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James Dillon: Music Projects CD


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Category Classical, Chamber Music/Recitals, 20th Century Period
 
James Dillon: Music Projects Music


Detailed James Dillon: Music Projects Music Information



List Price $21.98 (You save $2.79)
Label NMC (Classical)
Orig Year 9/15/2000
All Time Sales Rank   19262  
CD Universe Part number 1196372
Discs 1
Release Date Jan 11, 2005
Recording Time 57 minutes
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James Dillon: Music Projects Music


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Composers on James Dillon: Music Projects CD : James Dillon

Conductors on James Dillon: Music Projects CD : Richard Bernas

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Additional Tracks Personnel: Ozzy Osbourne (vocals); Zakk Wylde (guitar); John Sinclair (keyboards); Bob Daisley (bass); Randy Castillo (drums).
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1995 special collector's edition, 22 bit digital re-master complete with all original artwork plus bonus photos. Osbourne streamlines his approach to keep up with the emerging trend toward slick, radio-ready metal. There are some good moments, including the single 'Shot in the Dark.' Originally released in 1986. Sony. Also available in a 3-pack with DIARY OF A MADMAN and BARK AT THE MOON.
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The Twelve Songs of Emily Dickinson reveal Copland's full expressive range at the height of his creative maturity. Born in 1900, he composed this cycle in 1949-50 after capturing several prestigious awards including the Pulitzer Prize. The voice and piano play nearly equal roles with each employing the full range of their respective instruments. Copland's textures are transparent much of the time, intervals carefully chosen and slightly dissonant. Some songs are rich in complexity, i.e. Nature, the gentlest mother, There came a wind like a bugle, Going to Heaven, while many songs allow the line to spin out with natural simplicity, i.e. The world feels dusty, Heart, we will forget him. One setting in particular stands out for its unusual sense of fantasy aptly underscoring the surreal ism of Dickinson's poem I felt a funeral in my brain. Romantic gestures abound in the music. Copland, indicates numerous tempo fluctuations throughout, sometimes self-consciously having the pianist accelerate during the singer's held tones only to pull back as soon as the subsequent phrase sets in. Siete Canciones Populares Espanolas by Manuel de Falla were written in 1914-15 and first performed in Madrid in 1915, the same year as the premiere of El Amor Brujo. While written for piano and voice, De Falla's settings have an intentionally guitaristic sound. Tempo fluctuation in these songs is not at all self-conscious but rather dictated by the natural feel of its Spanish folk rhythms. One of the loveliest moments in this opus, the lullaby Nona, is accompanied by the piano's approximation of a hammered dulcimer with its openly resonating strings. The voice takes on an ornamental quality evocative of the Middle East. Overall, the Spanish folk sound requires a different vocal quality from any of the other songs on this CD. Melodies de Venise by Gabriel Faure (1845-1924) on poems by Verlaine were sketched out in Venice and Florence throughout the summer of 1891. It was the first time that Faure composed a series of songs and organized them into a cycle. The poems are linked to one another like a narrative. In turn the songs are thematically unified. Faure wrote over one hundred songs over a period of sixty years. Richard Strauss (1864-1949) wrote ...
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