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Imaginary Landscapes - Sounds Of America [20-CD Set]

American Classics: Imaginary Landscapes / Various
Release Date: 07/03/2012 
Label:  Emi Classics   Catalog #: 44290   Spars Code: DDD 
Composer:  John Philip SousaScott JoplinFerde GroféGeorge Gershwin,   ... 
Performer:  Joshua RifkinRalph GriersonRichard Rodney BennettBarry Tuckwell,   ... 
Conductor:  Timothy FoleyGeorge SponhaltzFelix SlatkinFerde Grofé,   ... 
Orchestra/Ensemble:  Great American Main Street BandSouthland StingersHollywood Bowl Symphony Orchestra,   ... 
Number of Discs: 20 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

Bringing together the finest collections from the American Classics range this beautifully-packaged box set will appeal to any collector and offers a comprehensive overview of classical music composition in the US. This box set takes the most successful titles from the American Classics range and brings them together in a comprehensive overview of classical music, broadway and jazz in the United States.

Reviews of some of the original recordings that make up this set:

Sousa: Marches
"Many composers have excelled in writing marches - Alford, Coates, Fuçik and Texidor to name a few. None however had quite the same ability to impel the listener to physical activity that Sousa had.
Read more I imagine I am far from alone in looking forward to each new release in what I hope will eventually be a complete edition from Naxos. They have all been splendidly played and presented but there must be room for more than one version of these little masterpieces, and this disc is at least as good as the Naxos versions in terms both of performance and recording. I have never come across the Great American Main Street Band before but this is clearly my loss as they play with just the right degree of panache and loose-limbed swagger that the music needs. The term “American Classics” has been overused by several recording companies to include several works which could never realistically be described in those terms but the music on this disc does wholly deserve it, especially in performances of this quality.

Inevitably most of it consists of marches. Most of the best known are here along with a few less familiar such as “Ancient and Honourable Artillery Company” and “Who’s who in Navy Blue”. Specialists in Gilbert and Sullivan will have to have it because of the “Mikado March”, similar to Komzak’s “Barataria March” in its use of G&S melodies to form a march. In addition to the marches the disc includes several short bugle and drum pieces. Amazingly given the limitations of the medium these are actually worth hearing … if not too often. There is also a Tango - the least erotic I have come across, a Polonaise, a set of Valses and a “Dance Hilarious” - a kind of impression of ragtime as seen by an outsider. None of these really match the sheer genius of the marches but they are entertaining and help to break up what might otherwise become a predictable set of pieces. None of the Suites or other longer items that Naxos have are included here but it is nonetheless a disc that can be listened to straight through with enjoyment." -- John Sheppard, MusicWeb International Carter: Violin Concerto, Concerto for Orchestra
"I am sure that many people are hoping that the American Classics line will not start and end with the ten discs issued in May. While EMI's vaults may not be as generously stocked with American music as with British music there is surely much more to come. I think particularly of Abravanel's splendid Utah Symphony Orchestra recording of the Roy Harris Folksong Symphony and their Albany collection of tone-poems from the American Musical Renaissance. If they could also strike a deal with Sony to reissue the Ruggles-Tilson Thomas recordings issued on vinyl by CBS in 1973 the company would sweep the board. As it is, the present month's release schedule mixes the usual suspects with the less predictable such as this extremely valuable reissue from 1992.

The long-lived and staggeringly productive Elliott Carter is represented by three works in his later non-tonal idiom. Two of the works strike me as episodically engaging while the third has a more consistent grip on the attention. Carter specialises in episodic constructs and this is in evidence here. The manner is virtually expected in the Three Occasions and in the Concerto for Orchestra. The first two Occasions present the composer as the master of bejewelled incident - a sequence of flurries, eddies, squalls and fleeting tempests. The third, Anniversary, is more prepossessing with a sour-edged lyrical flux and several intriguing asides such as the impudent clarinet figuration towards the close. The Concerto for Orchestra virtually incites flashes of virtuosity and this Carter provides across six movements including a bat-wing fluttering Presto volando. Oliver Knussen and the well practised London Sinfonietta are attuned to this music and play it with consummate confidence. They were fully aware of the honours and duties of making the first commercial recordings of these works. In contrast with the other works the Violin Concerto conveys a greater sense of line and communication. Ole Böhn's absorbed and absorbing advocacy undoubtedly help. Here Carter's music moves between furious atonal yet aspirational virtuosity, the spattered angular projection of a Jackson Pollock, ancient mysteries (the central Angosciato) and the feathery-spiky, William Schuman-like Scherzando...A superbly recorded and brilliantly performed Carter collection."

