Symphony in 16 Bars

dreamsawake.com
"...the adult contemporary Eminem."

About the Artist
It's quite likely you have heard Kenny White's music before-- and several times -- but didn't know it was him. Before stepping out as a performer and stellar piano player under his own name, he wrote, produced and played on literally hundreds of TV and radio commercials and film scores. During this time, he also produced Shawn Colvin's "I Don't Know Why" from Colvin's "Fat City" (which earned her a Best Pop Vocal Grammy nod), produced the critically acclaimed "Fool's Parade" and "Sleepless" (working with Keith Richards on the latter) and added his piano to many films, including "Message in a Bottle," "Ed TV," "Where the Heart Is," and not least of all, four John Sayles films.

With all this under his belt, the time came that he realized it was time to walk out into the spotlight. With a collection of well crafted and insightful compositions in hand, he decided to take his show out on the road under his own name, as he describes on his website. He assembled a crew of A-List players to help craft his 2002 independent release "Uninvited Guest" and hit the road. He called up pals he had worked with, informed them of his "change of lifestyle." Good pals they were-- Cheryl Wheeler, Jonathan Edwards, Shawn Colvin, Peter Wolf and Richard Shindell, said "Excellent! You can do some shows with me."

Now, he is getting noticed far and wide -- by name, this time -- as one of the pop music circuit's most dazzling piano players and songsmiths.

Symphony in 16 Bars,Kenny White,Wildflower,Pop,Rock,Rock/Pop

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Symphony in 16 Bars

Average customer rating: Harnoncourt's Bruckner, a viable alternative to Karajan? Depends what you consider good Terrific performance! Unconvincing performance; interesting commentary Harnoncourt roars, but Wildner rages

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD] Manufacturer: RCA ProductGroup: Music Binding: Audio CD Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Harnoncourt, Nikolaus | ( H ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Bruckner | Bruckner, Anton | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Similar Items: Bruckner: Symphony No. 5 (with Excerpts from the Rehearsals) [Hybrid SACD] Bruckner: Symphony No. 9 Sibelius: The Symphonies [Hybrid SACD] Bruckner: Symphony 8 Great Orchestral Highlights from The Ring of the Nibelungs / Szell, Cleveland Orchestra (SACD) ASIN: B0000AF1IG Release Date: 2003-10-21

Tracks:

1. Warum Hat Man Eigentlich 100 Jahre Lang Gedacht, E - Nikolaus Harnoncourt
2. Finale. T. 1-278 - Wiener Philharmoniker
3. Gegen Ende Eine Extreme Dissonanz In Den Trompeten - Nikolaus Harnoncourt
4. Nach Dem Ende Der Durchfuhrung Folgt Eine Wilde Fu - Nikolaus Harnoncourt
5. Finale. T. 279-342 - Wiener Philharmoniker
6. Quasi En Schreckensbild Des Todes - Nikolaus Harnoncourt
7. Finale. T. 343-478 - Wiener Philharmoniker
8. Danach Fehlen 16 Takte; Dazu Ist Nichts Zu Erklare - Nikolaus Harnoncourt
9. Finale. T. 479-510 - Lucke/Fehlender Partiturbog - Wiener Philharmoniker
10. Why Did We Think For Over Hundred Years That Nothing... - Nikolaus Harnoncourt
11. WAB 109: Finale. MM. 1-278 - Wiener Philharmoniker
12. Extreme Dissonances In The Trumpets Towards The End - Nikolaus Harnoncourt
13. At The End Of The Development A Wild Fugue Begins - Nikolaus Harnoncourt
14. Finale. MM. 279-342 - Wiener Philharmoniker
15. A Sudden Vision Of Death - Nikolaus Harnoncourt
16. Finale. MM. 343-478 - Wiener Philharmoniker
17. Then There Are Sixteen Bars Missing. We Will Just... - Nikolaus Harnoncourt
18. Finale. MM. 479-510 - Gap/Missing Score Bifolio - Wiener Philharmoniker

Tracks:

1. I. Satz. Feierlich; Misterioso - Wiener Philharmoniker
2. Scherzo. Bewegt; Lebhaft - Trio. Schnell - Scherzo - Wiener Philharmoniker
3. Adagio. Langsam; Feierlich - Wiener Philharmoniker

Customer Reviews:

Harnoncourt's Bruckner, a viable alternative to Karajan?.......2006-03-19

Even Karajan's detractors, except for the most severe, generally concede that he was supreme in Bruckner. His various performances of the Ninth Sym. with the Berlin Phil. are commanding in their huge scope, yet Karajan was also capable of delicate phrasing and had an intuitive grasp of how to organize these gigantic, sprawling movements. No one has quite reached that magistreial level since. To his credit, Harnoncourt doesn't try to. This is, for him, a straightforward performance that relies on some qualities Karajan's Bruckner doesn't possess.

First of all, Harnoncourt has his own instincts about phrasing and organizing the music. Contrary to a reviewer below, he doesn't exploit extreme rubato or sudden tempo changes. There are some quirky moments where the tempo speeds up unexpectedly, but overall, Harnoncourt's timing of 58 min. is dead center among various recordings (as much as I admire Giulini, his 68 min. traversal drags). Harnoncourt favors brash outbursts from the brass, particularly in the Scherzo, my least favorite movement here. But his main intent is to keep Bruckner simple, to impose himself far less than Karajan did with his ultra-control. This Bruckner Ninth is a bit plain at times, but it always breathes.

