| | Handel: Alexander's Feast / Abraham, Balestrieri, Et Al CD Balestrieri / Cameron / Handel / Newman CDS
Handel: Alexander's Feast / Abraham, Balestrieri, Et Al Music | List Price | $24.99 (You save $4.10) | | Label | Dorian | | Orig Year | 10/9/2007 | | CD Universe Part number | 7512693 | | Catalog number | 20604 | | Discs | 2 | | Release Date | Oct 09, 2007 | | Recording Time | 1 41 |
Handel: Alexander's Feast / Abraham, Balestrieri, Et Al Review
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Handel: Alexander's Feast / Abraham, Balestrieri, Et Al Music Composers on Handel: Alexander's Feast / Abraham, Balestrieri, Et Al CD : Johann Sebastian Bach, George Frideric Handel Conductors on Handel: Alexander's Feast / Abraham, Balestrieri, Et Al CD : Daniel Abraham Performers on Handel: Alexander's Feast / Abraham, Balestrieri, Et Al CD : Amanda Balestrieri, David Newman, Scott Cameron Purchase Handel: Alexander's Feast / Abraham, Balestrieri, Et Al To buy, Click on price to add to cart | Bruckner: Symphony No 8 / Yannick Nézet-Séguin, Et Al CDs (2009)
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Music composed by Richard Rodgers. Lyrics written by Oscar Hammerstein.
Digitally remastered using 20-bit technology by Darcy M. Proper and Dawn Frank.
This is the 30th Anniversary edition of the classic 1965 soundtrack. The track order has been reconfigured from the original release to better reflect the original film narrative.
Music composed by Richard Rodgers. Lyrics written by Richard Rogers & Oscar Hammerstein, Jr.
Music composed by Richard Rogers. Lyrics written by Oscar Hammerstein.
This 35th Anniversary Edition of THE SOUND OF MUSIC includes a remastered version of the original soundtrack as well as a bonus disc of longer or different versions of the songs and a spoken segment with Richard Rodgers.
Multi-million sales, a spell of 16 weeks at the top of the US chart, and winning Gold Disc and Grammy Awards were fitting rewards for this memorable recording of Richard Rodgers and Oscar Hammerstein II's much-loved musical which opened on Broadway in November 1959. The show's stars, Mary Martin and Theodore Bikel, were in fine vocal form, and led the excellent cast through the score's highlights, which included `My Favourite Things', `Do-Re-Mi', and `Edelweiss' - the last song that Rodgers and Hammerstein wrote together before the latter's death in 1960.
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Festival of Carols features Robert Shaw performing a variety of holiday favorites. Featured songs include the album-opening "Medley," "It Came Upon a Midnight Clear," "O Come, O Come, Emmanuel," and "Shepherd's Carol," in addition to 11 others. Those who appreciate Shaw's music should find ...
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"It took only two phone calls to get Pete Seeger and Arlo Guthrie to agree to perform together in concert. I rang Pete. "Listen, how about you and Arlo doing some concerts together?" Pete didn't hesitate, "Sure," he quickly replied. I then dialed Arlo. "Say, Arlo, how about you and Pete doing some concerts together?" His reply was as prompt as Pete's. So concerts were lined up for New York, Chicago, Montreal, Boston, Denver and Tanglewood. "Now the big problem was to get Pete and Arlo to meet, to decide on a program and to rehearse. Arlo hates to travel beyond the border of Berkshire County in Massachusetts and Pete is traveling all over the country doing benefits. Luckily, just one week before the first concert in Carnegie Hall, Arlo escaped from his farm and found his way to Pete's place in Beacon, New York. They spent a couple of hours together, decided on a program, ran through a couple of songs...and they were ready. "Pete Seeger had been singing with a Guthrie for some 35 years. Back in 1940, Woody Guthrie and Pete traveled cross country singing their way from state to state, and until the early 1950s Woody and Pete often shared singing in a union hall or at a political rally. In the mid-1960s, as Arlo became a "professional" singer, he was also beginning to share the same platform or concert hall with Pete, as they both participated at peace demonstrations or sang for the Farm Workers Union. The Seeger-Guthrie Union keeps going. "There is no gap in the two generations of singers heard on this record. Rather, the music and songs express ...
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When it comes to jazz, some dogmatic individuals suffer from an either/or mentality. They might assume that if you are playing bop at all, you are a rigid purist who would never dreaming of touching an electric bass -- or, dogmatists might assume that if you have any connection to the avant-garde, you must be playing the most extreme free jazz. But in reality, things aren't nearly so black and white. There are shades of gray in jazz, and Loren Stillman points to some of them on Blind Date. This 2006 recording, which finds the alto saxophonist offering original material exclusively, is neither an example of retro-boppers playing Charlie Parker standards nor an exercise in atonal chaos; Stillman, rather, keeps his options open and provides an album that is mildly avant-garde but not radically avant-garde. One of the strongest influences on Stillman's alto playing is Lee Konitz, but Blind Date never sounds like cool jazz -- not at all. Instead, Stillman shows some appreciation of Konitz in his tone but delivers inside/outside material that has one foot in post-bop and the other in jazz's avant-garde. But even on Blind Date's most outside solos, Stillman is never heavy-handed or confrontational; when Stillman goes outside, his solos bring to mind the reflective, pensive AACM school of avant-garde playing rather ...
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