-- Rob Barnett, MusicWeb International

Adams: Shaker Loops, The Chairman Dances
"Shaker Loops receives a vigorous, convincing performance that can stand comparison with Adams’s own on Nonesuch. The Chairman Dances is one of Adams’s chugging, churning rhythm pieces. It comprises a “deleted scene” from Nixon in China, and as such is best enjoyed as a display of virtuoso orchestration on the order of Boléro or La valse. Short Ride was written for Michael Tilson Thomas’s first concert at Great Woods in Manchester, Massachusetts; it’s the kind of curtain raiser that engages the listener’s interest for the more substantial fare to follow."

-- Christopher Abbot, Fanfare
Adams: Grand Pianola Music
"A quite different kind of contemporary creativity is offered by John Adams, who is of the Minimalist school (which means making a lot out of a little, mainly by repetitive devices). My introduction to his music came with Shaker Loops. There are four linked movements and in spite of the repeating syndrome the effect is both imaginative and hypnotic...But the piece which really convinces me that the Minimalist school could instigate a genuinely creative originality, is the HMV issue of Adams's Grand Pianola Music directed by Ransom Wilson. This is much more ambitious than it sounds for the Solisti New York feature voices and provide a wide orchestral palate, including percussion, with the pianos consistently embroidering the texture. The first movement is powerfully kaleidoscopic, the second serene and the finale makes a crossover into the world of pop music for its material, to build a huge climax on a single melodic fragment with most compulsive effect...I do urge collectors to sample this remarkable music."

-- Gramophone [1/1986]

Reich: Four Organs; Glass: Facades, Company
"From Reich's earliest days comes Four Organs in a performance by Michael Tilson Thomas who at that time had only recently completed his Ruggles recording project for CBS. It's one of Reich's most extreme pieces and I can well believe the anecdote that at one of the New York performances one woman rushed forward from the audience shouting repeatedly 'All right, I confess!' It is repetition stark and unadorned. The harmony remains the same throughout its 24 minutes with the only change being the length of particular notes in the repeatedly expressed cell. The only decoration is a maraca or sand box sound above the organ cell.

Philip Glass is represented by shorter works. His Façades is from the score for the 1983 film Koyaanisqatsi. This was written for an unused montage of New York skyscrapers. The insistently murmuring string cell is subdued and troubled with a Herrmann-like hysteria subtext. The four movements that make up Company - nothing to do with the Sondheim musical - were originally written for a play based on Samuel Beckett's novella of that name. I have heard this work recently in the Naxos 3 CD boxed set including three of Glass's symphonies. Christopher Warren-Green gives the score greater edge and fullness. The music steps not that far away from Sibelius's Rakastava."

-- Rob Barnett, MusicWeb International

Ives: Songs, Orchestral Sets
"This CD is exactly what its title implies—a portrait of Ives through some of his most characteristic music. No soft options are taken. At times this is the rough ride up the mountain, as Ives called it, but the view is magnificent. Henry Herford, whose recordings of Ives's songs on Unicorn-Kanchana I have particularly commended (9/91 and 3/92), is ideally suited to delivering classics like General William Booth, rare pop numbers from Ives's student days like The bells of Yale, and the composer's exquisite farewell to composition—the late Sunrise from 1926, to his own text. And Ingo Metzmacher, with his excellent German band, knows exactly how to get the most out of Ives's exploratory studies such as the Tone Roads pieces and From the steeples and the mountains. Gone are the days when tough songs like On the Antipodes or Aeschylus and Sophocles were avoided or approached tentatively! Now they are revelations...This is an outstanding anthology—the best now on offer—admirably chosen and planned with every component vividly delivered. I cannot imagine that anyone interested in Ives will not rush to obtain it."

-- Peter Dickinson, Gramophone 6/1993
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Works on This Recording

