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Concerto moon the last betting lyrics to hallelujah nrl premiership betting 2021

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Concerto moon the last betting lyrics to hallelujah Little Wild One. Freak On a Leash. Here, oblivion appears to encroach on the protagonist and concerto moon the last betting lyrics to hallelujah stamp out all embers of emotion. A first-rate actress with a confident stage presence, Zetlan looks the part and convincingly conveys Emily's evolution from shy adolescent to young mother-to-be to death. Spent On Rainy Days. But this disc -- an entry in Naxos' valiant American Classics series -- reminds us that, despite the fame of his books, he has always been a composer first.
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Run to the Sky Take You to the Moon Cheeeek that out dude. Lead RIFFs:. Bad selection. Save Cancel. Really delete this comment? Yes No. Alone In Paradise. Cry for the Freedom. Hold On To Feeling. Holy Child. Into the Fire Live. Midwinter Night. One and Only Live.

Over the Century. Run to the Sky. Take You to the Moon. The Last Betting Live. More Albums. Down Fall In Blood. Together Forever. Against The World. Artist: Concerto Moon. Album: From Father To Son. I surrender to your heart babe Do anything that you want me to do Please be tender I'm in your hands girl This is a feeling I never knew You know I tried to make it on my own That's not the way it was meant to be Spend my time waiting by the phone Oh darling come back to me I surrder, I surrender I'm giving up the role of pretender Oh be tender, girl be tender Can't you feel the love that I send you I surrender.

I remember, seems like a lifetime Can't believe it's a matter of days Since you left I'm near to heartbreak I want you so bad don't turn away What does it take to stay by my side You know I'll do what you want me to Don't take away this feeling inside I'm still in love with you I surrender, I surrender I'm giving up the role of pretender Oh be tender, girl be tender Can't you feel the love that I send you I surrender.

I surrender, I surrender Darling now won't you be tender Surrender, oh surrender Feel the love that I send you I surrender. Concerto Moon Lyrics provided by SongLyrics. Note: When you embed the widget in your site, it will match your site's styles CSS. This is just a preview! Cannot annotate a non-flat selection. Make sure your selection starts and ends within the same node. All News Daily Roundup. Album Reviews Song Reviews. Song Lyrics.

Review: RIFF-it. RIFF-it good. Listen while you read! Add Comment. Change My Heart 2. Dream Chaser 3. From Father to Son 4. Inside Story 5. Into the Fire 6. Moonlight After the Rain 7.

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Points of Authority. Where the Hood At. Goofy Goober Rock. Sister Christian. Still Tippin. Now That We're Men. Sadie Hawkins Dance. Footloose From "Footloose". No More Words. Drivin' My Life Away. Romans One Bud Wiser. If I Were Your Woman.

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I Feel You. Sugar Sugar. Love for Sale. I Stole Your Love. Composers and soloists are increasingly exploring percussion's subtler qualities. Glennie finds that composers are taking a "less is more" approach to the medium, using fewer instruments in more nuanced ways. There are no pyrotechnics, just sheer music and therefore we have a timeless piece. The Princeton, N. She died shortly after the piece was finished.

It's some of my most solemn and grave music. Sometimes a percussion piece can be soft and subtle while delivering on the requisite spectacle. Jennifer Higdon's "Percussion Concerto," also written for Currie in , requires the soloist to dart about the stage playing 17 different instruments, including bongos, Chinese temple bells, and glockenspiel. One of her more unusual solutions was to have Currie apply a cello bow to the vibraphone with one hand while playing it with a mallet in the other.

Composers may start with modest goals for a concerto, but they'll meet at his studio where he keeps a vast arsenal of drums, cymbals, shakers, and other arcane instruments. The temptation to experiment becomes too great, "and there are all kinds of racks, and drums, and marimbas, and it turns into a van full of equipment," he says. Nevertheless, Lamb believes that some of the best pieces aren't preoccupied with volume.

The piece, which explores the ritualistic sounds that can be made using water, has long sections of tranquility. Ten minutes until the recording session starts, and the clarinet player has called to say he has been in a car accident. The Branford Marsalis Quartet and the N. Symphony's other 67 musicians run through scales, finger their instruments and chat on the stage of the empty Meymandi Concert Hall.

Inside the makeshift control booth, engineers watch the clock. The delay may be unavoidable, but the schedule is unforgiving. The engineers have to fit two hours of recording and breaks into a union-clad three-hour session. The missing musician, Michael E.

The orchestra librarian scrambles to see if the score's publisher can fax the part so the symphony's other clarinetist can step in. The two-disc deal with the Swedish classical music label BIS Records represents the orchestra's first commercial recording and a bid for international attention.

For all the precision and exacting detail of classical music, recording it leaves more to chance than you might imagine. The European recording crew knew nothing about the orchestra nor the hall's acoustics until a few days before the sessions began. The engineers would be working with music far less familiar than Tchaikovsky's concertos or Beethoven's sonatas -- three of the works on the first disc have never been recorded before.

And the unusually tight schedule makes the outcome even less predictable. And then comes Cyzewski's delay. With five minutes to spare, the clarinet player shows up intact, and everyone falls into place. Llewellyn gets the OK from the control room and plunges the ensemble into "Lions. A bet with Marsalis Ingo Petry, one of three German engineers who have traveled to Raleigh for the recording gig, jumped at the chance to produce Rorem's work.

