Headmasters From Issue 18, 2014 Pdf

This is the "Masterworks Expanded Edition" of Leonard Bernstein's Quadrophonic 1972 London Symphony Orchestra recording of Igor Stravinsky's Le Sacre du printemps. It was Bernstein's second go at the work in the studio, the first being made at the tail end of the mono era in January 1958 with the New York Philharmonic. CBS was very heavily into "Quad," and this justified a second recording of Bernstein in Le Sacre du printemps in order to show off the boom and bang of the new system. Whereas the 1972 Sacre is definitely exciting in spots and is a wildly colorful performance, it is also inconsistent in tempo, orchestral balance, and intonation.

This is the "Masterworks Expanded Edition" of Leonard Bernstein's Quadrophonic 1972 London Symphony Orchestra recording of Igor Stravinsky's Le Sacre du printemps. It was Bernstein's second go at the work in the studio, the first being made at the tail end of the mono era in January 1958 with the New York Philharmonic. CBS was very heavily into "Quad," and this justified a second recording of Bernstein in Le Sacre du printemps in order to show off the boom and bang of the new system. Whereas the 1972 Sacre is definitely exciting in spots and is a wildly colorful performance, it is also inconsistent in tempo, orchestral balance, and intonation.

This is the "Masterworks Expanded Edition" of Leonard Bernstein's Quadrophonic 1972 London Symphony Orchestra recording of Igor Stravinsky's Le Sacre du printemps. It was Bernstein's second go at the work in the studio, the first being made at the tail end of the mono era in January 1958 with the New York Philharmonic. CBS was very heavily into "Quad," and this justified a second recording of Bernstein in Le Sacre du printemps in order to show off the boom and bang of the new system. Whereas the 1972 Sacre is definitely exciting in spots and is a wildly colorful performance, it is also inconsistent in tempo, orchestral balance, and intonation.

Excellent 60 track music compilation. The music on it is a brilliant choice and not a usual 80s Compilation..

This 2014 Hyperion collection of 22 hymns sung by the Choir of Westminster Abbey is a straightforward presentation of familiar versions for choir and organ. For the most part, the arrangements are conventional four-part settings, with occasional interpolations of seldom-heard harmonizations and descants, and the performances by the men and boys are appropriately reverent and joyous. The majority of selections are hymns of praise, including Praise, my soul, the king of heaven; Thine be the glory; and Praise to the Lord, the Almighty, though Drop, drop slow tears; I bind unto myself today; and Let all mortal flesh keep silence bring a more somber and penitential mood to the program. The recordings were made in late 2012 and early 2013 in Westminster Abbey, so the sound of the album is typically resonant and spacious, and the choir has a well-blended tone, though the trade-off for the glorious acoustics is a loss of clarity in some of the words.

With the subtitle "Songs from the Vault," you'd be forgiven if you thought 24 Karat Gold was an archival collection of unreleased material and, in a way, you'd be right. 24 Karat Gold does indeed unearth songs Nicks wrote during her heyday – the earliest dates from 1969, the latest from 1995, with most coming from her late-'70s/early-'80s peak; the ringer is a cover of Vanessa Carlton's 2011 tune "Carousel," which could easily be mistaken for Stevie – but these aren't the original demos, they're new versions recorded with producer Dave Stewart. Running away from his ornate track record – his production for Stevie's 2011 record In Your Dreams was typically florid – Stewart pays respect to Nicks' original songs and period style by keeping things relatively simple while drafting in sympathetic supporting players including guitarists Waddy Wachtel and Davey Johnstone and Heartbreakers Benmont Tench and Mike Campbell.

Recorded during the last show of their North American tour for their 2012 album, Fanatic, Heart deliver a ripping set of new songs and classics on Fanatic Live from Caesars Colosseum. Recorded for television at Caesars Colosseum in Windsor, Ontario, the show finds Ann and Nancy Wilson in fine form as they play through a 14-song set that includes classic rock staples like "Crazy on You," "Barracuda," and "Alone."…

Contralto & conductor Nathalie Stutzmann is an exciting new signing, having left Deutsche Grammophon/Universal to join the Erato roster. Considered to be one of the most outstanding musical personalities of our time, she has parallel careers as both a contralto and an orchestra conductor. She sings regularly with the world’s greatest conductors and orchestras, including the Berliner Philharmoniker under Sir Simon Rattle, Vienna Philharmonic, Orchestre de Paris, the LSO and Rotterdam Philharmonic under Yannick Nézet-Séguin. She currently is in residence with the São Paulo Symphony Orchestra (OSESP).