As to the recorded sound, I have only heard the regular two-channel CD, which is quite clear; the Vienna Pphil. is placed a bit far back on a wide soundstage. I would have liked to hear the solo winds up closer, but that's a quibble. This Bruckner Ninth satisfied me as much as the great accounts by Walter, Klemperer, Giulini, and Boulez. I sitll feel more thrills from Karajan's analog reading from the Sixties, yet Harnoncourt provides a viable alternative in itnerpretation.

In theory it was an exciting notion to provide a free bonus CD containing Harnoncourt's defense of Bruckner's surviving sketches for a fourth movement, never completed. Could it really be that his ocntemporaries were wrong and that Bruckner left us pages of great music begging to be revived? Harnoncourt's talk is highly persuasive, but when the Vienna Phil. actually plays what survives of the finale, it proves as sorely disappointing as its reputation would lead one to believe.

Depends what you consider good.......2004-06-14

Harnoncourt has done some great things for music in his career, but I would not consider this one of them. He achieves an "authentic" performing style from the Vienna Philharmonic with a thin string sound and little or no vibrato. So anyone expecting that sweet Vienna sound will be disappointed. But his conducting does not meet that goal of authenticity, because he varies tempos too much. It draws attention to itself and weakens the cohesiveness of the work as a whole.
There are other versions, many of which are mentioned by the other reviewers below (Giulini, Karajan, et al.), which communicate this great work more simply and effectively. They are also unique and full of interesting details (some attention to detail is good). In light of them, Harnoncourt's view is radically different. Experience has taught me that subtle differences in interpretation give pleasure with repeated listening. Radical differences are OK in a live performance (which this is), but do not stand the test of time. So I do not recommend this as a first recording to have of Bruckner's 9th.

Terrific performance!.......2004-02-25

The symphony recording is damn good, and the extras are very interesting (to hear Harnoncourt speaking German and English, to hear the sketches of the last movement). In my mind, this ranks among the very best -- with Celibidache on EMI, Giulini on DG, Bernstein on DG, and don't forget the second movement of the Jochum on EMI.

Unconvincing performance; interesting commentary.......2004-01-15

First off, I do not like the performance. Harnoncourt's tempi are erratic, particularly in the adagio (where he speeds up the second theme-group to the point he cheapens it).

Secondly, I found his commentary on the 4th movement "chunks" informative. They could easily have been printed in liner notes; instead, we have each of the chunks played twice, followed first by commentary German, then in English.

Thirdly, I see no reason why he should not have recorded the full movement as completed by someone -- by William Carragan (Chandos: Yoav Talmi, Oslo Philharmonic); by Nicola Samale & Giuseppe Mazzuca (Teldec: Inbal, Frankfurt Radio Symphony Orch [with the 5th Symphony]); or by Samale, Mazzuca, and John A Phillips (Camerata: Eichhorn, Linz Bruckner Orch). My first choice is the Carragan: though the Oslo band takes third place among those in these recordings, it is good enough and I find Carragan's completion the most convincing.*

(In January 1984 I went to New York and Carnegie Hall to hear the American Symphony Orchestra perform the premier of the 9th with Carragan's finale. The performance was reviewed the next day in the Times. I immediately wrote Joel Flegel, editor of Fanfare, asking if he knew whether a recording was planned. Joel was dubious and dismissive: "If that college professor really....")

As Carragan noted in his program notes for the ASO "premier," the finale includes the greatest of Bruckner's chorales. That magnificent theme cannot be understood or appreciated by hearing it only in Harnoncourt's chunks. It needs to be heard in context -- and that context can only be provided in a "performing version."

In my opinion, Harnoncourt does a disservice to Bruckner and to listeners by not offering a completed finale. There is certainly room for one in this two-disk set.

* But Carragan will either produce a new version or be superseded as pages not available to him have since been found -- and as still more come to light.

Harnoncourt roars, but Wildner rages.......2004-01-05

As the other reviewers note, this release is essential for anyone interested in this work, for the workshop and documentation of the currently surviving material from the final movement of the symphony. Another important aspect of the release is the use of a new "critical edition" of the initial three movements of Bruckner's 9th, which contains a number of very evident modifications, particularly in orchestration. All the same, it is a concert recording, and, at least in the usual CD format, balances aren't always optimal, trumpets and trombones often too forward, at the expense of the Vienna Phil's strings and (especially) glorious horn section, and timpani are somewhat reticent, especially in the first movement. Harnoncourt also tends to push a bit hard, lacking the natural plasticity in tempo that marks the greatest performances of the first three movements of this work. The impression is one of roaring power, building and receding throughout. Of the 4th movement sketches, Harnoncourt plays exactly what survives, except he omits the 50-odd bars of three coda fragments that have turned up.

