{"title":"Big Miller","description":"","products":[{"product_id":"bruch-m-violin-concerto-no-1-kol-nidrei-mendelssohn","title":"Bruch, M.: Violin Concerto No. 1 \/ Kol Nidrei \/ Mendelssohn,","description":"Classical Music","brand":"Bella Musica","offers":[{"title":"CD","offer_id":44711386349802,"sku":"4014513006950","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2373849.jpg?v=1778312085"},{"product_id":"a-mozart-evening-in-vienna","title":"A Mozart Evening in Vienna","description":"A Mozart Evening in Vienna","brand":"Naxos","offers":[{"title":"CD","offer_id":44711389004010,"sku":"730099586627","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127012.jpg?v=1778346144"},{"product_id":"lititz-mento-band-dance-music-and-working-songs-from-jamaic","title":"Lititz Mento Band: Dance Music and Working Songs From Jamaic","description":"As late as the 1960s the cheerfully elated rhythms of mento would be found at every village festival. 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Their new recording, Nearness, shows just how much their bond has grown and their creativity has blossomed.","brand":"SUNNYSIDE","offers":[{"title":"CD","offer_id":44907902763242,"sku":"016728167321","price":16.63,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4099138-2836001.jpg?v=1778359265"},{"product_id":"vagabond-3","title":"VAGABOND","description":"VAGABOND","brand":"ECM RECORDS","offers":[{"title":"Vinyl","offer_id":44929441956074,"sku":"602445890491","price":30.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/0602445890491.jpg?v=1780140941"},{"product_id":"in-between-time","title":"IN BETWEEN TIME","description":"Harmonica player Al Miller brings in three guitar aces to help him create this unique blues album: John Primer, Dave Specter \u0026amp; Billy Flynn. But Al doesn't just play harp. 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Original release date:6\/27\/95)","brand":"DELMARK","offers":[{"title":"CD","offer_id":44930244247786,"sku":"038153067526","price":15.7,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/184776.jpg?v=1778355074"},{"product_id":"street-of-dreams","title":"STREET OF DREAMS","description":"Tenor saxophonist with pianist Varro's trio: Ray Leatherwood-bass \u0026amp; Gene Estes-drums.","brand":"DELMARK","offers":[{"title":"CD","offer_id":44930250670314,"sku":"038153022822","price":15.7,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/184590.jpg?v=1778366528"},{"product_id":"i-sustain-the-wings-broadcasts-1943-44","title":"I SUSTAIN THE WINGS BROADCASTS 1943-44","description":"Miller and His American Air Forces Training Command Band gave these broadcast performances in '43 and '44-and they haven't been heard since! 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This fabulous collection, lovingly presented in remastered sound and with original artwork and other archival images, adds the production history and little-known trivia about the \"Limited Edition\" albums, plus a discography which corrects many names, dates, or other details.","brand":"SEPIA RECORDINGS","offers":[{"title":"CD","offer_id":44937656402154,"sku":"5055122112877","price":27.52,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2938790.jpg?v=1778367196"},{"product_id":"live-on-the-air-1938-1944","title":"LIVE ON THE AIR 1938-1942","description":"Sepia proudly presents it's third amazing set of music by Glenn Miller and His Orchestra, a collection that a new generation of Miller fans have asked us to bring to CD. All of the selections were performed live on the radio, direct from the Paradise Restaurant, Glen Island Casino, the Meadowbrook, the Café Rouge of the Hotel Pennsylvania, and elsewhere. Included are memorable renditions of This Time the Dream's On Me, I Got Rhythm, A Handful of Stars, Jersey Bounce, I Guess I'll Have to Dream the Rest, My Buddy, The Lamp Is Low, and over 40 more ballads, swing tunes, and novelties featuring Miller's vocalists Ray Eberle, Marion Hutton, Tex Beneke, and The Modernaires. Of course, the selections begin with Moonlight Serenade and end with Slumber Song, his opening and closing themes, respectively. 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Such was his popularity that in the period of less than a decade from his launching his orchestra in the mid-30s through to his demise, he had over 120 hits, both with his instrumental classics and with the new songs of the time. This great value124-track 5-CD set comprises just about all of recordings on the Columbia, Brunswick, Bluebird, Victor and RCA-Victor labels which are listed as hits in standard industry sources, many from the era after the launch of the Billboard record sales charts in 1940. It features an extraordinary tally of 21 No. 1s, including \"A String of Pearls\", \"(I've Got a Gal In) Kalamazoo\", \"Don't Sit Under the Apple Tree\", \"Moonlight Cocktail\", \"Chattanooga Choo Choo\", \"Tuxedo Junction\", \"In the Mood\", \"Blueberry Hill\", \"Fools Rush In\" and many more. The featured vocalists include Ray Eberle, Marion Hutton, Tex Beneke, Kathleen Lane, Jack Lathrop, Dorothy Claire, Paula Kelly, Skip Nelson and The Modernaires. It's a substantial and entertaining showcase for one of the most important