He knew nothing about the N. Symphony, but he knew Marsalis, the three-time Grammy Award-winning saxophonist, who lives in Durham. When I heard Branford, well, I might be very much interested. Repeated sections lull the listener into a strings-induced reverie that sets up the jazz combo, which is then subsumed by a rising wave of discord.

In a control room fashioned out of storage space, Petry and the other two engineers take their seats at a table laden with recording equipment, digital clocks and timers and a metronome. Aerosol cans and boxes of odds and ends are pushed aside to make room for cables and speakers. A tiny monitor is pointed at Llewellyn. The orchestra plays and replays sections, trying to make the music as flawless as possible.

Through their headsets, the BIS crew listens as Llewellyn insists that Marsalis is playing the wrong note. The jazz star disagrees. OK, I can live with that, but he's going to owe me a lot of money. Waving the sheet music at Llewellyn, he points out what no one had considered: The score is wrong.

It calls for a C one time and a B-flat another. A music publisher in business for 40 years has a misprint? Producer as conductor Conductors aren't accustomed to anybody telling them how to direct the orchestra. But a producer's not just anybody. Speaking to the orchestra through a microphone, Petry says he wants to hear the strings reach a crescendo over a particular chord change.

Check the intonation between the first clarinet and the first horn. The F-sharp on the glockenspiel is too soft. The brass should be more majestic. He hears far more in the member orchestra than seems humanly possible. In fact, because of the 40 microphones scattered about the stage all feeding into his headset, he hears more than even the conductor.

Petry and his colleagues, Marion Schwebel and Andreas Ruge, all trained at the same music university in Germany, where everyone studies a musical instrument as well as the technical side of recording. Their incredibly developed ear holds the orchestra to a greater degree of uniform accuracy than the musicians are used to. At first they had to learn how to pace themselves for the multiple takes required in recording.

But I know if you give everything on every day you're just not going to survive the day. But the BIS team finds that it's a mixed bag. Petry calls it "spacious but dry. Some orchestra members have a hard time hearing one another from across the stage.

As a result, they rely on the conductor's signals, and that can make them come in late. On the other hand, the hall produces sound that is not overly bright and not too reverberant, which Petry says is good for the American CD. A warmer, more integrated sound, though, might be preferable for the Rachmaninoff concerto recorded for the disc. He has the orchestra play one part again and again. As he listens, he waves his hand to the rhythm of a soft rising of strings, then he puts his thumbs up and nods.

He pushes the speaker button and addresses the musicians. Who will hear? Some of the hall's shortcomings and the inevitable human errors can be corrected in mixing and editing sessions back in Sweden. But even in these days of computerized splicing, there's only so much fixing that engineers can do. It would be too time-consuming and expensive to alter the pitch of a single instrument, for example. It's possible.

But you cannot spend a whole day in fixing one note. You leave it in. The hope is that important critics and respected publications will take notice. If the symphony people dream big, one of the discs would be nominated for a Grammy or another prestigious award. Symphony's first opportunity to present our artistry to the music world. It's about building your reputation. On the final day of an exhausting week of rehearsals, Worters introduced the donors to the orchestra and, he said, the musicians gave them a loud and sustained ovation.

It sounded pretty good in the old concert hall. Verdi did it three times with Shakespeare, Schoenberg did it with the Bible and Berlioz and Gounod did it with Goethe, but most of the efforts have been sad ones.

Ned Rorem is another exception. As an exceptionally intellectual man, he understands the Wilder's philosophical foundations. And as one of the great art-song composers today, he has conserved his operatic writing for what he feels will work. With a play 90 percent Wilder, and mainly structural changes by America's favorite opera librettist, poet J. McClachey, Rorem has written a drama which is poignant, emotional, sometimes funny, but never far from Wilder's original study of life, death, remembrance and the meaning of existence itself.

Premiered at Indiana University last year, the New York premiere took place this week at Juilliard, a school whose voices and orchestra were, for the most part youthful, but always professional. Besides this, the skeleton set sticks to the original drama, the acting is physical, nuanced and effective.

By the end of the two-hour opera, one had come to a dramatic and operatic climax which grabbed at the emotional heartstrings. For those unfamiliar with Our Town, the drama begins with a description of the "ideal" American town, Grover's Corners, New Hampshire circa A place where, as the "Stage Manager" a combination of God, Greek Chorus and minor character parts says, "Nothing ever happens" But some things do happen.

George and Emily fall in love and marry. Emily dies in childbirth and implores the Stage Manager to spend one more day on earth, this her 13th birthday. And here she discovers not only the "magic" of living, but the tragedy that we never seize each moment, that "w don't have time to look at each other.

McClatchey changes the opening of the original with the funeral procession, and adds some pedestrian words from Dr. Gibbs about how the world depends on love. Wilder would never stoop so platitudinous. But we needn't worry about this, not with such a lovely composition. Rorem starts with five dissonant chords, repeated and varied at emotional moments.

They are not jarring, but they show that "something" is of import, even if we don't know it. The music is continuous, without a single "song". For a man of Rorem's genius, this is. Certainly Ned Rorem is capable of this, but I suppose he felt that one "star" piece was not right for the opera.

