2001-04-10 |
Tracks:
- No Wonder
- Baby Plays Around
- Go Leave
- Rope
- Don't Talk (Put Your Head On My Shoulder)
- Broken Bicycles / Junk
- The Other Woman
- Like An Angel Passing Through My Room
- Green Song
- April After All
- You Still Believe In Me
- I Want To Vanish
- For No One
- Shamed Into Love
- Just A Curio
- This House Is Empty Now
- Take It With Me
- For The Stars
Amazon.com
At a time when popular music has been micro-marketed to the far side of ad nauseam, Declan MacManus, a.k.a. Elvis Costello, has traded on his reputation as the brightest songwriter to emerge from the new wave era to foster any number of delightful, cross-genre/generation musical surprises, including soundtracks and collaborations with the Brodsky Quartet, Paul McCartney, jazz artist Roy Nathanson, and songwriting legend Burt Bacharach. The latest fruit of that generous, insatiably curious artistic spirit is this elegant partnership with Swedish mezzo-soprano Anne-Sofie von Otter. Though an admitted pop novice, Otter couldn't have picked a better confederate than Costello, an artist whose taste in songs has seldom been tainted by trend.
Together, they weave material from disparate sources--including a slate of compelling Costello material, a pair of Brian Wilson's evocative "Pet Sounds" confessionals, a Tom Waits song from Francis Ford Coppola's One from the Heart (oddly, though effectively, coupled in medley with McCartney's "Junk"), an Abba song, and the Beatles' "For No One"--into a musical tapestry of stately power and grace. Costello sparingly uses his voice as seasoning throughout, though his masterful touch is everywhere. Otter's novice pop singing reveals an easy knack for jazz phrasing that should tempt further explorations and a warmth that belies the rigidity that's so often a byproduct of classical training. Most gratifying of all, this album ultimately achieves what's become one of the loftiest plateaus in Pop music: common ground. --Jerry McCulley
Customer Reviews:
Loved this CD .......2006-06-13
Who would pair Costello and an opera singer?? Elvis, and somehow it works. I really love the tone and moodiness of it and lyrics that talk about love and life, failure and success. It's soulful, in a contemplative way, music for those tucked away, rainy days .
I LOVE this CD!.......2005-09-01
Finally, an opera singer who knows how to channel her Classical training into a sound that is, as one critic aptly described it, "what pop singers would sound like if they could actually sing"! Although Elvis Costello does not join Ms. von Otter very often in the vocals, when he does they harmonize beautifully. With great melodies (some beautiful, some catchy) and sensitive (but not sappy) lyrics, this album makes a fine addition to any CD collection.
Costello Partners with Hubris and Yields Variable Results.......2005-05-08
Having just heard Elvis Costello's masterful collaboration with Burt Bacharach, "Painted from Memory", for the first time this past month, I had high hopes for this equally unusual partnership with mezzo-soprano Anne Sofie von Otter released in 2001. This time, however, Costello acts as arranger and producer, and it is von Otter who is front and center on vocals. She is among the most revered of singers on the opera and recital stages, and she has impressed me in the past, in particular, with her Dejanira in the 2002 Marc Minkowski-led performance of Handel's "Hercules", among many other roles she has embodied. Here she is called upon to be a pop chanteuse, and while the beauty of her voice is inarguable in any setting, her ability to interpret the diverse lyrics in these songs is far more debatable. This is where a Marianne Faithfull, a Blossom Dearie or even a Joni Mitchell could capture more of the underlying feeling with a fraction of the vocal power von Otter can provide but with twice the nuance. There is a rather sterile sameness to the performances here, somewhat jazz-inflected in a cocktail lounge manner at times and at other times, rather morose and dirge-like.
Take, for example, her rendition of Brian Wilson's "Don't Ask (Put Your Head on My Shoulder)" from the legendary "Pet Sounds" album. It moves so glacially that it actually extricates the romantic subtext almost surgically. The same can be said for Jessie Mae Robinson's "The Other Woman", which has at least Magnus Persson's vibraphone to provide relief from the tedium. She's better on the other "Pet Sounds" classic, "You Still Believe in Me", where she cannily soars with the chorus, though Costello damages it by adding some odd, muffled rapping in the background. Ironically, it is on the Costello compositions where the recording most noticeably flails. The opener "No Wonder" starts as a "Greensleeves"-like madrigal and then turns into Beatlesque pop; "Baby Plays Around" seems to suffer from exhaustion by all parties; the two Fleshquartet collaborations, "Rope" and "Just a Curio", sound somewhat like extraterrestrial hymns done in a series of minor keys; and the closing title track, "For the Stars" includes peppy, Beach Boys-sounding harmonies which escape her grasp. In fact, "Just a Curio" would have been a more appropriate title for this entire recording.