orchestras of the times, and an enormously evocative journey through the popular music landscape of a remarkable era in modern history.","brand":"ACROBAT","offers":[{"title":"CD","offer_id":44945480843498,"sku":"824046751524","price":32.06,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4012233-2747107.jpg?v=1778371720"},{"product_id":"gershwin-tower-piston-harbison-cole-miller-noip-396972","title":"Gershwin, Tower, Piston \u0026 Harbison \/ Cole, Miller, NOIP","description":"This program represents American orchestral music in all of it's verve and expressive variety. Following the sensational success of Rhapsody in Blue, Gershwin's Concerto in F was his first foray away from jazz bands into the concert hall, recorded here for the first time in a new critical edition by Timothy Freeze based on the composer's own notation and performances. John Harbison's Remembering Gatsby is a foxtrot that evokes the sonorities of1920s dance bands, while Joan Tower's Sequoia reflects her fascination with these silent giants of the tree world. 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Percussion concertos he had heard too often sounded “like orchestral pieces with an extra-large percussion section,” with little or none of the interaction between soloists and ensemble which is the hallmark of the form. The problem was the very nature of many percussion instruments, which produce no discernable pitch on which to build melodic material. One answer has been to limit the solo line to pitched percussion, and some composers have quite successfully created concertos for marimba or xylophone. In \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eConjurer\u003c\/span\u003e \u003cspan\u003e (2007), Corigliano has done that one better, creating a Concerto that uses a large range of percussion instruments, pitched \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eand\u003c\/span\u003e \u003cspan\u003e unpitched, in which the melodic material is introduced—\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003econjured\u003c\/span\u003e \u003cspan\u003e as the title suggests—by the percussionist and then developed by the orchestra and soloist, much as would happen in any solo concerto. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe trick is the clever use of sequences in which pitches are implied for the unpitched instruments. It would be merely clever, though, if Corigliano had not succeeded in his real goal. This he has done brilliantly, not only creating exciting soundscapes of a dizzying variety of percussion instruments, but also using those sounds to create real music with emotional and dramatic depth. In this, he is fortunate to have the services of that most musical of percussion virtuosos, Evelyn Glennie, who plays all of the many instruments with great subtlety, or dazzling élan, as the situation requires. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe work is divided into three movements, each preceded by an extended cadenza in which the thematic material is revealed and presented to the string orchestra. Each movement showcases a particular percussion family: wood, metal, and skin. The character of the melodic material created by each family is part of the genius of the work. I will not spoil the fun of the discovery, but I will state that the movement in which tenderness and mystery predominate does not come from the family one might instinctively expect. Further delight arises when the composer uses his strings to create percussive effects to accompany the melodic lines of the percussion instruments. I cannot but imagine that we will be hearing this work a lot, as every percussionist with the chops will want a shot at this work. It’s a \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003etour de force\u003c\/span\u003e \u003cspan\u003e for the soloist, and a musical work of real merit. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe accompanying work, which dates from eight years earlier, finds Corigliano experimenting with a different sort of sonority—that of the human voice—and with the use of electronics to enhance and augment it. Commissioned by Kurt Masur and the New York Philharmonic, the wordless \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVocalise\u003c\/span\u003e \u003cspan\u003e begins with a soprano voice—the pure and very lovely voice of Hila Plitmann—with a few instrumentalists in the acoustic realm. Corigliano then gradually begins to amplify it, as electronic effects add to the accompaniment, eventually enlarging the voice into a Wizard of Oz-like presence dominating an augmented orchestra climax of Straussian dimensions. The work ends as quietly as it begins, but with the voice subsumed into the echoes of the electronic processing, which, as Corigliano describes it, “gently surround the audience.” