| | Britten's Orchestra CD Britten / Kansas City Symphony / Stern CDS
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Our Price: $13.89  CDFor Sale Usually ships in 1-2 days
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| Category | Classical, Classical Composers, 20th Century Period, Orchestral/Symphonic, Opera, Symphony, Variations, Fugue, Requiem, Sinfonia, Passacaglia, Interlude |
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Britten's Orchestra Songs | 1. Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell), for speaker ad l (17:11) | | Composer | Benjamin Britten (1913 - 1976) | | Conductor | Michael Stern | | Genre | Fugue | | Date Written | 1946 | | Country | United Kingdom | | Venue | Community of Christ Auditorium, Independ | | Notes | Community of Christ Auditorium, Independence, MO (06/05/2009-06/06/2009) | | 2. Sinfonia da Requiem, for orchestra, Op. 20 (19:16) | | Composer | Benjamin Britten (1913 - 1976) | | Conductor | Michael Stern | | Genre | Requiem / Symphony | | Date Written | 1940 | | Venue | Community of Christ Auditorium, Independ | | Notes | Community of Christ Auditorium, Independence, MO (06/05/2009-06/06/2009)
Composition written: 1940.
Composition revised: Japan. | | 3. Sea Interludes (4) from Peter Grimes, for orchestra, Op. 33a (16:21) | | Composer | Benjamin Britten (1913 - 1976) | | Conductor | Michael Stern | | Genre | Interlude | | Date Written | 1944 | | Country | United Kingdom | | Venue | Community of Christ Auditorium, Independ | | Notes | Community of Christ Auditorium, Independence, MO (06/05/2009-06/06/2009) | | 4. Passacaglia, for orchestra, Op. 33b (from "Peter Grimes") (7:15) | | Common Name | Peter Grimes Passacaglia, Passacaglia For Orchestra | | Composer | Benjamin Britten (1913 - 1976) | | Conductor | Michael Stern | | Genre | Passacaglia | | Date Written | 1944 | | Country | United Kingdom | | Venue | Community of Christ Auditorium, Independ | | Notes | Community of Christ Auditorium, Independence, MO (06/05/2009-06/06/2009) | | 5. Sea Interludes (4) from Peter Grimes, for orchestra, Op. 33a (16:21) | | Composer | Benjamin Britten (1913 - 1976) | | Conductor | Michael Stern | | Genre | Interlude | | Date Written | 1944 | | Country | United Kingdom | | Venue | Community of Christ Auditorium, Independ | | Notes | Community of Christ Auditorium, Independence, MO (06/05/2009-06/06/2009) |
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1976's A NEW WORLD RECORD is both a classic of commercial '70s pop and an archetypal ELO album. From the outer-space synths and rich orchestrations that open the album to Jeff Lynne's meticulous production and Beatlesque melodies, A NEW WORLD RECORD is magnificent ear candy. Both ambitious enough to appeal to "serious" rock fans and ultra-catchy enough to sound terrific on Top 40 radio (the plaintively gorgeous, McCartney-like "Telephone Line" and the anthemic "Livin' Thing" were well-deserved smashes), ELO was one of the few '70s bands whose appeal covered both the FM and AM spectrums. The album even resurrects "Do Ya," a classic single by Lynne's former band, the Move, in a splashy new version.
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Jeff Lynne reportedly regards this album and its follow-up, Out of the Blue, as the high points in the band's history. One might be better off opting for A New World Record over its successor, however, as a more modest-sized creation chock full of superb songs that are produced even better. Opening with the opulently orchestrated "Tightrope," which heralds the perfect production found throughout this album, A New World Record contains seven of the best songs ever to come out of the group. The Beatles influence is present, to be sure, but developed to a very high degree of sophistication and on Lynne's own terms, rather than being imitative of specific songs. "Telephone Line" might be the best Lennon-McCartney collaboration that never was, lyrical and soaring in a way that manages to echo elements of Revolver and the Beatles without ever mimicking ...
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Besides "Fire on High," which was used as background music for countless television programs in the '70s, this album's eight lengthy tracks include two enormous hits, "Evil Woman" and the McCartneyesque ballad "Strange Magic." Decades later, these two tracks are still in constant rotation on classic-rock radio around the world. Those three songs defined the new sound of ELO. Gone were the elaborate, classically styled overtures, in favor of concise, ultra-melodic pop songs given lush, romantic orchestral arrangements with endlessly overdubbed harmony vocals. The next three ELO albums refine this aesthetic to commercial perfection, but this is where it starts. FACE THE MUSIC is the album that ...
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Britten's Orchestra
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