segunda-feira, 30 de julho de 2012

Paul Mauriat - The Best Of Paul Mauriat

  1. Love Is Blue
  2. Puppet On A String
  3. Song For Anna
  4. Les Deux Guitares
  5. Last Summer Day
  6. New York New York
  7. Nocturne
  8. Pearl Fishers
  9. Guantanamera
  10. Jeux Interdits
  11. Those Were The Days
  12. La Chanson De Lara
  13. Snow Desert
  14. Etude In A New Form
  15. The Piano On The Wave
  16. Pulstar
  17. I Will Follow Him
  18. Nagekidori (L'Oiseau Bléssé)
  19. Piano Star
  20. Toccata
  21. El Bimbo
Best Of Paul Mauriat

sábado, 28 de julho de 2012

Leroy Anderson - The Leroy Anderson Collection - Disc Two

  1. Serenata
  2. Horse & Buggy
  3. A Trumpeter's Lullaby (Trumpet Solo: James Burke)
  4. Song Of The Bells
  5. Summer Skies
  6. Promenade
  7. Sleigh Ride
  8. Clarinet Candy (Soloists: Vincent Abato, Herbert Blayman, Roger Hiller, Bernard Portnoy)
  9. The Golden Years
  10. Lazy Moon
  11. I Never Known When
  12. Arietta
  13. The Pussy Foot
  14. Home Stretch
  15. Balladette
  16. Shall I Take My Heart
  17. The Captains And The Kings
  18. Town House Maxixe
  19. Pirate Dance
  20. The Irish Washerwoman *
  21. The Minstrel Boy *
  22. The Rakes Of Mallow *
  23. The Wearing Of The Green *
  24. The Last Rose Of Summer (With Violin Solo) *
  25. The Girl I Left Behind Me *
* From the Irish Suite (Orchestrations by Leroy Anderson) 

The Collection - Disc Two


Anderson and his musical world are unique; this was best illustrated when a musicologist, at a loss to define a specific kind of music then under discussion, solved the problem most felicitously by simply calling it "Leroy Anderson Music". Verbal descriptions of music are, at best, vague; music's very essence being elusive to the word. The musicologist, not wanting to fall back on the usual meaningless jargon - "semi-classical" or "light music", for example - came up with a more fitting terminology by invoking the name of the most celebrated practitioner of a highly specialized branch of music.

Of course, the music of Leroy Anderson speaks - or rather sings - for itself. Because he is a superb musician as well as an inimitable creator, Leroy Anderson can deftly use any number of musical devices, the same ones employed by Bach, Beethoven and other masters, to the delight of every one - even those who find so-called "classical" music too much for them. In fact, musical historians are already recognizing the fact that, in addition to his purely musical contributions, Leroy Anderson has added another important one. He is helping to break down that artificial iron curtain dividing serious and popular music.

How does this extraordinary man do this? While there is no explaining, defining or analyzing his unique gift for musical invention, the composer himself has furnished a small clue when he modestly said, "It's all a matter of time". This is merely another way of saying that a good deal of hard work and thought goes into every detail of each composition. Leroy Anderson does a lot of "composing in the mind", he will tell you, before he so much as sets a single note to paper. An entire year may go into the writing of a work, or a few bars may remain just a few bars until they can be developed into precisely the musical idea the composer has been seeking.

When the time comes for capturing the sounds in his mind on paper, Leroy Anderson is especially "careful scoring, editing and cueing". Each instrument assigned particular job at its proper moment and the entire composition is polished to that mysterious point where it contains exactly the right number of notes. One more or one less would spoil the total effect. The miracle is that, for all the painstaking labor, each composition by Leroy Anderson invariably sounds as if it had sprung spontaneously to life at the moment we hear it - fresh, ever new and enchanting.

Watching Leroy Anderson conduct his own music - for conducting too is among his accomplishments - is a revelation. His conducting is as uncluttered, undemonstrative, and to the point as is his music. It was interesting to observe, also, the reaction of the members of the orchestra to the music; their pleasure in playing the music was obvious, but even more telling was the fact that during the rest periods between "takes" they derived further pleasure by whistling the same music while they waited!

Needless to say, no conductor conducts Anderson as does Anderson; his is music that sings and dances in an inimitably captivating manner. It is, in short, "Leroy Anderson Music".