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eMark Baechle is credited with producing and performing the electronics, and the sound design—an essential part of this work—is credited to Teese Gohl and Angie Teo. (Such things are very much the creative work of humans, not “soulless machines.”) David Alan Miller and the Albany Symphony Orchestra, usually heard on the Albany label, provide impressive accompaniment to the superb soloists. The recording of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eConjurer\u003c\/span\u003e \u003cspan\u003e was made in the Troy Savings Bank Music Hall, with the exemplary results we have come to expect from that venue. \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVocalise\u003c\/span\u003e \u003cspan\u003e was recorded at the Experimental Media Performing Arts Center—who knew there was such a thing outside of Paris?—of the Rensselaer Polytechnic Institute, also in Troy and with an equally fine outcome. Anyone with any interest at all in contemporary composition or exemplary percussion playing will want to hear this release. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Ronald E. Grames \u003c\/span\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012918169834,"sku":"636943975725","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2309533_83d1fe38-56b7-4e85-92f1-78bb34663ebd.jpg?v=1778313017"},{"product_id":"sissle-blake-sing-shuffle-along-59656","title":"Shuffle Along: Original Cast Recording \/ Sissle, Blake, Miller, Lyles, Saunders, Browning","description":"\u003cp\u003eThe 1921 musical comedy, \u003cem\u003eShuffle Along\u003c\/em\u003e, was a soaringly successful Broadway show. Contained inside this show are songs that would eventually become staples in the repertoire, such as “I’m Just Wild About Harry” and “Love Will Find A Way.” This musical also served a civil purpose. As an all black musical, the show desegregated theaters all across the country. This album is being release alongside the April 2016 revival of the show, and features Tony Award-winning stars such as Brian Stokes Mitchell and Audra McDonald.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis fascinating release combines original recordings made in the acoustic era by members of the \u003c\/span\u003e\u003ci\u003eShuffle Along\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ecompany in conjunction with later performances, primarily by Noble Sissle and Eubie Blake, who wrote all the music and lyrics. It is, of course, by no means perfect, but it is representative of what was considered a landmark show in the history of black theater and the first “jazz” musical to hit Broadway...\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSinger and lyricist Sissle was originally a drum major and vocalist for Lieutenant Jim Europe’s “Hellfighters” 369th Infantry Band in World War I...not even the Original Dixieland Jazz Band had yet made an appearance in New York. To them, jazz was what we now call “hot ragtime.”\u003c\/p\u003e\n\u003cp\u003eNevertheless,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eShuffle Along\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eremains a vitally important historical moment in the history of black entertainment. It was the first all-black show to have a wide appeal to white audiences, first gaining attention at the Howard Theatre in Washington for two weeks, then moving to the 63rd Street Theater in New York City in May before racking up 504 performances(!) at the Cort Theater on 48th Street. The cast included several names that would become famous over the next few years such as Adelaide Hall, Florence Mills (who replaced Gertrude Saunders after the first year), Fredi Washington and Paul Robeson—none of whom recorded anything from the show!—and a very young Josephine Baker in the chorus line.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- The Art Music Lounge\u003c\/span\u003e\u003c\/p\u003e","brand":"Harbinger Records","offers":[{"title":"CD","offer_id":46012936716522,"sku":"632433320426","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3341047.jpg?v=1778299385"},{"product_id":"britten-death-in-venice-bartoletti-miller-riga-89480","title":"Britten: Death In Venice \/ Bartoletti, Miller, Riga, Hendricks [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=522210\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Benjamin Britten’s last opera Death in Venice is based on the novella by Thomas Mann. It was first performed in England in 1973. The astringent score is marked by some haunting soundscapes of 'ambiguous Venice'. The boy Tadzio is portrayed by a silent dancer, gamelan-like percussion accompaniment. The music of the opera is precise, direct and movingly understated. Britten had been contemplating the novella for many years and began work in September 1970 with approaches to Piper and to Golo Mann, son of the author. Because of agreements between Warner Brothers and the estate of Thomas Mann for the production of Luchino Visconti’s 1971 film, Britten was advised not to see the movie when it was released. According to Colin Graham, director of the first production of the opera, some colleagues of the composer who did see the film found the relationship between Tadzio and Aschenbach \"too sentimental and salacious\". This contributed to the decision that Tadzio and his family and friends would be portrayed by non-speaking dancers. Themes in the work of \"formalism in art and the perilous dignity of the acclaimed artist\" have been noted. \u003cbr\u003e  \u003cbr\u003e  Marlin Miller, tenor – Gustav von