On the other hand, the Gallic flavor of Benny Andersson's accordion effectively informs her rendition of Tom Waits' "Broken Bicycles", which melds perfectly with Costello's vocal on Paul McCartney's "Junk". Speaking of Andersson, a fellow Scandinavian, von Otter admirably covers a piano-led ABBA ballad, "Like an Angel Passing Through My Room". She also displays a meticulously casual bounce on Lennon-McCartney's "For No One", though it stops rather abruptly. Von Otter acquits herself surprisingly well on the jazzy "Shamed into Love", written by another unlikely duo, Costello and Rubén Blades, and performed as almost a smokier variation of Bacharach's "Alfie". And speaking of Bacharach, she does a nice turn on the lovely "This House Is Empty Now" from the 1998 Bacharach-Costello disc. Costello and von Otter are masters of their craft, but I think some of the collaborations reflect simply irreconcilable differences. While Costello seems to have an insatiable desire to expand musically, his hubris here appears to constrain the often preternatural vocal skill von Otter displays on the opera and recital stage. Consequently, what we have here is a nice album, a generous one with eighteen tracks, that doesn't seem to capitalize on either contributor's talent fully.
what's so funny about peace, love, and understanding?.......2004-04-22
Nothing's funny about this boring duo. I picked this up FREE at my library and it didn't take me too many tracks to see why it was donated. The musical arrangements are hapless and dull, and her voice is Dion without the Vegas power finale. Come to think of it, the lyrics remind me of Dion; they are as saccharine as anything Dion has ever sung. I wasted a blank CD on this limp, sleepy pairing of two otherwise good artists.
No life in her (pop) art.......2004-03-15
I am a big fan of both artists and wanted very much for this combination to work. It avoids the traditional trap of "oversinging" the pop material. But a few years after its release, in these American Idol era, is that really such a terror for pop music any more? So-called oversinging seems pretty popular these days!
The big problem is that von Otter has not found a way to communicate any emotion in this scaled-down form of singing. All her classical techniques are stripped away, and there's nothing to replace them. Sure, her voice is gorgeous, but it sounds exactly the same no matter what the lyrical content. The songs could have been made up of nonsense syllables for all the emotional life she communicates.
Deeply disappointing - but someone, somewhere, will figure out how to bring classically trained singers to the wonderful pop song repertoire that has been composed over the past 50 years. Elvis may very well be the person to do it, but not on this album.
Average customer rating:
- This Is What Singing Is All About
|
Just For Now
Irene Kral
Manufacturer: Jazzed Media
ProductGroup: Music
Binding: Audio CD
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| Traditional Jazz & Ragtime
| Jazz
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Similar Items:
- Where Is Love?
- The Gentle Rain
- Live
- The Band and I
- You Are There
ASIN: B00027150U
Release Date: 2004-05-15 |
Tracks:
- Experiment
- Where Is Love?
- Wheelers and Dealers
- Nice Weather for Ducks
- I Fall In Love Too Easily
- Rock Me to Sleep
- Just For Now
- You Are the Sunshine Of My Life
- Heres That Rainy Day
- Its A Wonderful World
- The Meaning of The Blues
- Sunday
- I Like You, Youre Nice
Album Description
Recorded live in 1975 and unreleased until now, this moving session by jazz singer Irene Kral offers up some of her most heartfelt renditions of many tunes associated with Irene over the years, plus a few surprises not recorded before. This wonderful live recording was performed at The Catamaran Hotel in San Diego, California and features Irene Kral with Mike Wofford on piano, Bob Magnusson on bass, and Tony Morillo on drums. "Yet she remained an insider's favorite. Singing in a clear, diamond-hard voice, she offered a dose of the truth: love stories with no lacey trimmings, torch songs without self-pity, impeccably sculpted into neat vocal packages. Stereo Review critic Peter Reilly would call her singing "as classically pure and humanly radiant as a Renoir painting ... as fine and lasting as an Hermès wallet or a Rolls-Royce car." "But in 1975, when she made the splendid live recording you now hold, Kral was a Van Nuys housewife in the midst of a grueling battle with cancer." "But when Kral died at forty-six on August 15, 1978, no one could say she hadn't fulfilled her musical promise. This CD, culled from four performances at the Catamaran, a San Diego jazz spot, is Irene Kral at her peak." -James Gavin, New York City, 2003 [James Gavin is the author of Deep in a Dream: The Long Night of Chet Baker, published in 2002 by Knopf.]
Customer Reviews:
This Is What Singing Is All About.......2004-07-11
This excellent live recording is a recently discovered buried treasure captured in 1975 when Irene was at the peak of her fine form. While her forte was the ballad, of which there are several definitive renderings on this CD (check out "Just For Now" and "The Meaning Of The Blues"), she also demonstrates that she could swing with the best of them ("Experiment, Wheelers And Dealers"). The true beauty of Irene's singing is that she could squeeze every drop of emotion out of a song that the composer intended without butchering it like so many singers do today. Irene was a musician, her instrument her voice, and on that instrument she was a virtuoso. Let's hope that this recording, among others by Irene, continues to light the path for singers of tomorrow.