(Edward Jablonski, from the original liner notes)

quarta-feira, 25 de julho de 2012

Leroy Anderson - The Leroy Anderson Collection - Disc One

  1. Blue Tango
  2. Bugler's Holiday (Corner soloists: James Burke, John Ware, Raymond Crisara)
  3. The First Day Of Spring
  4. Sandpaper Ballet
  5. The Phantom Regiment
  6. Lady In Waiting (Ballet Music)
  7. Saraband
  8. Fiddle-Faddle
  9. The Girl In Satin
  10. The Typewriter
  11. The Waltzing Cat
  12. Plink, Plank, Plunk!
  13. Pyramid Dance (Heart Of Stone)
  14. Belle Of The Ball
  15. Forgotten Dreams (Piano Solo: Leroy Anderson)
  16. China Doll
  17. The Penny-Whistle Song
  18. Jazz Pizzicato
  19. Jazz Legato
  20. The Syncopated Clock
  21. The Blue Bells Of Scotland
  22. Turn Ye To Me (From "Scottish Suite")
The Collection - Disc One


Leroy Anderson was born in Cambridge, Massachusetts on June 19, 1908, son of Brewer Anton and Anna Margareta Anderson. Both of his parents had come to this country when they were young children, his father from Christiantad in southern Sweden, and his mother from Stockholm. His mother was a church organist and his first piano teacher. His father, a postal employee, was an amateur musician.

Leroy Anderson received his education, as he frequently said, "on one street, Broadway, Cambridge". He attended Cambridge Grammar School, Cambridge High and Latin High School, and Harvard University. He wrote, orchestrated and conducted the class song for his high school graduation. At Harvard he studied harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with william C. Heilman, and orchestration with Edward B. Hill and Walter Piston. He was graduated from Harvard College in 1929 with an A.B. magna cum laude in music, and was elected to Phi Beta Kappa. Continuing advanced work in the Graduate School as holder of the Elkan Naumberg Fellowship, he studied composition with Walter Piston and Georges Enesco. He also studied organ with Henry Gideon of Boston and double bass with Gaston Dufresne of the Boston Symphony Orchestra. In 1930 he received an M.A. in music and then taught for two years in the Division of Music at Radcliffe College.

At the same time, from 1929 to 1935, he served as church organist and choirmaster at the East Congregational Church, Milton, Massachusetts, was director of the Haqrvard University Band (1929-30 and 1932-36), and played in radio and dance orchestras in and around Boston, particularly those managed by Ruby Newman and by Roy Lamson. One summer he conducted an orchestra on the roof of the Ritz-Carlton Hotel. In these orchestras he played piano, double bass, and tuba, and occasionally played solo engagements on accordion. When he first joined the Harvard Band he played trombone, the instrument that his father had selected for him in order that, when he went to Harvard, he would be in the front row of the band when they marched at football games.

Unable to decide whether to make music or language teaching his career, Mr. Anderson continued graduate studies at Harvard toward a Ph.D. in German and Scandinavian languages, until he attracted the attention of Arthur Fiedler, conductor of the Boston Pops Orchestra.

In 1936, Mr. George Judd, the manager of the Boston Symphony Orchestra, told him that he had heard his arrangements for the Harvard Band and asked him to make a symphonic setting of Harvard songs for the 25th reunion of Mr. Judd's class and to conduct the number at the class's special night at the Pops. Mr. Fiedler conducted the concert except for the "Harvard Fantasy" to which he listened off-stage. After the concert Fiedler urged Anderson to write more for the Pops concerts, especially original compositions, and promised to perform the music if he thought it suitable. Two years later Anderson came back to conduct again and brought a piece called "Jazz Pizzicato" to use as an encore. Fiedler played it often, and a long association between Anderson and Fiedler had begun. Anderson became an orchestrator and arranger for the Pops, and Fiedler with the Pops premiered many of Anderson's works almost as soon as he completed them.

"Jazz Pizzicato", the first of Anderson's pieces to be published, was published in 1939, and recorded that same year. "Jazz Legato" was written for the recording as a companion piece to fill out the three-minute side of the record.