Aschenbach; Scott Hendricks, baritone – Traveller and other roles;François Bittar, countertenor – Voice of Apollo; Allessandro Riga, dancer – Tadzio;\u003cbr\u003e  La Fenice Theatre Orchestra and Chorus; Bruno Bartoletti, conductor\u003cbr\u003e  DIRECTION \u0026amp; COSTUMES: Pierluigi Pizzi\u003cbr\u003e  CHOREOGRAPHY: Gheorghe Iancu\u003cbr\u003e  \u003cbr\u003e  Recorded Live at Teatro La Fenice, Venice 2008\u003cbr\u003e  NTSC; All Regions\u003cbr\u003e  Running time 155 min. \u003cbr\u003e  Sung in English\u003cbr\u003e  Subtitles: Italian, German, French, Spanish\u003cbr\u003e \u003cbr\u003e","brand":"Dynamic","offers":[{"title":"Blu-Ray","offer_id":46013105373418,"sku":"8007144556082","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2248408.jpg?v=1780352044"},{"product_id":"daugherty-dreamachine-trail-of-tears-reflections","title":"Daugherty: Dreamachine, Trail of Tears \u0026 Reflections on the Mississippi \/ Miller, Albany Symphony","description":"\u003cp\u003eGrammy Award-winning composer Michael Daugherty explores the relationships between machines, humanity and nature in three unique concertos. ‘Dreamachine’ for solo percussion and orchestra is a colorful tribute to the imagination of inventors who dreamed of new machines, both real and surreal. The flute concerto ‘Trail of Tears’ dramatizes the tragic governmental forced relocation of Native Americans in 1838 and meditates on how the human spirit discovers ways to deal with adversity. ‘Reflections on the Mississippi’ for tuba and orchestra is a musical voyage down the legendary Mississippi River from Iowa to Louisiana. The Albany Symphony, conducted by David Alan Miller, delivers mesmerizing performances by three outstanding women soloists: Grammy Award-winning percussionist Dame Evelyn Glennie, flutist extraordinaire Amy Porter, and Carol Jantsch, the remarkable principal tubist of The Philadelphia Orchestra.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell7_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003eNot typically known as a composer of virtuoso music hitherto, Michael Daugherty here writes splendid parts for all three soloists in these concertos, but percussionist Evelyn Glennie’s in Dreamachine is simply breathtaking. And yet, there’s more to this album than Glennie. Daugherty has been expanding his characteristic “Stravinsky plus pop culture” musical language, and although all the music here is typically programmatic, you might not guess that he was the composer. The opening flute concerto, Trail of Tears, applies cinematic techniques to that tragic event with unexpected and convincing results, all the while merging those with virtuoso flute writing. And the evocative tuba concerto, \"Reflections on the Mississippi\" is a much-needed expansion of the concerto literature for that instrument. With fine engineering from a pair of spaces in the Troy, New York area backing capable performances from the Albany Symphony under David Alan Miller, this is an unusually strong Daugherty release.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" data-mce-fragment=\"1\"\u003e-- AllMusic.com (James Manheim)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThe latest batch of colorfully orchestrated, imaginatively conceived orchestral works by this GRAMMY Award winning composer are concertante pieces from 2010: Trail of Tears, which is a meditation on the brutal 1838 relocation of Native Americans and the flute a fittingly haunting commentator; 2013's Reflections which goes down the famous river in four movements (“Mist”, “Fury”, “Prayer” and “Steamboat”) and the big, 34-minute Dreamachine of 2014, the most stylistically heterogenous work here from the eerie and impressionistic “Electric Eel” movement which sounds like the aquarium movement from Carnival of the Animals on acid or peyote to the rock-band drum solo in the “Vulcan’s Forge” finale.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e-- Records International\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013161242858,"sku":"636943980729","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3772542.jpg?v=1778258942"},{"product_id":"rouse-seeing-kabir-padavali-211668","title":"Rouse: Seeing; Kabir Padavali","description":"Winner of a Pulitzer Prize and a Grammy® Award, Christopher Rouse is one of America’s most prominent composers of orchestral music, creating a body of work perhaps unequaled in its emotional intensity. Conceived from the start as differing from a traditional piano concerto, Seeing brings together seemingly disparate elements to explore the notion of ‘sanity’ through the music of Robert Schumann and Skip Spence, swinging between extremes of consonance and dissonance, stability and instability, to create a disorientating and hallucinatory work seen through the lens of mental illness. Kabir Padavali or ‘Kabir Songbook’ presents a range of the great Indian poet’s religious concerns, from extraordinarily beautiful ecstasy to impishly humorous allegories.\u003cbr\u003e \u003cbr\u003e  -----\u003cbr\u003e \u003cbr\u003e  Review:\u003cbr\u003e \u003cbr\u003e  Trevigne is nothing less than sensational. She is assured in her presentation, and possesses a warm and, yes, voluptuous soprano that is perfectly matched to this material. Her performance shows a level of commitment to the composer’s intentions that only the best singers of contemporary music can command.