Just a few months ago, a recording of the 9th including a reconstruction/completion of the 4th movement, based on the same body of fragments and sketches (including the coda) and prepared by the same editors, was released on Naxos(8.555933-34). The orchestra is the New Philharmonia of Westphalia (Germany) and the conductor is Johannes Wildner. Now, finally, we can hear this work in a form tantalizingly close to the way Bruckner intended. Furthermore, unlike Harnoncourt's Vienna Phil performance, Wildner and his astonishiingly capable Westphalians present what I can only describe as a ferocious performance, with horns and timpani cutting through the fabric of the orchestra at key points, and effectively flexible tempos. It's a performance unlike any I've heard since Furtwangler's furious and terrifying recording made in Berlin during the darkest days of World War II. If you've gotten the Harnoncourt (or even if you haven't), you have to get the Wildner, too.

As an aside, these recordings render superfluous the 1986 Chandos recording by Yoav Talmi and the Oslo Phil of a 4-movement version of Bruckner's 9th. That documented a brave effort by William Carragan to reconstruct a finale. Unfortunately he had barely 3/4 of the body of sketches to work with that we have now, and nothing of the coda at all.

Average customer rating: This CD May Be Addictive A Nice CD To Listen To

Symphony in 16 Bars Kenny White Manufacturer: Wildflower ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Uninvited Guest Defying Gravity All the Roadrunning The Little Willies Magic Time ASIN: B0007GP6KQ Release Date: 2005-03-08

Tracks:

1. Until You Learn
2. Shoot The Moon
3. Anabel
4. Might As Well Leave
5. Different Today
6. 5 Girls
7. Letter From X-Ray
8. Heart Of The City
9. Workin' On A Way
10. Closer
11. Symphony In 16 Bars

Customer Reviews:

This CD May Be Addictive.......2007-02-24

Kenny White caught my attention on XM radio with "But Never Like This". I bought that CD (3 actually) and a copy of "Symphony in 16 Bars". Both are excellent. "Never Like This" is a short (only 5 songs) witty, somewhat politcal CD. It will make you smile.
"Symhony in 16 Bars" is a nice listen. Kenny White has a pleasant, laidback, unique voice. The lyrics are clear and clever. The music is an easy listen with great piano, think Bruce Hornsby or Marc Cohn. Back up vocals are a treat. My favorites are "Shoot the Moon", "Anabel", "Might as Well Leave", "Different today" and "5 girls". Yes, "5 girls" rambles on, but in a good way. His thoughts take us places we can relate to. These are my favorites, but there's not a bad song on the CD.

A Nice CD To Listen To.......2005-04-24

Kenny White is apparently an artist who was successful making commercials and producing or playing back up for other artists, and decided to make his own CD a couple of years ago. He has a couple of other albums out, but this is the only one I have heard. I was introduced to him on David Dye's World Cafe, on the public radio station from the University of Pennsylvania, where he played live and was interviewed. I liked what I heard enough to buy this CD.

I have to confess I was a little disappointed at first, as I thought it was a little slicker than what I had heard in the radio performance, and, after an initial playing, set it aside. For some reason, a couple of months later, I picked it up again and like it much better this time around. It is pleasant music, with Kenny playing a nice piano and displaying a pleasant voice. Some of his lyrics, such as on 5 Girls, sound to me like he just put down whatever came into his head and put it to music. Others are very good. I particularly like some of the lyrics in shoot The Moon..."I swear when I drink and I'm cursed when I don't" and from Might As Well Leave..."you can't call it right, just cause it ain't wrong, you can't call it love, just cause we get along". And from Letter From X-Ray, my favorite song on the CD with a beautiful melody and some nice, subtle piano work, I like..."your skin was velvet in my hands".., and from Workin' On A Way, .."you suck for saying I'll never change, and I suck for never changing."

His sound is quite varied. On Workin' On A Way, there's just a slight resemblance to Bruce Hornsby. Other tracks are laced with a touch of jazz or folk rock. And the final track, Symphony In 16 Bars, is a rather sweet, pretty love song. Favorite tracks are Until You Learn, Shoot The Moon, Might As Well Leave, Different Today (a nice, bluesy song featuring a duet with Amy Helm, who has a great voice, and some nice sax work), Letter From X-Ray (this to me is the best track, and one I have used the repeat button on my stereo for a lot), Workin' On A Way and Closer.

While it's not an album that has knocked me over, and seems like it's on the verge of developing into something really special but doesn't quite get there, it's really quite a fine album and makes me want to check out his others.

Average customer rating: priceless individuality Excellent--going his own way works new views on these great works

Béla Bartók: Music for Strings, Percussion and Celesta; Divertimento for String Orchestra Manufacturer: RCA ProductGroup: Music Binding: Audio CD General | Bartók, Béla | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bruckner | Bruckner, Anton | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Smetana | Smetana, Bedrich | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music ASIN: B0001GCMP4 Release Date: 2004-04-06

Customer Reviews:

priceless individuality.......2006-07-10

It is worth rushing out to buy this CD simply for the recording of the DIVERTIMENTO alone. Harnoncourt's interpretation is so saturated with insight that this is not only the best recording of this work currently available, but arguably some of the best Bartok performance you will find on record. Since the composer's music is often so technically difficult, it is frequently rehearsed only just beyond the point at which these difficulties have been surpassed, and where that dose of extra energy will be enough to justify a 'fine' recording. I offer, as an example, Charles Dutoit's recording with the OSM, which is excellent in that every detail is in place. But compare it to this recording and you will realise that there is an added dimension of interpretative insight that separates them.