"Promenade" and "The Syncopated Clock" were written in 1945, while Anderson was in the Army, living in Arlington, Virginia and stationed in Washington, D.C. Anderson wrote "The Syncopated Clock" in about two days: he worked on "Fiddle-Faddle" off and on for six months, writing and re-writing. In 1946 "The Syncopated Clock" was adopted as the theme for CBS-TV's "The Late Show", and in 1976 it was still being used.

Other compositions written from 1946 through 1953 were: "Chicken Reel", "Serenata", "Irish Suite" (in six movements, a symphonic setting of folk tunes), "Saraband", "Sleigh Ride", "A Trumpeter's Lullaby", "The Waltzing Cat", "A Christmas Festival" (a symphonic setting of Christmas carols), and "The Typewriter".

Almost all of Anderson's compositions were written for orchestra, and almost all were about three minutes in length. Robert Sherman, program director of radio station WQXR in New York, said, " 'Concert music with a pop quality' is how Anderson himself described his work, and probably that is as close as we are going to get to a proper definition of his indefinable style. All I know is that an Anderson miniature is as immediately recognizable as a Strauss waltz, and most often just as captivating". Some of the most popular pieces incorporate familiar sounds - "The Typewriter" uses an actual typewriter and a carriage bell, "The Syncopated Clock" includes the ring of an alarm clock, and in "Sandpaper Ballet" medium, fine and coarse sandpaper duplicate the sound of vaudeville soft-shoe dancers. Many of the pieces have humorous touches, such as the horse whinny at the end of "Sleigh Ride", others are humorous ideas, as "The Waltzing Cat".

Lyrics were added to some of the pieces by Mitchell Parish.

"Blue Tango" was written in 1951 and recorded the same year. It sold over a million records (Anderson received a gold record) and became the first instrumental piece to reach the number one position on the "Hit Parade", the radio-television show. Other pieces which Anderson wrote in 1951 are: "China Doll", "Belle Of The Ball", "The Phantom Regiment", "The Penny-Whistle Song", "Horse And Buggy", "Plink, Plank, Plunk!". Completed for a recording in 1953 were "Song Of The Bells", "Summer Skies", "The Girl In Satin", and completed in 1954, also for a recording were "Forgotten Dreams", "Turn Ye To Me" and "The Bluebells Of Scotland" (two numbers which were part of a projected Scottish Suite), "The First Day Of Spring", "Sandpaper Ballet", and "Bugler's Holiday". Also written that year was "Alma Mater", a revision of the "Harvard Sketches" written and performed in 1939.

In 1955 he wrote three "Suite Of Carols", one for brass choir, one for string orchestra, and the third for woodwind ensemble.

In 1959 Anderson wrote the score for the Broadway musical "Goldilocks", with book by Jean and Walter Kerr and lyrics by Jean and Walter Kerr and Joan Ford.

During Leroy Anderson's career he was a guest conductor of the Boston Pops Orchestra and many other symphony orchestras throughout the United States and Canada, among them the Hollywood Bowl, St. Louis, Toronto, cleveland, Chicago and Miami orchestras. He also was a guest conductor of various bands, including the U.S. Air Force Band, the Purdue University Band, and the Goldman Band in New York City.

Anderson conducted eight recording sessions, from 1950 to 1962, for Decca records, in which he conducted his own compositions. His music was also recorded in its original symphonic form by Arthur Fiedler and the Boston Pops Orchestra, and in the 50's and 60's by Frederick Fennell and the Eastman-Rochester "Pops" Orchestra, the Utah Symphony with Maurice Abravanel, conductor, and Werner Muller and his Orchestra. In the 1980's the Rochester Pops recorded two digital records of Leroy Anderson music, one with Erich Kunzel conducting, the second with Newton Wayland. Others, using various arrangements of Anderson's music, made hundreds of individual recordings. Columbia Records released the original recording of "Goldilocks".

Leroy Anderson entered the Army in World War II as a private in 1942 and was released in 1946 as Captain. In 1942 he was sent to Iceland where he served as translator and interpreter. In 1943 he returned to the United States to attend Signal Corps Officer Candidate School at Ft. Monmouth, N.J. After receiving a commission he was assigned to Military Intelligence Service in Washington, D.C. where he was Chief of Scandinavian desk. He was recalled to active duty in the Korean War during 1951-52. Sent first to Ft. Riley, Kansas with the 525th Military Intelligence Group, he was transferred to Ft. Bragg, N.C. where he managed an officer's club. Transferred in May, 1952 to the Office of the Assistant Chief of Staff, Intelligence, Washington, D.C., he was released in December, 1952.