\u003cbr\u003e \u003cbr\u003e  – Fanfare","brand":"Naxos","offers":[{"title":"CD","offer_id":46013163077866,"sku":"636943979921","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2976773.jpg?v=1778301015"},{"product_id":"celebrated-distin-family-prince-regents-band-109028","title":"Celebrated Distin Family \/ Prince Regent's Band","description":"\u003cp\u003eThe Prince Regent's band, featuring noted brass players, make their recording debut on Resonous Classics with a celebration of the legendary Distin Family. During the mid-nineteenth century the Distin Family blazed a traila cross Europe and North America performing countless concerts and promoting new and exciting designs of brass instruments. The Distins originally performed on a mixture of natural and keyed brass instruments but halfway through their career, thanks to a chance meeting with Adolphe Sax in Paris in 1844, they adopted the new valved brass instruments, and in particular the new \"saxhorn\", with which their names became synonymous. In \"The Celebrated Distin Family\", period brass specialists The Prince Regent's Band have recreated the lost Distin Family repertoire, performing on their unique collection of original saxhorns and other fascinating brass instruments of the period.\u003c\/p\u003e","brand":"Resonus Classics","offers":[{"title":"CD","offer_id":46013188931818,"sku":"5060262790847","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3495839.jpg?v=1778297983"},{"product_id":"a-westminster-christmas-ii-miller-westminster-choir-100865","title":"A Westminster Christmas II \/ Miller, Westminster Choir College Of Rider University","description":"Classical Music","brand":"Westminster Choir College","offers":[{"title":"CD","offer_id":46013201973482,"sku":"884501078719","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1908359.jpg?v=1778342804"},{"product_id":"joan-tower-strike-zones-glennie-mcmillen-miller-albany-symphony","title":"Tower: Strike Zones \/ Glennie, McMillen, Miller, Albany Symphony","description":"\u003cp\u003eJoan Tower is widely regarded as one of today’s most important American composers. The works heard here in their world premiere recordings are part of a growing legacy that one pundit has described as “The Power of Tower.” Strike Zones is tailor-made for percussionist Evelyn Glennie’s dazzling technique and impeccable musicianship. The work’s orchestration is crafted to enhance a stage filled with percussion instruments – while in Small they are contained on a single table, the soloist working like a brilliant chef. The piano concerto Still\/Rapids was inspired by the glistening beauty and powerful force of water, and Ivory and Ebony, written as a test piece for an international piano competition, is infused with Tower’s “high-energy” signature.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell4_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eAnother American Classics release features the music of contemporary composer Joan Tower. These fabulous premiere recordings give a good representation of the range of music Tower has been producing over recent years. It is particularly good to hear performances from Evelyn Glennie as one of a cast of top rate musicians here. The earliest work, \u003cem\u003eStrike Zones,\u003c\/em\u003e dates from 2001 and the latest, \u003cem\u003eSmall\u003c\/em\u003e from 2016. Both these feature percussion. \u003cem\u003eStill\/Rapids\u003c\/em\u003e combines piano and orchestra with the final piece, \u003cem\u003eIvory \u0026amp; Ebony\u003c\/em\u003e being a test piece for an international piano competition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- Lark Reviews\u003c\/span\u003e\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013202333930,"sku":"636943990223","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3978794-2717154.jpg?v=1778254455"},{"product_id":"migration-series-mar-de-setembro-a-shout-a-whisper-and-a-trace","title":"Migration Series \/ Mar de Setembro \/ A Shout, A Whisper, and A Trace","description":"Migrations provides a generous view of Derek Bermel's superb craftsmanship and eclectic style, in which classical forms, world music, jazz, blues and American folk music create a mix that reaches directly into the body and the heart. Commisioned by Wynton Marsalis, Migration Series has it's roots in African American music, it's impeccable counterpoint and biting rhythms expressed through orchestration that sounds like a city coming to life. Mar de Setembro was inspired by Luciana Souza's bell-toned voice and the intense feelings of Portuguese saudade, while A Shout, A Whisper, and A Trace honors Bartok's last years in New York, referring to the Concerto for Orchestra as well as to jazz and Balkan music.","brand":"Naxos","offers":[{"title":"CD","offer_id":46013237985514,"sku":"636943987124","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3687718-2415473.jpg?v=1778273633"},{"product_id":"myaskovsky-cello-sonatas-kehayova-miller-937398","title":"Myaskovsky: Cello Sonatas \/ Kehayova, Miller","description":"\u003ctable\u003e  \u003ctbody\u003e  \u003ctr\u003e  \u003ctd\u003eA lifelong friend of Prokofiev and frequently performed outside of Soviet Russia in his lifetime, Nicolay Myaskovsky is best known today for his 27 symphonies. His lyrical and intensely passionate First Cello Sonata was one of his first important works, finished not long after completing his studies in St Petersburg. Premiered by Rostropovich, the Second Cello Sonata became immediately popular amongst cellists for its imaginative blend of folk-music styles with a sweet Romanticism that recalls Tchaikovsky and Rachmaninov. The award-winning duo of Kehayova and Miller complete this recording with the perfect encore – Rimsky-Korsakov’s melodious Serenade.