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| The Wynton Marsalis Collection - The London Concert / Baroque Duet / In Gabriel's Garden (3CD) |
| Wynton Marsalis |
első megjelenés éve: 1990
202 perc |
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| (2006)
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3 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Trumpet Concerto in E flat major, H. 7e/1 I. Allegro
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| 2. | Trumpet Concerto in E flat major, H. 7e/1 II. Andante
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| 3. | Trumpet Concerto in E flat major, H. 7e/1 III. Finale. Allegro
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| 4. | Concerto for trumpet & string orchestra in D major I. Adagio
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| 5. | Concerto for trumpet & string orchestra in D major II. Allegro moderato
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| 6. | Concerto for trumpet, 2 oboes, strings & continuo in D major I. Allegro
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| 7. | Concerto for trumpet, 2 oboes, strings & continuo in D major II. Largo
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| 8. | Concerto for trumpet, 2 oboes, strings & continuo in D major Allegro [moderato]
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| 9. | Trumpet Concerto in E or E flat major, WoO 1, S. 49 I. Allegro con spirito
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| 10. | Trumpet Concerto in E or E flat major, WoO 1, S. 49 II. Andante
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| 11. | Trumpet Concerto in E or E flat major, WoO 1, S. 49 III. Rondo
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| 12. | Trumpet Concerto in D major, MH 104 I. Adagio
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| 13. | Trumpet Concerto in D major, MH 104 II. Allegro
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| 14. | Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537 I. Allegro
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| 15. | Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537 II. Largo
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| 16. | Double Trumpet Concerto for 2 trumpets, strings & continuo in C major, RV 537 III. Allegro
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| 17. | Brandenburg Concerto No. 2 in F major, BWV 1047 I. [-]
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| 18. | Brandenburg Concerto No. 2 in F major, BWV 1047 II. Andante
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| 19. | Brandenburg Concerto No. 2 in F major, BWV 1047 III. Allegro assai
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| 2. CD tartalma: |
| 1. | Samson, oratorio, HWV 57 Act 3: Let the Bright Seraphim
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| 2. | Si suoni la tromba, for voice, trumpet & continuo [Arie con tromba sola No. 1]
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| 3. | Con Voce Festiva, for voice, trumpet & continuo [Arie con tromba sola No. 3]
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| 4. | Rompe Sprezza Con un Sospir, for voice, trumpet & continuo [Arie con tromba sola No. 4]
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| 5. | Mio Tesoro, per te moro, for voice, trumpet & continuo [Arie con tromba sola No. 6]
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| 6. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo Sinfonia
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| 7. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo [Recitativo] Su Le Sponde Tebro
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| 8. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo [Sinfonia] Contentatevi O Fidi Pensieri
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| 9. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo Recitativo] Mesto Stanco E Spirante Dal Duol' Che l'Opprimea
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| 10. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo [Largo] Infelici Miei Lumi
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| 11. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo [Aria] Dite Almeno Astri Crudeli
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| 12. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo [Recitativo] All' Aura Al Cielo Ai Venti
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| 13. | Su le sponde del Tebro, chamber cantata for soprano, 2 violins, trumpet & continuo [Aria] Tralascia Pur Di Pia
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| 14. | Ode for the Birthday of Queen Anne [Eternal Source of Light Divine], HWV 74
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| 15. | Zenobia, opera Pace Una Volta
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| 16. | Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo Sinfonia: Movement 1
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| 17. | Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo Sinfonia: Movement 2
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| 18. | Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo Sinfonia: Movement 3
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| 19. | Il Barcheggio, for 3 voices, trumpet, 2 violins & continuo Sinfonia: Movement 4
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| 20. | Cantata No. 21, "Ich hatte viel Bekümmernis," BWV 21 [BC A99] Seufzer Tränen, Kummer Not
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| 21. | Olinto pastore, Tebro fiume, Gloria [O come chiare e belle], dramatic cantata, HWV 143 Alle Voci Del
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| 22. | Cantata No. 51, "Jauchzet Gott in allen Landen," BWV 51 [BC A134] No 1, [Aria] Jauchzet Gott In Allen Landen
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| 23. | Cantata No. 51, "Jauchzet Gott in allen Landen," BWV 51 [BC A134] No 4, [Chorale] Sei Lob Und Preis Mit Ehren. Allelujah.
