| | Tchaikovsky: Orchestral Works CD Detroit Symphony / Dorati / Tchaikovsky CDS
Tchaikovsky: Orchestral Works Music | List Price | $17.98 (You save $6.49) | | Label | London | | Orig Year | 10/11/1994 | | All Time Sales Rank |  8351  | | CD Universe Part number | 1170178 | | Catalog number | 443003 | | Discs | 2 | | Release Date | Oct 11, 1994 | | Recording Time | 2 27 |
Tchaikovsky: Orchestral Works Review
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Tchaikovsky: Orchestral Works Songs | 1. Capriccio Italien, for orchestra (or piano, 4 hands), Op. 45 (14:52) | | Common Name | Capriccio Italien For Orchestra Or Piano 4 Hands | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Romantic Period | | Date Written | 1880 | | Period | Romantic | | Country | Italy | | Recording Date | 1974 | | 2. Hamlet, fantasy-overture for orchestra in F minor, Op. 67 (17:12) | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Fantasy / Romantic Period | | Date Written | 1888 | | Period | Romantic | | Country | Russia | | Recording Date | 1973 | | 3. The Voyevoda -- Symphonic Ballad, for orchestra, Op. post. 78 (10:34) | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Romantic Period / Tone Poem | | Date Written | 1890-1891 | | Period | Romantic | | Country | Russia | | Recording Date | 1973 | | 4. Fatum, symphonic poem for orchestra, Op. post. 77 (15:18) | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Romantic Period / Tone Poem | | Date Written | 1869 | | Period | Romantic | | Country | Russia | | Recording Date | 1974 | | 5. 1812 -- Festival Overture, for orchestra in E flat major, Op. 49 (16:22) | | Common Name | 1812 Festival Overture For Orchestra | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Romantic Period | | Date Written | 1880 | | Period | Romantic | | Country | Russia | | Recording Date | 1978 | | 6. Romeo and Juliet, fantasy-overture for orchestra in B minor (3 versions) (18:32) | | Common Name | Romeo And Juliet Fantasy Overture For Orchestra | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Fantasy / Romantic Period | | Date Written | 1880 | | Period | Romantic | | Country | Russia | | Recording Date | 1974 | | 7. The Tempest, fantasy-overture for orchestra in F minor, Op. 18 (19:30) | | Common Name | The Tempest Fantasy Overture For Orchestra | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Fantasy / Overture / Romantic Period | | Date Written | 1873 | | Period | Romantic | | Country | Russia | | Recording Date | 1974 | | 8. Francesca da Rimini, symphonic fantasy for orchestra in E minor, Op. 32 (23:57) | | Common Name | Francesca Da Rimini Symphonic Fantasy For Orchestra | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | Fantasy / Romantic Period | | Date Written | 1876 | | Period | Romantic | | Country | Russia | | Recording Date | 1973 | | 9. Slavonic March, for orchestra, Op. 31 (10:44) | | Common Name | Slavonic March For Orchestra | | Composer | Pyotr Il'yich Tchaikovsky (1840 - 1893) | | Conductor | Antal Dorati | | Genre | March / Romantic Period | | Date Written | 1876 | | Period | Romantic | | Country | Russia | | Recording Date | 1978 |
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Recorded in 1984 for Pete Christlieb's Bosco label, this outing by the Louie Bellson Orchestra has plenty of power, more variety than usual, and swings up a storm; half of the selections actually feature a small group from the orchestra. The big band tracks have spots for trumpeters Conte Candoli and Ron King, ...
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Considering his talents, arranger Bill Holman has led relatively few recording sessions through the years. This formerly rare big-band set from 1958 (originally on the Andex label and reissued on CD by V.S.O.P.) features a 15-piece band filled with West Coast all-stars. Among the soloists on these five standards and four originals are trombonists Frank Rosolino, Carl Fontana, and Ray Sims; altoists Charles Mariano and Herb Geller; trumpeter Jack Sheldon; Richie Kamuca on tenor; pianist Victor Feldman; and Holman himself on tenor. The leader's arrangements were quite distinctive (although not as complex as they would become) at this fairly early stage, and the results are a big-band album that still sounds fresh nearly four decades later. ~ Scott Yanow
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Recorded at Radio Recorders, Hollywood, California from February 11-13, 1958. Includes liner notes by Andre Previn.
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Adding to the already exciting and wonderfully varied world of sound and wonder previously released by Arnold Dreyblatt is Bang on a Can's label, Cantaloupe. Dreyblatt was responsible for "The Escalator," one of the finest moments on the Bang on a Can Allstars' Cantaloupe launching pad album, Renegade Heaven. His association with them goes back into the early '90s. For those unfamiliar, Dreyblatt uses a combination of standard instruments as well as original creations and radically transformed ones to play an overtonal tuning system based on just intonation with 20 notes per octave -- as opposed to the eight we standard Westerners use. His instruments are designed to utilize the "hot overtones" he finds in his system, that are illuminated best with strings. He uses a reconfigured cimbalom that is actually a pre-war, Chinese children's piano, which is played horizontally with hammers. One of his electric guitars has built-in magnetic driver-sustainers for each string, and for both instruments, new frets have been added in the just intonation scale. His bass has been restrung with unwound steel wire and is played by being beaten and struck with a bass bow. There are other more conventional instruments such as violin, cello, double bass, hurdy-gurdy, and percussion. All of the instruments -- save for percussion -- perform in the 20-note-per-octave system. What does it sound like? Like a shimmering, hyperkinetic orgy of string music, dynamically arranged for maximum penetration of the cerebral cortex's pleasure center. Dreyblatt, unlike his contemporaries Glenn Branca, Rhys Chatham, and others, doesn't need to knock the listener down with his music; it naturally establishes ostinato rhythmic patterns, textural balances, and tonal symmetry. The title track, with its snare drum underlining the cimbalom and cello as the other strings pulse and vibrate, is a case in point. Elsewhere, in the gargantuan "Meantime," percussion creates a type of Morse code that is very gradually extrapolated upon by the stringed instruments even as new rhythmic patterns appear in the middle of established ones. Certainly it is tempting to merely label this music minimalism, but to do so would be erroneous because so much happens in the midst of pulse patterns and pedal, points ...
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