\u003c\/td\u003e  \u003c\/tr\u003e  \u003c\/tbody\u003e  \u003c\/table\u003e","brand":"Dynamic","offers":[{"title":"CD","offer_id":46013278519530,"sku":"8007144079017","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3978780-2716486.jpg?v=1778258500"},{"product_id":"corigliano-torke-copland-orchestral-works-miller-68150","title":"Corigliano, Torke \u0026 Copland: Orchestral Works \/ Miller","description":"\u003ca class=\"links\" href=\"http:\/\/blog.naxos.com\/wp-content\/uploads\/2016\/08\/8.559782.mp3\" target=\"_blank\"\u003e\u003cb\u003eListen to the Naxos Podcast to learn more about this release\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  These three works represent the first recording for Naxos by the National Orchestral Institute Philharmonic, which is composed of elite conservatory students from across the United States and abroad. The chosen works reflect the richness and variety of the American repertoire. A work of immense poignancy and power, John Corigliano's Symphony No. 1 is a commemoration of friends of the composer who died during the 1980s and '90s. Michael Torke's Bright Blue Music evokes rich lyricism couched in the composer's favorite key of D Major. The suite from Copland's Appalachian Spring is one of the great, quintessential American works.\u003cbr\u003e  \u003cbr\u003e  Review:\u003cbr\u003e  \u003cbr\u003e  Large-limbed, vivid, and intense, John Corigliano’s 1989 Symphony No 1 commemorates the Aids crisis, memorialising some of the composer’s friends who succumbed at a time when diagnosis meant death. It has also stood the test of time simply as good music, here performed superbly.\u003cbr\u003e  \u003cbr\u003e  – Sunday Times","brand":"Naxos","offers":[{"title":"CD","offer_id":46013301391594,"sku":"636943978221","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3378564_8011ebb5-2968-47f3-ad72-357d9e28992d.jpg?v=1778262202"},{"product_id":"tsontakis-anasa-true-colors-unforgettable-miller-albany-75478","title":"Tsontakis: Anasa, True Colors \u0026 Unforgettable \/ Miller, Albany Symphony Orchestra","description":"\u003ca class=\"links\" href=\"http:\/\/blog.naxos.com\/wp-content\/uploads\/2017\/07\/8.559826-1.mp3\" target=\"_blank\"\u003e\u003cb\u003eListen to the Naxos Podcast to learn more about this release\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  Over the last few years American composer George Tsontakis, winner of the Grawemeyer Award for Music Composition, has crafted three distinctive and exciting additions to the contemporary concerto repertoire. Anasa, for clarinet and orchestra, combines elements of the Klezmer tradition with dance themes inspired by the lyra and lauto, traditional Cretan instruments. In True Colors the trumpet journeys in harmonically vivid, jazz-tinged directions, while Unforgettable balances the meditative with the playful, moving from ballad to phantasmagoria in a double concerto of drama and drive.","brand":"Naxos","offers":[{"title":"CD","offer_id":46013387636970,"sku":"636943982624","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3702965.jpg?v=1778272729"},{"product_id":"prevailing-winds-stevens-290520","title":"Prevailing Winds \/ Stevens","description":"The British composer Robin Stevens is a great talent waiting to be discovered by the global music community. His varied, stimulating and expressive work is exemplified by this collection of music for wind instruments, ranging from the jolly and accessible (yet very difficult to play) Concert Rondoto the darker, deeper and meaningful Grief’s Portrait. Stevens has a brilliant touch, and also is an excellent pianist, cellist and guitarist and plays all three instruments here, alongside some of the foremost instrumentalists from the musical hotspot of Manchester, England: John Bradbury (principal clarinet, BBC Philharmonic); John Turner (recorderist: Academy of Ancient Music etc.); Richard Simpson (principal oboe, BBC Symphony), Janet Simpson (former principal keyboardist, Hallé Orchestra); and freelance soloists Sarah Miller (flutes);Helen Peller (bassoon) and Lindsey Stoker (horn).","brand":"Divine Art","offers":[{"title":"CD","offer_id":46013402349802,"sku":"809730519420","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3770595-2538608.jpg?v=1778269937"},{"product_id":"harbison-ruggles-stucky-orchestral-works-miller-national-94464","title":"Harbison, Ruggles \u0026 Stucky: Orchestral Works \/ Miller, National Orchestral Institute Philharmonic","description":"Naxos have come a long way in three decades. Their product is no longer as cheap as chips, but they have few rivals when it comes to yearly volumes or breadth of repertoire. I’m particularly grateful for some of their long-running series, especially those devoted to Americana and music for wind band. I’ve reviewed a fair few albums from both strands, a number of which contain world premieres or works otherwise unknown to me. At the same time, I’ve noticed a general improvement in recording quality, with some newer releases sounding as good as those offered by premium-price labels.