| | Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al CD Lap / PAO / Pennario / Rachmaninoff / Susskind CDS
Leonard Pennario,Piano Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al Music | Label | Seraphim UK | | Orig Year | 8/14/2001 | | All Time Sales Rank |  23213  | | CD Universe Part number | 2018325 | | Catalog number | 74522 | | Discs | 1 | | Release Date | Aug 14, 2001 | | Recording Time | 1 2 | | Additional Info | Remastered |
Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al Review
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Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al Songs Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al Music Composers on Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al CD : Sergei Rachmaninov Conductors on Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al CD : Erich Leinsdorf, Walter Susskind Genres on Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al CD : Concerto, Rhapsody, Romantic Period, Variations Performers on Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al CD : Leonard Pennario Purchase Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al To buy, Click on price to add to cart | Art Pepper Landscape CD (1979)
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Ella Fitzgerald didn't lack for live recording opportunities in the late '50s, which on the surface, would make this first issue of a 1958 Chicago live club date an easy one to pass on. Verve label head Norman Granz recorded her often in the '50s with an eye to releasing live albums, which he did with her shows at Newport in 1957 and Los Angeles' Opera House in 1958 (not to mention another 1958 concert in Rome that was released 30 years later to wide acclaim). Those shows, however, differed widely from this one, which found her in front of a very small audience at Chicago's jazz Mecca Mister Kelly's (Sarah Vaughan's landmark At Mister Kelly's was recorded there four months earlier). Fitzgerald's artistry is basically a given in this situation, but much of the ...
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Rachmaninov: Piano Concerto No 3, Rhapsody / Pennario, Et Al
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The use of the title Soul, which, the liner notes pointed out, had "recently become one of the most frequently-used nouns and adjectives in the world of popular music," suggested that Lena Horne might be belting out emotionally in the Motown style of the Supremes and Martha and the Vandellas on her third United Artists Records LP. That wasn't the case, of course, but the title did mean to alert potential customers that Horne would be tackling contemporary material in contemporary arrangements. With Ray Ellis at the podium and a 48-year-old singer steeped in Hollywood and nightclub traditions at the microphone, however, things could only get so trendy. Nevertheless, Horne dutifully tried on newly written material such as "Wonder What I'm Gonna Do," which put her in Dionne Warwick/Dusty Springfield territory, and "Love Bug," a peppy Don Covay-written attempt at the pop and R&B charts (both songs were issued on a single that had no commercial impact). And she cut such 1965 hits as "What the World Needs Now Is Love," "Unchained Melody," and "A Taste of Honey" in her own style. Perhaps most curiously to future ears, she led things off with Ellis and Al Stillman's "I Got a Worried Man," an adaptation of the folk song "A Worried Man" with a riff that sounded a lot like the theme from the TV series Hawaii Five-O -- except that Mort Stevens' theme music wouldn't have its first broadcast for another two years! Though Horne handled all this material with her usual fervor, much of it was not suited to her and none of it really had much ...
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"Garner (Santa) slinked through the works sinewy and difficult curves like drifting smoke." - Douglas Geers, New York Concert Review (Hutchison's Lament and Jubilation)"gorgeous - flat-out gorgeous...a true artist. It serves me and All the Words EXTREMELY well." - Dan Welcher, Composer"The title track...is a wonderful addition to the flute repertoire and is a superb companion piece for the Muczynski. Garner's colors, vibrato use, and interpretations are excellent. This interesting, well-produced C.D. should be in every flutist's record collection." - Flute Talk, April 2005Lisa Garner Santa currently serves as the flute professor at Texas Tech University where she is active as a private teacher, soloist, and as an advocate of chamber music. As an active member of the National Flute Association, Lisa Garner Santa has performed at numerous conventions as well as served as coordinator and adjudicator for various NFA events and competitions. Performances of solo and chamber music include a 2000 Carnegie Hall recital and the 2004 world premiere of Mike Mower's Concerto for Flute and Wind Orchestra. As a pedagogue, her articles have been published in The Flutist Quarterly, Flute Talk, and The Instrumentalist. In Spring 2002 she was a recipient of the Texas Tech Alumni Association New Faculty Award for creative and innovative teaching. Lisa Garner Santa holds degrees in performance from West Texas State University, Florida State University, and The Shepherd School of Music at Rice University where she studied with Sally Turk, Charles DeLaney, and Carol Wincenc respectively.Lora Deahl is currently professor of piano and piano literature at Texas Tech University. She was designated as a Presidential Scholar from her native state of Hawaii under President Lyndon Baines Johnson and received a National Merit Scholarship to study at the Oberlin Conservatory of Music. She earned graduate degrees with highest honors from Indiana University and the University of Texas at Austin. She has performed widely as a soloist and chamber musician throughout the continental United States, Hawaii, and Puerto Rico. Her articles on piano literature and pedagogy have appeared in the International Journal of Musicology, Piano and Keyboard, American Music Teacher, Keyboard Companion, and the College Music Symposium. A recognized teacher, she was named Outstanding Collegiate Teacher of the Year in 1995 by the Texas Music Teachers Association.From Noon to Starry Night is a song cycle transcribed for flute based on selections from the collection of poems by the same name in Walt Whitman's Leaves of Grass. The composer, Matthew Santa, is professor of theory at Texas Tech University. The cycle moves through a series of encounters with nature as the day progresses, each one drawing the poet closer to his surroundings. In the first song, "Thou Orb Aloft Full Dazzling," the singer/poet vigorously entreats the sun to give him ...
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