| | Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic CD Botstein / Dohnanyi / Londond Phil Orch CDS
Leon Botstein W/London Phil.Or Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic Music | List Price | $17.97 (You save $2.92) | | Label | Telarc Distribution | | Orig Year | 7/28/1998 | | All Time Sales Rank |  31417  | | CD Universe Part number | 1129912 | | Catalog number | 80511 | | Discs | 1 | | Release Date | Jul 28, 1998 | | Recording Time | 54 minutes |
Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic Review
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Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic Songs Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic Music Composers on Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic CD : Ernst von Dohnanyi Conductors on Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic CD : Leon Botstein Genres on Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic CD : Romantic Period, Symphony Purchase Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic To buy, Click on price to add to cart | Sacrifice DVD (1986) Subtitled
Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic
 $29.49
Set in Sweden, Andrei Tarkovsky's last film follows the travails of wealthy patriarch Alexander (Erland Josephson), a former actor and critic who lives in a remote home on the edge of the Baltic Sea. One year on his birthday, a sudden television announcement interrupts the celebration with news of a nuclear holocaust. His family and guests suffer through violent fits of hysteria and emotional turmoil in the ensuing days, but the previously troubled Alexander finds a clearness of mind when he makes a pact with God--offering himself as a sacrifice in order to redeem the fallen earth for his cherished son. Supremely poetic, THE SACRIFICE is filled with achingly beautiful images, expertly shot by Ingmar Bergman's trusted cinematographer Sven Nykvist. As Alexander goes from self-contented ease to crippling animal fear and existential anguish and finally to spiritual abandon, the troubled journey is illustrated with ...
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Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic
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Since it was recorded during the '80s, Home for Christmas sounds a bit too slick, especially for fans of her early material, but it's nevertheless a reasonably enjoyable holiday record, thanks to Dolly's irrepressible charm. ~ Thom Owens
Recording information: Nightingale Recording Studio, Nashville, TN.
Photographer: Dennis Carney.
Unknown Contributor Roles: Tiffany Smith; Derek Wells; Austin Smith; David Turner ; Rebecca Seaver; Bryan Seaver; Cole Kiracofe; Amy Johnson; Alyson Chance; Vanessa Hollowell; Dustin Wells; Katie Turner; Brandon Smith.
Personnel: Dolly Parton (vocals, background vocals); Carl Jackson (acoustic guitar, electric guitar, background vocals); Kent Wells (acoustic guitar, electric guitar); Jack Smith (steel guitar); Michael Johnson (gut-string guitar); Robert Williams (dobro); Alisa Jones Wall (hammer dulcimer); Stuart Duncan, Jimmy Mattingly (mandolin, fiddle); Gary W. Smith (piano, keyboards); Michael Davis (keyboards, percussion); Paul Uhrig (acoustic bass); Steve ...
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Dohnányi: Symphony No 1 / Leon Botstein, London Philharmonic
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What would happen if members of Savatage decided to write some Christmas songs? Easy: Trans-Siberian Orchestra. This "supergroup" is the brainchild of Jon Oliva and Paul O'Neill (respectively the leader-keyboardist and the producer of Savatage). They hired Al Pitrelli (Asia, Savatage) to play guitars, Robert Kinkel to help with keyboards, John Middleton (also a member of Savatage) on bass, and Jeff Plate on drums. Lead vocals are shared by six vocalists, while some of the backing vocals are handled by Savatage lead singer Zachary Stevens. Christmas Eve and Other Stories is a concept album: all the songs are built as chapters of a book, each telling part of a larger story. The plot here is of a young angel sent down to Earth to find and bring back to the Lord "the one thing that best represents everything good that has been done in the name of this day." The angel's quest takes him all over the world, through Russia and Sarajevo, until he finally hears the prayer of a father. This last piece is the strongest moment on the album and makes for a miniature story within the larger story. It is basically told in a trilogy of songs: in the first, "Ornament," we hear the father's prayer, explaining how he hasn't seen his daughter in many years. In "Old City Bar," the angel finds the daughter, standing alone outside a bar, and talks to the bartender who, out of a random act of kindness, takes all the cash from his register drawer and gives it to the girl so she can go home. The third song, "This Christmas Day," has the father praising God, thanking him for bringing his daughter back to him on this night of all nights. It is a very touching story, pondering the thought that "If you want to arrange it/This world you can change it/If we could somehow make this/Christmas thing last/By helping a neighbor/Or even a stranger." Musically, the band has taken some traditional Christmas songs ("O Come All ...
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Recording information: Köln, Studio Stolbergstraáe.
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Though he's perhaps best known for the explosive, polystylistic cut'n'splice of cult groups like Naked City and Pain Killer, and the prolific and prolix Masada, John Zorn has remained deeply attached to the modernist roots he sprang from in the 1970s (the fact he has chosen to release music by thorny modernists such as Charles Wuorinen and Milton Babbitt on his Tzadik label is significant). If it weren't for the incorporation of some odd percussion instruments, including wind machines, you could be fooled into thinking that Zorn's "Rituals," a 25-minute work in five movements for soprano and ten instrumentalists, dates from the mid-'60s and not the late '90s. It's a well-crafted work, superbly performed (soprano Heather Gardner is exemplary, and special mention should be made of clarinetist Michael Lowenstern and pianist Stephen Drury) and recorded and mastered to perfection. Zorn has always sought to build bridges between genres -- one wonders how many people discovered Napalm Death and the Boredoms through Zorn's work -- and it's to be hoped that the traffic across this particular one will be two-way: devotees of The Big Gundown and Spillane might end up digging Donald Martino and Elliott Carter, and hardcore Princeton serialists might start tapping their feet to Bar Kokhba. ~ Dan Warburton
Recording information: Hit Factory, New York, NY (10/2004).
Editor: Silas Brown.
Illustrator: ...
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