\u003cbr\u003e  \u003cbr\u003e  The American Classics project is probably the one I value most, not least for its ability to surprise and stimulate. And just as Naxos’s technical standards have risen, so too has the quality of ensembles and conductors featured. This pleasing state of play is epitomised by a very recent Michael Daugherty album, Trail of Tears: three brand-new concertos, one with the peerless percussionist Dame Evelyn Glennie, music and musicians well served by fine sonics. As it happens, that release introduced me to the conductor David Alan Miller, who also directs this mixed programme of 20th- and 21st-century works by Carl Ruggles, Steven Stucky and John Harbison.\u003cbr\u003e  \u003cbr\u003e  Ruggles’ Sun-Treader, which takes its title from Robert Browning’s poem, Pauline, is a technically rigorous construct that’s also very accessible. Although the piece was premiered in Paris in 1932, it had to wait another 34 years for its first US performance, with Jean Martinon and the Boston Symphony. And while the National Orchestral Institute Philharmonic isn’t exactly a household name – it’s an ad hoc band, drawn from members of the National Orchestral Institute each June – they are highly accomplished players, for whom this music holds no terrors.\u003cbr\u003e  \u003cbr\u003e  Full, firm, and remarkably forensic, Miller’s Sun-Treader is more detailed and, yes, more colourful than Tilson Thomas’s. Producer-engineer Phil Rowlands’ spacious, recording certainly helps to ‘open up’ a work that can seem impenetrable at times. All of which adds up to a thoughtful, exploratory performance that’s very different from MTT’s more urgent, intensely dramatic one. The latter still sounds pretty impressive – the visceral timps a special treat – but I daresay an up-to-date remaster, similar to that provided for the recent BD-A of William Steinberg’s Planets and Zarathustra, would improve things even more. Top-notch accounts of Charles Ives’s Three Places in New England and Walter Piston’s Symphony No. 2 complete this bona-fide classic.\u003cbr\u003e  \u003cbr\u003e  Steven Stucky’s second Concerto for Orchestra, premiered by the LA Philharmonic in 2004, received the Pulitzer Prize for music a year later. In his liner-notes, Robert Lintott says the piece is ‘rife with musical puzzles’, although I doubt most listeners will be aware of the composer’s compositional tricks and tributes. More apparent is Stucky’s homage to the genre – Bartók’s seminal concerto springs to mind – with soloists and various instrumental groups (‘combos’) allowed to strut their stuff. I can well imagine performers relishing both the good writing and the composer’s seemingly boundless good nature.\u003cbr\u003e  \u003cbr\u003e  That’s certainly the case here, with Miller a sure and steady guide; indeed, he takes us on a fascinating trip, pointing out so much of interest along the way. What a tumble of tantalising ideas and sonorities, and how superbly rendered they are in this fine recording. Also, singly and severally, the players respond to this clever and compelling score with a zeal that most composers can only dream of. And as much as I admire Lan Shui, his performance lacks the chutzpah that makes Miller’s seem so rum and rakish. That said, the sound is refined, the playing light and luminous. The all-Stucky programme, which includes Dame Evelyn in Spirit Voices, is attractive, too.\u003cbr\u003e  \u003cbr\u003e  The headline act is the Harbison symphony, commissioned by the Seattle SO for their centennial celebrations in 2004. In five movements – but not composed in that order – the work’s opening Fanfare reminds me of Leonard Bernstein in St Vitus mode. What exhilarating music this is, and how joyfully executed. The gnarly Intermezzo, with its gently shimmering gong in the background, is similarly engaging. The central Scherzo is catchy – goodness, there’s a lot going on here – and the Threnody has something of late Mahler about it. That said, Harbison’s ‘voice’ is very much his own, the Finale gaunt but not emaciated. Pinpoint playing and a strong pulse predominate.\u003cbr\u003e  \u003cbr\u003e  This is a riveting work, delivered with deftness and dynamism, and I commend it to those looking for a way into the composer’s symphonic output. And given the impassioned authority of this performance, I’m tempted to forgo comparisons.\u003cbr\u003e  \u003cbr\u003e  So often in comparative reviews I sign off with comments like: ‘This newcomer is pretty good, but…’. I’m happy to report that, with the possible exception of Miller’s still excellent Sun-Treader, there’s nothing to criticise here. Yes, Naxos really have come a long way since 1987. And that goes for this series, too; it just gets better – and becomes more valuable – with each new instalment.