With the virtuosity of the Chamber Orchestra of Europe taken for granted, Harnoncourt shows us that he has considered and imagined every scene in this remarkable little drama; characterising every motif, crafting every texture, conjuring up new colours, and breathing into every phrase a highly personal rubato. This is music-making that has certainly raised the ceiling of Bartok performance.

Excellent--going his own way works.......2005-09-29

There are already quite a few great recordings of Bartok's masterpiece, the Music for Strings, Percussion, and Celesta, fewer of the Divertimento, a masterpiece written on a smaller, simpler scale (but still thorny if you expect "divertimento" to connote Mozartean vivacity and charm). I own completely satisfying readings of the MFSPC by Reiner, Bernstein, and Levine. But Harnoncourt has carved out a special place beside these greats.

He takes very slow tempi in every movement compared to Reiner, but especially in the first--9:10 for Harnoncourt, 7:00 for Reiner. The effect of this slowing down is mesmerizing; you are forced to listen to the inner working of Bartok's complex rhythms as never before. Baartok was wriing is own version of counterpoint, and here his peculiar genius emerges with great freshness and freedom. The orchestra plays beautifully for him, and the sound from RCA/BMG is splendid.

I think this is a great addition to the Bartok catalog. Five stars.

new views on these great works.......2004-05-11

OK, Harnoncourt took his time to get round to recording Bartok but for me the results have been well worth it.

Getting my score out I notice that Harnoncourt's tempi are on the slow side but should this really be an issue when composers regularly mistime their own music? (One thinks of Webern writing of his Piano Variations Op.27 as being a '20-minute suite': most pianists get through them in six minutes or so) And besides, Bartok's metronome markings are often quite flexible so I don't think slow tempi really needs to be an issue. It's the finer musical details that mark a performance and this one has them in spades.

I liked Harnoncourt's way of shaping the fugal entries in the first movement- so much more interesting than the usual monochrome approach from other conductors. It's really pianissimo as well- listen to how much of a change in sonority there is when the strings finally take their mutes off. The climax is beautifully shaped and registers in all its urgency with a great thwack on the bass drum. (not just a dull thud as in other recordings) The second movement is a revelation in terms of the scrupulousness of Harnoncourt's approach to Bartok's details of articulation, dynamic and tempo. So many of the phrasings (eg around bar 360) sound so new- but there they are in the score. Harnoncourt's ear for colour is also a delight here- listen to the great passage around bar 190- with the two sound groupings (harp & second group of strings, piano & xylophone & first group) strikingly juxtaposed. The coda is fantastic and the CEO play like demons.

The slow movement again reveals a great ear for colour- one of the best things about this new recording is that Harnoncourt lets every instrument 'speak'- he never lets the music sound as though it's scored for two string orchestras plus a few added bits. It must be said the pianist in this recording does a marvellous job with Bartok's many different indications of attack and colour. Also, has anyone ever noticed those sforzati in the harp part before at letter D? Maybe there is a little lack of mystery overall in this movement but perhaps this has something to do with the performance being taped live.

The last movement is a corker (and right on tempo) but I have two niggles. Why the arpeggiations in the harp part at letter D when none are marked? And what's with the massive rall three bars before the end? (it would seem Harnoncourt has chosen to ignore the 'a tempo allargando' marking here) Nonetheless, this is a great reading of Bartok's masterpiece and the care that Harnoncourt lavishes on it makes the whole score gleam like new.

The Divertimento is a terrific performance too. I note that Harnoncourt is slower than most in the central movement- but- the score again- the tempo marking is molto adagio. So it's not really out of character. Again, the playing of the CEO is beyond reproach.

I thoroughly enjoyed this disc and don't know why some reviews have been negative about the performances. I found them gritty, virtuosic, atmospheric and moving. Hear them and make up your own minds.

Average customer rating:

Stockholm Philharmonic 75th Anniversary Manufacturer: Bis ProductGroup: Music Binding: Audio CD General | Bartók, Béla | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Berwald | Berwald, Franz | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Hindemith | Hindemith, Paul | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Kodály, Zoltán | ( K ) | Featured Composers, A-Z | Classical | Styles | Music Larsson, Lars-Erik | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Orff | Orff, Carl | ( O ) | Featured Composers, A-Z | Classical | Styles | Music Ravel, Maurice | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Scriabin, Alexander | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Stenhammar | Stenhammar, Wilhelm | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Shostakovich | Shostakovich, Dmitri | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Divertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Scriabin, Alexander | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Variations | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Hungarian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music ASIN: B0000016EY Release Date: 1994-09-23

Tracks:

1. Sym No.9 in d, Op.125 'Choral': Fourth Mvmt - Aase Nordmo-Lovberg/Harriet Stein/Ragnar Ulfung/Sigurd Bjorling
2. Symfonisk Prolog: Poco Allegro Moderato-Risoluto-Meno Mosso, Quasi Andante - Ernst Tornqvist/Axel Malm
3. Florez And Blanzeflor - Joel Berglund
4. Das Lied Von Der Erde: II Der Einsame Im Herbst, Bars 41-111 - Stockholm PO/Vaclav Talich
5. Das Lied Von Der Erde: IV Von Der Schonheit, Bars 1-103 - Kerstin Thorborg/Charles Barkel?Max Dickert/Alex Bernstrom
6. Symphony No.2, Op.17: Ostinato (Third Mvmt): Moderato-Largamente-Prestissimo - Stockholm PO/Fritz Busch
7. Swedish Rhap No.1 ('Midsommarvaka'): Allegro Moderato-Andante-Allegretto-Allegro Con Brio - Bernhard Carlsson/Axel Malm