The orchestra does have its very American Copland-Harris-like motifs, and the quotes from hymns at the right places gives it the right grounding. No percussion, modest forces, simple enough for any occasion, and conducted beautifully by Anne Manson. Most endearing are the seamless sounds from vocalists. One must first single out Jennifer Zetlan as Emily. She has the only really difficult passages, in the third act.

One can picture Rorem saying "On earth, they sing without affectation. But realizing what happens after and what we need to know, we need something more emotional, more difficult. Yet Ms. Zetlan, reserved earlier, let herself go here with a radiant soprano voice that caught all the anguish of the situation.

Alex Mansoorti was the omnipresent Stage Manager with a folksy baritone and a lovely caricature of the Druggist , Both groups of parents were fine, but neither had great musical challenges. Alex Shrader was George, the baseball-loving kid who grows up to realize death, and his voice was equally affecting. What we must say above all is that this was such endearing music.

Possibly even enduring music. Just as the original drama became a staple of amateur dramatic societies for several decades, this opera should easily make its way into the repertory. Certainly, it is one of Ned Rorem's most lovely creations. Gramophone Magazine, December, Lawrence A. NAXOS 8. There are many important recordings here, some world premieres. The two concertos on the Rorem CD are separated by a half-century.

Piano Concerto No. It's a brilliant showpiece for the soloist and you'll hear traces of Rachmaninoff and other romantic composers, but with an overall American flavor. The Cello Concerto dates from , and in this Rorem gives titles to each of the 8 sections which include There and Back, Competitive Chaos, A Dozen Implications, Valse Rappelee an orchestration of one of Rorem's works for cello dating from , and a final Adrift which softly fades into nothingness.

This concerto is a worthy addition to repertory for the instrument. Both concertos are splendidly played and beautifully recorded. This is the sixth Naxos release devoted to Ned Rorem and it contains two works of superlative quality, separated by over half a century. But the cello remains the most versatile member of the string family, and there could hardly be a more inviting introduction to its charms than "My Tunes" Sony Classical , a new disk by the German cellist Jan Vogler.

Vogler's intense and febrile sound is restrained by classical discipline and enriched by a searching musical intelligence. His accounts of short works by such disparate composers as Bach, Tchaikovsky, Elgar "Salut d'Amour" , and Henry Mancini "Moon River" are brisk, eloquent, and immaculately detailed. Deftly scored for a pared-down orchestra, it is the finest of Rorem's many concertos, consistently inventive and shot through with piercing melancholy. Rorem's music is also the point of departure for "After Reading Shakespeare," a recording of unaccompanied works by Pulitzer Prize-winning composers by the maverick cellist Matt Haimovitz on Oxingale, his own label.

Rorem's eponymous piece comprises a vivid series of miniatures inspired by famous excerpts from the Bard's plays and sonnets; intriguing new works by Paul Moravec "Mark Twain Sez" and Lewis Spratlan "Shadow" complete the album. Johnson Lovingly remastered classic collection of early Rorem - Indispensable This reissue of a long-unavailable Columbia recording revives some vintage performances of Ned Rorem's early songs by a quintet of the era's finest singers.

The American composer's remarkable ability to distill a precise mood with the greatest economy is most impressive here - his lyricism so supple and natural it seems as pervading as a gentle breeze. The disc also serves as a salutary reminder of the extrodinary interpretative gifts of several artists of the 's - no least Donald Gramm, as heard in a warmly sonorous rendering of "To The Willowtree.

Her soprano is a bit strident in the upper tessitura of "The Silent Swan" but she conveys the interior melancholy with great feeling. There are similarly edgy moments in the settings of "Three Psalms," yet ultimately her fully committed vocalism is thrilling. In her spare contributions, soprano Gianna d'Angelo is an equally dedicated interpreter.

One of the re- discoveries of this disc is Regina Sarfaty. The mezzo's rendition of Rorem's famous 17 second "I am Rose" is still unbeaten, and her agile virtuosic rendering of the insane asylum in the "Visit to Saint Elizabeth's" is a classic. Charlels Bressler's unique timbre is something of an acquired taste, through the tenor is superbly evocative in the Moss setting of "See How They Love Me.

But this disc, lovingly remastered with complete text, restores to the catalogue and extraordinarily valuable disc, indispensable for every Rorem collection and essential for all aficionados of American song. By Kelly N. Symphony Proves Versatile and Polished If there were doubts about the stylistic limitations of the North Carolina Symphony in concert with the Branford Marsalis Quartet, they were surely eliminated after last Thursday night's performance in Southern Pines.

Music Director Grant Llewellyn described the evening's program as a sort of musical hybrid, but due to the versatility of both the quartet and the orchestra, the addition of the saxophone and drum set seemed quite natural.

The combination of musical selections, though from different genres, flowed so easily from one piece to the next that they were able to generate an aura of dreamy and fantastical sounds throughout the entire program. After opening with Michael Daugherty's "Sunset Strip," a reflection upon the various sounds and images of Sunset Strip from the s through the s, the symphony combined forces with the quartet for Rorem's "Lions A Dream " for jazz combo and orchestra.

The jazz combo appeared early on and continued to play similar material that was sometimes swallowed by general cresendos. Listeners were at first soothed as the piece opened in a state of reverie but were then awakened with oscillations from consonance to stormy dissonance -- the harmony itself a hybrid.