1. Gallant and Gay We'll March Away by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 1 Minutes 26 Secs. 
2. Pathfinder of Panama by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1915; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 31 Secs. 
3. El Capitan (march) by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1896; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 24 Secs. 
4. Ancient and Honorable Artillery Company by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1924; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 21 Secs. 
5. Gladiator March by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1886; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 51 Secs. 
6. Gliding Girl by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1912; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 4 Minutes 40 Secs. 
7. Foshay Tower Washington Memorial by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1929; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 22 Secs. 
8. Who's Who in Navy Blue by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1920; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 44 Secs. 
9. King Cotton by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1895; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 43 Secs. 
10. Presidential Polonaise by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1886; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 4 Minutes 2 Secs. 
11. Liberty Bell by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1893; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 42 Secs. 
12. With Steady Step by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 0 Minutes 49 Secs. 
13. Stars and Stripes Forever by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1897; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 37 Secs. 
14. Sabre and Spurs by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1918; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 15 Secs. 
15. La Reine de la Mer by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1886; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 6 Minutes 1 Secs. 
16. Mikado March by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1885; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 18 Secs. 
17. George Washington Bicentennial by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1930; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 33 Secs. 
18. Manhattan Beach by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1893; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 19 Secs. 
19. With Pleasure by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1912; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 43 Secs. 
20. Fairest of the Fair by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1908; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 3 Minutes 39 Secs. 
21. Here's to your Health, Sir! by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 0 Minutes 40 Secs. 
22. Washington Post by John Philip Sousa
Conductor:  Timothy Foley
Orchestra/Ensemble:  Great American Main Street Band
Period: Romantic 
Written: 1889; USA 
Venue:  Rye Presbyterian Church, Rye, NY 
Length: 2 Minutes 44 Secs. 
23. Maple Leaf Rag by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1899; USA 
Length: 3 Minutes 7 Secs. 
24. The Entertainer by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1902; USA 
Length: 5 Minutes 25 Secs. 
25. The Easy Winners by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1901; USA 
Length: 4 Minutes 10 Secs. 
26. Gladiolus Rag by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1907; USA 
Length: 4 Minutes 33 Secs. 
27. Pine Apple Rag by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1908; USA 
Length: 3 Minutes 27 Secs. 
28. Bethena by Scott Joplin
Performer:  Ralph Grierson (Piano)
Conductor:  George Sponhaltz
Orchestra/Ensemble:  Southland Stingers
Period: 20th Century 
Written: 1905; USA 
Length: 4 Minutes 39 Secs. 
29. The Favorite by Scott Joplin
Performer:  Ralph Grierson (Piano)
Conductor:  George Sponhaltz
Orchestra/Ensemble:  Southland Stingers
Period: 20th Century 
Written: 1904; USA 
Length: 3 Minutes 5 Secs. 
30. Stoptime Rag by Scott Joplin
Performer:  Ralph Grierson (Piano)
Conductor:  George Sponhaltz
Orchestra/Ensemble:  Southland Stingers
Period: 20th Century 
Written: 1910; USA 
Length: 2 Minutes 58 Secs. 
31. Heliotrope Bouquet by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1907; USA 
Length: 5 Minutes 55 Secs. 
32. Paragon Rag by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1909; USA 
