Danzon (Dance On)

Danzon (Dance On)

ASIN: B0000001TN

Editorial Reviews
Amazon.com essential recording
Arturo Sandoval brings all of his skills, enthusiasm, and connections to bear on this 1993 recording, composing 8 of the 11 tunes and fusing Afro-Cuban rhythms, jazz improvisation, and some unusually well-handled pop textures. Guest vocalists include Gloria Estefan, Vikki Carr, and Bill Cosby, while Sandoval scats ebulliently on "Groovin' High," which epitomizes the date's high spirits. Through it all, the trumpeter plays superbly, taking his stimulus directly from a bevy of talented percussionists who keep the beats percolating and multiplying. The support is terrific, with several outstanding Latin-jazz musicians making their presence felt, including percussionist Giovanni Hidalgo, flutist Dave Valentin, and pianist Danilo Pérez, and regular Sandoval associates trombonist Dana Teboe and saxophonist Ed Calle. It's a CD that demands dancing. --Stuart Broomer

Tracks:

Appalachian Spring: Very Slowly
Appalachian Spring: Allegro
Appalachian Spring: Moderato
Appalachian Spring: Fast
Appalachian Spring: Subito allegro
Appalachian Spring: As At First (Slowly)
Appalachian Spring: Doppio movimento (Shaker Melody 'The Gift To Be Simple')
Fanfare For The Common Man
El Salon Mexico
Danzon Cubano

Amazon.com

If Copland's own recordings of his music have the warmth of a soft summer night, those by Leonard Bernstein convey the blazing heat of noon. In his later remakes of several of these scores for Deutsche Grammophon, Bernstein exhibited a tendency toward overly-nuanced readings. But his earlier accounts with the New York Philharmonic, recorded by CBS in the late 1950s and early 1960s, are still incomparable in their vitality and impetus. Bernstein's way with the Western ballets is exuberantly personal and persuasive. He has the ability to move between delicacy and brashness, always getting the gestures right, and he delivers magical characterizations of both scores. The Phiharmonic's playing, while sometimes a bit raw, is confident and rhythmically secure; there is certainly nothing to apologize for here. There is a wonderful sense of immediacy to Bernstein's account of the Appalachian Spring Suite, in which the New Yorkers give a virtuosic account of themselves, playing in a rhythmically incisive fashion that puts Copland's account with the London Symphony in the shadows. The couplings are a mixed bag, however. Bernstein always had the measure of El Salon Mexico, and gives a rousing account of it here. But the so-called Fanfare for the Common Man is lifted from his recording of the Third Symphony; its beginning is not the same as that of the real fanfare. Both recordings have been wonderfully remastered by their original producer, John McClure, and have excellent presence and a palpable sense of atmosphere in the quiet pages. --Ted Libbey

Amazon.com

Leonard Bernstein was a friend of Aaron Copland's, and he approaches this music with rare flair and verve--as well as with sympathy and warmth--and, we can assume, with a good idea of the composer's intentions regarding it. This is a classic album, containing several of the works in the essential Copland oeuvre; the sound is not as good as you'll find in a more contemporary recording, but for most listeners the spirit will make up for that. --Sarah Bryan Miller

Customer Reviews:

Universal music.......2006-07-14

This recording, aside of bringing back great memories of a live performance of Mr. Bernstein more than 25 years ago directing Mexico State Philarmonic Orchestra playing Salon Mexico, is of grand quality and Aaron Coplands music selection is escellent as is performed and recorded. My mom (77) and my daughter (8) enjoy it just the same.

Long-Time Favorite.......2005-03-16

When I was in the fifth grade, there was a district-wide competition called music memory, and one of the pieces I had to memorize for the competition was the last movement of Appalachian Spring. And I fell in love with that song. I went and bought the cassette of Appalachian Spring with Bernstein conducting the New York Philharmonic, and I listened to it almost every night before going to sleep. I even remember that one night I was listening to that final movement through my walkman as I was laying in bed. Evidently, I was humming along without realizing it, and I woke my parents, who slept downstairs and across the house, with my humming. Anyway, that's how good this recording is. And I'm still amazed at what great taste I had at that age. Now, eleven years later, I have upgraded to a CD, but I still listen to Copeland's masterpiece just about as much. I've heard a lot of great music in those intervening years, but I've still never heard anything quite this perfect. I doubt I ever do.

Best Copland Album I've Ever Listened To.......2004-05-15

I love Appalachian Spring Suite! When I went out to buy the music CD, I got This one because of the cool newspaper cover and it turned out to be the best one out there. I've listened to other recordings of Appalachian Spring performed by other orchestras, they just aren't as good. This is the absolute best one. Not only is this one of my favorite classical albums of all time, it's one of my favorite albums period. Every single track on this CD is money.

Test of Time--Passed with honors!.......2003-07-21

I have been a fan of Aaron Copland's from an early age--in fact, so early that I can hardly remember not knowing "Fanfare for the Common Man". As I became older, my appreciation grew and deepened. I still remember my first exposure to the "Gift to Be Simple" section of Appalachian Spring...it was in history class, played as part of a presentation. I can't even remember the subject of the presentation anymore--all I remember is that at that wild, joyous crescendo, I was not in the room. I was somewhere far away, flying. That is the power in a piece like this, and the standard to which I hold any musical recording.

When I began seeking a full version of Appalachian Spring for my own collection, I had the good fortune to get a "recommendation" of sorts for the definitive recording: Richard Wright, keyboardist of Pink Floyd, has more of a Copland influence than you might suspect. When I read his article in Record Collector Magazine, the particular rendition he recommended was this one--the 1962 recording for CBS, of which he seemed to have the original LP. Imagine my surprise and delight to find that it was still in print and easy to find in stores!

"Aaron Copland's an American classical composer," summarizes Mr. Wright, "and [Appalachian Spring] is his most famous work...Like all of my favourite music there's something in his material that touches me; I think it's the chordal progression and the melodic lines just above them that do it for me here - and the fact that it's very peaceful. When I listen to a lot of the stuff that I've played over the years I feel I've been heavily influenced by Copland, albeit subconsciously." (Note to Pink Floyd fans: Comparing the basic approach in "Shine On You Crazy Diamond" and Copland's "Quiet City" may prove interesting.)