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| 3. CD tartalma: |
| 1. | Rondeau, for brass, strings & timpani [from Suite of Symphonies No. 1; "Masterpiece Theater" Theme]
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| 2. | The Prince of Denmark's March [Trumpet Voluntary in D major] for brass, winds, & percussion [or keyboard or trumpet & organ]
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| 3. | Sonata a 5, for trumpet, strings & continuo, G. 5 1. Adagio
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| 4. | Sonata a 5, for trumpet, strings & continuo, G. 5 2. Allegro e staccato
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| 5. | Sonata a 5, for trumpet, strings & continuo, G. 5 3. Adagio
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| 6. | Sonata a 5, for trumpet, strings & continuo, G. 5 4. Allegro
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| 7. | The King's March
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| 8. | Sinfonia a 4, for trumpets, violins & continuo, G. 4 1. Presto
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| 9. | Sinfonia a 4, for trumpets, violins & continuo, G. 4 2. Adagio e spiccato Presto
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| 10. | Sinfonia a 4, for trumpets, violins & continuo, G. 4 3. Allegro
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| 11. | Work[s] An Ayre
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| 12. | Sonata for trumpet, strings and continua No.2 in D major 1. [Overture]. [Grave] Allegro
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| 13. | Sonata for trumpet, strings and continua No.2 in D major 2. Adagio
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| 14. | Sonata for trumpet, strings and continua No.2 in D major 3. [March]. [Allegro]
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| 15. | Abdelazer, or, the Moor's Revenge, incidental music, Z. 570 Rondeau
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| 16. | Sonata for trumpet, strings & continuo, G. 1 1. Andante
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| 17. | Sonata for trumpet, strings & continuo, G. 1 2. Allegro
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| 18. | Sonata for trumpet, strings & continuo, G. 1 3. Grave
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| 19. | Sonata for trumpet, strings & continuo, G. 1 4. Allegro
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| 20. | Rondeau
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| 21. | Sonata a 5, for trumpet, strings & continuo, G. 6 1. Adagio Vivace
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| 22. | Sonata a 5, for trumpet, strings & continuo, G. 6 2. Adagio Largo
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| 23. | Sonata a 5, for trumpet, strings & continuo, G. 6 3. Allegro
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| 24. | Prélude pour le Te Deum &
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| 25. | Sinfonia for trumpet, strings & continuo, G. 8 1. Allegro
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| 26. | Sinfonia for trumpet, strings & continuo, G. 8 2. Adagio
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| 27. | Sinfonia for trumpet, strings & continuo, G. 8 3. Allegro moderato
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| 28. | Sinfonia for trumpet, strings & continuo, G. 8 4. Allegro
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| 29. | Trumpet Voluntary
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| 30. | Brandenburg Concerto No. 2 in F major, BWV 1047 1. [ ]
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| 31. | Brandenburg Concerto No. 2 in F major, BWV 1047 2. Andante
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| 32. | Brandenburg Concerto No. 2 in F major, BWV 1047 3. Allegro assai
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Classical
Wynton Marsalis - Trumpet
English Chamber Orchestra
Alison Booth Coordination
Anthony Newman Liner Notes
Charles Harbutt Engineer
Giulio Turturro Series Design
Janusz Kawa Photography
Josephine di Donato Cover Design
Marc Offenbach Series Concept
Mark Swed Liner Notes
Raymond Leppard Conductor
Steven Deur Editing Engineer
Steven Epstein Original Album Producer
Terrence London Liner Notes
Tim Wood Remote Audio Supervisor
Todd Whitelock Engineer
The classical career of celebrated jazz trumpeter Wynton Marsalis began with major fanfare with his 1984 recording of the Haydn and Hummel trumpet concertos with the English Chamber Orchestra. The momentum carried Marsalis through some high-profile concertizing and through the three albums included in this box set. One might say things fizzled out after that; Marsalis gave only occasional performances of mainstream classical repertoire after about the 1990s. Or one might say Marsalis was stimulated toward large-scale musical thinking by his encounter with classical concert music; he went on to win the Pulitzer Prize for his three-hour vocal work, Blood on the Fields.
