| | Richard Strauss Conducts Ein Heldenleben, Etc / Berlin Po CD Bavarian State Orch / Berlin Phil. / Strauss, R. CDS
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Purchase Richard Strauss Conducts Ein Heldenleben, Etc / Berlin Po To buy, Click on price to add to cart | Handel's Messiah: A Soulful Celebration CD (1992)
Richard Strauss Conducts Ein Heldenleben, Etc / Berlin Po
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Live Recording
Engineers include: Tony Sheppard, Erik Zobler, Barry Rudolph.
Personnel: Jamecia Bennett (vocals, soprano); Core Cotton, Carrie Harrington (vocals, alto); Terrence Frierson, Patricia Lacy, Kimberly Brown (vocals, tenor, tenor saxophone); James F. Wright (vocals, baritone); David B. Young, Michael L. Bowens (vocals, bass voice); Mervyn Warren (vocals, piano, keyboards, drums, programming, drum programming, background vocals); Richard Smallwood (vocals, keyboards, programming); Donna McElroy, Howard Hewett, Angela Wright, Patti Austin, Take 6, Vicki Hampton, Chris Willis, Kim Fleming, Bob Bailey (vocals, background vocals); Commissioned, Daryl Coley, Jackie Ruffin, Dianne Reeves, Janice Chandler, Melvin Warren, Dennis Sawyers, Caroline Evans, Carolene Evans, David Young, Pat Lacu, Michael Weeks, David Young, Darlene Simmons, Al Jarreau, Michelle Weeks, The Richard Smallwood Singers, Stevie Wonder, Tevin Campbell, The Boys Choir of Harlem, The Clark Sisters , Tramaine Hawkins (vocals); Mike-E (rap vocals, guitar); ...
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Richard Strauss Conducts Ein Heldenleben, Etc / Berlin Po
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Since Chris Young appeared on the "Nashville Star" television program in 2006, he's been on a roll. After signing with RCA he had a hit with "Drinkin' Me Lonely," his first single from his self-titled debut recording. Likewise, the two singles that have preceded the release of THE MAN I WANT TO BE in 2009 haven't done too badly either, getting plenty of play on radio. While Chris Young's sound is firmly in the contemporary country camp, it's also a lot more hardcore honkytonk than it is the refried '70s rock clichés that plague the genre. Part of that is due to his big booming baritone voice that rings as clear as a bell in this mix. (Think George Strait-meets-Josh Turner.) The other part of his appeal is the use of a relatively small group of musicians, giving the disc a more organic sound than a lot of what's out there. Young also has a lot of respect for tradition: "Rose in Paradise" is drenched in fiddles, mandolins, and acoustic guitars. ...
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Columbia's 1987 Gershwin tribute album brandished the word "Classic" in the title with good reason, as Leonard Bernstein leads the New York Philharmonic in a reading of "An American in Paris" and Zubin Mehta conducts that same orchestra in a medley of themes from Woody Allen's film Manhattan. George Gershwin's 1925 player piano roll version of "Rhapsody in Blue" is accompanied ...
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This late 1968 release seemed innocent enough at the time; and actually, it was a sincere effort to use a then newly-practical interpretive instrument, the Moog synthesizer, in a decidedly traditional musical manner. Indeed, at the time, it was simply extending -- in a somewhat more forward-thinking direction -- the kind of attention that had been devoted to Johann Sebastian Bach's music as early as 1782, barely over 30 years after the composer's death, when Mozart wrote a set of string trio arrangements of some of Bach's keyboard works. Heard 40 years on, the approach here seems very tame and formal, but in 1968 it offended some Baroque purists (of whom there were relatively few) and a lot of classical music Luddites (of whom there were a lot more); but it still became the first classical music LP ever to be certified for a Platinum Record Award, by selling to hundreds of thousands of mostly younger listeners who didn't normally buy classical recordings. Wendy Carlos had come up with an artistically valid and musically legitimate approach to the most tradition-bound of all classical music that made it not only palatable but exciting to a generation of listeners more inclined toward the Beatles than Beethoven (much less Bach). Carlos' use of the Moog's oscillations, squeaks, drones, chirps, and other sounds was highly musical in ways that ordinary listeners could appreciate, itself a first in the use of this instrument, and was characterized by -- for the time -- amazing sensitivity and finely wrought nuances, in timbre, tone, and expressiveness. Carlos saw ...
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