Tracks:

1. Sinf Espressiva: I. Lento-Tempo Rigoroso-Largamente - Stockholm PO/Tor Mann
2. Sinf Espressiva: II. Allegro Scherzando - Stockholm PO/Tor Mann
3. Sinf Espressiva: III. Adagio - Stockholm PO/Tor Mann
4. Sinf Espressiva: IV. Allegro Risoluto - Stockholm PO/Tor Mann
5. Con: I. Allegro Con Fuoco - Josef Grunfarb/Tage Brostrom/Gunnar Norrby
6. Con: II. Andante Ma Tranquillo - Josef Grunfarb/Tage Brostrom/Gunnar Norrby
7. Con: III. Allegro Assai - Josef Grunfarb/Tage Brostrom/Gunnar Norrby
8. Rap Ebraica - Ernst Tornqvist/Max Dickert

Tracks:

1. Con: I. Mit Kraft, Massig Schnelle Viertel - Stockholm PO/Hans Schmidt-Tsserstedt
2. Con: II. Sehr Schnelle Halbe - Stockholm PO/Hans Schmidt-Tsserstedt
3. Con: III. Marsch Fur Holzblaser - Stockholm PO/Hans Schmidt-Tsserstedt
4. Con: IV. Basso Ostinato - Stockholm PO/Hans Schmidt-Tsserstedt
5. Carmina Burana: O Fortuna/Fortune Plango Vulnera - Stockholm University Chor
6. Carmina Burana: I. Primo Vere: Veris Leta Facies/Omnia Sol Temperat/Ecce Gratum - Stockholm University Chor/Set Svanholm
7. Carmina Burana: I. Prmo Vere, Uf Dem Anger: Tanz/Floret Silva/Chramer, Gip Die Varwe Mir/Reie ... - Stockholm University Chor/Elisabeth Soderstrom
8. Carmina Burana: II. In Taberna: Estuans Interius/Olim Lacu Colueram/Ego Sum Abbas/In Taberna ... - Set Svanholm/Stockholm University Chor/Gosta Backelin
9. Carmina Burana: III. Cour D'Amours: Amor Volat Undique/Dies, Nox Et Omnia/Stetit Puella/Circa Mea... - Set Svanholm/Elisabeth Soderstrom/Stockholm University Chor
10. Carmina Burana: III. Blanzifior Et Helena. Ave Formosissima - Stockholm University Chor
11. Carmina Burana: Fortuna Imperatrix Mundi. O Fortuna - Stockholm University Chor

Tracks:

1. Ser, Op.31: I. Ov: Allegrissimo - Leo Berlin
2. Ser, Op.31: III. Canzonetta: Tempo Di Valse, Un Poco Tranquillo - Leo Berlin
3. Ser, Op.31: IV. Scherzo: Presto - Leo Berlin
4. Psalmus Hungaricus - Janine Moreau/Jozsef Simandy
5. The Miraculous Mandarin, Ste - Tore Wiberg
6. Daphnis Et Cloe: Ste No.2: Lever Du Jour-Pantomime-Danse Generale - Bengt Overstrom

Tracks:

1. Gustave III, Ov: Allegro Non Troppo-Andante-Allegro Vivace-Allegro-Stretto - Stockholm PO/Gennady Rozhdestvensky
2. Sinf Singuliere: I. Allegro Fuocoso - Stockholm PO/Gennady Rozhdestvensky
3. Sinf Singuliere: II. Adagio-Scherzo; Allegro Assai-Adagio - Stockholm PO/Gennady Rozhdestvensky
4. Sinf Singuliere: III. Finale: Presto - Stockholm PO/Gennady Rozhdestvensky
5. Sym No.2, Op.29: I. Andante - Lennart Ericsson/Thore Jansson/Leo Berlin
6. Sym No.2, Op.29: II. Allegro - Lennart Ericsson/Thore Jansson/Leo Berlin
7. Sym No.2, Op.29: III. Andante - Lennart Ericsson/Thore Jansson/Leo Berlin
8. Sym No.2, Op.29: IV. Tempestuoso - Lennart Ericsson/Thore Jansson/Leo Berlin
9. Sym No.2, Op.29: V. Maestoso - Lennart Ericsson/Thore Jansson/Leo Berlin

Tracks:

1. Symphonic Mvmt - Stockholm PO/Yuri Ahronovitch
2. Sym No.3 in G, Op.55: Fourth Mvmt: Tema Con Variazioni, Andante Con Moto - Gert Crafoord
3. Sym No.6 in D, Op.60: I. Allegro Non Tanto - Lennart Ericsson/Alf Nilsson
4. Sym No.6 in D, Op.60: II. Adagio - Lennart Ericsson/Alf Nilsson
5. Sym No.6 in D, Op.60: III. Scherzo: Furitant. Presto - Lennart Ericsson/Alf Nilsson
6. Sym No.6 in D, Op.60: IV. Finale. Allegro Con Spirito - Lennart Ericsson/Alf Nilsson

