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|The Essential James Galway
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Two-Disc Set With Over Two Hours Of Music Includes Sir James Galway's Most Popular Recordings, Including Classical And Pop Favorites Known the world over as "The Man with the Golden Flute," Sir James Galway is the most acclaimed flute virtuoso of his day, and RCA Red Seal's new two-disc anthology The Essential James Galway samples the best of his recordings, including the classical repertoire and his hugely successful pop collections. Galway is one of the best selling classical artists of the modern age - worldwide sales topping 30 million, with over 2.5 million units sold since 1991 alone - and these recordings prove why. The Irish-born Galway began his career as an orchestral player - he was principal flute in the Berlin Philharmonic during the legendary tenure of Herbert von Karajan - but found immediate success as a soloist. His enormous catalogue of more than 50 albums for RCA Victor reflects a rich and varied appetite for the entire classical repertoire, as well as appealing crossover recordings of folk and pop songs, as well as hits from Broadway and Hollywood.
|Debussy: Images pour orchestre; Rhapsody No. 1/ Ravel: Ma mere l'oye (Mother Goose); Pavane for a Dead Princess (Royal Edition No. 28)
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Leonard Bernstein and his New York Philharmonic prove to be able, even distinguished, interpreters of French repertoire in these readings from 1958-68, a period that Bernstein acknowledged to be the best of his career. Taut rhythms, shapely phrases, and sensuous coloristic and dynamic effects combine to make these performances durable, memorable, and irresistible. --David Vernier
|Copland: The Populist
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The year 2000 marks the centenary for Aaron Copland, and what better conductor to bring his best-loved Americana compositions into the next millennium than Michael Tilson Thomas? On his follow-up to 1996's Copland: The Modernist disc, the forward-thinking conductor leads the San Francisco Symphony through Billy the Kid, Appalachian Spring, and Rodeo--three well-worn compositions steeped in Americana and virtually owned by Leonard Bernstein on a now legendary single disc. But Tilson Thomas doesn't try to compete with Bernstein, instead giving these works an inventive, impressionistic reading all his own. He adds a noirish color to the introduction of Billy the Kid, a perfect contrast to the work's folksier elements. On the opening of Appalachian Spring, Tilson Thomas's unhurried timings create a sense of suspense (not bad for a work we've all heard dozens of times!). And, thanks to great recording techniques by RCA Victor, Rodeo is a rollicking good time that you'll want to crank up on the stereo. Sure, we've all heard these pieces before, but Tilson Thomas makes them sound fresh again. Great stuff. --Jason Verlinde
|The Art Of The Theremin
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In 1927, two remarkable people arrived in the United States after lengthy and successful tours of Europe: Lev Sergeivitch Termen (anglicized to Leon Theremin) and Clara Rockmore (whose maiden name was Clara Reisenberg). Theremin was a young Russian physicist who was demonstrating a new musical instrument that he invented. The instrument was played by the motion of the musician's hands in the space surrounding the instrument. Clara Rockmore, a professional violinist from the age of 9, became aware of the musical potential of Theremin's invention. She spent several years collaborating with Theremin during which time he developed his invention into a sensitive, wide-range musical instrument. Clara subsequently embarked on a performance career that encompassed well over a hundred concerts, including appearances with major symphony orchestras, and set the definitive standard for theremin performance technique.
To play the theremin, the performer stands in front of the instrument, a little left of center. The feet are spread slightly to keep the body as motionless as possible. To determine the pitch of the instrument's tone, the player varies the distance between her right hand and the pitch antenna. When the instrument is properly tuned, the pitch goes from lower than two octaves below middle C when the player's right hand is back at her shoulder, to approximately 2 1/2 octaves above middle C when the player's hand barely touches the pitch antenna. To determine the loudness of the instrument's tone, the player varies the distance between her left hand and the middle of the volume antenna. Maximum loudness occurs when the hand is removed from the antenna; complete silence occurs when the hand is an inch or so from the loop.
The thereminist must move her hands with incredible precision as well as speed if she wishes to play distinct notes with correct intonation. Ms. Rockmore actually uses fingering patterns to play the most rapid passages. For instance, if she were to play an upward arpeggio, she would start on the lowest note with right hand tilted back and fingers withdrawn. To play the next note she would abruptly move her hand forward from the wrist, while keeping her right arm motionless. The third note would be played by rapidly extending the little finger, and the fourth note by extending one or two more fingers while simultaneously turning the wrist sideways to bring the newly-extended fingers nearer to the pitch antenna. She would then continue the arpeggio by moving her whole arm closer to the pitch antenna while drawing her hand and fingers back, then repeating the above-described succession of movements. At the same time, she may articulate each individual pitch by rapidly shooting the fingers of her left hand into the volume antenna loop, then withdrawing them, to silence the tone during the very short periods of time that her right hand moves from one pitch to another. No other theremin player has ever mastered this difficult and intricate technique for playing rapid successions of precise pitches - "aerial fingering" as one reviewer termed it.
|Greatest Hits - Trumpet
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|First Steps in Classical Music: Keeping the Beat
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Brand: Gia Publications, Inc.
2001 GIA PRODUCTIONS CD
|CBS Masterworks Dinner Classics: The Italian Album
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NEW/SEALED. Factory sealed!!!!!
|American Masterpieces (Essential Classics)
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Bernstein: Candide; Barber: Adagio; other American masterpieces by The Cleveland Pops Orchestra, Louis Lane, The Philadelphia Orchestra, Eugene Ormandy, New York Philharmonic, Andre Kostelanetz
When sold by Amazon.com, this product will be manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.
|Kaleidoscope: Jazz Meets the Symphony #6
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"Schifrin has scored so many movies that he can probably come up with luminous orchestral textures and ear-tingling timbral effects in his sleep." -- JazzTimes
"The immovable objects of symphony orchestra and jazz group are getting more closely in sync, thanks to the irresistible forces of Schifrin's long experience in both camps and his own luscious personal orchestral signatures." -- All Music Guide
* The latest edition in the Grammy-nominated series featuring new works by Lalo Schifrin.
* From the outset, Jazz Meets the Symphony testified to Schifrin's sparkling vision as well as his genius, and this sixth incarnation offers newly resplendent proof of both. From France to South America via New York and Mexico, from ballet to film via chamber music and bop, Kaleidoscope--recorded in the Sydney Opera House--is "jazz symphonic" at its finest.
|Orchestral Works [4 CD Box Set]
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