Length: 3 Minutes 51 Secs. 
33. Solace by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1909; USA 
Length: 7 Minutes 6 Secs. 
34. Magnetic Rag by Scott Joplin
Performer:  Joshua Rifkin (Piano)
Period: 20th Century 
Written: 1914; USA 
Length: 5 Minutes 1 Secs. 
35. A Breeze from Alabama by Scott Joplin
Performer:  Ralph Grierson (Piano)
Conductor:  George Sponhaltz
Orchestra/Ensemble:  Southland Stingers
Period: 20th Century 
Written: 1901; USA 
Length: 3 Minutes 32 Secs. 
36. Pleasant Moments by Scott Joplin
Performer:  Ralph Grierson (Piano)
Conductor:  George Sponhaltz
Orchestra/Ensemble:  Southland Stingers
Period: 20th Century 
Written: 1909; USA 
Length: 2 Minutes 45 Secs. 
37. Wall Street Rag by Scott Joplin
Performer:  Ralph Grierson (Piano)
Conductor:  George Sponhaltz
Orchestra/Ensemble:  Southland Stingers
Period: 20th Century 
Written: 1909; USA 
Length: 3 Minutes 6 Secs. 
38. Grand Canyon Suite by Ferde Grofé
Conductor:  Felix Slatkin
Orchestra/Ensemble:  Hollywood Bowl Symphony Orchestra
Period: 20th Century 
Written: 1931; USA 
39. Mississippi Suite by Ferde Grofé
Conductor:  Felix Slatkin
Orchestra/Ensemble:  Hollywood Bowl Symphony Orchestra
Period: 20th Century 
Written: 1925; USA 
40. Death Valley Suite by Ferde Grofé
Conductor:  Ferde Grofé
Orchestra/Ensemble:  Capitol Symphony Orchestra
Period: 20th Century 
Written: 1957; USA 
41. Grand Canyon Suite: Cloudburst by Ferde Grofé
Conductor:  Ferde Grofé
Orchestra/Ensemble:  Capitol Symphony Orchestra
Period: 20th Century 
Written: 1931; USA 
42. Lady, be Good: Little jazz bird by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1924; USA 
Date of Recording: 02/1975 
Venue:  Paddington, London, England 
Length: 2 Minutes 51 Secs. 
43. Porgy and Bess: Oh Bess, where's my Bess? by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1935; USA 
Date of Recording: 02/1975 
Venue:  Paddington, London, England 
Length: 4 Minutes 16 Secs. 
44. Oh, Kay!: Someone to watch over me by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1926; USA 
Date of Recording: 02/1975 
Venue:  Paddington, London, England 
Length: 3 Minutes 27 Secs. 
45. Preludes (3) for Piano by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1926; USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 6 Minutes 24 Secs. 
46. Shall We Dance: Promenade "Walking the dog" by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1936-1937; USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 2 Minutes 50 Secs. 
47. Merry Andrew by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1928; New York, USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 1 Minutes 29 Secs. 
48. Porgy and Bess: Jasbo Brown Blues by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1935; USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 3 Minutes 2 Secs. 
49. Impromptu for Piano in 2 keys by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: circa 1924; USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 1 Minutes 19 Secs. 
50. Waltzes (2) for Piano in C major by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1933; New York, USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 4 Minutes 3 Secs. 
51. Three-quarter blues by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 0 Minutes 55 Secs. 
52. Rialto Ripples by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1917; USA 
Date of Recording: 09/1979 
Venue:  Wigmore Hall, London, England 
Length: 2 Minutes 31 Secs. 
53. George Gershwin's Songbook for Piano by George Gershwin
Performer:  Richard Rodney Bennett (Piano)
Period: 20th Century 
Written: 1932; USA 
Date of Recording: 11/1974 
Venue:  Hornsey Town Hall, London, England 
Length: 15 Minutes 19 Secs. 
54. Roberta: Smoke Gets in Your Eyes by Jerome Kern
Performer:  Barry Tuckwell (Horn), Richard Rodney Bennett (Piano)
Conductor:  Neil Richardson
Period: 20th Century 
Written: 1933; USA 
Venue:  No. 1 Studio, Abbey Road, London 
Length: 4 Minutes 27 Secs. 
55. Swing Time: The Way You Look Tonight by Jerome Kern
Performer:  Richard Rodney Bennett (Piano), Barry Tuckwell (Horn)
Conductor:  Neil Richardson
Period: 20th Century 
Written: 1936; USA 
Venue:  No. 1 Studio, Abbey Road, London 
Length: 4 Minutes 21 Secs. 
56. Very Warm for May: All the Things You Are by Jerome Kern
Performer:  Barry Tuckwell (Horn), Richard Rodney Bennett (Piano)
Conductor:  Neil Richardson
Period: 20th Century 
Written: 1939; USA 
Venue:  No. 1 Studio, Abbey Road, London 
Length: 3 Minutes 10 Secs. 
57. Roberta: Yesterdays by Jerome Kern
Performer:  Richard Rodney Bennett (Piano), Barry Tuckwell (Horn)