These surreal orchestral writings ranged from a simple motif of the mellow tenor saxophone to waves of complicated texture. With the blend of both symphony and quartet, Rorem's experience was powerfully carried into sound. Following the dual effort, the Marsalis Quartet played three more songs in their best known jazz style.

The program was nicely bookended with another reflection on images, this time with Modest Mussorgsky's "Pictures at an Exhibition" orchestrated by Maurice Ravel. Consistent with the other works, the piece delivered a colorful dreamlike character. As the work progressed, the piece seemed less to illustrate the pictures and became more immersed in the continuous psychological experience of moving from one state of mind to the next.

And Llewellyn's emphasis on the melancholy tempo of the "Bydlo" allowed for the gentle sadness of the oboe to draw the audience into another place and time. The work was also especially fitting this evening since Ravel used the alto saxophone in the "The Old Castle" orchestration.

A rare event for a saxophone to appear in a classical piece -- and performed here by Branford Marsalis -- the exotic quality made it an ideal choice. It's just that the dominant sense of Rorem's score is one of quiet reflection and gentle, affecting tenderness.

That's as it should be in this adaptation of Thornton Wilder's Pulitzer Prize-winning play. Wilder's original, which layered the charm of small-town Grover's Corners over a profound dramatic statement about the human condition, is a masterpiece of subtle nuance. So was Saturday's three-hour performance. Conducted by Michael Morgan and directed by Beth Greenberg, the opera seems destined to beguile fans of the play as well as those who have never seen it performed.

Wilder was opposed to an opera based on "Our Town. The libretto, by American poet J. McClatchy, faithfully captures the spirit of the text, and Rorem's beautifully textured score is evocative and flattering to the voice. Rorem, whose art songs have set hundreds of American texts, limns the opera with hymns and graceful harmonies. There are episodes when the music grows agitated -- a rant by the drunken choral master, Simon Stimson; a scene in which George Gibbs considers leaving Grover's Corners.

The Act II wedding scene features a witty quote from Mendelssohn's march. For the most part, though, the orchestral writing is lean and transparent, capturing the play's essential quality of unadorned simplicity. Heading an outstanding cast, soprano Marnie Breckenridge was a radiant Emily; vocally brilliant, dramatically urgent, she was girlish and appealing in her early scenes and magnificent in Act III.

Tenor Thomas Glenn, whose character ages from early teens to middle-aged, was an excellent, firm-voiced George. Tenor Richard Byrne sang the Stage Manager role with eloquence and admirable restraint. Bass Kirk Eichelberger was a resonant Dr. Gibbs, mezzo-soprano Patrice Houston a generous-voiced Mrs. Gibbs, and soprano Marcelle Dronkers a sympathetic Mrs. Darla Wigginton's nosy Mrs. Soames, David Cox's avuncular Mr. Webb and Trente Morant's salty Stimson made fine contributions. Under Morgan's direction, the Festival opera Orchestra and Chorus were in top form.

Director Greenberg made all the right decisions, moving the cast around with a minimum of fuss. Matthew Antaky's sparsely decorated, handsomely lit set, and Susanna Douthit's period costumes re-created Wilder's early 20th-century America in painterly strokes. But this disc -- an entry in Naxos' valiant American Classics series -- reminds us that, despite the fame of his books, he has always been a composer first. With Rorem such a natural songwriter, even his instrumental works have a singing quality, including his characteristically Francophone Double Concerto of He wrote it for violinist Jaime Laredo and cellist Sharon Robinson, whose recording comes with Rorem's seal of approval: "Whatever the piece may be worth as the composer, that isn't for me to say , the interpretation is ideal that is for me to say.

The technical challenges disappear, as she voices the score with a rich inner calm. Typically, when a great American play is turned into a potentially great American opera, the news is trumpeted from the skies, or at least from one of the big-city opera houses. Not with Our Town - Ned Rorem's opera version of the classic Thornton Wilder play - whose quieter, more gradual birth is taking place on a circuit of theaters that may bring it to a university near you. Yes, university.

The official world premiere was in February at Indiana University. Had you vacationed in the right place, you also might have happened onto the piece at the Lake George N. Opera this summer. Or at the Aspen Music Festival, whose production was conducted by the eminent David Zinman, but sung by students rather than stars. This, for something the year-old composer was born to write?

Says Rorem, whose hindsight usually ranges from pessimism to hopelessness, "it was a marvelous idea. There are successes, but even among those, some parts are good, others not. Unlike them, Our Town had what every new opera needs - a workshop, at Indiana last year and promised productions beyond the premiere, thanks to a commissioning consortium that was headed by Indiana University but also included Aspen, Lake George, Opera Boston, the North Carolina School of the Arts, and Festival Opera in Walnut Creek, Calif.

So far in the series of performances, the piece has been recast from two acts to three; more changes are likely. Critics have been alternately beguiled, charmed and left cold. But with different viewpoints arriving in each new production, the industry knows the jury is still out. In other words, the piece "is protected" from failure, says Aspen stage director Edward Berkeley.

It's possible that Our Town couldn't have happened any other way. Both the Wilder estate and librettist J. McClatchy wanted Rorem: He lived amid the milieu that spawned the Our Town, and he was a contemporary of Aaron Copland and Samuel Barber, who pioneered the Americana school of composition ideal for an operatic adaptation of the piece.