Average customer rating:
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Ultimate Movie Album
Manufacturer: Polygram Int'l
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- The Greatest Hits
ASIN: B00005QC28
Release Date: 2001-11-20 |
Tracks:
- Bridget Jones's Diary: Out Of Reach - Gabrielle
- Gladiator: Now We Are Free - Gavin Greenaway
- Moulin Rouge: One Day I'll Fly Away - Nicole Kidman
- Notting Hill: When You Say Nothing At All - Ronan Keating
- American Beauty: Dead Already - Thomas Newman
- Braveheart: Main Theme - For The Love Of A Princess - London Symphony Orchestra
- Four Weddings And A Funeral: You're The First, The Last, My Everything - Barry White
- O Brother Where Art Thou: Down To The River To Pray - Alison Krauss
- Hannibal: Vide Cor Meum - Gavin Greenaway
- The Shawshank Redemption: Courtyard Theme: Che Soave Zeffiretto (Marriage Of Figaro) - Chor und Orchester der Deutschen Oper Berlin
- The Thomas Crown Affair: Windmills Of Your Mind - Sting
- Platoon: Adagio - Neville Marriner
- Ghost: Unchained Melody - Hollywood Bowl Orchestra
- Fantasia: The Sorcerer's Apprentice - Montreal Symphony Orchestra
- The Big Lebowski: Just Dropped In (To See What My Condition Was In) - Kenny Rogers & The First Edition
- Philadelphia: La Mamma Morta - Monserrat Caballe
- Snatch: Hernando's Hideaway - The Johnstone Brothers
- Lock, Stock & Two Smoking Barrels: Eighteen With A Bullet - Lewis Taylor And Carleen Anderson
- A Room With A View: O Mio Babbino Caro - Sylvia McNair
Tracks:
- Billy Elliot: Cosmic Dancer - Marc Bolan & T-Rex
- Captain Corelli's Mandolin: Pelagia's Song - Orchestra
- Four Weddings And A Funeral: Love Is All Around - Wet Wet Wet
- Robin Hood Prince Of Thieves: Maid Marian At The Waterfall/Everything I Do - Michael Kamen
- Dances With Wolves: John Dunbar Theme - John Mauceri
- American Beauty: Any Other Name - Thomas Newman
- Gladiator: The Battle (Excerpt) - Gavin Greenaway
- The Silence Of The Lambs: Goldberg Variations (Aria) - Andrei Gavrilov
- Notting Hill: She - Elvis Costello
- Pulp Fiction: Son Of A Preacher Man - Dusty Springfield
- Mission Impossible: Main Theme - Orchestra
- Waking Ned: Let The Draw Begin - Orchestra
- Out Of Africa: Love Theme - John Williams
- Shine: Piano Concerto No.3 In D Minor, Op.30 - Concertgebouw Orchestra
- The Godfather Part III: Intermezzo From Cavalleria Rusticana - Pavarotti
- The Mexican: End Credits Medley - The Hollywood Film Chorale
- Body Heat: Main Theme - John Williams
- Apocalypse Now: The Ride Of The Valkyries - Chicago Symphony Orchestra
- Star Trek: The Final Frontier - Main Theme & March Of The Klingons - John Williams
Album Description
UK compilation featuring a combination of hit songs & theme music from some great soundtracks. Tracks include, Gabrielle 'Out Of Reach' (Bridget Jones Diary), 'Now We Are Free' (Gladiator), 'Dead Already' (American Beauty), Alison Kraus 'Down To The River To Pray' (O Brother Where Art Thou), Ronan Keating 'When You Say Nothing At All' (Notting Hill) & many more. 35 tracks on 2 CDs. 2001.
Customer Reviews:
Highly recommended.......2002-08-20
This pricey UK import CD filled a lot of gaps in my music collection and is an excellent overview of notable music of (mostly) recent films. It's difficult to find consistently listenable soundtrack collections like this, by that I mean free from the obligitory Whitney Houston or Celine Dion embarrassments. Usually rights issues prevent comprehensive compilations like this in the US, too. While I enjoy a lot of soundtrack music, there aren't so many complete soundtracks that I would care to own, some examples of exceptions being Ennio Morricone scores and the About a Boy Soundtrack. While certainly most of these tracks are the actual recordings used in their respective films, I noticed that "La mamma morte" from Philadelphia is not the Maria Callas version. There might be other cases like this, I'm not sure. And "Unchained Melody" from Ghost is an orchestral version, not the pop song (but I consider this a plus). This collection seems to focus on the subtle and quirky, yet melodic music of indie films, with less emphasis on the loud sweeping orchestral scores of major Hollywood hits, but of course there are a few like Gladiator and Braveheart, which are welcome here because like I've said, I probably wouldn't listen to the whole score. I love the two Thomas Newman compositions from American Beauty, and it's good to have some music from films by the Cohen Brothers here. My only complaint would have to be the order of the songs. You would think they would avoid jumping back and forth between pop songs, orchestral scores, and quiet music, but it just seems thrown together by random. I would compare this collection to the excellent "Miramax Films Greatest Hits" but the makers of that album knew to group the two pop/rock songs at the end.
Average customer rating:
- The Rediscovery?