Mr. Anderson from 1968-75 was a member of the board of the Hartford, New Haven, and Waterbury, Connecticut Symphony Orchestras. He was chairman of the Board of Review of ASCAP 1962-64, and served on the board of the American Symphony Orchestra League.

In 1968 he was quoted about composing. "It is important to keep in mind the fact that music should be truly different and unique so that a contribution to musical literature is being made when it is written". (Purdue Esponet, Feb. 13, 1968)

Leroy Anderson died in Woodbury, Connecticut, May 18, 1975.

In September, 1986, a new gazebo-type band-stand on the North Green in Woodbury, Connecticut was dedicated to Leroy Anderson. That fall a new recording of his music was released which went to the top of the Billboard charts. Leroy Anderson was inducted, in April, 1988, into the Songwriters Hall of Fame in New York.

Leroy Anderson's Recording Career

Leroy Anderson conducted his own music in recording sessions for Decca Records from 1950 to 1962. These two discs contain all of his compositions that he recorded, except for the Suites Of Carols and A Christmas Festival.

George Wright Briggs, Jr., Anderson's long-time friend from Wellesley, Massachusetts has written, "On December 11, 1950 an event took place which was to mean a great deal in the career of Leroy Anderson. He was put into that select circle of composers who have had made available to them, from time to time, an orchestra of symphonic proportions in a recording studio for which to write for and conduct at will.

"By 1950 Anderson's stature in the field had grown to the point where the Decca Recording Company became persuaded that it would be profitable to afford him these special facilities. a large orchestra was necessary because his music was couched almost entirely in the basic European symphonic instrumentation of strings (1st and 2nd violins, violas, cellos, and string basses) plus woodwinds, brass and percussion. The musicians employed were the pick of New York's 'Local #802' and one can be sure that Leroy Anderson wasted little time at rehearsals; efficiency, as well as musical excellence, was his watchword. Roland Dupont, one of the trombonists, remembers the recording sessions as being held in an enthusiastic yet orderly atmosphere, the players enjoying the material they were performing and Anderson conducting fluently and precisely, knowing exactly what he wanted".

Many of the pieces were first performed when they were recorded by Decca.

(Eleanor Anderson, from the original liner notes)

segunda-feira, 23 de julho de 2012

James Last - Moon River

  1. Moon River
  2. Around The World
  3. Wenn sub das Mondlicht auf den Hugeln schlaft
  4. A String Of Pearls
  5. Theme From Love Story
  6. La Strada
  7. Maria
  8. Anna
  9. Lara's Theme
  10. The Seduction
  11. A Man And A Woman
  12. Morgens um sieben ist die Welt noch in Ordnung
  13. Love Theme From The Godfather
  14. Moonlight Serenade
  15. Theme From A Summer Place
  16. Never On Sunday
Moon River

sábado, 21 de julho de 2012

Frank Sinatra with the Red Norvo Quintet - Live in Australia, 1959

  1. Perdido (Instrumental)
  2. Between The Devil And The Deep Blue Sea
  3. I Could Have Danced All Night
  4. Just One Of Those Things
  5. I Get A Kick Out Of You
  6. At Long Last Love
  7. Willow Weep For Me
  8. I've Got You Under My Skin
  9. Moonlight In Vermont
  10. The Lady Is A Tramp
  11. Sinatra Speaks
  12. Angel Eyes
  13. Come Fly With Me
  14. All The Way
  15. Dancing In The Dark
  16. One For My Baby
  17. All Of Me
  18. On The Road To Mandalay
  19. Night And Day
Personnel:

Red Norvo - vibraphone
Jerry Dodgion - flute, alto saxophone
Bill Miller - piano
Jimmy Wyble - guitar
Red Wooten - bass
John Markham - drums
Frank Sinatra - vocals