Conductor:  Neil Richardson
Period: 20th Century 
Written: 1933; USA 
Venue:  No. 1 Studio, Abbey Road, London 
Length: 3 Minutes 51 Secs. 
58. Cover Girl: Long Ago and Far Away by Jerome Kern
Performer:  Barry Tuckwell (Horn), Richard Rodney Bennett (Piano)
Conductor:  Neil Richardson
Period: 20th Century 
Written: 1944; USA 
Venue:  No. 1 Studio, Abbey Road, London 
Length: 4 Minutes 15 Secs. 
59. Show Boat: Why do I love you? by Jerome Kern
Performer:  Barry Tuckwell (Horn), Richard Rodney Bennett (Piano)
Conductor:  Neil Richardson
Period: 20th Century 
Written: 1927; USA 
Venue:  No. 1 Studio, Abbey Road, London 
Length: 2 Minutes 38 Secs. 
60. Concerto for Orchestra by Elliott Carter
Conductor:  Oliver Knussen
Orchestra/Ensemble:  London Sinfonietta
Period: 20th Century 
Written: 1969; USA 
Length: 19 Minutes 30 Secs. 
61. Concerto for Violin by Elliott Carter
Performer:  Ole Böhn (Violin)
Conductor:  Oliver Knussen
Orchestra/Ensemble:  London Sinfonietta
Period: 20th Century 
Written: 1990; USA 
Length: 25 Minutes 15 Secs. 
62. Three Occasions by Elliott Carter
Conductor:  Oliver Knussen
Orchestra/Ensemble:  London Sinfonietta
Period: 20th Century 
Written: 1986-1989; USA 
Length: 16 Minutes 21 Secs. 
63. Concert for Piano and Orchestra by John Cage
Conductor:  Rainer Riehn
Orchestra/Ensemble:  Musica Negativa Ensemble
Period: 20th Century 
Written: 1957-1958; USA 
64. Credo in US by John Cage
Conductor:  Rainer Riehn
Orchestra/Ensemble:  Musica Negativa Ensemble
Period: 20th Century 
Written: 1942; USA 
65. Imaginary Landscape no 1 by John Cage
Conductor:  Rainer Riehn
Orchestra/Ensemble:  Musica Negativa Ensemble
Period: 20th Century 
Written: 1939; USA 
66. Rozart Mix by John Cage
Conductor:  Rainer Riehn
Orchestra/Ensemble:  Musica Negativa Ensemble
Period: 20th Century 
Written: 1965; USA 
67. Music for Carillon no 1 by John Cage
Orchestra/Ensemble:  Gentle Fire
Period: 20th Century 
Written: 1952; USA 
68. Suite for Toy Piano by John Cage
Orchestra/Ensemble:  Gentle Fire
Period: 20th Century 
Written: 1948; USA 
69. The Chairman Dances by John Adams
Conductor:  Simon Rattle
Orchestra/Ensemble:  City of Birmingham Symphony Orchestra
Period: 20th Century 
Written: 1985; USA 
Length: 12 Minutes 49 Secs. 
70. Grand Pianola Music by John Adams
Conductor:  Ransom Wilson,  Christopher Warren-Green,  Simon Rattle
Orchestra/Ensemble:  City of Birmingham Symphony Orchestra,  London Chamber Orchestra,  Solisti New York
Period: 20th Century 
Written: 1982; USA 
Length: 32 Minutes 9 Secs. 
71. Shaker Loops by John Adams
Conductor:  Christopher Warren-Green
Orchestra/Ensemble:  London Chamber Orchestra
Period: 20th Century 
Written: 1978; USA 
Length: 24 Minutes 19 Secs. 
72. Fanfares (2) for Orchestra: Short Ride in a Fast Machine by John Adams
Conductor:  Simon Rattle
Orchestra/Ensemble:  City of Birmingham Symphony Orchestra
Period: 20th Century 
Written: 1986; USA 
Length: 4 Minutes 28 Secs. 
73. Eight Lines by Steve Reich
Performer:  Ransom Wilson (Alto Flute), Ransom Wilson (Flute), Ransom Wilson (Percussion)
Orchestra/Ensemble:  Solisti New York
Period: 20th Century 
Written: 1979/1983; USA 
Length: 18 Minutes 20 Secs. 
74. Four Organs by Steve Reich
Performer:  Michael Tilson Thomas (Organ)
Period: 20th Century 
Written: 1970; USA 
Length: 24 Minutes 20 Secs. 
75. Facades by Philip Glass
Conductor:  Christopher Warren-Green
Orchestra/Ensemble:  London Chamber Orchestra
Period: 20th Century 
Written: 1981; USA 
Length: 7 Minutes 52 Secs. 
76. Company by Philip Glass
Conductor:  Christopher Warren-Green
Orchestra/Ensemble:  London Chamber Orchestra
Written: 1983; USA 
Length: 8 Minutes 20 Secs. 
77. Dover Beach, Op. 3 by Samuel Barber
Performer:  Thomas Allen (Baritone)
Orchestra/Ensemble:  Endellion String Quartet
Period: 20th Century 
Written: 1931; USA 
Venue:  Blackheath Concert Hall, London, England 
Length: 8 Minutes 25 Secs. 
78. Serenade for Strings, Op. 1 by Samuel Barber
Orchestra/Ensemble:  Endellion String Quartet
Period: 20th Century 
Written: 1929; USA 
Venue:  Blackheath Concert Hall, London, England 
Length: 9 Minutes 1 Secs. 
79. Songs (3), Op. 2 by Samuel Barber
Performer:  Thomas Allen (Baritone), Roger Vignoles (Piano)
Period: 20th Century 
Written: 1927-1934; USA 
Venue:  St. George's, Brandon Hill, Bristol, Eng 
Length: 4 Minutes 45 Secs. 
80. Songs (3), Op. 10 by Samuel Barber
Performer:  Roger Vignoles (Piano), Thomas Allen ()
Period: 20th Century 
Written: 1936; USA 
Venue:  St. George's, Brandon Hill, Bristol, Eng 
Length: 7 Minutes 23 Secs. 
81. Four Songs, Op. 13: 1. Nocturne by Samuel Barber