- AMAZING
- Rediscovering Leontyne Price
- Masterful Recital Performance From Price at Her Peak
- Love Leontyne But Stick To The Studio Gems.
|
Rediscovered (Dig)
Leontyne Price
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Leontyne Price: The Ultimate Collection
- In Concert
- Verdi: Aida/Il trovatore/Puccini: Madama Butterfly/La Rondine/Tosca/Turandot
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- The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs
ASIN: B00006HCUX
Release Date: 2002-09-10 |
Tracks:
- Applause
- Care selve
- Bel piacere
- Avanti al tuo cospetto; Piangero la sorte mia
- He, Zigeuner, greife
- Hochgeturmte Rimaflut
- Wisst ihr, wann mein Kindchen
- Lieber Gott, du weisst
- Brauner Bursche f - hrt zum Tanze
- Roslein dreie in der Reihe
- Kommt dir manchmal in den Sinn
- Rote Abendwolken ziehn am Firmament
- mamma morta
- Tu vois le feu du soir
- Main dominee par le coeur
- C'est ainsi que tu es, Paganini
- Je nommerai ton front
- Nocturne, Op. 13 No. 4
- The Daisies, Op. 2 No. 1
- Sleep Now, Op. 10 No. 2
- Winter Song
- In the Wand of the Wind
- His Name So Sweet
- My Soul's Been Anchored in the Lord
- Lord, I Just Can't Keep from Cryin'
- He's Got the Whole World in His Hands
- Chi il bel sogno di Doretta
- Summertime
- Ecco: respiro appena; Io son l'umile ancella
- Vissi d'arte
Customer Reviews:
The Rediscovery?.......2007-05-17
Few sopranos in their prime have consistently
balanced vocal beauty and power as well as Price did.
I'm sure her smooth legatos were the envy of
her contemporaries, and those since. However,
I do not think this album is the best recording
of her live recitals.
Vocally, Price is in great form. I have no
complaints with the voice. My issue is with the
performance as a total package, in it's entirety.
The ambiance and general "feel" of this recording
is odd. To me, it sounds like Price was coaxed into
entertaining a groups of friends after a high society
dinner party; It's as if someone had suggested after dinner,
"Leontyne, why don't you regale us with a few classical
arias?"
Truthfully, this sounds like a completely impromptu performance.
The pianist is on autopilot, banging through each aria
in a fevered, sometimes overbearing bravura. Price
displays excellent musicianship by adjusting to
the volume and varying tempos without compromising
superb artistry. At times, it appears that Price and the
pianist are battling for artistic control. The
audience is obviously in love with her, as well they
should be. They are not reserved in their thunderous
applause and whistles. I personally prefer to hear Price
backed by full orchestra. The rendition of Spirituals
are well sung and sound more appropriate with the piano accompaniment.
"Vissi d'Arte" is regal and elegant, in grand fashion.
"Chi il bel sogno" from La Rondine is a richly
legato master work.
While Leontyne Price's vocal performance on this album is
top-notched, I would only recommend this "rediscovered" performance
as a collection keepsake. For some reason, I can't part
from the feeling that perhaps this recording was never
meant to be released. It's not bad, but by no means is it
definitive of Leontyne Price's remarkable contributions
as an operatic legend.
AMAZING.......2007-02-13
Leontyne Price. Do I need to say anything more. That astoundingly wonderful voice, tremendous dramatic range --- earthy, angelic, strong, tough, tender, playful, loving --- a performer that never grows stale, always fresh and new.
Rediscovering Leontyne Price.......2005-07-28
This magnificent recording is a collection of rare and beautiful arias sung by the gifted lyric-dramatic soprano Leontyne Price, the very first successful black opera diva, who reigned supreme in the 60's and 70's. While there are many full-length operas starring Price, this compilation album is quite refreshing because it's new and lovingly remastered from the original tapes/LPs. Among the arias are Bel Piacere- a Handel piece full of gorgeous ornamentation, Care Salve from Falla's Atlantida, very beautiful and majestic. Other songs include Summertime from Porgy and Bess and songs by Samuel Barber. Leontyne Price had versatility. While she was famous for her Aida, Leonora in Trovatore, Leonora in Forza Del Destino, as Tosca, and as many of the dramatic Verdi and Puccini roles, she sung roles that were modern and thrilling- Cleopatra in Antony and Cleopatra was one. She sang Lieder, she sang Gospel, she was a one-woman opera. This recording is a fitting tribute to her artistry. However there are many other fine compilation albums out there that far surpass even this new one - the best is The Prima Donna Collection, Leontyne Price in Concert, An Evening With Leontyne Price, The Best of Leontyne Price and The Ultimate Leontyne Price.
Masterful Recital Performance From Price at Her Peak.......2005-01-21
World-renowned soprano Leontyne Price can be an intimidating presence on any stage but not on this live concert recording. She lends a warm, lovely presence and of course, her unparalleled voice, to this eclectic program, which amazingly at the age of 38, represented her Carnegie Hall recital debut in 1965. It's hard to imagine her sounding any better than this at any point in her career, and just as importantly, the program reflects her heightened awareness of what serves her powerful voice best. It's a wonderful record of an obviously triumphant evening, and in what must be one of the recording industry's most monumental oversights, it languished in the RCA vault for thirty-seven years.