Recorded on March and April, 1959 at the Melbourne Stadium, Australia

Long the favorite of collectors, who have cherished their bootlegged copies of the concert for years, Frank Sinatra with the Red Norvo Quintet -- Live in Australia 1959 was finally released officially in 1997, nearly 40 years after the concert was given. In many ways, the wait was actually positive, because Sinatra's loose, swinging performance is a startling revelation after years of being submerged in the Rat Pack mythology. Even on his swing records from the late '50s, he never cut loose quite as freely as he does here. Norvo's quintet swings gracefully and Sinatra uses it as a cue to deliver one of the wildest performances he has ever recorded -- he frequently took liberties with lyrics while on stage, but never has he twisted melodies and phrasings into something this new and vibrant. The set list remains familiar, but the versions are fresh and surprising -- "Night and Day," where the song is unrecognizable until a couple of minutes into the song, is only the most extreme example. And the disc isn't just for the hardcore fan, even with its bootleg origins and poor sound quality -- it's an album that proves what a brave, versatile, skilled singer Sinatra was. It's an astonishing performance. 

(by Stephen Thomas Erlewine from allmusic.com)


Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."

Red Norvo had a long and interesting career. He started on marimba when he was 14 and soon switched to xylophone. Active in vaudeville in the late '20s as a tap dancer, Norvo joined Paul Whiteman's orchestra in the early '30s (meeting and marrying Mildred Bailey). He recorded some extraordinary sides in the early to mid-'30s that showed off his virtuosity and imagination; two numbers (the atmospheric "Dance of the Octopus" and "In a Mist") had Benny Goodman playing bass clarinet, remarkably. Norvo led his own band during 1936-1944 which, with its Eddie Sauter arrangements (particularly in the early days), had a unique ensemble sound that made it possible for one to hear the leader's xylophone. In 1944, Norvo (who by then had switched permanently to vibes) broke up his band and joined Benny Goodman's Sextet. Through recordings and appearances, he showed that his style was quite adaptable and open to bop. Norvo welcomed Charlie Parker and Dizzy Gillespie to a 1945 record date, was part of Woody Herman's riotous first Herd in 1946, and recorded with Stan Hasselgard in 1948. At the beginning of the 1950s, Norvo put together an unusual trio with guitarist Tal Farlow (later Jimmy Raney) and bassist Charles Mingus (later Red Mitchell). The light yet often speedy unisons and telepathic interplay by the musicians was quite memorable. Norvo led larger groups later in the decade, had reunions with Benny Goodman, and made many fine recordings. The 1960s found Red Norvo adopting a lower profile after he had a serious ear operation in 1961. He worked with the Newport All-Stars later in the decade, and from the mid-'70s to the mid-'80s was once again quite active, making several excellent recordings. However, his hearing eventually worsened and a serious stroke put Red Norvo out of action altogether after 55 years of music. He died on April 6, 1999, at the age of 91. 

(by Scott Yanow from allmusic.com) 

The recordings contained in this posting are protected by copyright laws and may not be shared by this blog. We recommend to buy them at Amazon.com website. 

quinta-feira, 19 de julho de 2012

Nelson Riddle and His Orchestra - Oklahoma!

  1. Oh, What A Beautiful Mornin'
  2. The Surrey With The Fringe On Top
  3. Kansas City
  4. I Cain't Say No
  5. Many A New Day
  6. People Will Say We're In Love
  7. Poor Jud Is Dead
  8. Out Of My Dreams
  9. The Farmer And The Cowman
  10. All Er Nothin'
  11. Oklahoma
Oklahoma!

terça-feira, 17 de julho de 2012

Ray Anthony - Plays The Standards

  1. When I Fall In Love 
  2. Are You Lonesome Tonight?
  3. At Last
  4. You'll Never Know
  5. Misty
  6. String Of Pearls
  7. American Patrol
  8. Begin The Beguine
  9. I Get A Kick Out Of You
  10. Three Coins In The Fountain
  11. Young At Heart
  12. I've Got You Under My Skin
  13. Basin Street Blues
  14. Smoke Gets In Your Eyes
  15. C'est Si Bon
  16. Moonglow
  17. O Mein Papa
  18. I Only Have Eyes For You
  19. Falling In Love With Love
  20. My Funny Valentine
  21. The Nearness Of You
  22. Rhapsody In Blue
Plays The Standards

sábado, 14 de julho de 2012

The Strings Of Paris - Golden Piano Melodies - with Albert de Senneville at the piano - Conducted by Jean Paul de La Tour

