Just listening to this now, what a lovely arrangement and I do greatly admire Joshua's lyrical playing style. Any supporters?
West Side Story Suite, Joshua Bell
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I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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Originally posted by Cheapskater View PostJust listening to this now, what a lovely arrangement and I do greatly admire Joshua's lyrical playing style. Any supporters?Patriotism is supporting your country all the time, and your government when it deserves it.
Mark Twain.
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cheers DJ.
I have stopped using spotty so much since I discovered Naxos via the library.
Silly me !
Edit: what is that feeling called. the one where you think "this isn't the kind of stuff I like". But you like it anyway.
Apart from worrying?!
I am going to wake up tomorrow and want to hear this again. The playing and arrangements are stunning.Last edited by teamsaint; 25-03-13, 22:37.I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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Cheapskater
Originally posted by aka Calum Da Jazbo View Post
Joshua Bell, Philharmonia Orchestra, David Zinman, Leonard Bernstein
May 14, 2000
© 2000 Sony Classical
1:01:35
Nineteen minutes for the West Side Story Suite.
Do you think Joshua would do the Elgar VC for us whilst he's over here? I think his style would suit
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Gave the Sony Classical CD a spin this afternoon. Quite mesmeric and the WWS Suite is completed by 'Lonely Town' (On the Town), 'Make Our Garden Grow' (Candide), 'Serenade After Plato's Symposium' & 'New York, New York' On the Town', Charmed by Jamie Bernstein Thomas's liner notes. "...Joshua Bell stayed closely involved throughout Wm Brohn's creation of the suite. The solo violin becomes a kind of traveler through the turbulent WWS landscape, commenting on all that it sees...Brohn said the biggest challenge was in finding that "motivic glue" that would hold all the music together. He found it in a most unusual place, at the climax of Jerome Robbins' coup de theatre in Act I; Maria twirls in her new dress: the bridal shop disappears, lights swirl, bodies come onstage spinning, coloured streamers tumble down from the flies, and all of a sudden, the lights are ablaze and we're at the dance at the Gym! It's such an intensely visual moment that we don't usually think of the music everyone is dancing to when those lights come up. But that's where Brohn found his "motivic glue" at last. The phrase which we first hear in the classical-sounding cellos and then repeated on a jazz-lounge saxaphone, includes the all - important augmented fourth, which we know best from the notes sung to "Ma-ri-a" - and those three notes are Bernstein's own glue for the entire WWS score. So Brohn has used the same musical DNA that Bernstein used, which makes good musical sense..."
Do send me a pm, Cheapskater, if your search for the CD is fruitless.
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Cheapskater
Originally posted by Stanley Stewart View PostGave the Sony Classical CD a spin this afternoon. Quite mesmeric and the WWS Suite is completed by 'Lonely Town' (On the Town), 'Make Our Garden Grow' (Candide), 'Serenade After Plato's Symposium' & 'New York, New York' On the Town', Charmed by Jamie Bernstein Thomas's liner notes. "...Joshua Bell stayed closely involved throughout Wm Brohn's creation of the suite. The solo violin becomes a kind of traveler through the turbulent WWS landscape, commenting on all that it sees...Brohn said the biggest challenge was in finding that "motivic glue" that would hold all the music together. He found it in a most unusual place, at the climax of Jerome Robbins' coup de theatre in Act I; Maria twirls in her new dress: the bridal shop disappears, lights swirl, bodies come onstage spinning, coloured streamers tumble down from the flies, and all of a sudden, the lights are ablaze and we're at the dance at the Gym! It's such an intensely visual moment that we don't usually think of the music everyone is dancing to when those lights come up. But that's where Brohn found his "motivic glue" at last. The phrase which we first hear in the classical-sounding cellos and then repeated on a jazz-lounge saxaphone, includes the all - important augmented fourth, which we know best from the notes sung to "Ma-ri-a" - and those three notes are Bernstein's own glue for the entire WWS score. So Brohn has used the same musical DNA that Bernstein used, which makes good musical sense..."
Do send me a pm, Cheapskater, if your search for the CD is fruitless.
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