| | Music From The Vatican: Alma Mater CD Music From The Vatican: Alma Mater CDS
Music From The Vatican: Alma Mater Music | List Price | $17.98 (You save $4.24) | | Orig Year | 11/23/2009 | | CD Universe Part number | 8030696 | | Catalog number | 001368602 | | Discs | 1 | | Release Date | Nov 23, 2009 | | Mono/Stereo | Stereo | | Recording Time | 50 minutes |
Music From The Vatican: Alma Mater Music Music From The Vatican: Alma Mater Review
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Music From The Vatican: Alma Mater Songs | 1. Sancta Dei Genitrix (Holy Mother of God), for recitation, chorus & orchestra (6:39) | | Composer | Stefano Mainetti | | Conductor | David Firman | | Notes | This work was written in collaboration with Simon Boswell. | | 2. Mater Ecclesiae (Mother of the Church), for recitation, chorus & oorchestra (5:23) | | Composer | Stefano Mainetti | | Conductor | David Firman | | 3. Advocata Nostra (Our Advocate), for recitation, chorus & orchestra (5:42) | | Composer | Nour Eddine | | Conductor | David Firman | | 4. Benedicta Tu (You Are Blessed), for recitation, chorus & orchestra (6:41) | | Composer | Nour Eddine | | Conductor | David Firman | | 5. Causa Nostrae Laetitiae (Cause of Our Joy), for recitation, chorus & orchestra (6:34) | | Composer | Simon Boswell | | Conductor | David Firman | | 6. Auxilium Christianorum (Mary Help of Christians), for recitation, chorus & orchestra (4:05) | | Composer | Stefano Mainetti | | Conductor | David Firman | | 7. Regina Coeli (Queen of Heaven), for recitation, chorus & orchestra (6:53) | | Composer | Stefano Mainetti | | Conductor | David Firman | | Performer | Yasemin Sannino | | 8. Magistra Nostra (Our Teacher), for recitation, chorus & orchestra (7:44) | | Composer | Simon Boswell | | Conductor | David Firman |
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\"Swist is a fine player and composer, and Whitewater has musicality, interest, and excellent sound.\" -Percussive Notes, April 2002\"(Streamline) ...should become part of contemporary four-mallet marimba repertoire. \" -The Instrumentalist, Feb. 1999\"...a hand-to-hand technique as a fully integrated four-mallet approach. \" -Percussive Notes, March 1999Bio for Christopher Swist:Christopher Swist began playing the drum set at a very early age. As an undergraduate, he stayed in his hometown of Buffalo and holds a B.M. in Music Performance from SUNY-Buffalo. While at U.B. he won the 1996 Baird Concerto Competition and had his early marimba compositions published by Studio 4 Music/Alfred. Christopher moved to New England in 1997 where he received his M.M. in Music Performance from The Hartt School. He followed this with a second M.M. in Composition from Hartt. His primary percussion teachers were Jan Williams, Anthony Miranda, and Benjamin Toth. He had specialized study with Alexander Lepak (timpani), Luiz D'Anuniciação (Brazilian), Glen Velez (hand drums), and Johnny Almendra (Afro-Cuban). His composition instructors include Robert Carl, Ingram Marshall, Stephen Gryc, Kenneth Steen, and Jeffrey Stadelman. Mr. Swist is the principal percussionist of the New Britain Symphony. He has also played with: Hartford Symphony, Ridgefield Symphony, Waterbury Symphony, New Haven Symphony, Eastern Connecticut Symphony, Norwalk Symphony, Bridgeport Symphony, Opera Theater of Connecticut, New Britain Opera and numerous other groups throughout New England. He has performed with Joshua Bell, Midori, The Empire Brass and several other premier soloists on the symphonic circuit. He has collaborated with several modern dance organizations including: Full Force Dance Theater, The Wellspring Project, Connecticut Choreographers Forum, and Dance Connecticut. His solo CD 'Whitewater' was released in 2001 and was funded through a grant from the Yvar Mikhashoff Trust for New Music. Christopher Swist has publications with Studio 4 Music, Keyboard Percussion Publications and Edition Svitzer. He also has an endorsement from Sabian, Ltd. Christopher has taught percussion, theory and composition at Keene State College since 2003. He also is on faculty at Holyoke Community College and the Hartt School Community Division. He was the percussion instructor at Bennington College from 1998-2002. More information and sound clips available at christopherswist ____________________________Liner Notes from Whitewater:The works on this CD come from my final years as an undergraduate. This project took place just after I had earned a bachelor\'s ...
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HELP was the last Beatles album to feature a cover version (Larry Williams's "Dizzy Miss Lizzie"), and is considered a turning point in the quality of their songwriting. Like the previous album's "Im a Loser," "You've Got To Hide Your Love Away" was Lennon's nod to the influence of Bob Dylan. McCartney's gift for melody was obvious in "I've Just Seen A Face." And Harrison's songwriting contributions grew to two tracks.
Instrumentally, "Ticket To Ride"'s off-beat rhythm was Ringo's masterpiece, while the string quartet in the huge hit "Yesterday" was unusual for a rock band at that time; it was the start of a stellar series of McCartney ballads with strings ("Eleanor Rigby," "She's Leaving Home").
One week after Parlophone Records in the U.K. released the Beatles' fifth British album, Help!, a 14-track LP containing seven songs performed by the group in the motion picture of the same name, and seven other new recordings, Capitol Records in the U.S. released what it billed as the original motion picture soundtrack to the film, containing the seven movie songs, but deleting the other tracks in favor of excerpts from the instrumental score composed and adapted by Ken Thorne. Since the beginning of the Beatles' recording career, their releases at home in England had differed markedly from the records that came out in America, not only early on when Capitol, like Parlophone (a subsidiary of the major label EMI), declined its options on Beatles discs, leading to their being licensed to such companies as Swan and Vee Jay, but also after Capitol assumed responsibility for U.S. versions as of the single "I Want to Hold Your Hand" at the start of 1964. Standard record company practice differed in the two countries. In Britain, songs issued on singles were usually not repeated on LPs; in America, they frequently were. British LPs tended to have 14 songs; American ones only 11 or 12. As a result, Capitol reconfigured and retitled Beatles releases for the U.S.; where Parlophone put out Please Please Me (1963), With the Beatles (1963), A Hard Day's Night (1964), and Beatles for Sale (1964) prior to Help!, Capitol, using much the same material, squeezed out Meet the Beatles! (1964), The Beatles' Second Album (1964), Something New (1964), Beatles '65 (1964), The Early Beatles (1965), and Beatles VI (1965). (It's even more complicated than this, of course, but space does not permit a more complete discussion.)
Still, the rearranging of Help! for U.S. release was a special case, a different concept altogether from the British version. Capitol executive Dave Dexter, Jr. earned a producer's credit for mixing the material up, and the changes were apparent right at the start. The album began not with a Beatles performance, but with a version of "The James Bond Theme," reinforcing the idea that the movie was a spoof of the James Bond films. The theme was given a slight Indian flavor, also presaging a major element in the film. Then the track segued into the Beatles' title track. The lively Paul McCartney-sung "The Night Before" was followed by another score cue, "From Me to You Fantasy," a Thorne arrangement of the Beatles' "From Me to You" combined with some ominous instrumental music and more Indian instruments. The Beatles' "You've Got to Hide Your Live Away" and "I Need You" came next, and then the instrumental "In the Tyrol," which borrowed from Richard Wagner's overture to the third ...
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