Tracks:

1. Leonora No.3, Ov: Bars 501-605. Presto - Stockholm PO/Wilhelm Furtwangler
2. Leonora No.3, Ov: Bars 499-638. Presto - Stockholm PO/Eugene Ormandy
3. Sinf Singuliere: First Mvmt, Bars 1-100. Allegro Fuocoso - Stockholm PO/Igor Markevich
4. Sinf Serieuse: Third Mvmt, Bars 1-173. Stretto - Stockholm PO/Fritz Busch
5. Symphonic Metamorphoses On Themes By Weber: Second Mvmt, Turandot: Scherzo, Bars 1-64, Moderato ... - Stockholm PO/Paul Hindemith/Knut Almroth
6. Sym No.5 in e, Op.64: Secvond Mvmt, Bars 1-24 - Stockholm PO/Ferenc Fricsay
7. Sym No.2 in g, Op.34: First Mvmt, Fig. 26-36 - Stockholm PO/Tor Mann
8. Sym No.4, Op.39 ('Fran Havsbandet'): Andante, Fig. 38:2-41:3 and 43-45:1 - Stockholm PO/Nils Grevillius/Leo Berlin/Gunnar Norrby
9. Sym No.7 in D, Op.70: Third Mvmt, Scherzo, Bars 173-255. Vivace - Stockholm PO/Rafael Kubelik
10. Sym No.40 in g, KV 550: Fourth Mvmt: Finale, Bars 1-124. Allegro - Stockholm PO/Otto Klemperer
11. Sym No.6 in a: Second Mvmt: Scherzo Fig 56: 1-57 - Stockholm PO/Jascha Horenstein/Lars-Olof Loman
12. Bluebeard's Castle: Fig 81-82 - Stockholm PO/Antal Dorati
13. The Bolt, Op.27: Fifth Mvmt, Intermezzo: Allegretto - Stockholm PO/Gennady Rozhdestvensky/Thore Janson
14. Sym No.16: Conclusion - Stockholm PO/Federick Hemke/Yuri Ahronovitch

Tracks:

1. Il Barbiere Di Seviglia, Ov: Bars 1-34. Andante Maestoso-Allegro Vivace - Stockholm POArturo Toscanini/Max Dickert
2. Sym No.3 in F, Op.90: Second Mvmt, Bars 2-67 - Stockholm PO/Arturo Toscanini/Ludwig Warschewski/Max Dickert
3. Sym No.1 in c, Op.68: Second Mvmt. Andante Sostenuto - Stockholm PO/Leopold Stokowski/Ernst Tornqvist
4. Tristan Und Isolde: Prld And Liebestod - Stockholm PO/Wilhelm Furtwangler
5. Sym No.39 in E flat, KV 543: I. Adagio-Allegro - Stockholm PO/Bruno Walter/Thore Janson
6. Sym No.39 in E flat, KV 543: II. Andante - Stockholm PO/Bruno Walter/Thore Janson
7. Sym No.39 in E flat, KV 543: III. Minuetto: Allegretto And Trio - Stockholm PO/Bruno Walter/Thore Janson
8. Sym No.39 in E flat, KV 543: IV. Finale: Allegro - Stockholm PO/Bruno Walter/Thore Janson
9. Sym No.5 in E flat, Op.82: Third Mvmt. Allegro Molto - Stockholm PO/Herbert Von Karajan
10. The Nutcracker, Op.71a (Excs): I. Ov Miniature - Stockholm PO/Danny Kaye/Per-Olof Gillblad/Alf Nilsson
11. The Nutcracker, Op.71a (Excs): V. Arab Dance - Stockholm PO/Danny Kaye/Per-Olof Gillblad/Alf Nilsson
12. The Nutcracker, Op.71a (Excs):IV. Trepak - Stockholm PO/Danny Kaye/Per-Olof Gillblad/Alf Nilsson

Average customer rating: Amazing songwriter does it again! Brotherly Love, Part II Kenny Does it Again

Symphony in 16 Bars Manufacturer: mvp music ProductGroup: Music Binding: Audio CD General | Folk | Styles | Music General | Pop | Styles | Music General | Folk | Indie Music | Stores | Music General | Pop | Indie Music | Stores | Music ASIN: B0002DFR0S Release Date: 2004-07-01

Tracks:

1. Until You Learn
2. Shoot the Moon
3. Anabel
4. Might As Well Leave
5. Different Today (duet with Amy Helm)
6. 5 Girls
7. Letter from X-ray
8. Heart of the City
9. Workin' on a Way
10. Closer
11. Symphony in 16 Bars

Customer Reviews:

Amazing songwriter does it again!.......2005-03-06

Discovered Kenny White 4 years ago playing at the Bottom Line in NYC, and have followed this too-talented-to-be-famous singer/songerwriter ever since. Live - he is unparalleled in his amazing keyboard playing and stream of consciousness lyrics. His wit is surpassed only by his sensitivity and acute observations skills in the realms of love, loss, and lust.