Performer:  Roger Vignoles (Piano), Thomas Allen ()
Period: Modern 
Written: 1937-1940 
Venue:  St. George's, Brandon Hill, Bristol, Eng 
Length: 3 Minutes 9 Secs. 
82. Songs (4), Op. 13: no 3, Sure on this Shining Night by Samuel Barber
Performer:  Roger Vignoles (Piano), Thomas Allen ()
Period: 20th Century 
Written: 1938; USA 
Venue:  St. George's, Brandon Hill, Bristol, Eng 
Length: 2 Minutes 17 Secs. 
83. Songs (3), Op. 45 by Samuel Barber
Performer:  Roger Vignoles (Piano), Thomas Allen ()
Period: 20th Century 
Written: 1972; USA 
Venue:  St. George's, Brandon Hill, Bristol, Eng 
Length: 6 Minutes 16 Secs. 
84. Quartet for Strings in B minor, Op. 11 by Samuel Barber
Orchestra/Ensemble:  Endellion String Quartet
Period: 20th Century 
Written: 1936; Rome, Italy 
Venue:  St. George's, Brandon Hill, Bristol, Eng 
Length: 18 Minutes 29 Secs. 
85. Despite and Still, Op. 41 by Samuel Barber
Performer:  Eric Cutler (Tenor), Bradley Moore (Piano)
Period: 20th Century 
Written: 1968-1969; USA 
Venue:  Lyndhurst Hall, Air Studios, London, Eng 
Length: 9 Minutes 33 Secs. 
86. Symphony no 3 by Aaron Copland
Conductor:  Eduardo Mata
Orchestra/Ensemble:  Dallas Symphony Orchestra
Period: 20th Century 
Written: 1944-1946; USA 
Length: 41 Minutes 32 Secs. 
87. Danzón Cubano by Aaron Copland
Conductor:  Eduardo Mata
Orchestra/Ensemble:  Dallas Symphony Orchestra
Period: 20th Century 
Written: 1942; USA 
Length: 8 Minutes 4 Secs. 
88. Dance Symphony by Aaron Copland
Conductor:  Enrique Bátiz
Orchestra/Ensemble:  Orquesta Tipica De La Ciudad De Mexico,  Mexico City Philharmonic Orchestra
Period: 20th Century 
Written: 1930; USA 
Length: 17 Minutes 1 Secs. 
89. Fanfare for the common man by Aaron Copland
Performer:  Bruce Hubbard (Baritone)
Conductor:  Dennis Russell Davies,  Enrique Bátiz,  Eduardo Mata
Orchestra/Ensemble:  Mexico City Philharmonic Orchestra,  Dallas Symphony Orchestra,  Orchestra of St. Luke's
Period: 20th Century 
Written: 1942; USA 
Length: 3 Minutes 39 Secs. 
90. El salón México by Aaron Copland
Conductor:  Eduardo Mata
Orchestra/Ensemble:  Dallas Symphony Orchestra
Period: 20th Century 
Written: 1932-1936; USA 
Length: 10 Minutes 50 Secs. 
91. Old American Songs, Set 1 by Aaron Copland
Performer:  Bruce Hubbard (Baritone)
Conductor:  Dennis Russell Davies
Orchestra/Ensemble:  Orchestra of St. Luke's
Period: 20th Century 
Written: 1950; USA 
Length: 11 Minutes 29 Secs. 
92. Old American Songs, Set 2 by Aaron Copland
Performer:  Bruce Hubbard (Baritone)
Conductor:  Dennis Russell Davies
Orchestra/Ensemble:  Orchestra of St. Luke's
Period: 20th Century 
Written: 1952; USA 
Length: 12 Minutes 2 Secs. 
93. Appalachian Spring by Aaron Copland
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  St. Louis Symphony Orchestra
Period: 20th Century 
Written: 1943-1944; USA 
94. Concerto for Clarinet by Aaron Copland
Performer:  David Shifrin (Clarinet)
Conductor:  Gerard Schwarz
Orchestra/Ensemble:  New York Chamber Symphony
Period: 20th Century 
Written: 1947-1948; USA 
95. Music for the Theatre by Aaron Copland
Performer:  David Shifrin (Clarinet), Mark Hill (English Horn)
Conductor:  Gerard Schwarz
Orchestra/Ensemble:  New York Chamber Symphony
Period: 20th Century 
Written: 1925; USA 
96. Quiet City by Aaron Copland
Performer:  Mark Hill (English Horn), Neil Balm (Trumpet)
Conductor:  Gerard Schwarz
Orchestra/Ensemble:  New York Chamber Symphony
Period: 20th Century 
Written: 1939; USA 
97. Dance Panels by Aaron Copland
Performer:  David Shifrin (Clarinet)
Conductor:  Gerard Schwarz
Orchestra/Ensemble:  New York Chamber Symphony
Period: 20th Century 
Written: 1959/1962; USA 
98. Candide: Overture by Leonard Bernstein
Conductor:  Leonard Slatkin,  Simon Rattle,  Paavo Järvi
Orchestra/Ensemble:  St. Louis Symphony Orchestra
Period: 20th Century 
Written: 1956; USA 
Length: 4 Minutes 19 Secs. 
99. Prelude, Fugue and Riffs by Leonard Bernstein
Conductor:  Simon Rattle
Orchestra/Ensemble:  London Sinfonietta
Period: 20th Century 
Written: 1949/1955; USA 
Length: 7 Minutes 45 Secs. 
100. Facsimile by Leonard Bernstein
Performer:  Barbara Lieberman (Piano)
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  St. Louis Symphony Orchestra
Period: 20th Century 
Written: 1946; USA 
Length: 18 Minutes 34 Secs. 
101. 1600 Pennsylvania Avenue: Scena by Leonard Bernstein
Performer:  Bruce Hubbard (Baritone)
Conductor:  Dennis Russell Davies
Orchestra/Ensemble:  Orchestra of St. Luke's
Period: 20th Century 
Written: 1976; USA 
Length: 3 Minutes 29 Secs. 
102. Mass: A Simple Song by Leonard Bernstein