Price starts with three opera arias from Handel, all very clean in delivery and one especially noteworthy, "Piangerò la sorte mia" from "Giulio Cesare in Egritto". She is simultaneously opulent and regal while displaying a strong sense of pathos as Cleopatra contemplates her fate. The ten-minute Brahms "Zigeunerlieder, Op. 103" is stunning for the freshness she provides with her flexible quicksilver tones, all delivered in her very expressive German. The four Poulenc selections are delivered in a such a delicate manner that it can only be described as buttery, and as such, perfect for the Gallic verses. And her big opera moment comes with Giordano's "La mamma morta" from "Andrea Cénier" sung with her requisite passion. Regardless though, Price really soars with the American selections where her voice takes on an added dimension of humanity. She begins this portion with three stellar selections from Samuel Barber, all shimmering showcases for her voice: the haunting "Nocturne, Op. 13 No. 4", the light and airy "The Daisies, Op. 2 No. 1" and the near spiritual "Sleep Now, Op. 10 No. 2". These segue seamlessly into two lush pieces by the relatively unknown Lee Hoiby, who wrote specifically for Price. For me personally, the high points of the entire recording are the four spirituals, which she sings with an unearthly combination of roof-raising conviction and clarion tones. She concludes with classic arias from Puccini and Cilea and of course, her definitive version of George Gershwin's "Summertime". This is as fulfilling a recital as you could possibly hear from this wondrous singer. Essential listening.
Love Leontyne But Stick To The Studio Gems........2004-03-04
I have been an admirer of the great Price since I was a boy of 10 after discovering her tremendous recoding of "Carmen" with the greats Corelli, Freni, and von Karajan. In my humble opinion, the greatest period of her voice was the 50's-60's, where her incredible force and power were nicely balanced with a lyric openness and clarity. This live recording stems from that most golden period, before the more unattractive Price qualities came into play in the early-mid 70's - a major tendency to scoop and slide, a lack of crisp enunciation, and a cloudy timbre. Be that as it may, I was disappointed with this performance on a whole. Simply put, with the exception of the Spirituals, I find Ms. Price's performance uncommitted and almost like she is rushing through from one number to the next. This might be the "fault" of her accompanist, David Garvey. In every instance where a duplicate version exists in a studio recording by Ms. Price, I wholeheartedly prefer those over these live ones. Usually artists are even more committed and intense when performing before the public. I simply do not find that intensity here. My advice - stick to the great studio recordings or, at least, different live recordings, of which I know exist but have not as of yet purchased.
Average customer rating:
- Old music, fun listening.
|
1907: "Dear Old Golden Rule Days"
Manufacturer: Archeophone Records
ProductGroup: Music
Binding: Audio CD
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ASIN: B0000ACNCV
Release Date: 2003-05-27 |
Tracks:
- School Days (Byron G. Harlan)
- I Just Can't Make My Eyes Behave (Ada Jones)
- San Antonio (Billy Murray & Chorus)
- Red Wing (Frank C. Stanley and Henry Burr)
- Camp Meeting Time (Collins and Harlan)
- Maple Leaf Rag (U.S. Marine Band)
- Pagliacci--Vesti la giubba (Enrico Caruso)
- Because Youre You (Elise Stevenson & Harry Macdonough)
- Let's Take an Old-Fashioned Walk (Ada Jones and Billy Murray)
- I Love a Lassie (Harry Lauder)
- The Bird On Nellies Hat (Helen Trix)
- My Gal Sal (Byron G. Harlan)
- "Merry Widow" Waltz (Victor Dance Orchestra)
- No Wedding Bells for Me (Bob Roberts)
- Harrigan (Billy Murray)
- Honey Boy (Columbia Quartette)
- Three Rubes Seeing New York (Peerless Trio)
- Bake Dat Chicken Pie (Collins and Harlan)
- My Irish Rosie (Ada Jones)
- Nobodys Little Girl (Byron G. Harlan)
- Because I'm Married Now (Billy Murray)
- He's a Cousin of Mine (Bert Williams)
- The Bully (May Irwin)
- If I'm Going to Die I'm Going to Have Some Fun (Arthur Collins)
- Auld Lang Syne (Frank C. Stanley)
Customer Reviews:
Old music, fun listening........2007-02-11
In perspective these are some of the most popular songs of their time. I enjoy the historical value of songs from the past. Hearing someone sing about things you may have only learned from a history book, makes it more real.
