| | Haydn: The Creation CD Willcocks, Sir David CDS
Haydn: The Creation Music Haydn: The Creation Review
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Haydn: The Creation Songs | 1. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 3. No. 28. In rosy mantle appears (32:54) | | Catalog No. | H 21 | | Composer | Franz Joseph Haydn (1732 - 1809) | | Conductor | David Willcocks | | Performer | Heather Harper
James Lancelot (Harpsichord)
John Shirley-Quirk
Robert Tear | | Genre | Classical Period / Oratorio | | Date Written | 1798 | | Period | Classical | | Venue | King's College Chapel, Cambridge, Englan | | Notes | King's College Chapel, Cambridge, England (12/13/1972-12/14/1972)
Composition written: 1798.
Composition revised: England. | | 2. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 3. No. 29. By thee with bliss (6:58) | | Composer | Franz Joseph Haydn (1732 - 1809) | | Conductor | David Willcocks | | Performer | Andrew Davis [Conductor] (Organ)
James Blades (Timpani) | | Genre | Classical Period / Motet | | Date Written | by 1798 | | Period | Classical | | Venue | King's College Chapel, Cambridge, Englan | | Notes | King's College Chapel, Cambridge, England (08/01/1966-08/02/1966) | | 3. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 3. No. 30. Our duty we have now performed (12:25) | | Common Name | Paukenmesse Missa, Missa In Tempore Belli For For Chorus Organ & Orchestra | | Catalog No. | H 22 | | Composer | Franz Joseph Haydn (1732 - 1809) | | Conductor | David Willcocks | | Performer | Keith Harvey (Cello)
Andrew Davis [Conductor] (Organ)
Alexander Young
Heather Harper
James Blades (Timpani)
John Shirley-Quirk | | Genre | Classical Period / Mass | | Date Written | 1796 | | Period | Classical | | Venue | King's College Chapel, Cambridge, Englan | | Notes | King's College Chapel, Cambridge, England (08/01/1966-08/02/1966)
Composition written: 1796.
Composition revised: Hungary. |
Haydn: The Creation Music Composers on Haydn: The Creation CD : Franz Joseph Haydn Conductors on Haydn: The Creation CD : David Willcocks Genres on Haydn: The Creation CD : Classical Period, Mass, Motet, Oratorio Performers on Haydn: The Creation CD : Alexander Young, Andrew Davis [Conductor], James Blades, Heather Harper, Keith Harvey, James Lancelot, John Shirley-Quirk, Robert Tear Purchase Haydn: The Creation To buy, Click on price to add to cart | Kristin Chenoweth Let Yourself Go CD (2001)
Haydn: The Creation
 $9.99    
Kristin Chenoweth capped a rising career in musical theater with her debut solo album, which found her showing off her well-trained soprano in a collection of show tunes, most of which dated to the interwar period. On Irving Berlin's "Let Yourself Go," she tap danced like Fred Astaire in Follow the Fleet, and she worked up a torrent of comic anger in Jule Styne's "If You Hadn't But You Did." Then, she switched gears, proving herself a potently romantic figure in the Gershwins' "How Long Has This Been Going On?" and Rodgers and Hart's "My Funny Valentine." And so it went. Backed by the Coffee Club Orchestra, the resident backup band for City Center's Encores! series of concert versions of lost musicals, with whom she had worked on Strike Up the Band and On a Clear Day You Can See Forever, she recreated one of the Strike Up the Band numbers, the lesser-known Gershwin treat "Hangin' Around With You," abetted by another musical theater veteran who had branched out into TV, Jason Alexander. Jeanine Tesori and Dick Scanlan's previously unheard "The Girl in 14G" allowed her to show off her opera training as well as her scatting abilities, and she fearlessly (and successfully) took on the ghost of Mary Martin by covering "I'm a Stranger Here Myself" from One Touch of Venus. Like an elaborate audition tape, the album seemed designed to suggest that Chenoweth could play any sort of part; sometimes the songs themselves reflected this goal of displaying versatility, notably the obscure Vincent Youmans song ...
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Haydn: The Creation
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Music and lyrics by Laurence O'Keefe.
Recorded at Avatar Studio A, New York, New York on April 9, 2001 and Sear Sound, New York, New York on April 12, 2001. Includes liner notes by Susan Kulpa-Clontz.
Principal cast includes: Deven May (Bat Boy); Daria Hardeman (Ruthie Taylor); Doug Storm (Rick Taylor); Kathy Brier (Ron Taylor); ...
| | Urinetown CD (2001)
Haydn: The Creation
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Music composed by Mark Hollman. Lyrics written by Greg Kotis.
If your first reaction on hearing about a musical called Urinetown is that that's an awful title, don't worry, the authors are way ahead of you. Its awfulness is the point, and Urinetown is as much a musical about a musical as it is, well, a musical. The opening song, for example, is called "Too Much Exposition," and in it, Officer Lockstock (Jeff McCarthy), who acts as the narrator, explains "the central conceit of the show," which is that, in a mythical town suffering a drought, "everyone has to use public bathrooms" and pay high fees, a story line Little Sally (Spencer Kayden) describes as "bad subject matter." Urinetown might as well be called "Allegory-ville," you see, even though that wouldn't be as repulsive -- and therefore as provocative -- a title. Lyricist/librettist Greg Kotis clearly has spent a lot of time studying Bertolt Brecht, and composer/co-lyricist Mark Hollmann is a big fan of Kurt Weill, so that Urinetown's clear antecedents are shows like The Threepenny Opera and Weill/Brecht disciple Mark Blitzstein's The Cradle Will Rock. The story is about the evil rich and the hapless poor, and the authors draw equally from the Depression era of the 1930s and the naïve idealism of the early '60s, casting several of their songs in the folk/gospel style of the freedom songs of the civil rights movement. But they also have absorbed a heavy dollop of the political cynicism of the late '60s; another obvious influence is Frank Zappa, especially ...
| | Bounce CD (2004)
Haydn: The Creation
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Muisc & lyrics by Stephen Sondheim. Score conducted by David Caddick.
Recorded live at The John F. Kennedy Center for the Performing Arts, Washington, DC. Includes a book by John Weidman & liner notes by Frank Rich.
The musical Bounce, with songs by Stephen Sondheim and a libretto by John Weidman (the two had previously collaborated on Pacific Overtures and Assassins), played for six weeks at the Goodman Theater in Chicago (June 30-August 10, 2003), followed by four weeks at the Kennedy Center for the Performing Arts in Washington, D.C. (October 21-November 16, 2003). These runs may have been considered tryouts for Broadway, but during the D.C. engagement, the producers announced that the show would not be going to New York. They blamed a lack of theater space, but observers noted the negative reviews Bounce had received. For most shows that close out of town, that would have been the end of that, but Sondheim is such a celebrated figure in the musical theater, one whose flops (Anyone Can Whistle, Merrily We Roll Along, both of which made it to Broadway) are nearly as legendary as his hits, that Nonesuch Records recorded the show with the original cast, its commercial failure notwithstanding. Sondheim fans, who may have followed Bounce's long, tortuous gestation (which included rewrites, title changes, re-casting, workshops, and lawsuits), will welcome the result, if only ...
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