At any rate, this set collects out-of-print material of interest to Marsalis fans or to anyone wondering what all the hoopla was about. Three discs are reissued. The London Concert consists of a live performance of the two concertos from his classical debut album, with assorted other works (including a few bonus tracks that wouldn't fit on the original LP). Baroque Duet pairs Marsalis with soprano Kathleen Battle in arias by Handel and other composers. And In Gabriel's Garden is a collection of baroque trumpet showpieces. Two general impressions emerge from a new hearing of these recordings. First is that Marsalis is indeed a distinctive classical trumpeter. He often said he had to relearn the instrument in order to take on classical repertoire, and no doubt that was true at one level. But his playing is undoubtedly shaped by his jazz background -- not in terms of rhythm, not in terms of improvisation (as we will see), but in his sheer, smooth melodism, his creamy tone, and extremely attractive legato. His performances of the Haydn and Hummel concertos remain among the best available, and the live disc included here captures his approach as well as the better-known studio recording.
The second impression begins with the observation that, ironically enough, some of the rare criticism Marsalis received during this period contended that he did not improvise enough. But this was probably not his decision; he was not working in a tradition of authentic performance of baroque music, but with the high-profile English Chamber Orchestra. One comes away from these discs wondering what might have happened (or what might still happen) if Marsalis, instead of working within the sphere of the major-label distribution system, had joined with the one of the early music specialists who were restoring to baroque music its proper sensuous surface. The least successful of these three discs is In Gabriel's Garden, in which the English Chamber Orchestra is led by the idiosyncratic Anthony Newman. (The Battle disc, with the Orchestra of St. Luke's, fares better but depends on listeners' subjective reactions to the singer.) Due to the major-label nature of these projects, Marsalis worked in a tradition that was not the ideal one for making use of his unusual talent. Some recent press reports have portrayed Marsalis as casting about for new endeavors. If this is so, one might venture the suggestion that he attend some early music concerts and see what comes of it. ~ James Manheim, All Music Guide
Wynton Marsalis
Active Decades: '80s, '90s and '00s
Born: Oct 18, 1961 in New Orleans, LA
Genre: Jazz
Styles: Classical, Neo-Bop, Post-Bop, New Orleans Jazz
The most famous jazz musician since 1980, Wynton Marsalis made a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis' arrival on the scene started the "Young Lions" movement and resulted in major labels (most of whom had shown no interest in jazz during the previous decade) suddenly signing and promoting young players. There had been a major shortage of new trumpeters since 1970, but Marsalis' sudden prominence inspired an entire new crop of brass players. The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis' quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis' late acoustic work as their starting point.
During his career, Marsalis has managed to be a controversial figure despite his obvious abilities. His selective knowledge of jazz history (considering post-1965 avant-garde playing to be outside of jazz and 1970s fusion to be barren) is unfortunately influenced by the somewhat eccentric beliefs of Stanley Crouch, and his hiring policies as musical director of the Lincoln Center Jazz Orchestra led to exaggerated charges of ageism and racism from local writers. However, more than balancing all of this out is Marsalis' inspiring work with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrove, have been directly helped by Marsalis.