Average customer rating:
- Moved to tears
- Nonesuch delivers.Again
- harmonia in excelsis
- Our greatest living composer
- Wonderful CD
|
The John Adams Earbox: A 10-CD Retrospective
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD
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Similar Items:
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- Century Rolls
ASIN: B00001SID1
Release Date: 1999-10-19 |
Tracks:
- Lollapalooza
- John's Book Of Alleged Dances: Judah To Ocean
- John's Book Of Alleged Dances: Toot Nipple
- John's Book Of Alleged Dances: Dogjam
- John's Book Of Alleged Dances: Pavane: She's So Fine
- John's Book Of Alleged Dances: Rag The Bone
- John's Book Of Alleged Dances: Habanera
- John's Book Of Alleged Dances: Stubble Crotchet
- John's Book Of Alleged Dances: Hammer & Chisel
- John's Book Of Alleged Dances: Alligator Escalator
- John's Book Of Alleged Dances: Standchen: The Little Serenade
- John's Book Of Alleged Dances: Judah To Ocean (Reprise)
- Slonimsky's Earbox
Tracks:
- Two Fanfares For Orchestra - Tromba Lontana
- Two Fanfares For Orchestra - Short Ride In A Fast Machine
- Common Tones In Simple Time
- El Dorado - Part I. A Dream Of Gold
- El Dorado - Part II. Soledades
Tracks:
- Harmonielehre - Part I
- Harmonielehre - Part II The Anfortas Wound
- Harmonielehre - Part III Meister Eckhardt And Quackie
- Violin Concerto - Part I
- Violin Concerto - Part II Chaconne:
- Violin Concerto - Part III Toccare
Tracks:
- Chamber Sympony - Mongel Airs
- Chamber Sympony - Aria With Walking Bass
- Chamber Sympony
- Hoodo Zephyr - Tundra
- Hoodo Zephyr - Dissappointment Lake
- Hoodo Zephyr - Hoodo Zephyr
- Gnarly Buttons - The Perilous Shore
- Gnarly Buttons - Hoe-Down (Mad Cow)
- Gnarly Buttons - Put Your Loving Arms Around Me
Tracks:
- Ensemble - I Was Looking At The Ceiling And Then I Saw The Sky
- A Sermon On Romance
- Consuelo's Dream
- Mike's Song About Arresting A Particular Individual
- Tiffany's Solo
- Song About The On-Site Altercation
- Song About The Bad Boys And The News
- Your Honor My Client He's A Young Black Man
- Leila's Song; Alone (Again Or At Last)
- Three Weeks And Still I'm Outta My Mind
- Crushed By The Rock I Been Standing On
- Dewain's Song Of Liberation And Surprise
- !Este Pais! / This Country
- One Last Look At The Angel In Your Eyes
- Finale
Tracks:
- Lollapalooza
- John's Book Of Alleged Dances - Judah To Ocean
- John's Book Of Alleged Dances - Toot Nipple
- John's Book Of Alleged Dances - Dogjam
- John's Book Of Alleged Dances - Pavane: She's So Fine
- John's Book Of Alleged Dances - Rag The Bone
- John's Book Of Alleged Dances - Habenera
- John's Book Of Alleged Dances - Stubble Crotchet
- John's Book Of Alleged Dances - Hammer & Chisel
- John's Book Of Alleged Dances - Alligator Escalator
- John's Book Of Alleged Dances - Standchen: The Little Serenade
- John's Book Of Alleged Dances - Judah To Ocean (Reprise)
- Slonimsky's Earbox
Tracks:
- Harmonium - Negative Love
- Harmonium - Becuase I Could Not Stop For Death
- Harmonium - Wild Nights
- Shaker Loops - Shaking and Trambling
- Shaker Loops - Hymning Slews
- Shaker Loops - Loops and Verses
- Shaker Loops - A Final Shaking
Tracks:
- The Chairman Dances - Foxtrot For Orchestra
- Grand Pianola Music - First Movement
- Grand Pianola Music - Second Movement
- Grand Pianola Music - Third Movement: On The Dominant Divide
- Fearful Symmetries
Tracks:
- Nixon In China - Opening
- Nixon In China -
- Nixon In China -
- Nixon In China - Landing Of The Spirit Of '76
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China - Cheers
- Nixon In China -
- Nixon In China - Opening
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
- Nixon In China -
Tracks:
- The Wound-Dresser
- Christian Zeal And Activity
- Five Songs - Thoreau
- Five Songs - Down East
- Five Songs - Cradle Song
- Five Songs - At The River
- Five Songs - Serenity
- Eros Piano
Amazon.com
Having earned his composing stripes after the 1960s, John Adams had the pioneering work of Steve Reich, Philip Glass, and Terry Riley close at hand as he ventured into his trade. And, while minimalism's historical continuum helps place Adams, he used Reich, Glass, and Riley (among others) only as a starting point. And here's proof: a 10-CD retrospective of nearly all Adams's recorded compositions on Nonesuch Records, the label that also issued Steve Reich 1965-1995 and Kronos Quartet: 25 Years. Adams's Harmonium, a choral work of startling energy and effervescence, appears here in a new recording, as do distillations of both The Death of Klinghoffer and Nixon in China, two path-clearing operas. Over the span of a career covered by Earbox, Adams has returned minimalism to traditional instrumental ensembles as well as to projects that at once advanced a political commentary and took that commentary back to orchestral audiences. And so, in far less time than his predecessors, Adams created works that now play like standard repertoire pieces: The Wound Dresser and Shaker Loops and the Violin Concerto--all of them are here. What these works demonstrate is a fierce creativity on the one hand and perhaps a hunger for commercial advances on the other. Adams may at times be a bustling free thinker, but he sounds ever conscious of what audiences are listening to. As for the works themselves, they remain every bit as daunting as when written.
Some may object to particular selections. I Was Looking at the Ceiling and Then I Saw the Sky, for example, hardly ranks with Adams's best work. But this box isn't a mere best-of; it's an almost-all-of. At times terrifically American--especially in the news-aware operas and their narrative pragmatism--Adams well deserves a major box set, and its coverage is appropriate to his varied, stylistically diverse output. As with any large-scale retrospective, Earbox--which fairly bristles with Adams's new composition, Slonimsky's Earbox--has spots where fans might balk at the quality of the composer's writing. But it's got a fantastic accompanying booklet along with its many hours of inarguably modern and thoroughly listener-friendly music. --Andrew Bartlett
Customer Reviews:
Moved to tears.......2004-03-18
Never before in my life was i moved so intensely and directly by classical music. I put the first cd in my player and a few minutes later tears are flowing. I find myself dancing and moving to a rythm i already seem to know. Wow, i just have to share that.