However, Rorem wanted a fee that would allow him to live for the three years that any major opera is likely to require. Bigger opera companies might balk at committing to an over composer with only a few operas to his credit.

Budgetary risks were further minimized by the values that come with higher learning. Aspen counts on only 12 percent of its budget from the box office; conventional opera companies shoot for three times that. The piece's value to students participating in its creation may be priceless. In a festival that's as much about teaching as performing, Our Town "embodies everything we care about," said president Alan Fletcher.

Aspen is planning to commission dance pieces. The Juilliard School of Music recently celebrated its th anniversary with 47 commissions, including a cello sonata by year-old Milton Babbitt, and struck gold with the Lowell Liebermann opera Miss Lonelyhearts, in a production shared with the Cincinnati College Conservatory of Music. However protected in some ways, these working conditions hardly exist in a utopian bubble.

The final scene of Bill T. Audition ads alone set off a raging controversy. We had plainclothes policemen all around the audience. When playwright Craig Lucas was commissioned by Juilliard to write what became The Listener which premiered in January , he wrote a sprawling story about the drug-and-sex-steeped youth culture of 21st-century Seattle.

Says one twentysomething to another, "I love your search engine! Both that and Liebermann's Miss Lonelyhearts, based on the Nathanael West novel about an alcoholic advice columnist who develops a Christ complex, are works whose daring defies conventional commerciality.

Nobody can say whether the protected circumstances prompted less-compromising work, since academia at its most liberal is still a microcosm of what's outside of it. But when asked for an upbeat, celebratory work, the reputedly lightweight Liebermann delivered an opera that's so hard-hitting that some student cast members defected.

We told them that what you do onstage doesn't have to be your opinion. A few preferred not to be part of it. We respected that. Though Aspen has the outward markings of an operatic greenhouse - plenty of rehearsal, plus fresh-voiced singers close to the age of their characters - the Our Town opening was derailed by an orchestra that became inexplicably spooked "It was as if a black cat crossed the stage," said one person involved with preparations and performed as if sight-reading.

Key roles in this story of life, death and the afterlife were understood only superficially by the student cast. Rorem's score, for all its exquisite, distilled moments, still hadn't settled into its new, three-act form. Yet the piece exists - representing a creative coda in Rorem's life. Also, its intimate story has the best chances for an optimum impression at venues like Aspen's cozy Wheeler Opera House.

Conditions may not always be that way once the opera graduates from its consortium. From there, all bets are off. Rorem isn't about to eschew the less-suitable but real-life gargantuan glamour of the 4,seat Metropolitan Opera, were he given a chance. In the first, he has produced a notoriously frank multivolume diary; in the second, numerous symphonies and chamber music works. But it is his hundreds of songs that make him famous, for this is where his two worlds meet and merge. However, this disc, celebrating his approaching 82nd birthday, presents three of his instrumental works.

Spanning four decades, they vary greatly in style and content, but have in common a singing, sometimes almost spoken quality; Rorem calls this "a setting of words that aren't there. Those of the Violin Concerto are thematically connected; they begin with "Twilight" and end with "Dawn. The very difficult, brilliant solo part, played with easy virtuosity and a gorgeous tone by Philippe Quint, exploits every instrumental resource; the orchestration is masterful.

The Flute Concerto was commissioned by the Philadelphia Orchestra for its principal flutist, Jeffrey Khaner, who plays it splendidly on this premiere recording. It features violent dynamic contrasts and imaginative orchestral sound effects; the flute adds color and rhythmic verve, acting more like a partner than a soloist. The title refers not to America's founding fathers but to a biblical quote: " This CD opens with a short work called Pilgrims, written for string orchestra.

The subject of the music has nothing to do with the founding pilgrims but was based on a Bible verse from Hebrews. The mood is one of reflection, not sad but one of recalling things that were not attained. The Flute Concerto was written in but is more of a suite than a concerto.

It was written on a commission from the Philadelphia Orchestra for their principle flautist Jeffrey Khaner, who performs the piece here. The music is a kind of Odyssey, which was considered as a possible title. The concerto begins with an energetic first movement named for the studio in New York where the music was composed, the second is quite and reflective while the third, Sirens, is mysterious with the flute calling out to caress and tempt sailors.

Hymn is scored for five instruments: bassoon, piano, trumpet, viola and flute; a short interlude that gives way to the False Waltz with a comic waltz tune interlaced with boisterous music punctuated with tympani. The final part, Resume and Prayer brings back the musical ideas in the prior movements with a long cadenza for the flute, ending quietly. The Violin Concerto was composed in and like the Flute Concerto is cast in six movements, again making it more of a suite especially since each movement is treated as a narrative being thematically linked.

The Romance Without Words title was borrowed from Mendelssohn and is a song that had its words removed. As the names indicate, the concerto is something of a journey. Dawn recalls the Twilight section; the jagged rhythms of the Toccata-Chaconne are reflected in the false waltz of the Toccata-Rondo. The soloist, Philippe Quint plays beautifully, especially in the Midnight section with he beautifully conveys the mysterious and melancholy atmosphere.

I will be looking forward to further releases. Wend Who knew Rorem's non-vocal music was so wonderful? Until I heard Rorem's symphonies also on Naxos a couple of years ago, I had no idea that Ned Rorem could write so beautifully for orchestra. Well, I did know, too, because years ago there were recordings of some of his tone poems String Symphony, Sunday Morning, Eagles -- Louis Lane, Atlanta Symphony but that was long enough ago that it had slipped from memory.