I am in full agreement here...it is absolutely striking what Copland was capable of creating. In his hands, simple, traditional harmonies were transformed into breathtakingly original works that reflect the best of the American spirit...innovative, beautiful, optimistic, and slightly wild. It never ceases to amaze me how he could weave such a beautiful musical texture with so few notes at times--it is indeed a gift to be simple. But Copland's work is not boring by any means--he also knows the place for grand, sweeping statements and shockingly unique, beautiful chord changes that occur seemingly out of nowhere.

As soon as I heard this disc, in comparison to other recordings I'd sampled, it was immediately obvious why this one survived the test of time, why it was still so vivid in the mind of Richard Wright. Copland and Bernstein seem always to be a good match for each other, but there was something very special going on the night this was recorded. Even if you own other renditions of "Appalachian Spring", even if you are interested in no other composition on this disc, this is an absolute must-have.

As for the other pieces, recorded in the early 60s as well, there's a similar magic--even though the "Fanfare" version is radically different, it's a real ear-opener. The pitch changes are done with a shocking fluidity, but it brings new interest to the piece. It is no replacement for the original; it's probably best to treat it as a different song. "Salon Mexicano" and "Danzón Cubano" are also excellently rendered and timeless.

All in all, this is a fantastic album--a must for any classical collection.

the PERFECT Bernstein recording.......2002-12-16

I have heard A LOT and i mean A LOT of Bernstein recordings...and...as far as post-Beethoven works go...this is it...this may only be comparable to his multiple Beethoven 5th Symphonies...
If you own ANYTHING with Leonard Bernstein's name on it...one should say "Beethoven's Fifth Symphony" on it...and the other should be this disc.

The Copland Collection: Orchestral & Ballet Works, 1936-1948

Average customer rating:

Aaron Copland: Populist and Conductor
Tribute to Lincoln
A great way to get your dose of Copland....
Well balanced retrospective, -or- Listen to this!

The Copland Collection: Orchestral & Ballet Works, 1936-1948

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

General | Soundtracks | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Copland Collection: Orchestral Works, 1948-1971
A Copland Celebration Vol. 3
Copland: Music for Films
A Copland Celebration Vol. 1
Samuel Barber / Thomas Schippers

ASIN: B0000027BJ
Release Date: 1991-01-18

Tracks:

El Salon Mexico
An Outdoor Overture
Billy The Kid: Introduction: The Open Prairie
Billy The Kid: Street In A Frontier Town
Billy The Kid: Prairie Night (Card Game At Night)
Billy The Kid: Gun Battle
Billy The Kid: Celebration (After Billy's Capture)
Billy The Kid: Billy's Death
Billy The Kid: The Open Prairie Again
Quiet City
John Henry
Our Town
Las Agachadas
Fanfare For The Common Man

Tracks:

Rodeo (Four Dance Episodes): I. Buckaroo Holiday
Rodeo (Four Dance Episodes): II. Corral Nocturne
Rodeo (Four Dance Episodes): III. Saturday Night Waltz
Rodeo (Four Dance Episodes): IV. Hoedown
The City: New England Countryside
Of Mice And Men: Barley Wagons
The City: Sunday Traffic
Our Town: Grovers Corners
Of Mice And Men: Threshing Machines
Appalachian Spring (Suite From The Ballet): Very Slow
Appalachian Spring (Suite From The Ballet): Fast
Appalachian Spring (Suite From The Ballet): Moderato
Appalachian Spring (Suite From The Ballet): Fast
Appalachian Spring (Suite From The Ballet): Still Faster
Appalachian Spring (Suite From The Ballet): As At First (Slowly)
Appalachian Spring (Suite From The Ballet): Calm And flowing
Appalachian Spring (Suite From The Ballet): Moderato; Coda
Letter From Home
Danzon Cubano

Tracks:

Lincoln Portrait: Lento
Lincoln Portrait: Subito Allegro
Lincoln Portrait: 'Fellow Citizens, We Cannot Escape History...'
Symphony No. 3: I. Molto Moderato-With Simple Expression
Symphony No. 3: II. Allegro Molto
Symphony No. 3: III. Andantino Quasi Allegretto
Symphony No. 3: IV. Molto Deliberato
Concerto For Clarinet, Strings, Harp, & Piano

Amazon.com

Aaron Copland made numerous recordings of his own music, including an extensive series for CBS during the 1960s and '70s, mostly with London orchestras. He was not an especially proficient conductor--consequently, the performances he conducted often lacked pace and rhythmic punch. His last recordings of his most popular scores have been reissued by Sony on an exceptionally well-remastered 3-CD set. These accounts do a good job of conveying the overall shape of the pieces, and they deliver telling characterizations of many episodes. Details emerge that are lost in some other accounts, and there is an appealing gentleness and sweetness to the approach. But the readings do not have as much grip as those of Bernstein and Slatkin, among others, and in spite of the authority they automatically possess, they are not necessarily preferable. --Ted Libbey

Customer Reviews:

Aaron Copland: Populist and Conductor.......2005-03-29

If you want a prime collection of Copland's more accessible works, this is it. Yes, it's true that Bernstein's recordings of individual pieces are often bolder and livelier; but this set offers the composer's own authoritative view of his work, and for that reason alone it is priceless. In addition, it includes virtually all the orchestral pieces he composed during his "populist phase," from El Salon Mexico (1936) to the Clarinet Concerto (1948). You won't find some of these lesser-known gems, such as An Outdoor Overture (1938) or Letter from Home (1944, written--like Rhapsody in Blue--for Paul Whiteman), on typical single-disc Copland compilations. I'd even go so far as to claim this as one of the four indispensable compilations of American instrumental music from the first half of the twentieth century (the others on my list--in case anyone cares--are Joshua Rifkin playing Scott Joplin, Oscar Levant playing Gershwin, and the Blanton-Webster band recordings of Duke Ellington).