Nonesuch delivers.Again.......2002-11-27
John adams is one of the most popular living composers of"modern" classical music[I believe the cutoff point, though arbitrary is usually WWII}.I came to him late, through my husband. Modersn classical music , I said? What the hell is that?My husband kept playing bits and pieces of adams for me, and more and more i found myself amazed. and swayed. His operas have been groundbreaking{Nixon in China} controversial{Death Of klinghoffer},his compostions sublimely beautiful{shaker Loops or harmonium].HIS STATURE IS WORTHY THEN OF SUCH A MONUMENTAL CAREER SPANNING BOX SET.This 10 disc set[great value, again from NONESUCH}encompasses Adams' entire career,and though there are some misses here{I was looking at the ceiling and then i saw the sky doesnt quite fit},it is still magnificent. the Highlights are ,{for me} the Wound Dresser, Chamber symphony,Violin Concerto, of course, Shaker Loops and Harmonuim are wonderful. The true jewels here are Nixon in China,the Chairman dances and the Death of Klinghoffer,which is simply a masterpiece. The set comes with a wonderful book, which contains essay's by Robert Hurwitz {An Uncommon Man}renaud Machart[John adams as seen from europe} and Essays before an earbox by Adams himself.A Chronology and dicography are included. A wonderful study of an American original,worth the investment, Highly highly recommended
harmonia in excelsis.......2001-11-12
I must agree with Mr. Bartlett, particularly with regard to "Ceiling." It may well be because his Violin Concerto and Harmonielehre are so powerful. 4.5 stars.
Interesting, and likely intentional, is that two names in the extensive liner book fail to mention two great and glaringly obvious precursors: Carl Orff and Raymond Scott. Without "Carmina Burana," there would be no "Harmonium." Orff has his mark all over Adams's gifted and epic compositions. Similarly, though there are glib references to "cartoon music," the polymath engineer/musician Scott is a seminal figure in American music, and casts a large shadow over the witty juxtapositions and sense of play one loves in Adams's work. In all, an excellent career overview.
Our greatest living composer.......2001-07-22
As a composer, I'm staggered that anyone could fail to be gripped by this music.
That anyone can use the words "spoiled, overrated" amazes me. I emphatically disagree with "A music fan"'s review.
I don't think it's "mind-numbing"; I think it's spiritual and exciting. To me it's the most substantial music being created in our times.
I'm really sorry that anyone could fail to enjoy it, and really recommend others to listen for themselves.
Wonderful CD.......2000-04-02
This compilation should turn even the most curmudgeonly listerner into a fan. Beautifully recorded, great notes -- and it's a heck of a bargain!
Average customer rating:
- great, great!!!
- ALL THE MUSIC YOU EVER NEED!!
|
Sacred Music Complete
Purcell , King , and Kings Consort
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD
Chamber Music
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ASIN: B00006RHQJ
Release Date: 2002-12-10 |
Customer Reviews:
great, great!!!.......2006-12-05
This is the way ,I think, Purcell should sound. No pomp and surcomstance but only great music.
ALL THE MUSIC YOU EVER NEED!!.......2003-05-23
This boxed set is by far one of the best purchases I have ever made. As a Purcell freak, this hits every button I have. The cast of characters include the inequitable Robert King, New College Choir, Bowman, and a host of other venerable persons. Likewise the attention to period performance of these works makes it an essential addition to the library of any serious anglophile/Musicologist etc. Now if only the Britten Realizations of all Purcell's songs could be recorded alongside the originals! You will Love this set!
Average customer rating:
- Sensational Vocal Album by Carole Farley and William Bolcom
- Great Songs, but Mind the Singer
- The Songs of William Bolcom
|
William Bolcom: Songs
Carole Farley , William Bolcom , Farley , and Bolcom
Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- William Bolcom - Songs of Innocence and of Experience (William Blake) / Slatkin, University of Michigan School of Music
- Blue - The Complete Cabaret Songs of William Bolcom and Arnold Weinstein
- William Bolcom: Violin Sonatas
- William Bolcom: Music for Two Pianos
- William Bolcom: Symphony No. 1; Symphony No. 3; Seatlle Slew Orchestral Suite
ASIN: B0009F4UBQ
Release Date: 2005-06-21 |
Tracks:
- You Cannot Have Me Now - Or, the Military Orgy
- Night, Make My Day
- The Digital Wonder Watch
- My Father The Ganster
- The Last Days Of Mankind
- This Is A Face
- Since I Have You
- The Rabbit
- I Am Not Free
- For Me
- From Wandering
- Beware
- I Wouldn't Die
- I Remember
- For Everything
- I Have Climbed
- Pity Me Not Because The Light Of Day
- How To Swing Those Obbligations Around
- The Crazy Woman
- Just Once
- Never More Will The Wind
- The Sage
- O To Be A Dragon
- The Bustle In A House
- Night Practice
- I Saw Eternity
- The Fish
- Costa Del Nowhere
- Table
- Mary
- River Song
- Messing About In Boats
- Rat's Song
- When We Built The Church
Customer Reviews:
Sensational Vocal Album by Carole Farley and William Bolcom.......2007-02-13
Carole Farley and William Bolcom have recorded this landmark CD, and I can easily understand why this CD received a GRAMMY nomination in the "Best Vocal Recording of the Year" and a 2nd GRAMMY nomination in the "Best Engineered Recording of the Year" category. It's indeed one of the best vocal albums of contemporary songs ever made. Carole Farley, who made her MET debut in the MET's first LULU production, seems to be just at home with Puccini, Poulenc, Tchaikovsky, Shostakovich and even Latin American popular songs (her Lecuona songs album is extremely beautiful).
