| | Ferdinand Ries: Symphonies Nos. 7 & 8 CD Kammerorchester, Z CDS
Ferdinand Ries: Symphonies Nos. 7 & 8 Music | List Price | $16.97 (You save $6.32) | | Label | CPO | | Orig Year | 4/20/2004 | | All Time Sales Rank |  9869  | | CD Universe Part number | 6734834 | | Discs | 1 | | Release Date | Apr 20, 2004 | | Recording Time | 1 7 | | Additional Info | Sacd Hybrid; Hybrid SACD |
Ferdinand Ries: Symphonies Nos. 7 & 8 Review
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Ferdinand Ries: Symphonies Nos. 7 & 8 Songs Ferdinand Ries: Symphonies Nos. 7 & 8 Music Composers on Ferdinand Ries: Symphonies Nos. 7 & 8 CD : Ferdinand Ries Conductors on Ferdinand Ries: Symphonies Nos. 7 & 8 CD : Howard Griffiths Genres on Ferdinand Ries: Symphonies Nos. 7 & 8 CD : Romantic Period Purchase Ferdinand Ries: Symphonies Nos. 7 & 8 To buy, Click on price to add to cart | Marko Letonja Felix Weingartner: Symphony No. 1; König Lear CD (2004) SACD Hybrid
Ferdinand Ries: Symphonies Nos. 7 & 8
 $13.09   
This is a Super Audio CD playable only on Super Audio CD players.
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Ferdinand Ries: Symphonies Nos. 7 & 8
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Ferdinand Ries: Symphonies Nos. 7 & 8
$12.89
This is a Super Audio CD playable only on Super Audio CD players.
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Fanmail 2000 is a release that takes off like a rocket with plenty of fuel in reserve. The band's sophomore release is a disc that's raw, passionate, and energetic. Cuts like "Time Will Only Tell" and "Shut Your Mouth" are fast-tempo rockers. Both tunes are driven with distorted guitars and the convincing vocals of Scott Silletta. Fanmail plays with the same kind of sonic passion throughout the disc. Songs like "Run Around My Head" and "Competition" don't stop to refuel. These tunes have a tightness that progresses a bit past punk boundaries. Fanmail covers the Backstreet Boys' "I Want It That Way" with reckless abandon. The chorus is over the edge with scratches and electronic vocals. The guitars are dynamic and chunky with the cut turning into the highlight of the disc. With their latest offering, Fanmail plays with unbridled ferocity. 2000 is a disc as explosive as a rocket launch. ~ Steven D. Losey
Fanmail: Scotty Silletta (vocals, guitar); M. Tesch (guitar); P. Guyton (bass, background vocals); ...
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Ferdinand Ries: Symphonies Nos. 7 & 8
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Ferdinand Ries: Symphonies Nos. 7 & 8
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(SACD-HYBRID) When winter gives way to spring, something stirs at the very foundations of the Swedish soul. The cultivation of an old but vigorous tradition reaches ...
| | Chris Brubeck - Convergence (2005)
Ferdinand Ries: Symphonies Nos. 7 & 8
$16.95
This is a Super Audio CD playable only on Super Audio CD players.
"CONVERGENCE" on KOCH International Classics"Convergence" (3 movements, C. Brubeck) Czech National Symphony Orchestra, Paul Freeman, conductor"River of Song" (6 movements, C. Brubeck) The Tassajara Symphony, Sara Jobin, conductorFrederica von Stade & Rachel Luxon, Soloists"Prague Concerto for Bass Trombone & Orchestra" (3 movements, C. Brubeck)Czech National Symphony Orchestra, Paul Freeman, conductorChris Brubeck, Bass Trombone“Chris Brubeck has jazz in his blood, rock in his soul, and a developing career in classical composition. … In just a few years he’s created a repertoire that could be the true crossover material: work that demonstrates a keen knowledge of and talent for jazz, popular, and classical idioms.†Symphony Magazine, December, 2002This composer, trombonist, bassist, pianist, singer, guitarist and all around musical bon vivant is, in fact, one of the many talented members of the Brubeck family. As a composer, Chris represents all that is fascinating about Americana: the diversity, the spirit, the surface hijinks that play just above untold hidden depths, the soulful simplicity and homespun musicality that defined America in earlier, more innocent times — part Copland, part Duke Ellington, part wide open spaces, part New Orleans. Brubeck’s America is the America of Mark Twain, of the Gershwins, of Charles Ives, of speakeasies and be-bop jazz joints, elegant concert halls and funky R&B clubs. His wild, unpredictable works celebrate this unrestricted eclecticism, drawing comparisons to David Amram and Edgar Meyer, to name a few, yet doing what he does in a singular, exceptional, deeply personal way. But do not mistake this easy stylistic careening for naiveté. As a composer, there’s a reason for every well-chosen note.“Without putting too much of an onus on Chris Brubeck,†says Boston Pops conductor Keith Lockhart, “we’re always looking for the new Gershwins who can take the sounds in American popular musical culture and integrate them into the context of the orchestra, much the way Gershwin and Bernstein did.†Lockhart would know, being not only the innovative leader of the nation’s most highly regarded Pops Orchestra, but the driving force behind the commission of Convergence, Brubeck’s fascinating concerto for orchestra. Like any good bandleader, Lockhart raises the bar by programming new music which evokes substance over flash. In this case, Brubeck’s flashy, fun work is, at heart, no laughing matter and is regarded as a challenging and serious work."Convergence", which the Boston Globe referred to as “a bravura premiere… the most ambitious work ever commissioned by the Pops,†is cast in three movements and clocks in at around a quarter of an hour. It is structured much like a conventional orchestral work: two fast movements bookend a slow one. In the case of Convergence, the form is turned on its ear slightly. While the opening movement, “The Journey†progresses from antiphonal brass to the string section whipping through a crazed Eastern- European folk dance, it winds up as an adventurous romp leading to the final fanfare which restates the opening brass motif. This melts into a genteel, elegant slow second movement, “Reminiscence in Blues†where things take a turn to the South — in this case New Orleans. A lilting, offstage trumpet solo in the distance closes the second movement, reminiscent, perhaps, of the most famous dearly departed resident of The Big Easy, Louis Armstrong. Elegance gives way to a march, as the final movement collides into the prior. An off-stage marching ...
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