Performer:  Bruce Hubbard (Baritone)
Conductor:  Dennis Russell Davies
Orchestra/Ensemble:  Orchestra of St. Luke's
Period: 20th Century 
Written: 1971; USA 
Length: 4 Minutes 44 Secs. 
103. On the Town: Three Dance episodes by Leonard Bernstein
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  St. Louis Symphony Orchestra
Period: 20th Century 
Written: 1944; USA 
104. West Side Story: Symphonic Dances by Leonard Bernstein
Conductor:  Paavo Järvi
Orchestra/Ensemble:  City of Birmingham Symphony Orchestra
Period: 20th Century 
Written: 1960; USA 
105. Wonderful Town by Leonard Bernstein
Performer:  Audra McDonald (Soprano), Thomas Hampson (Baritone), Brent Barrett (Voice),
Rodney Gilfry (Baritone), Kim Criswell (Soprano), Robert Fardell (Voice),
Karl Daymond (Baritone), Timothy Robinson (Tenor), Lynton Atkinson (Tenor),
Michael Dore (Voice), Simone Sauphanor (Voice), Melanie Marshall (Mezzo Soprano),
Kimberly Cobb (Voice)
Conductor:  Simon Rattle
Orchestra/Ensemble:  London Voices,  Birmingham Contemporary Music Group
Period: 20th Century 
Written: 1952; USA 
Date of Recording: 06/1998 
Venue:  EMI Abbey Road Studio No. 1, London 
Length: 66 Minutes 46 Secs. 
Language: English 
106. Summer Music, Op. 31 by Samuel Barber
Performer:  Stanley Drucker (Clarinet), Jeanne Baxtresser (Flute), Judith LeClair (Bassoon),
Philip Myers (French Horn), Joseph Robinson (Oboe)
Period: 20th Century 
Written: 1956; USA 
Length: 10 Minutes 57 Secs. 
107. Canzone for Flute and Piano, Op. 38a by Samuel Barber
Performer:  Israela Margalit (Piano), Jeanne Baxtresser (Flute)
Period: 20th Century 
Written: 1961; USA 
Length: 4 Minutes 25 Secs. 
108. Excursions (4) for Piano, Op. 20: no 1, Un poco allegro by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1942-1944; USA 
Length: 2 Minutes 53 Secs. 
109. Excursions (4) for Piano, Op. 20: no 2, In Slow Blues Tempo by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1942-1944; USA 
Length: 5 Minutes 9 Secs. 
110. Excursions (4) for Piano, Op. 20: no 3, Allegretto by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1944; USA 
Length: 3 Minutes 22 Secs. 
111. Excursions (4) for Piano, Op. 20: no 4, Allegro molto by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1942-1944; USA 
Length: 2 Minutes 36 Secs. 
112. Nocturne for Piano, Op. 33 "Homage to John Field" by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1959; USA 
Length: 4 Minutes 27 Secs. 
113. Souvenirs, Op. 28: Pas de deux by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1952; USA 
Length: 4 Minutes 52 Secs. 
114. Souvenirs, Op. 28: Two Step by Samuel Barber
Performer:  Israela Margalit (Piano)
Period: 20th Century 
Written: 1952; USA 
Length: 2 Minutes 0 Secs. 
115. Sonata for Cello and Piano, Op. 6 by Samuel Barber
Performer:  Israela Margalit (Piano), Alan Stepansky (Cello)
Period: 20th Century 
Written: 1932; USA 
Length: 18 Minutes 56 Secs. 
116. Set no 1 for Small Orchestra: no 1, The See'r by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1907-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 0 Minutes 48 Secs. 
117. Set no 1 for Small Orchestra: no 2, A Lecture by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1907-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 1 Secs. 
118. Set no 1 for Small Orchestra: no 4, Like a Sick Eagle by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1907-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 28 Secs. 
119. Set no 1 for Small Orchestra: no 6, When the moon by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1907-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 27 Secs. 
120. General William Booth Enters into Heaven by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1914; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 5 Minutes 6 Secs. 
Language: English 
121. Tone Roads (3): no 1, Fast "All Roads Lead to the Centre" by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 2 Minutes 42 Secs. 
122. From the Steeples and Mountains for Brass and Bells by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: ?1901-02; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 3 Minutes 35 Secs. 
123. Tone Roads (3): no 3, Slow and fast "Rondo rapid transit" by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1915; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 3 Minutes 18 Secs. 
124. Set no 3 for Small Orchestra: no 1, Adagio sostenuto "At Sea" by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: circa 1918-1919; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 7 Secs. 
