| | Great Romantic Concertos / Itzhak Perlman CD Beethoven / Brahms / Perlman, Itzhak CDS
Great Romantic Concertos / Itzhak Perlman Music | List Price | $32.98 (You save $10.53) | | Label | EMI Classics | | Orig Year | 12/7/1993 | | All Time Sales Rank |  2437  | | CD Universe Part number | 1106616 | | Catalog number | 64922 | | Discs | 3 | | Release Date | Dec 07, 1993 |
Great Romantic Concertos / Itzhak Perlman Review
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Great Romantic Concertos / Itzhak Perlman Songs | 1. Violin Concerto in D major, Op. 77 (43:26) | | Common Name | Violin Concerto | | Composer | Johannes Brahms (1833 - 1897) | | Conductor | Carlo Maria Giulini | | Performer | Itzhak Perlman (Violin) | | Genre | Concerto / Romantic Period | | Date Written | 1878 | | Period | Romantic | | Country | Germany | | Venue | Medinah Temple, Chicago, IL | | Recording Date | 11/1976-12/1976 | | 2. Violin Concerto No. 1 in G minor, Op. 26 (23:59) | | Common Name | Violin Concerto 1 | | Composer | Max Bruch (1838 - 1920) | | Conductor | Bernard Haitink | | Performer | Itzhak Perlman (Violin) | | Genre | Concerto | | Date Written | 1864-1867 | | Country | Germany | | Venue | Concertgebouw, Amsterdam, The Netherland | | Recording Date | 06/1983 | | 3. Violin Concerto in D major, Op. 61 (44:03) | | Common Name | Violin Concerto | | Composer | Ludwig van Beethoven (1770 - 1827) | | Conductor | Carlo Maria Giulini | | Performer | Itzhak Perlman (Violin) | | Genre | Classical Period / Concerto | | Date Written | 1806 | | Period | Classical | | Country | Austria | | Venue | EMI Abbey Road Studios, London, England | | Recording Date | 09/1980 | | 4. Violin Concerto No. 1 in E flat major (usually transposed to D major), Op. 6, MS 21 (34:09) | | Common Name | Violin Concerto 1 | | Catalog No. | MS 21 | | Composer | Niccolò Paganini (1782 - 1840) | | Conductor | Lawrence Foster | | Performer | Itzhak Perlman (Violin) | | Genre | Concerto / Romantic Period | | Date Written | 1815-1816 | | Period | Romantic | | Country | Italy | | Venue | Kingsway Hall, London, England | | Recording Date | 08/1971 | | 5. Violin Concerto in E minor, Op. 64 (27:05) | | Common Name | Violin Concerto | | Composer | Felix Mendelssohn (1809 - 1847) | | Conductor | Bernard Haitink | | Performer | Itzhak Perlman (Violin) | | Genre | Concerto / Romantic Period | | Date Written | 09/16/1844 | | Period | Romantic | | Country | Germany | | Venue | Concertgebouw, Amsterdam, The Netherland | | Recording Date | 06/1983 | | 6. Violin Concerto in D major, Op. 35 (37:19) | | Common Name | Violin Concerto | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Eugene Ormandy | | Performer | Itzhak Perlman (Violin) | | Genre | Concerto / Romantic Period | | Date Written | 1878 | | Period | Romantic | | Country | Russia | | Venue | Old Met, Philadelphia, PA | | Recording Date | 11/1978 |
Great Romantic Concertos / Itzhak Perlman Music Composers on Great Romantic Concertos / Itzhak Perlman CD : Ludwig van Beethoven, Johannes Brahms, Max Bruch, Felix Mendelssohn, Niccolo Paganini, Peter Ilyich Tchaikovsky Conductors on Great Romantic Concertos / Itzhak Perlman CD : Lawrence Foster, Carlo Maria Giulini, Bernard Haitink, Eugene Ormandy Genres on Great Romantic Concertos / Itzhak Perlman CD : Classical Period, Concerto, Romantic Period Performers on Great Romantic Concertos / Itzhak Perlman CD : Itzhak Perlman Purchase Great Romantic Concertos / Itzhak Perlman To buy, Click on price to add to cart | Good Life Novena On A Nocturn CD (2000)
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Essentially a solo project for Cursive's Tim Kasher, albeit with plenty of instrumental help from a variety of friends, the debut album from the Good Life is the culmination of 12 years of songwriting outside his full-time gig. Those 12 years must have been filled with some great bygone LPs and a fair helping of woe, because instead of the '90s indie pop of Cursive, Kasher explores stark and angular ground on Novena on a Nocturn that recalls no one more so than the Brit-pop icons of the 1980s. The dour and miserable sentiment of the Smiths and the Cure ("The Competition" would have fit perfectly on Disintegration) bleeds into the detached and alien sound of synth-pop combos like Human League and Orchestral Maneuvers in the Dark, with the lush, melodramatic theatricality of new romantics Soft Cell and Ultravox draping over each song like a wet blanket. These are pure coffeehouse and cabaret tunes with a sustained atmosphere of haunting, world-weary ache. In addition to their '80s forebears, the songs explore the timeless songcraft and painfully honest life-lessons of artists such as Jacques Brel, Kurt Weill, and Scott Walker. The music is minimalistic but ...
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Both of the Jerry Vale Columbia albums on the You Don't Have to Say You Love Me/I Don't Know How to Love Her two-fer capture his romantic high tenor voice, in great shape, coupled with the type of material that secured his reputation with easy listening fans throughout the years. You Don't Have to Say You Love Me and I Don't Know How to Love Her were originally released in 1968 and, for the most part, are interchangable. Both albums combined deliver 22 relaxing cuts, including "There's a Kind of Hush (All Over the World)," "Help Me Make It Through the Night," "For the Good Times," and "Rainy Days & Mondays." ~ Al Campbell
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Klezmer, the music of the Ashkenazic Jews of Central Europe, really grew and developed in the United States, where, at the beginning of the 20th century, it flowered into something lovely, well beyond its village origins. After passing out of fashion, it returned to some musical vogue in the '80s. Since then, klezmer bands have sprung up around the U.S. and, indeed, all over Europe. Composer and violinist Yale Strom has attempted to capture the many faces of klezmer on Klezmer Cafe Jew Zoo, and in part he succeeds. Whether it's on "Birobidzhan," with its familiar frantic pace (there were many similarities between klezmer and Gypsy music), or "Horo Din Caval," led by some lovely guitar picking, or even the attempt at soul with "Ten Plagues": Strom refuses to let the genre be shackled by some stereotype of klezmer. And that's all well and good. It can produce something of great beauty, like "Shakhres," which uses just guitar and cello. The only problem is that, for the most part, these pieces lack any distinctive personality. The singing is adequate, ...
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