What amazing riches flowed from Copland's pen during the period covered by these three discs! Billy the Kid (1939), Quiet City (1940), Our Town (1940), Fanfare for the Common Man (1942), Rodeo (1942), Lincoln Portrait (1942), Appalachian Spring (1944), and the Third Symphony (1946)--all are here. Some of this music is so familiar, so deeply ingrained in America's cultural consciousness, that we might be tempted to take it for granted. But imagine how much poorer the American concert repertoire would be without it. It's almost impossible, at this point, to conceive of a time when this wonderful music--which is to America roughly what Mussorgsky's music is to Russia, Grieg's to Norway, and Falla's to Spain--didn't exist. It was during the dozen years covered by this collection that Copland pulled away from the pack of his talented contemporaries (Hanson, Thomson, Harris, etc.) and, in a way, but with greater technical sophistication, filled the void left by the tragically early death of Gershwin, whose heyday, 1924-1935, immediately preceded the composition of the works on this collection.

The ballet music is all presented here in the familiar orchestral suites Copland arranged. Most of the selections are played by the London Symphony Orchestra, although the New Philharmonia and the just-plain Philharmonia get cracks at a few key works. The last-named orchestra, for instance, takes on the biggest piece on the program, Copland's Third, the closest thing American music has to a Beethoven's Ninth (although the work's sublime rhetoric has never completely convinced me--it's neither my personal favorite by Copland nor my favorite American symphony . . . but it sure has its moments). In addition to the fine orchestral playing, another treat is that Henry Fonda narrates the Lincoln Portrait--an almost inevitable pick, given the virtually mythic way his acting style embodied the American spirit and the fact that he had portrayed the sixteenth president in John Ford's classic film Young Mr. Lincoln (1939).

The set concludes with what, over the years, has become my favorite work by Copland, the Concerto for Clarinet, Strings, Harp, & Piano, written for and performed here by surely the last century's greatest clarinetist, Benny Goodman. This work effects a concise synthesis between Copland's mature style and his earlier jazz stylings from the 1920s; in addition, the searing eloquence of the opening slow movement seems to me the most profound lyrical writing Copland ever achieved. Stoltzman's recording, ironically enough, swings harder than the king of swing's, but this collaboration between the composer and the man who commissioned it is for the ages.

The only major "populist" scores written after the period this collection covers are the film scores to The Red Pony (1948) and The Heiress (1949). Both can be acquired on an essential Leonard Slatkin CD for RCA. And since this collection doesn't include chamber music, the great Violin Sonata (1943), a kind of more intimate counterpart to Appalachian Spring, will have to be sought elsewhere. (One good option is Gil Shaham/Andre Previn on DG.) A serious Copland collector will also want to grab the other two volumes of the Copland Collection itself. The early set features important works such as the Organ Symphony (1924), Music for the Theater (1925), and the Short Symphony (1932)--but both of the other collections also include long, thorny pieces like the early Symphonic Ode and the late Connotations that can be rather difficult for the average enthusiast to enjoy.

Most of the essential, universal Copland is to be found on this second installment of the Copland Collection, and I would definitely recommend it as the place to start exploring Copland's magnificent contribution to American music. It has been a wonderful and treasured companion of mine for many years, and it also serves to conjure up a timely and inspiring vision of open prairies, nocturnal cityscapes, and the populist, humane values that America should, ideally, epitomize.

Tribute to Lincoln.......2001-10-28

I purchased this set of Copeland CD's because I wanted the Tribute to Lincoln narrated by Henry Fonda. This is a masterful recording especially for Americans in this time. The Tribute sends chills down my spine whenever I her it. My greatest joy however, was how much I have enjoyed all of the CD's in the set. I tend to be much more of a classical listener. I have heard Copeland but not in any organized fashion. This set has brought a new and delightful experience to my listening options.

A great way to get your dose of Copland...........2000-06-30

The 2nd of this three CD collection is wonderful. My favorite though is the third one. Doesn't mean this isn't good. This Sony Copland Collection set is worth the money for. Copland is sooo much more then Appalachian Spring, Fanfare for the Common Man, Rodeo, etc... But you get a lot of typical Copland on these CDs. Songs we all know and love. But there are some unfamiliar good ones too. Concerto for Clarinet took me by storm. So did Letters from Home. Good quality, good booklet, good recording, good playing (how Copland got the London Symphony to play something right I will never know), good everything. It's not perfect because it doesn't compete with THE best Copland like the third CD set of this collection, or the The Tendeer Land. Oh, these three CD sets don't cover all Copland, but it does for the most part. It doesn't have many chamber works, two choral works, and his two operas. You can cover some of those with the full version of Tender Land and of Second Hurricane (which also comes with the choral work, In the Beginning). But this is a good series. I highly recommend it!

Well balanced retrospective, -or- Listen to this!.......1999-08-11

Mr. Copland's works, as always, are exceptional This album, which consists of his work both as a composer and as a conductor, brings his music to life in a way no other conductor can. This is a well mastered and well produced work and worth the listen. To hear Arron Copland's music as he intended is wonderfull.

Average customer rating:

Dos ritmos, una música
Fantastic collection
Unlikely Crossover of Cuban Beats with Familiar Classics Yields Mostly Zingy Confection
A unique piece of mixed classic/jazzy/south-american music
Interesting, but need to try harder...

Classic Meets Cuba

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Cuba | Caribbean & Cuba | International | Styles | Music

General | International | Styles | Music

General | Latin Music | Styles | Music

Latin Pop | Latin Music | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Latin Jazz | Jazz | Styles | Music

General | Classical | Styles | Music

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Similar Items:

Mozart Meets Cuba
Bach in Brazil
Jazz Meets Cuba
Classic Meets Cuba: Symphonic Salsa
Worldbeat Bach

ASIN: B00019PD2A
Release Date: 2004-02-03

Tracks:

Mambozart
Cuban Dance
Danzon De La Trucha
Preludio
Afrolise
Air
Pathetique I
Pathetique II
Pathetique III
Salsa No V
Czardas
Etude
Carmen Cubana
Flight Of The Bumble Bee
Guten Abend
Anthem

Customer Reviews:

Dos ritmos, una música.......2006-10-06

Esta agrupación ha logrado ensamblar magistralmente el son, la salsa, con la música clásica. Una vez que uno escucha a Bach, Beethoven, Mozart reinterpretados por estos alemanes (Klazz Brother) y cubanos (Cuba Percusssion), no podrá concebir de otro modo la obra de estos grandes compositores.