Since hearing this CD I pulled them out and reveled in their beauty, too. On this disc we have two concerti that are entirely engaging, the Flute Concerto and the Violin Concerto, and for 'filler' another tone poem, 'Pilgrims' for string orchestra.

Pride of place goes to the alluringly beautiful Flute Concerto. Written for and played here by the principal flutist of the Philadelphia Orchestra, Jeffrey Khaner, it is a collection of six movements that have little to do with classical concerto forms; Rorem himself says it could just as properly be called a suite and the same applies to the Violin Concerto. Taking his inspiration partly from the flute music of the impressionists, particularly Debussy, we hear music of many moods.

The separate movements have more or less arbitrary titles -- implying but not really outlining some sort of narrative. Rorem has said that no matter what kind of music he is writing he always has silent song lyrics in mind -- 'words that are not there' -- and this gives his music both a narrative feel and a rhapsodic construction.

For me the two movements that I connected with most are 'Leaving-Traveling-Hoping' with its pastoral calm, and 'False Waltz' with its repeated timpani figure and skittering flute. Interestingly, there is a movement in the violin concerto that also has a repetitive timp figure as a kind of chaconne bass. Khaner, whose name I knew but whose solo work I didn't, is a nonpareil flutist. I particularly like that he doesn't have the fruity vibrato so commonly heard from European flutists.

Still, he has numerous tone colors at his disposal; not an easy thing with an overtone-poor instrument like the flute. I am eager to hear more from him. The Violin Concerto is from and has previously been recorded by Gidon Kremer, a recording I have not heard. Rather more expressionistic that the Flute Concerto, it too is a six-movement suite rather than a classic concerto.

Phillippe Quint, whose recording of William Schuman's violin concerto I quite liked, is a marvelous advocate for this virtuosic work. Still, I am less struck by this concerto than the Flute Concerto, which I feel confident will enter the repertoire. The 'filler' is Rorem's 'Pilgrims' which doesn't refer to America's founding fathers but takes its title from a passage in Hebrews and actually was prompted by a passage quoting that verse in Julien Green's novel 'Le voyageur sur la terre' we will remember that Rorem lived in France a number of years and is an ardent Francophile.

For string orchestra and lasting about seven minutes, it is elegiac and richly harmonized with much use of divisi strings. The performances here could hardly be bettered. He also contributes the helpful booklet notes. Enthusiastically recommended, particularly for the Flute Concerto. But in recent years, with Rorem now in his 80s, a number of recordings have thankfully brought our focus back to the unique lyrical gifts that define his music.

His vocal music has always been considered his most significant contribution -- and song recitals by Susan Graham and Carole Farley have demonstrated its beauty -- but his work for orchestra is distinguished as well. Naxos has followed up a fine recording of Rorem's three symphonies with this equally important orchestral release.

The program begins with Pilgrims, a touchingly somber work for string orchestra from , never before recorded, but the biggest news is the premiere recording of Rorem's Flute Concerto, written in for Jeffrey Khaner, principal flutist of the Philadelphia Orchestra, who performs it here. A large-scale addition to the instrument's none-too-vast concerto repertoire, Rorem's work prompts an ongoing flow of melody from the soloist, also revealing the surprising range of moods and expressive shadings of which the flute is capable.

Khaner's brilliant performance of the solo part is matched by Philippe Quint's eloquence in Rorem's Violin Concerto Both concertos unfold over an unusual six-movement design, almost like song cycles, and in both cases it's easy to see the truth of Rorem's claim: "I conceive all non-sung pieces as though they were songs -- like settings of words that aren't there.

Spanning five decades, the works on this album reflect the breadth of Rorem's contribution to the American orchestral repertoire -- and its undeniably high quality. Scott Paulin Gramophone Committed performances all round This is relaxed and indulgent music. Peter Dickinson Philadelphia Inquirer All the wit found in earlier works is [in the Flute Concerto], but put to more serious purpose Rorem, in his 80th year, [is] exploring new territory with more invention than ever before.

Flutist Khaner plays with the authority of one who both knows the territory well and is happy to maintain elements of mystery. Philip[pe] Quint captures the fleeting moods in Rorem's six-movement violin concerto. His taut playing invigorates the music. You could hardly drive your Smart car from the lesbian bed-and-breakfast to the organic farm stand without running over an adaptation of a literary property.

Are any of these new operas towering masterworks that will alter the course of music history while winning the hearts of millions? People have been asking that loaded question of American opera for a hundred years, and the way they phrase it almost demands a negative answer. Better to ask whether a new work is strong enough to hold the stage. If it does, it has a future, and the masterpiece-sorting can be done by later generations.

A Prussian commandant stops the coach and lets them know that they can proceed only if Boule de Suif, a bighearted, big-boned prostitute who is on board, services his needs. She patriotically refuses. The others play elaborate psychological games to make her give in. They are greater whores than she. The challenge of this scathing little tale is that not a lot actually happens. Hartke is celebrated for his orchestral music, which mixes Stravinskyan neoclassicism, minimalism, jazz, and Balinese gamelan.