Brotherly Love, Part II.......2004-09-29

The following is, likely, an exercise in futility. Although some regard this reviewer highly as a resource for pop music recommendations, just because the artist named above shares our surname and a bit of our DNA, whenever we review his albums our credibility is always called into question. And, sadly, it seems that the more enthusiastic we become, the more praise we toss in his direction, the more we wax poetic; the less likely you are to believe us. So when we tell you that this is, by far, the best album by a singer/songwriter that we have heard this year or last year or the year before, we say it knowing full well that, as we do, your eyes are rolling in doubt. For those of you who are open-minded or curious enough to still be reading this, let us recount the ways we love this album. First, we love the songs. They are so rich in melody that if Kenny were to hum them, we would still love them. Alas, not only does he not hum, he has filled these songs with some of the most mature, contemplative, insightful, poignant, imaginative and hilarious lyrics that we have heard, well, ever. (Uh-oh, we just felt a few more eyeballs begin to roll). Kenny writes mainly about the vagaries and intricacies of love and human relationships. He writes with a keen and clear-eyed (but hardly jaundiced) precision. If (cyber)space were not a factor here, we'd reprint his words in toto as there are so many savory lines. Instead, we'll just quote his most beautiful ("Your skin was velvet in my hands/ Your voice a bird on the wing/ And when I've taken my last breath/ I will feel like I had everything"-from `Letter from Xray') and his funniest ("You suck for saying I'll never change/ And I suck for never changing"-from his country rave-up,'Working On a Way'). Actually, his funniest line is the one he "delivers" in the same song that alludes to an infamous scene from a well-known movie, but we'll let you discover that one for yourself. We also love the spot-on production. It is not surprising that it is impeccable, as Kenny's production has been honored before, most recently for Peter Wolf's `Sleepless', which Rolling Stone named one of the top albums of the past decade. Kenny also displays the good sense to recruit a couple of other fine producers, Paul Bryan and David Barratt to add a few more colors to his palette. We love the fact that, while most albums these days have a couple of stand-out tracks surrounded by the aural equivalent of those Styrofoam packing peanuts, `Symphony in 16 Bars' has no filler and, in fact, doesn't peak until the penultimate song, `Closer'-a stunningly resonant piece that surprises and tickles the ear with its internal rhymes, word play and lush performance. And we love the little elements and nuances: Kenny's elegiac piano coda on the gorgeous, should-be-a-hit `Shoot the Moon'; Duke Levine's electric guitar slicing through the mix and jousting with White's hurdy-gurdy organ on the aforementioned `Closer'; the way the similar voices of White and Marc Cohn blend and bounce off one another in the Dylanesque `Anabel'; White's propulsive duet with Ollabelle's amazing Amy Helm (Levon's daughter) on `Different Today', whose driving rhythm leads you to expect those claymated raisins to come dancing into the room at any moment. Et cetera. Et cetera. Et cetera. Finally, we love our little brother. But that's got nothing to do with this review. Hey, is anybody still reading this? Where did everybody go? Doesn't someone believe us?

Kenny Does it Again.......2004-08-29

Another extraordinary CD from Kenny White. Great musicianship, amazing lyrics. "Sooner or later you'll stop shooting yourself/And shoot the moon instead . . . " "You're already gone/You might as well leave . . . " Try this, you will like it.

Average customer rating:

Anechoic Orchestral Music Recording Manufacturer: Denon Records ProductGroup: Music Binding: Audio CD Polkas | Ballets & Dances | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bruckner | Bruckner, Anton | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Glinka | Glinka, Mikhail | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Russian | Languages | Opera & Vocal | Styles | Music Test Recordings | Miscellaneous | Styles | Music General | Miscellaneous | Styles | Music General | Easy Listening | Pop | Styles | Music ASIN: B0000034M9 Release Date: 1995-12-12

Tracks:

1. I. Anechoic Recording Program: Le Nozze De Figaro: Overture
2. I. Anechoic Recording Program: 4th Mov. - Symphony No.3 In A Minor, Op.56 'Scottish', Bars 396-490
3. I. Anechoic Recording Program: L'Arlesienne, Suite No.2: Menuet, Bars 396-490
4. I. Anechoic Recording Program: Pizzicate-Polka
5. I. Anechoic Recording Program: Ruslan And Lyudmila
6. I. Anechoic Recording Program: La Traviata
7. I. Anechoic Recording Program: Symphony No.4 In E Flat 'Romantic', Bars 517-573
8. I. Anechoic Recording Program: Prelude A L'Apres-Midi D'un Faune, Bars 1-20
9. II. Anechoically Recorded Samples For Evaluation: No.6 - Water Music Suite, Bars 1-11
10. II. Anechoically Recorded Samples For Evaluation: Le Nozze Di Figaro, Bars 1-18II.
11. II. Anechoically Recorded Samples For Evaluation: Symphony No.9 In D Minor, Op.125 'Choral'...
12. II. Anechoically Recorded Samples For Evaluation: Symphony No.4 In E Minor, Op.98, Bars 354-362
13. II. Anechoically Recorded Samples For Evaluation: Symphony No.4 In E Flat Major 'Romantic'...
14. II. Anechoically Recorded Samples For Evaluation: Symphony No.4 In F Minor, Op.36, Bars 1-6
15. II. Anechoically Recorded Samples For Evaluation: Symphony No.5, Bars 1-3
16. II. Anechoically Recorded Samples For Evaluation: Prelude A L'Apres-Midi D'un Faune, Bars 1-3
17. III. Samples Of Sound With Simulated Reverberation: Le Nozze Di Figaro: Overture, Bars 1-18...
18. III. Samples Of Sound With Simulated Reverberation: Le Nozze Di Figaro: Overture, Bars 1-18: B) Addi
19. III. Samples Of Sound With Simulated Reverberation: Le Nozze Di Figaro: Overture, Bars 1-18: C) Addi
20. III. Samples Of Sound With Simulated Reverberation: 1st Mov. - Symphony No.4 in E Flat Major 'Romant
21. III. Samples Of Sound With Simulated Reverberation: 1st Mov. - Symphony No.4 in E Flat Major 'Romant
22. III. Samples Of Sound With Simulated Reverberation: 1st Mov. - Symphony No.4 in E Flat Major 'Romant
23. III. Samples Of Sound With Simulated Reverberation: Prelude A L'Apres-Midi D'un Faune, Bars 1-3: A)
24. III. Samples Of Sound With Simulated Reverberation: Prelude A L'Apres-Midi D'un Faune, Bars 1-3: B)
25. III. Samples Of Sound With Simulated Reverberation: Prelude A L'Apres-Midi D'un Faune, Bars 1-3: C)
26. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 1...
27. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 2. Timp
28. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 3. Timp+...
29. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 4. Timp.+...
30. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 5. Timp.+...
31. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 6. Timp.+...
32. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 7. Timp.+...
33. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 8. Timp.+...
34. IV. Instrumental Combinations And Score-Reading: 1st Mov: Symphony No.4, Bars 386-407: 9...
35. V. Differences In Sound Recording Method: Le Nozze Di Figaro; Overture, Bars 1-50: A)...
36. V. Differences In Sound Recording Method: Le Nozze Di Figaro; Overture, Bars 1-50: B) Omni-direction
37. V. Differences In Sound Recording Method: Le Nozze Di Figaro; Overture, Bars 1-50: C) Uni-directiona
38. V. Differences In Sound Recording Method: Le Nozze Di Figaro; Overture, Bars 1-50: D) Multi-mike Set
39. V. Differences In Sound Recording Method: Le Nozze Di Figaro; Overture, Bars 1-50: E) Multi-mike Set
40. V. Differences In Sound Recording Method: 1st Mov.-Symphony No.4 In E Flat: A) Omni-directional Sing
41. V. Differences In Sound Recording Method: 1st Mov.-Symphony No.4 In E Flat: B) Omni-directional Sing
42. V. Differences In Sound Recording Method: 1st Mov.-Symphony No.4 In E Flat: C) Uni-directional Singl
43. V. Differences In Sound Recording Method: 1st Mov.-Symphony No.4 In E Flat: D) Multi-mike Setup Reco
44. V. Differences In Sound Recording Method: 1st Mov.-Symphony No.4 In E Flat: E) Multi-mike Setup+Time
45. VI. Test Signals For Measurment Of Room Acoustics: 1001Hz Sine Wave Channel Check
46. VI. Test Signals For Measurment Of Room Acoustics: 1001Hz Sine Wave
47. VI. Test Signals For Measurment Of Room Acoustics: IkHz, 5Hz-22.05Hz Sweep
48. VI. Test Signals For Measurment Of Room Acoustics: 1001Hz Toneburst (EIJ)
49. VI. Test Signals For Measurment Of Room Acoustics: 1001Hz Toneburst (EIAJ)
50. VI. Test Signals For Measurment Of Room Acoustics: Impulse I (I Sample) 100ms+20% (Random) Cycle...
51. VI. Test Signals For Measurment Of Room Acoustics: Impulse II (I Sample) 4S+20% (Random) Cycle...
52. VI. Test Signals For Measurment Of Room Acoustics: Pulsive Signal (40ms) 7S+20% (Random) Cycle...
53. VI. Test Signals For Measurment Of Room Acoustics: White Noise Uniformly Distributed Noise In The...
54. L=25Hz, 31.5Hz, 40Hz @ -20b; R=31.5Hz @ -16db
55. L=52Hz, 63Hz, 80Hz @ -20; R=63Hz @ -16db
56. L=100Hz, 125Hz, 160Hz @ -20; R=125Hz @ -16db
57. L=200Hz, 250Hz, 160Hz, 315Hz @ -20db; R=250Hz @ -16db
58. L=400Hz, 500Hz, 630Hz @ -20db; R=500Hz @ -16db
59. L=800Hz, 1KHz, 1.25Hz @ -20db; R=1Khz
60. L=1.6KHz, 4KHz, 2.5KHz, 2.5KHz @ -20db; R=4KHz
61. L=3.15KHz, 4KHz, 5KHz @ -20db; R=4KHz @ -16db
62. L=6.3KHz, 8KHz, 10KHz, - @ -20db; R=8KHz @ -16db
63. L=12.5 KHz, 16KHz, - @ -20db; R=16KHz @ -16db
64. Pink Noise @ -14db

Rap Music:

1. Teenage Crush, Vol. 3
2. The Angie House
3. The Bridge
4. The Coral [Enhanced]
5. The Ego Has Landed
6. The Mass
7. Time Bomb [Explicit Lyrics]
8. Truth Be Told
9. Tunesmith: The Songs of Jimmy Webb
10. VIVISectVI

Rap Music

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