Fantastic collection.......2006-08-24

Like others, I was skeptical when I heard about the idea, but this collection easily won me over. What I find so interesting is that the arrangements are so good, so creative, it's as though these well-known classical pieces were *written* as Cuban music. You find yourself completely accepting this genre-bending experiment.

Extremely enjoyable -- as is their companion album, "Jazz Meets Cuba".

Unlikely Crossover of Cuban Beats with Familiar Classics Yields Mostly Zingy Confection.......2005-12-28

Crossover efforts are always risky ventures that dance precariously between creative and contrived. There is definitely some of the latter on this 2002 recording, but surprisingly, far more of the former as the fruitful teaming of three German classical-jazz musicians and a pair of Cuban percussionist/vocalists puts a hearty Latin-flavored spin on some very familiar classics. Two of the Klazz Brothers, pianist Tobias Forster and bassist Killian Forster, took a fortuitous trip to Cuba and concluded the popular classical pieces they usually played could easily be adapted to the Cuban- and Afro-Cuban Jazz styles.

The beat-heavy results bear them out, as they developed fresh, energetic and lyrical arrangements of standard works by Mozart, Beethoven, Brahms, Haydn, Chopin, Schubert and others, that still respect the original compositions. The jazzed-up titles aptly (if a bit too preciously) reflect the changes - Mozart's Symphony No. 40 transforms into "Mambozart", Beethoven's Symphony No. 5 becomes "Salsa No. V", and Bizet's Carmen Suite turns into "Carmen Cubana". With titles like those, some of the pieces, perhaps because of their familiarity, come across as a bit too trite, for example, "Afrolise", which sounds bit too cocktail loungey to be too revitalizing a take on Beethoven's "Für Elise", and "Guten Abend", which sounds a bit like a somnambulant Vince Guaraldi take on Brahms's original lullaby.

However, the high points are abundant, starting with the three movements of Beethoven's Piano Sonata No. 8 "Pathétique," exciting pieces that feel culturally transformed by the sultry romanticism of the Cuban beats crowned by Tobias Forster's virtuoso playing. Also wonderful are the mournful "Czardas" and the conga-accentuated "Flight of the Bumblebee", both dominated by brother Killian's dexterous bass playing. The three others in the quintet are all equally superb musicians - Tim Hahn, the third Klazz Bother on drums, and Alexis Herrera Estevez (timbales) and Elio Rodriguez (congas), both of Cuba Percussion. The vital mix of sounds in what could have been a hopeless misfire makes for a genuinely exhilarating listening experience.

A unique piece of mixed classic/jazzy/south-american music .......2005-07-28

A unique piece of mixed classic/jazzy music which matches wonderfully in my collection. It is trully remarkable to discover the full classical music-education of these performers, which brings them to make this wonderful CD of high-standard music.

Interesting, but need to try harder..........2005-03-27

I found this CD after watching "Collateral". The music sounds very interesting when classic melodies blended with swing and jazz. But they sticked to the originial notes too much. I wish they could have created more variations and improvisation. Also, in this "Classic Meets Cuba" CD, the Cuba part needs to be emphasized more (putting them into a central stage in some tracks; the solo in the Fur Elise track is a good example) rather than treating the percussion beats as peripheral background. Taking the advantage of these vivid beats could further set the musicians free from the original notes. Overall, this is a good CD and is perfect for smooth jazz lover. Hope they can try harder and do more in their up-coming new release-Jazz Meets Cuba.

Average customer rating:

Master, virtuoso, genius, captivating, Arturo encapsulated
Afro Cuban music at it's best!
A wonderfull album for latin jazz listeners.
Beautiful!!!!!!!!!!!!!

Danzon (Dance On)
Arturo Sandoval
Manufacturer: Grp Records
ProductGroup: Music
Binding: Audio CD

Cuba | Caribbean & Cuba | International | Styles | Music

General | Latin Music | Styles | Music

Latin Pop | Latin Music | Styles | Music

General | Jazz | Styles | Music

Latin Jazz | Jazz | Styles | Music

GRP | Verve Music Group | Specialty Stores | Music
Similar Items:

Arturo Sandoval And The Latin Train
Hot House
The Best of Arturo Sandoval
Trumpet Evolution
Flight to Freedom

ASIN: B0000001TN
Release Date: 1994-04-26

Tracks:

Conga
Africa
Groovin' High
A Mis Abuelos
Tres Palabras
Danzon
Suavito
Conjunto
Suaguanco
Coconut Groove
Conga (Revisited)

Amazon.com essential recording

Arturo Sandoval brings all of his skills, enthusiasm, and connections to bear on this 1993 recording, composing 8 of the 11 tunes and fusing Afro-Cuban rhythms, jazz improvisation, and some unusually well-handled pop textures. Guest vocalists include Gloria Estefan, Vikki Carr, and Bill Cosby, while Sandoval scats ebulliently on "Groovin' High," which epitomizes the date's high spirits. Through it all, the trumpeter plays superbly, taking his stimulus directly from a bevy of talented percussionists who keep the beats percolating and multiplying. The support is terrific, with several outstanding Latin-jazz musicians making their presence felt, including percussionist Giovanni Hidalgo, flutist Dave Valentin, and pianist Danilo Pérez, and regular Sandoval associates trombonist Dana Teboe and saxophonist Ed Calle. It's a CD that demands dancing. --Stuart Broomer

Customer Reviews:

Master, virtuoso, genius, captivating, Arturo encapsulated.......2003-05-22

If you like Latin Jazz you will love Danzon. High energy and pure technical genius establishes this recording as a classic. Coconut Groove is a perfect example of the master technician, Arturo, in action. The speed and accuracy at which Arturo plays is simply put, amazing. Aside from Gabriel's last blast before Christ returns, Arturo's trumpet is is the one this trumpet lover loves to hear

Afro Cuban music at it's best!.......2001-08-04

Arturo truly captures the fire an passion of Afro Cubano music in this album. From trak one, he produces a sound and feel of a latin street festival. The tribute to his grandfather (A Mis Abuelos) begins with a beautiful melody and then erupts into a big jazz sound that makes you want to salsa! This album will take you there and bring you back after having the time of your life!!