The dazzle of his orchestration was no surprise; the sizzle of his theatre sense was big news. The drama plays to his strengths. Its mundane scenes of all-American life—baseball, drunkenness, gossip, marriage—elicit from Rorem the clean-lined, crisp-figured style that typified American music before the Cold War, and to which he has stayed uncompromisingly true. The unsettling transformation of the third act, in which we see the world through the eyes of the dead, makes him go deeper; at times, the music becomes uncharacteristically turbulent and grand.

Rorem has always prided himself on his Francophile restraint. The very fabric of the score—its luminous orchestration, its pearly vocal lines, its gently pulsing rhythms, its celestially circling song of young love—evokes the mundane beauty that we overlook. Goldenthal kept pace with the images, deploying a meta-Wagnerian, bass-heavy orchestration, semi-improvised episodes with a hard-rock tinge, thumping bacchanalia in the manner of Carl Orff, and spells of post-minimalist lyricism along the lines of recent John Adams.

The trouble was that he merely kept pace; the score followed the action rather than drove it. Still, it had a certain mythic weight, and the show was a wow. Steven Sloane authoritatively marshalled the orchestra. At the Tanglewood festival, everyone was dumbstruck by the work ethic of James Levine. Sidelined in the spring with a rotator-cuff injury, the grand Pooh-Bah of the Met and the Boston Symphony has shed several dozen pounds and, if possible, seems more unstoppably dynamic than before.

The characters may or may not be dead, and are trying to figure out what world they belong to. The various characters are assigned governing intervals—perfect fifths, minor and major seconds, tritones, and so on—and if two notes are insufficient to define a personality, that may be the point; at the border of death, the precious illusion of individuality disintegrates. In their late operas, they are seeing humanity with almost the same eyes, as a frantic dance to a misheard tune.

In an innovative partnership that could serve as a model for future such projects, the festival was one of five co-commissioners of the opera, with the Indiana University Opera Theater serving as lead commissioner and presenting the world premiere in February. Put simply, "Our Town" is a winner.

Unlike so many freshly minted operas that are immediate busts or need considerable reworking, this one succeeds flawlessly on nearly every level. Rorem and librettist J. McClatchy, a prominent poet who has collaborated on several other operas, kept things appropriately simple. Aside from a few necessary parings, they scrupulously hewed to Thornton Wilder's masterful play, letting the drama unfold in a clean, clear and appropriately intimate way.

To his credit, director Edward Berkeley brings this same spirit to his staging, emphasizing the honesty and humanity of the story. Like many productions of the play, the sets are minimal, with pantomime taking the place of missing props and scenery. There is virtually nothing innovative about the opera's musical language, a fact that will likely serve as the dividing line between its critics and fans. Devotees of the avant garde are likely to turn up their noses, while anyone not opposed to traditionalism will probably love it.

Although he questions his abilities as an operatic composer in his program statement, Rorem clearly has an affinity for the voice, and "Our Town" demonstrates his theatrical instincts in convincing fashion. David Zinman, the festival's world-renowned music director, makes a rare appearance in the pit, drawing the best from his fine student orchestra and bringing this opera vibrantly to life with his usual care and intelligence.

Because Aspen makes use of apprentice singers priming for their professional careers, performances can be a little uneven at times. Although that is true in certain cases in this production, no excuses have to be made for Jennifer Zetlan. This dynamic young soprano, who shined last year in Aspen's production of "The Cunning Little Vixen," turns in another terrific, all-around performance in the pivotal role of Emily. A first-rate actress with a confident stage presence, Zetlan looks the part and convincingly conveys Emily's evolution from shy adolescent to young mother-to-be to death.

She has a lovely, forceful voice with fetching, pitch-perfect high notes. Portraying Emily's lifelong sweetheart, George Gibbs, is another fine actor, Matthew Morris, a light tenor who struggles with a few high notes but is strong overall. Other notable performances include bass Tom Dugdale as Dr. Gibbs, tenor Jonathan Smucker as chorus master Simon Stimson, an alcoholic contrarian, and mezzo-soprano Mary Ann Stewart, who delights as the busybody Mrs.

Most new operas are placed on a shelf and forgotten, but it seems a good bet that other opera companies will jump at the chance to stage this wonderful new take on an American classic. It's hard to imagine a better performance. Obviously the Liverpool is a first-class orchestra, but it takes a master like Serebrier to bring out all their potential.

The Flute Concerto is masterfully played by Khaner, who obviously knows every nuance and every note in his heart and mind. He gives a truly spectacular, virtuoso performance. The variety of sound and colours is amazing. The work itself, a sequence of several movements in the form of a suite, is quite different in style and character from the older Violin Concerto, which was previously recorded by Gidon Kramer and Leonard Bernstein with the New York Philharmonic.

The Violin Concerto in the Naxos CD has the advantage of the soloist, the young Russian-American Philippe Quint, who surpasses Kramer by a long shot, in articulation, musicality, even intonation. It sounds like an incredibly difficult work, but Quint manages to make it sound easy and even simple. The Rorem performance is even better sounding, which is remarkable, considering that the CD of the Schuman is truly exceptional.

Quint sounds now more assured. Obviously he has known the Rorem Violin Concerto for a long time. He manages to obtain a Stokowskian string tone and glow, the sort of sound quality that hasn't been heard on disc since Stokowski. The work and the performance are a delight. All three works are quite different in character, while the Rorem style and spirit remain recognizable in each.