\u003cbr\u003e  \u003cbr\u003e  Thoroughly modern Miller; plenty more, please.\u003cbr\u003e  \u003cbr\u003e  – MusicWeb International (Dan Morgan )","brand":"Naxos","offers":[{"title":"CD","offer_id":46013423780074,"sku":"636943983621","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3793166.jpg?v=1778262168"},{"product_id":"daugherty-this-land-sings-inspired-by-the-291472","title":"Daugherty: This Land Sings (Inspired by the Life and Times of Woody Guthrie)","description":"In ‘This Land Sings,’ Grammy Award-winning composer Michael Daugherty has created an original musical tribute to the singer-songwriter and political activist Woody Guthrie (1912-1967). Traveling the backroads of America from coast to coast with a guitar and harmonica, Woody Guthrie performed folk songs of love, wandering and social justice during the Great Depression and the Second World War. Daugherty has composed his own original songs and instrumental interludes that give haunting expression, ironic wit and contemporary relevance to political, social and environmental themes from Guthrie’s era. Under the baton of Grammy Award-winning conductor David Alan Miller, the Albany Symphony’s new music ensemble Dogs of Desire, joined by soprano Annika Socolofsky and baritone John Daugherty, give a poignant and rousing performance.\u003cbr\u003e  \u003cbr\u003e  -----\u003cbr\u003e  \u003cbr\u003e  REVIEWS:\u003cbr\u003e  \u003cbr\u003e  For the most part, Daugherty doesn’t set Guthrie’s tunes at all, although This Land Is Your Land turns up in a couple of numbers. Instead, he writes words of his own and draws on texts from elsewhere in the progressive strain of thought, dating back to Mark Twain, that animated Guthrie’s production. It all adds up to something quite unlike anything anybody else has done before. Listeners are going to have their own reactions, but this is original stuff, ideally and flexibly performed. \u003cbr\u003e  \u003cbr\u003e  – AllMusic Guide (James Manheim)\u003cbr\u003e  \u003cbr\u003e  Michael Daugherty traveled around the dust bowl of the United States before commencing the work, savoring the backdrop to Guthrie’s life as a writer and performer. It has resulted in an overture and sixteen vocal and instrumental tracks, the words for the songs written mostly by Daugherty. They are funny; they question life and our existence; suffering and love, all expressed in a mix of classical, folk, and jazzy rhythms. It is certainly a different experience that takes the composer down a new road, particularly so in the early part of the score. The excellent punchy sound is ideal for the work. Do listen to it. \u003cbr\u003e  \u003cbr\u003e  – David''s Review Corner (David Denton)","brand":"Naxos","offers":[{"title":"CD","offer_id":46013459562730,"sku":"636943988923","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3812254-2566065.jpg?v=1778250413"},{"product_id":"haydn-symphonies-nos-52-53-and-59","title":"Haydn: Symphonies Nos. 52, 53, and 59","description":"This new and highly-anticipated release of three symphonies of Franz Joseph Haydn follows the Royal Northern Sinfonia and Rebecca Miller's acclaimed recording of the works of CPE Bach with the Orchestra of the Age of Enlightenment: \"Self-critical perspective is clearly not a problem for these artists... The unfurling description of a lover's kisses permit all kinds of glorious opportunities for the singers' seemingly telepathic understanding for chiaroscuro, impeccable tuning and innate grammatical sense\" (Gramophone, Editor's Choice, May 2015)","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46013469655274,"sku":"635212043424","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3012481.jpg?v=1778299361"},{"product_id":"best-of-the-lost-recordings-secret-broadcasts-259732","title":"Best Of The Lost Recordings \u0026 Secret Broadcasts \/ Glenn Miller","description":"Personnel: Lynn Allison, Gene Steck, Steve Steck, Johnny Desmond, Artie Malvin, Crew Chiefs, The Glee Club (vocals); Carmen Mastren (guitar); Nathan Kaproff, George Ockner, Dave Herman, Milton Edelson, Richard Motylinski, Earl Cornwell, CPL. Gene Bergen, David Sackson, Alfred Aulwurm, Fred Ostrovsky, Ernest Kardos, Joseph Kowalewski, Carl Swanson, Harry Katzman (violin); Dave Schwartz, CPL. Henry Brynan, Manny Wishnow, Stanley Harris (viola); CPL. Morris Bialkin, Bob Ripley (cello); Peanuts Hucko (clarinet, alto saxophone); Manny Thaler (bass clarinet, alto saxophone, baritone saxophone); Freddy Guera, Hank Freeman (alto saxophone); Jack Ferrier, Vince Carbone (tenor saxophone); Chuck Gentry (baritone saxophone); Whitey Thomas, Jack Steele, Zeke Zarchy, Bernie Privin, Bobby Nichols (trumpet); Addison Collins (French horn); Nat Peck, Larry Hall , Johnny Halliburton, Jim Harwood , Jimmy Priddy (trombone); Jack Russin, Mel Powell (piano); Frank Ippolito (drums).\u003cbr\u003e  \u003cbr\u003e  Liner Note Author: Geoffrey Butcher. \u003cbr\u003e  \u003cbr\u003e  Photographer: Edward F. 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