A wonderfull album for latin jazz listeners........1999-07-16

Atruro Sandoval is truly a master of latin jazz. The album contains tunes that will evoke all of your emotions. Check out number 4.

Beautiful!!!!!!!!!!!!!.......1999-05-10

This album is a masterpiece. The interplay of melody and rhythm is beautiful. I cannot listen to it without getting up and dancing all over my house! Arturo's tone is fat and sweet and gives me chills to listen too. He is a fine musician and I think this album is a must-have for any serious latin jazz lover. Go for it!!!!!

Average customer rating:

A Unique Opportunity to hear it from Coplands mind
Definitive American symphonic music
The composer as conductor is unusurpassed
A great treat!

A Copland Celebration Vol. 1

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Nonets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Marches | Miscellaneous | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

A Copland Celebration Vol. 2
A Copland Celebration Vol. 3
The Copland Collection: Orchestral & Ballet Works, 1936-1948
The Copland Collection: Orchestral Works, 1948-1971
Copland: Old American Songs/Canticle Of Freedom/Four Motets

ASIN: B000050HWS
Release Date: 2000-11-07

Tracks:

Fanfare For The Common Man
Rodeo: Four Dance Episodes: I. Buckaroo Holiday
Rodeo: Four Dance Episodes: II. Corral Nocturne
Rodeo: Four Dance Episodes: III. Saturday Night Waltz
Rodeo: Four Dance Episodes: IV. Hoe-Down
Billy The Kid (Orchestral Suite): Introduction: The Open Prairie
Billy The Kid (Orchestral Suite): Street In A Frontier Town
Billy The Kid (Orchestral Suite): Card Game At Night (Prairie Night)
Billy The Kid (Orchestral Suite): Gun Battle
Billy The Kid (Orchestral Suite): Celebration Dance (After Billy's Capture)
Billy The Kid (Orchestral Suite): Billy's Death
Billy The Kid (Orchestral Suite): The Open Prairie Again
El Salon Mexico
Danzon Cubano
Quiet City
Down A Country Lane

Tracks:

Appalachian Spring: Very Slowly
Appalachian Spring: Allegro
Appalachian Spring: Moderato
Appalachian Spring: Fast
Appalachian Spring: Subito Allegro
Appalachian Spring: Meno Mosso
Appalachian Spring: Doppio Movimento
Appalachian Spring: Rather Slow
Appalachian Spring: Very Deliberate
Appalachian Spring: Poco Piu Mosso
Appalachian Spring: A Trifle Slower
Appalachian Spring: Molto Allegro Ed Agitato
Appalachian Spring: Broadly
Appalachian Spring: Moderato (Like A Prayer)
Nonet For Strings: Slow And Solemn
Nonet For Strings: Ritmico Ed Un Poco Marcato
Nonet For Strings: Tempo As At First
Appalachian Spring: Copland Rehearses Appalachian Spring

Customer Reviews:

A Unique Opportunity to hear it from Coplands mind.......2004-02-02

Aaron Copland can be and should be considered the father of American concert music. He decisively created a style of music that needed to be made as we were reaching maturity as a country. This collection of his orchestral works gives a great outline of the music that makes Copland such a innovative composer.
I personally find that the most interesting part of this collection is the inclusion of rehearsal audio from the same recording of Appalachian Spring that appears on the CD. This offers a unique opportunity to hear what Copland's vision of his music was. I am one who personally believes that no performance of a concert orchestral piece can be heard as it was meant to be unless the composer is leading the ensemble. By hearing Copland conducting a rehearsal of one of his masterworks, the listener is given a greater appreciation for exactly what Copland's vision was for his own music.

A definite must have for lovers of the young tradition of American Music.

Definitive American symphonic music.......2002-08-08

When I first was introduced to classical music, little attention was being paid to anything American. Edward McDowell was occasionally played. And Los Angeles classical music station, KFAC, would very occasionally play something by Morton Gould. Gershwin was largely ignored And there was Aaron Copland.

For my fairly young ears, the western flavor of the music was esciting. I could picture western movie-like scenes to the accompaniment of "Billy the Kid" and "Rodeo". Indeed, such music is highly pictorial.

But now I'm also familiar with "Fanfare for the Common Man" and Appalachian Spring. I very much recommend this.

The composer as conductor is unusurpassed.......2001-03-29

This is a reissue of recordings conducted by Copland himself that are totally definitive and, to my mind, superior to the recordings by Bernstein that are generally considered to be the best. The composer has a broader, grander vision of these works, taking them at a slower and more majestic pace than Bernstein and others. In his hands this is great classical music, not just upscale cowboy music. The sound quality is phenomenal for the most part as well, the engineers must have performed miracles because the recordings with the LSO sound better than almost any modern digital recording. Highly recommended.

A great treat!.......2001-03-06

Here we have not only the original, complete chamber arrangement of Appalachian Spring in a pretty fine performance by Copland, but we get a neat 17 minutes of Copland rehearsing it, which is pretty cool for the Copland fan. Plus Nonet for Strings, well performed, which is a rare thing these days. The other disk is pretty average - Copland wasn't much of a conductor, but the chamber Appalachian and Nonet make up for it. Cheap and unique. A must have for the Copland fan.

Average customer rating:

Disappointing
The Feel of New York
The next stop once you've heard the originals
Bernstein's New York, it's a wonderful town!
Great CD BUT...