125. Mists by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1910; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 39 Secs. 
126. On the Antipodes by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1915-1923; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 2 Minutes 32 Secs. 
Language: English 
127. Set no 6 for Small Orchestra "From the Side Hill": no 2, The Rainbow by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: circa 1925-1930; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 52 Secs. 
128. Set no 7 for Small Orchestra "Water Colors": no 3, The Pond by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: circa 1925-1930; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 38 Secs. 
129. The Bells of Yale by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: ?1897-98; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 2 Minutes 50 Secs. 
Language: English 
130. Set no 1 for Small Orchestra: no 5, Calcium Light Night by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1907-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 2 Minutes 26 Secs. 
131. The Gong on the Hook and Ladder "Firemen's Parade on Main Street" by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: ?1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 49 Secs. 
132. All the Way Around and Back by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1906; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 2 Secs. 
133. Over the Pavements by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1906-1913; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 4 Minutes 40 Secs. 
134. Set no 1 for Small Orchestra: no 3, The Ruined River by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1907-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 7 Secs. 
135. Set no 2 for Small Orchestra: no 1, Largo "The Indians" by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: ?1911-14; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 35 Secs. 
136. Set no 2 for Small Orchestra: no 2, Gyp the Blood or Hearst!? Which is Worst?! by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: ?1911-14; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 1 Minutes 14 Secs. 
137. Aeschylus and Sophocles by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1922; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 3 Minutes 10 Secs. 
Language: English 
138. Set for Theatre or Chamber Orchestra by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1906-1911; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 8 Minutes 31 Secs. 
139. Sunrise by Charles Ives
Conductor:  Ingo Metzmacher
Orchestra/Ensemble:  Ensemble Modern
Period: 20th Century 
Written: 1926; USA 
Date of Recording: 12/1991 
Venue:  Hall of Deutsche Bank, Frankfurt 
Length: 5 Minutes 58 Secs. 
Language: English 
140. West London by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1921; USA 
141. The Side-show by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1921; USA 
142. The Greatest Man by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1921; USA 
143. The Cage by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1906; USA 
144. Swimmers by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1915; USA 
145. Soliloquy by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1907; USA 
146. Set no 6 for Small Orchestra "From the Side Hill": no 4, Evening by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: circa 1925-1930; USA 
147. Charlie Rutlage by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1920-1921; USA 
148. At the River by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: ?1916; USA 
149. Ann Street by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1921; USA 
150. A Farewell to Land by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1909; USA 
151. A Christmas Carol by Charles Ives
Performer:  Marni Nixon (Soprano), John McCabe (Piano), Henry Herford (Baritone)
Period: 20th Century 
Written: 1894; USA 

Customer Reviews

Average Customer Review:  1 Customer Review )
 American music, undiluted August 1, 2012 By Harold C. (Arlington, VA) See All My Reviews "EMI has issued a wonderful collection of American music, some familiar and some not, but all interesting and entertaining. The first two volumes, Sousa marches and Joplin rags and waltzes, are alone worth the cost of the set. The range of music presented here is very wide, so there are many selections which please most listeners - and a few to offend some! This set can be explored for weeks with new revelations on each hearing. Not to be missed." Report Abuse
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