William Bolcom's accompaniment is brilliant, and the songs are a revelation.
J.B. (Pittsburgh, Pa)
Great Songs, but Mind the Singer.......2006-07-04
This is one of those discs where the listener has to balance the advantages of the program with the disadvantages of the performance. Bolcom is one of this country's most versatile and brilliant composers, and those qualities are demonstrated to great effect in the songs on this album. His piano playing is, as one would expect, also solid and expressive. The drawback here is Carole Farley. Although her diction and intonation are good, as far as tone-color goes, she seems to be a one-trick pony; and if you don't like that trick (opera singer trying to sound like what she thinks a musical theater singer sounds like), listening to her can get very tiring. So while I highly recommend the disc for its content, I suggest listening to excerpts first before buying just to make sure that the singer's voice doesn't drive you batty.
The Songs of William Bolcom.......2006-02-14
The American composer William Bolcom (b. 1938) is best-known for his large-scale setting of William Blake's "Songs of Innocence and Experience," which is available on a 3-CD Naxos set. This new collection of Bolcom's songs also on Naxos shows the composers's lifelong fascination with Blake. It includes an early lyrical setting of Blake's poem, "Mary" which deals with a beautiful and intelligent young woman and her rejection by her society. In the several torch and cabaret-style works it includes, the collection also shows Bolcom's attempts to fuse classical with popular styles of music. Bolcom also has done so in his piano music, much of which is heavily influenced by ragtime.
The songs on this CD are performed and selected by soprano Carole Farley with Bolcom himself at the piano. Ms. Farley has also recorded for Naxos' "American classics" series a selection of the songs of Ned Rorem with Rorem at the piano. Ms. Farley and Naxos are doing listeners a service by introducing them to the world of the American art song.
The highlight of this CD is the 20-minute song-cycle "I will breathe a mountain" in which Bolcom sets 11 poems by American women. The poems were selected by Alice Fulton, and they include Fulton's own "I will swing those obligatos around" in which the young singer describes a come-on from a boor. The song writing is declamatory in character with many twists, turns, and shouts in the vocal line. Only the setting of H.D.'s "Never More Will the Wind" is lyrical and flowing. Besides Fulton and H.D. the settings include poems by Millay, Gwendolwn Brooks (a poem called "The Crazy Woman" with appropriately wild shrieks) Anne Sexton, Denise Levertov, Marianne Moore (listen to what Ms. Farley makes of the poets wish to be a DRA' GON), Emily Dickinson (in a moving poem of the stillness of a home after death),Louise Bogan, May Swenson, and Elizabeth Bishop. "I will breathe a mountain" is an outstanding and moving contemporary American song-cycle and is in itself sufficient reason for hearing this recording.
The CD also includes a second exquisite cycle, "Songs to Dance" which sets ten miniature poems by George Montgomery. This is a work to be danced as well as sung, and it has apparently been performed live only once, by the composer, his wife, the soprano Joan Morris, and dancer, Dan Wagoner. It has never been recorded before. The work deserves to be heard and seen.
Many of the remaining works on this CD are cabaret-style theatrical pieces that Bolcom composed in collaboration with lyricist Arnold Weinstein. The best of these are two torch songs from a show called "Casino Paradise": Night Make my Day (a parody of the torch style which is sometimes performed straight) and "My Father the Gangster", in which a young woman laments how men are, understandably, worried about her father and afraid to approach her. The collection opens with a scream by Ms. Farley in the erotic novelty "You cannot have me now", about the affairs of the wife of a German officer, sung with a heavily inflected German accent and also set to words by Weinstein.
I enjoyed Bolcom's short setting of May Swenson's poem "The Digital Wonder Watch" with the tick-ticking in the piano. This song is a satire of technology, with the poet describing the features of her "wonderful watch" while asking: "Does it show how to wind up/a broken heart?" The other songs on the CD include the passionate "The Last Days of Mankind", conceived for rock singer Marianne Faithful, two eloquent settings of poems by Richard Tillinghast, and four concluding early collaborations between Bolcom and Weinstein.
This CD offers an opportunity to explore the world of American song in the works of a leading contemporary composer. The cycle, "I will breathe a mountain" will be a lasting achievement in American art song.
Robin Friedman
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- Like 3 O'Clock in the Morning/After Hours
- Loaded: The Brassed up Funked out Club Sides
- Lulu's Back in Town
- Man I Love/If You Go [Import]
- Moments in My Life
- Movies [Import]
- Movin' With Nancy [Soundtrack]
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