Leonard Bernstein's New York
Leonard Bernstein , Dawn Upshaw , Judy Blazer , Mandy Patinkin , Audra McDonald , Donna Murphy , Richard Muenz , Eric Stern , and Orchestra Of St. Luke's
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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How Glory Goes
Leonard Bernstein's New York / Mandy Patinkin, Dawn Upshaw, Donna Murphy
Experiment
Happy Songs
Oscar & Steve

ASIN: B000005J40
Release Date: 1996-08-20

Tracks:

Lonely Town
Come Up To My Place
What A Waste
A Little Bit In Love
Fancy Free: Danzon Variation
Ain't Got No Tears Left
Ballet At The Village Vortex
Wrong Note Rag
Story Of My Life
Cab And Bedroom
One Hand, One Heart
Ya Got Me
A Quiet Girl
Balcony Scene (Tonight)
Lonely Town Pas De Deux
Somewhere
West Side Story: Ballet Sequence From West Side Story
Some Other Time
New York, New York (Finale, Act II)

Amazon.com

Leonard Bernstein's New York is a cornucopia of tongue-in-cheek wit, unabashed romanticism, big-city loneliness, and intellectual irony. His well-known orchestral brilliance is beautifully represented under the stellar conducting of Eric Stern, but his underappreciated talents as a songwriter are what shine, elevating this recording to magic. The cast of American theater's best includes Mandy Patinkin wonderfully indulging his comic side; Judy Blazer and Donna Murphy, the shiniest lights on Broadway, demonstrating their extensive range as singing actresses; Audra McDonald making the difficult sound easy; and Richard Muenz and Dawn Upshaw singing elegantly. Most unforgettably pleasing are the trios "Ya Got Me" and "What A Waste." A great tribute to Bernstein's theater works. --Barbara Eisner Bayer

Customer Reviews:

Disappointing.......2007-03-13

I agree that this is a great collection. But I have to wonder: Am I the only one who got a bum copy of the CD? The songs are all mixed up on my copy, as in, most of the tracks are mislabeled: "A Quiet Girl" is really "Tonight", The Balcony Scene, printed as "Tonight" is really "Somewhere". The list goes on.

So, who do I kvetch to? I'd like a copy that isn't a complete mishmash.

The Feel of New York.......2007-01-09

Having spent most of my working years in NYC, I felt this CD brought the city to me. Bernstein has allways been a favorite.

The next stop once you've heard the originals.......2007-01-09

As a tribute to Bernstein on Broadway, this CD is hard to beat. All the singers are stars but of a generation, ro two, beyond the originals. Naturally here's been a change of style, and these renditions are more knowing, sophisticated, and at times ironic than the originals. On their own, Donna Murphy, Dawn Upshaw, and Mandy Patinkin, among others, are masters of their craft, but I hope anyone who loves LB will also seek out the original cast albums for all of his musicals, or the clesest one can get (On the Town was remade in the Fifties). Those recordings cast a unique spel, but the next stop is this marvelous CD.

Bernstein's New York, it's a wonderful town!.......2002-01-15

And speaking of "Wonderful Town," it's so nice to hear music from this least appreciated of Bernstein's musicals. "What a Waste," "A Quiet Girl" and Audra McDonald's enchanting "A Little Bit in Love" have never sounded better. Donna Murphy burns the house down with the torchy "Ain't Got No Tears Left," and has fun with Patinkin and Blazer on the raucous "Ya Got Me." "One Hand, One Heart" sung by Dawn Upshaw and Richard Muenz is movingly rendered, as is Patinkin's wonderful delivery of an all-time Bernstein favorite, "Some Other Time." My only comlaint? Where is "I Can Cook Too?" A terrific recording.

Great CD BUT..........2000-07-02

I loved this CD, but there was some things that kept it fromgetting four stars. First Mandy Patkin, I loved him in Sunday in The Park With George, also I have a CD of him singing yiddish songs all good, but in this CD I just don't like him. Like in the song "Come Up To My Place" I didn't like his voice and I never could quite see him as the character for that song. Also I would have liked to see (well actually "hear") some more of the dance numbers or overtures, I realize the main point of the CD was all the singers they put together, but the real highlight of the CD for me was the sections from Fancy Free, and Ballet At The Village Vortex from Wonderful Town. Also I liked "One Hand One Heart" a lot. Overall I would get this CD if you like Bernstein or any of these musicals, it is good listen, just not outstanding.

Copland: Our Town; The Red Pony Suite; El Salón México; Danzón Cubano; Three Latin American Sketches

Average customer rating:

Copland conducts Copland
Profound
review and comparison with Slatkin's CD
Great music, bad orchestras
Red Pony Review

Copland: Our Town; The Red Pony Suite; El Salón México; Danzón Cubano; Three Latin American Sketches

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Copland: Music for Films
Copland: Symphony No. 3; Quiet City
Bernstein Century - Copland: Appalachian Spring, Rodeo, etc / Bernstein, New York PO
Copland: Appalachian Spring; Rodeo; Fanfare for the Common Man
The Copland Collection: Orchestral & Ballet Works, 1936-1948

ASIN: B0000026GF
Release Date: 1990-10-25

Tracks:

Our Town
The Red Pony Suite - Morning On The Ranch: I. Morning On The Ranch
The Red Pony Suite - Morning On The Ranch: II. The Gift
The Red Pony Suite - Morning On The Ranch: III. Dream March And Circus March
The Red Pony Suite - Morning On The Ranch: IV. Walk To The Bunkhouse
The Red Pony Suite - Morning On The Ranch: V. Grandfather's Story
The Red Pony Suite - Morning On The Ranch: VI. Happy Ending
El Salon Mexico
Danzon Cubano
Three Latin-American Sketches -: Estribillo
Three Latin-American Sketches: Paisaje Mexicano
Three Latin-American Sketches: Danza de jalisco

Customer Reviews:

Copland conducts Copland.......2003-11-27

Aaron Copland was, admittedly, NOT a great conductor. Nevertheless, musicians enjoyed working with him, possibly because he was so exuberant and enthusiastic. One friend said Copland might tell musicians to "hit a home run." He certainly wanted the musicians to have fun and it's clear that usually happened. Along the way, Copland did manage to give his interpretations of his own music, setting a standard of how it should be played.