Marsalis' trumpet playing has been both overcriticized and (at least early on) overpraised. When he first arrived on the scene with the Jazz Messengers, his original inspiration was Freddie Hubbard. However, by the time he began leading his own group, Marsalis often sounded very close to Miles Davis (particularly when holding a long tone), although a version of Davis with virtuosic technique. He was so widely praised by the jazz press at the time (due to their relief that the future of jazz finally seemed safe) that there was an inevitable backlash. Marsalis' sometimes inaccurate statements about jazz of the 1970s and the avant-garde in general made some observers angry, and his rather derivative tone at the time made it seem as if there was always going to have to be an asterisk by his name when evaluating his talents. Some listeners formed permanent impressions of Marsalis as a Miles Davis imitator, but they failed to take into account that he was still improving and developing. With the 1990 recording Tune in Tomorrow, Marsalis at last sounded like himself. He had found his own voice by exploring earlier styles of jazz (such as Louis Armstrong's playing), mastering the wah-wah mute, and studying Duke Ellington. From that point on, even when playing a Miles Davis standard, Marsalis has had his own sound and has finally taken his place as one of jazz's greats.
The son of pianist Ellis Marsalis, the younger brother of Branford and the older brother of Delfeayo and Jason (the Marsalis clan as a whole can be accurately called "The First Family of Jazz"), Wynton (who was named after pianist Wynton Kelly) received his first trumpet at age six from Ellis' employer, Al Hirt. He studied both classical and jazz and played in local marching bands, funk groups, and classical orchestras. Marsalis played first trumpet in the New Orleans Civic Orchestra while in high school. He went to Juilliard when he was 18 and in 1980 he made his first recordings with the Art Blakey Big Band and joined the Jazz Messengers.
By 1981, the young trumpeter was the talk of the jazz world. He toured with Herbie Hancock (a double LP resulted), continued working with Blakey, signed with Columbia, and recorded his first album as a leader. In 1982, Marsalis not only formed his own quintet (featuring brother Branford and soon Kenny Kirkland, Charnett Moffett, and Jeff "Tain" Watts) but recorded his first classical album; he was immediately ranked as one of the top classical trumpeters of all time. His quintet with Branford lasted until late 1985, although a rift developed between the brothers (fortunately temporary) when Branford finally quit the band to tour with Sting's pop group. By that time Wynton was a superstar, winning a countless number of awards and polls.
Marsalis' next group featured pianist Marcus Roberts, bassist Robert Hurst, and drummer Watts. Over time the group grew to become a four-horn septet with trombonist Wycliffe Gordon, altoist Wes Anderson, Todd Williams on tenor, bassist Reginald Veal, drummer Herlin Riley, and (by the early '90s) pianist Eric Reed. Marsalis really developed his writing during this era (being influenced by Duke Ellington) and the septet proved to be a perfect outlet for his arranging. Although Marsalis broke up the band by 1995, many of the musicians still appear in his special projects or with the Lincoln Center Jazz Orchestra.
In 1997, Marsalis' marathon Blood on the Fields (which was released as a three-CD set) became the first jazz-based work to win a Pulitzer Prize. Standard Time, Vol. 5: The Midnight Blues followed a year later. With the passing of so many jazz giants, Marsalis' importance (as a trumpeter, leader, writer, and spokesman for jazz) continued to grow. Standard Time, Vol. 4: Marsalis Plays Monk followed in 1999 to coincide with the popular PBS special. Then, as if eight proper recordings in 1999 weren't enough, Columbia and Marsalis released an amazingly affordable seven-disc set entitled Live at the Village Vanguard. Mid-2000 saw the release of Marciac Suite and Goin' Down Home. Two years later, Marsalis celebrated the blues on All Rise. Next up was his first album for Blue Note, The Magic Hour, an album of original material released early in 2004. Later that year, the label released Unforgivable Blackness: The Rise and Fall of Jack Johnson, Marsalis' soundtrack to a Ken Burns documentary. Marsalis' second studio effort for Blue Note, the politically and socially aware From the Plantation to the Penitentiary, followed in 2007.
---Scott Yanow, All Music Guide |
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