The orchestrations are brilliant and the writing for the solo instruments obviouslly challenging, but extremely idiomatic. It's the kind of recording one wants to hear again and again. This is one of the most rewarding recordings of new music I have ever heard. Classics Today Review by David Hurwitz This is a very easy call: marvellous music, exceptional performances, top-notch engineering--it all adds up to the strongest possible recommendation.

Pilgrims is a lovely, lyrical work for string orchestra that makes an attractive disc-opener, but the two concertos are the standout items. Both are written as suites of brief movements, avoiding traditional forms. They actually resemble song-cycles more than anything else, and given Rorem's acknowledged mastery of that medium, not to mention the relationship between the concerto idea and vocal music generally, it's obvious that he is in his element.

The Flute Concerto is a world premiere. It was composed in for Jeffrey Khaner, and it's an exceptionally fine piece, beautiful to listen to and evidently quite grateful to play. We seem to be enjoying a bonanza of fine modern flute concertos, what with this work and the numerous pieces written for Sharon Bezaly as well. At about 30 minutes, it's a substantial piece, and Rorem's orchestration is beautifully calculated to give the soloist maximum opporunity for display, without the orchestra ever sounding excessively inhibited.

Best of all, the thematic material really is memorable. The same virtues characterize the Violin Concerto , which was recorded previously by Bernstein and Gidon Kremer. Frankly, Philippe Quint plays better, with more attractive tone, and Serebrier offers a very fine account of the accompaniment.

Rorem's orchestral music doesn't get the same amount of attention as his songs, but like the French music that he so admires, it allies expressive directness to a keen sense of instrumental color and superior craftsmanship. As a supplement to Serebrier's superb recording of the composer's three symphonies for Naxos, this disc is a must for collectors. The Chicago Tribune November 10, issue Quite the birthday party: year-old Ned Rorem and his prolific works are celebrated properly by JOHN von RHEIN Looking like a birthday boy who's enjoying the attention, Ned Rorem bounded into Chicago, his spiritual home, over the weekend when the 14th Chicago Humanities Festival gave him an 80th birthday tribute on the festival's closing day.

A host of musical organizations near and far are honoring the prolific American composer and writer this season, and it hardly seems coincidental that new works have been flying from Rorem's fecund pen. The humanities festival devoted two programs Sunday afternoon in Thorne Auditorium of the Northwestern Law School to his vocal and instrumental chamber music, a rich and largely unknown body of works.

The festival's closing concert brought together 10 performers for a rewarding program that spanned nearly 50 years of Rorem's astonishing output, which in quantity alone makes him unique among living masters. The composer, looking boyish in a rakish silk scarf and knitted cranberry-colored socks, was not hard to spot in the large, enthusiastic audience. Too bad the printed program failed to identify several of the personnel, and the biographies were confused.

While American music of the s through the '70s was dominated by the tone brigade of composers whom Rorem acidly calls the "serial killers," he cultivated his own garden, ignoring the winds of modernist fashion. Now that tonality has staged a major comeback among younger composers, he must feel vindicated. The remarkable consistency of his musical language means that his works are all solidly rooted in tonality and all sound like Rorem, whether they date from his song "Early in the Morning" or his song cycle "Aftermath".

No living composer has produced a larger or more impressive body of songs, of which Rorem has written hundreds, many exquisite vocal gems. Even his instrumental works, he says, are songs without texts. Sunday's program contained a healthy sampling of his vocal art. Baritone Kurt Ollmann and pianist Michael Barrett, both longtime Rorem interpreters, made something special of everything they performed. Soprano Jane Jennings and mezzo Christine Antenbring were hardly less good in the exultant "Gloria" of Their voices sometimes beat against each other like angels' wings.

But in his characteristically contrary way, Ned Rorem defies all of that - how, I'm often not sure. Though the opening moments have the kind of escalating luminosity you'd expect from Rorem, I sit almost agape, listening to the radio recording of the concerto and how new it feels. Then, for an entire 90 seconds, the cello soloist holds a single penetrating note while the orchestra comments tentatively with a variety of colors and harmonies.

Is that note some sort of last hope? An existential thorn in the side? Asking such questions of a new concerto is a luxury we don't often have. Clearly, this isn't a composer in a state of old-age creative consolidation.

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Concerto Moon - To Die For

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The Cello Concerto is a more recent work, from I strolled across an open field; Alleluia; Little Elegy; Sometimes with one I love; Now sleeps the crimson petal; What if some little pain; Look down, fair moon; The the American composer who has devoted much of his career to the lyric art. A bet with Marsalis. Browse lyrics and Various Artists albums. 25, The Final Countdown (Computer Crashdown Remix). 26, Be-In. 27, Bingo , Over The Moon (The Lot). , Santa Fe , Against All Odds (Take a Look At Me Now). , Thugz , Sing Alleluia. , I'm , Italian Concerto, BWV I. Allegro. Title, Music, Lyrics, Arrangement, Publisher, Cover, Date, Key, Notes Ah, moon of my delight, Lehmann, Liza, Khayyam, Omar, Boston: The Boston Music Co. At last, Warren, Harry, Gordon, Mack, New York: Leo Feist, Inc. pic. of Glenn Miller and Concerto for two (A love song), Lawrence, Jack and Tchaikovsky, P. I., 0.