It's very apparent in Copland's numerous recordings for Columbia (now available on Sony) that the composer left an important legacy. Among the more original American composers, Copland was distinctly American. He enjoyed a fine musical education from Nadia Boulanger in Paris that gave his compositions some added depth. Initially, Copland followed George Gershwin's example and made considerable use of jazz and blues in his works. Copland himself said he felt he soon exhausted the possibilities of popular music and then turned to American folk music.

A trip to Mexico, where he met and befriended Carlos Chavez, resulted in Copland's first great musical triumph, "El Salon Mexico." It became the only Copland work to ever be conducted by Arturo Toscanini with the NBC Symphony Orchestra. On this CD one has a chance to hear the composer himself conducting this 1936 triumph.

This writer has long enjoyed Copland's wonderful music for the 1948 Technicolor western "The Red Pony," an adaptation of the John Steinbeck story by Lewis Milestone that starred Myrna Loy and a young Robert Mitchum. The music is such an important ingredient in this classic film. Fortunately, Copland extracted a concert suite from the film score and it is included in this CD.

Copland wrote other film scores, too, and we get to hear some of the music he wrote for the 1940 film adaptation of Thornton Wilder's very American play, "Our Town."

The CD includes some additional Latin-influenced works, "Danzon Cubano," which rivals Gershwin's "A Cuban Overture," and "Three Latin American Sketches." These are very colorful, exciting works.

Perhaps, as some have said, the London Symphony Orchestra and the New Philharmonic Orchestra were not up to par in these recordings. Some of that may have been Copland's fault. Still, these are competent performances and they convey what the composer wanted.

Profound.......2003-10-31

Forget what the guy above says about the London Symphony Orchestra's recording of "Our Town." Hands down, the most beautiful piece of music I have ever heard. Moving, surreal, profound. Truly a once in a lifetime experience.

review and comparison with Slatkin's CD.......2003-05-10

It does seem (and I have heard from professional conductors) that performance standards of orchestras in the 1960s and 70s were not what they are today, but I would not necessarily hold that fact against this CD. While Leonard SlatkinÕs more recent recording with the Saint Louis Symphony Orchestra (on the RCA label) is much more pristine, and the musicians sound much more in tune, I find something in CoplandÕs own interpretation of his music that is missing from SlatkinÕs (still very capable) rendition.

Comparing the two versions of ÒOur TownÓ, for example, the difference in character is striking. With Copland the tempo is much slower, the intensity is proportionally much greater, and Copland, with a composerÕs sense of intimacy with his score and the music intended behind it, derives more musicality out of each phrase and note than I hear in SlatkinÕs faster-paced performance. The same can be said for the rest of CoplandÕs CD--what the older recording might lack in technical musicianship, it makes up for in greater interpretive depth. While it is aggravating sometimes to hear instruments out of tune (and I am only assuming that what sounds out of tune to me today was equivalently considered out of tune back then), the tradeoff may be worth it for some.

Great music, bad orchestras.......2000-06-13

While this is some of Copland's best (and most under-recognized) work, the orchestras represented on the CD are, as a whole, awful. Even the London Symphony orchestra had an off day on "Our Town," and the New Philharmonia Orchestra does a good job of butchering the rest of the CD, particularly "Danzon Cubano." The recording of "Danzon" is quite possibly the worst I've ever heard any symphony orchestra play. While it may be worth the money as a bargain CD, do NOT pay full price for this.

Red Pony Review.......2000-01-05

I am currently studying my A-Levels, including a music tehcnology course. One homework was to compose a piece. I played this piece two years ago, and remembered the incredibly difficult timing, and then the satisfaction of getting it right at the start of the Walk to the Bunkhouse. Since I first heard it I kept noticing new sounds, and parts to it. I love it, and keep listening to it again and again, hearing new life in it. Buy this Now!

Average customer rating:

Wow, fabulous!!
Where jazz and world music intersect

El Danzon de Moises
Roberto Juan Rodriguez
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

Cuba | Caribbean & Cuba | International | Styles | Music

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Baila! Gitano Baila!
Abayudaya - Music from the Jewish People of Uganda
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ASIN: B00005UF3C
Release Date: 2002-01-22

Tracks:

El Polaco
Danzonete Hebreo
The Shvitz
Guahira
Shron
El Danzon De Moises
Comparsa En Altamar
Shalom A Shango
Jerusalem Market

Amazon.com

The Cuban-born percussionist Roberto Juan Rodriguez plays with such varied acts as Marc Ribot's Los Cubanos Postizos, Julio Iglesias, Miami Sound Machine, Joe Jackson, and John Zorn. But it's his background in Cuba's small Jewish community that is the inspiration for El Danzon de Moises, an outstanding amalgamation of traditional Cuban and Jewish music. Leading a dozen of New York's downtown finest (including clarinetist David Krakauer, percussionist Susie Ibarra, and bassist Brad Jones), Rodriguez has composed and arranged an album that adeptly captures the wailing clarinet and Eastern European rhythms of klezmer, and seamlessly fuses them with the shimmying sway of Cuban son and the percolating fire of Afro-Cuban percussion. Ostensibly, this seemingly incongruous fusion would play best (or perhaps get the most resistance) in Miami Beach or New York City because of their large Latin and Jewish populations, but the beautiful and reverential songs will appeal to anyone open to musical possibilities. This album realizes the unique vision of a talented musician. --Tad Hendrickson

Customer Reviews:

Wow, fabulous!!.......2005-01-01

I love Cuban music. I love Klezmer music. Give Cuban music to expert Klezmer players, and you have superb music. You have this album. Sad, touching, inspiring, moving, beautiful, joyful, alive, passionate, most of all fun. What music should be about.

Where jazz and world music intersect.......2004-04-16

We've got Jewish & Western (Tim Sparks), hillbilly Jewish (Margot Leverett and the Klezmer Mountain Boys), Jewish soul-jazz (Steven Bernstein), Jewish soul-blues (Paul Shapiro and Midnight Minyan), Jewish avant-garde (John Zorn, Wayne Horvitz, Eric Friedlander), Jewish gonzo jazz (Jamie Saft)--Why not Jewish Afro-Cuban, danzon, and son?

Indeed, why not?

There's a small but vocal Cuban Jewish community, with their own Jewish traditions and sensibilities, who've come in contact with and slyly incorporated into their own musical understandings the expansive music of the African diaspora, as experienced in Middle-Passage Cuba.

As far as I know, El Danzon de Moises represents the first-ever disc seeking to capture this unique music.

And what a disc it is!

Featuring the usual Downtown suspects--such brilliant players as Mark Feldman (viola), Craig Taborn (piano), Ted Reichman (accordion), Marcus Rojas (tuba), Matt Darriau (clarinet, trompeta China), Peter Apfelbaum (soprano sax), and the great Susie Ibarra (percussion)--this discs cooks with an easy swinging groove, effortlessly linking two disparate but remarkably similar musical traditions: Afro-Cuban and Klezmer.

It's entirely amazing to me how easily and naturally these two traditons match up. It's almost as if they were meant to combine (as perhaps they were!). What astounds about this music is its insane naturalness, almost to the point of duh: Jewish swing melding seamlessly with African sensibilities.

Tracks:

Fanfare For The Common Man
Very Slowly
Allegro
Moderate: The Bride And Her Intended
Fast: The Revivalist And His Flock
Allegro: Solo Dance Of The Bride
Meno Mosso
Doppio Movimento: Variations On A Shaker Hymn
Moderato: Coda
Buckaroo Holiday
Corral Nocturne
Saturday Night Waltz
Hoc-Down
Lincoln Portrait
Ceremonial Fanfare

Tracks:

Quiet City
New England Countryside
Barley Wagons
Sunday Traffic
Grovers Corners
Threshing Machines
El Salon Mexico
The Open Prarie
Street In A Frontier Town
Celebration - Billy In Prison - Waltz
Danzon Cubano
Lento - Molto Allegro - Adagio Molto
Andante Moderato
Allegro Vivo

Customer Reviews:

Aaron Copland: Essential Classics.......2003-11-21

This excellent introduction to the symphonic Copland repackages an earlier "Decca Double Decker" (see B000004284). Deleted are "Old American Songs" and added are "Billy the Kid" and "Danzon Cubano". These recordings were made from 1969-1994. The sonics are exemplary. The performances are all very good to excellent. Everyone has their personal favorites of these works so your mileage may vary.

Dorati & Detroit SO > Rodeo, El Solon Mexico, Dance Symphony. Howarth & London Sinfonietta > Music for the Movies. Marriner & The Academy > Quiet City. Metha & LAPO > Fanfare for the Common Man, Appalachian Spring, Lincoln Portrait with Gregory Peck, narrator. Philip Jones Brass Ensemble > Ceremonial Fanfare. Zinman & Baltimore SO > Billy the Kid, Danzon Cubano.

Gregory Peck comes across very, very well. Warm, personal, forthright. Worth the price of the disc just to hear him deliver the words wrapped in Copland's music as directed by Metha and performed by the LA Philharmonic Orchestra.

Don't expect any copious liner notes here -- there aren't any. Just a listing of what's what and who did what. Two panels of the folded sheet are needlessly occupied by advertising other "essential" CDs. I would gladly rip them out if I didn't like the overall design so much. The art direction and design of the package is stellar but lacks "essential" or any background information.

Unless I'm mistaken, there are 5 "hits" on the first disc and 6 on the second. That's 11. The subtitle here is "12 Greatest Hits". Am I missing something?

Customer Reviews:

Wow!.......2005-08-27

This CD has rarely left my player since I opened it several days ago. I thought I knew what to expect from Piano Duo Genova & Dimitrov because I had previously acquired their CD of French two-piano concerti (Milhaud, Poulenc, Casadesus) and had written a glowing review of it here, but I was simply bowled over by the verve, rhythmic snap, contrapuntal clarity and articulation of this release. If anything it is even more pleasing than its predecessor. Bravo!

All the music presented here -- with the one exception of Copland's 'Danzón Cubano' written for piano duo -- was arranged for two pianos from other sources. And all those arrangements -- again with one exception, that of Gershwin's three 'Piano Preludes' -- are marvelous. Needless to say, all of the works are given sterling performances here by this Bulgarian (by way of Hanover, Germany) duo. The problem with Gregory Stone's arrangements of the Gershwin Preludes, originally for single piano, is that he cannot resist adding some unnecessary pianistic fripperies to Gershwin's quite sufficient scores. One understands his need to add more, having twenty fingers at his disposal, but one doesn't understand why he felt the necessity to make the arrangement in the first place. (That said, I will admit that in the Third Prelude his insertion of a lightning-fast concluding run in parallel tritones is electrifying.) Genova and Dimitrov play them beautifully. All the other arrangements are from orchestral scores and the presence of two virtuoso pianists to present their complexities makes sense.

Stone's arrangement of Gershwin's 'Cuban Overture' is fine, and even better is Percy Grainger's 18-minute 'Porgy and Bess Fantasy.' Copland's 'El Salón Mexico' is presented in its piano duo arrangement by Leonard Bernstein, who also made a one-piano version at the request of Copland, his close friend. Finally, Bernstein's 'Symphonic Dances' from 'West Side Story', a work frequently on pops concerts the world over, has been fashioned into a marvelous two-piano version by the distinguished American composer and pianist, John Musto. Piano Duo Genova & Dimitrov play their hearts out on the disc, clearly understanding the rhythmic and harmonic nuances of these American masterpieces as few Europeans do.

The booklet notes by Edward van den Hoogen are unusually informative.

This is an outstanding release and is strongly recommended.

TT=69'

Scott Morrison

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