  1. Ballade Pour Adeline
  2. The More I See You
  3. My Way
  4. Night Lights
  5. A Fine Romance
  6. Love Story
  7. Couleur Tendresse
  8. Tenderly
  9. What Now My Love (Et Maintenant)
  10. Nostalgie
  11. A Man And A Woman
  12. Moonlight Serenade
  13. Smoke Gets In Your Eyes
  14. Mona Lisa
  15. Ebb Tide
  16. Lady 'Di'
Golden Piano Melodies

quinta-feira, 12 de julho de 2012

Mantovani - The World Of Mantovani

  1. The Moulin Rouge Theme
  2. Swedish Rhapsody
  3. Charmaine
  4. The Lonely Ballerina
  5. Diane
  6. Around The World
  7. Limelight
  8. As Long As He Needs Me
  9. Unchained Melody
  10. Strangers In The Night
  11. Moon River
  12. When I Fall In Love
  13. Born Free
  14. Fly Me To The Moon
  15. Lara's Theme
  16. Some Enchanted Evening
  17. Love Letters
  18. Edelweiss
  19. Love Story Theme
  20. Theme From A Summer Place
  21. True Love
  22. I'll Be Seeing You
  23. Over The Rainbow
  24. Stranger In Paradise
  25. Misty
  26. A Taste Of Honey
The World Of Mantovani

terça-feira, 10 de julho de 2012

Andre Kostelanetz and His Orchestra - Carnival Tropicana

  1. Malaguena (from Suite "Andalucia")
  2. La Cumparsita
  3. Mexicana Medley: Jarabe Tapatio / Cielito Lindo / La Golondrina
  4. Yours (Quiereme Mucho)
  5. Siboney
  6. Caminito
  7. Adios
  8. No Taboleiro de Bahiana
Carnival Tropicana

domingo, 8 de julho de 2012

Franck Pourcel with The London Symphony Orchestra - Classic In Digital Vol. 2

  1. Ainsi Parlait Zarathustra (Introduction) (R. Strauss)
  2. Danse du Sabre (A. Khatchaturian)
  3. Largo (G. f. Haendel)
  4. Czardas (Monti)
  5. Golliwogg's Cake Walk (Children's Corner) (C. Debussy)
  6. Sicilienne (Extrait de Pelléas et Mélisande) (G. Fauré)
  7. La Danza (G. Rossini)
  8. Le Lac de Come (Galas)
  9. Can Can (Extrait de "La Vie Parisienne") (J. Offenbach)
  10. Reve D'Amour (F. Liszt)
  11. Valse Op. 39 (J. Brahms)
  12. Moment Musical (F. Schubert)
Classic In Digital 2

quinta-feira, 5 de julho de 2012

Paul Mauriat et Son Orchestre - Les Merveilleuses Orchestrations Françaises

  1. CHARLES AZNAVOUR «Je m’voyais déjà» (1960)
  2. LUCIENNE DELYLE «Rue de Siam» (1960)
  3. HUGUES AUFRAY «Le Poinçonneur des Lilas» (1959)
  4. RICHARD AUDREY ET SON ORCHESTRE «La Valse à Mille Temps» (1959) 
  5. HENRI SALVADOR «Les Papous» (1960)
  6. DANIELLE DARRIEUX «Sur la Moskova» (1960)
  7. LÉO FERRÉ «Paname» (1960)
  8. P.MAURIAT ET SON GRAND ORCHESTRE - Paris Canaille / J’aime Paris au mois de mai (1961)
  9. GLORIA LASSO «Valentino» (1960)
  10. EDDIE CONSTANTINE ET GILLIAN HILLS «Spécialisation» (1960)
  11. JACQUELINE NERO «Si je pouvais ne plus t’aimer» (1960)
  12. CHARLES AZNAVOUR «La Marche des Anges» (1961)
  13. MELINA MERCOURI «Les Enfants du Pirée» (Ta Pedia Ton Pirea) (1960)
  14. LÉO FERRÉ «Jolie Môme» (1960)
  15. P.MAURIAT ET SON GRAND ORCHESTRE - Sous les Ponts de Paris~Coin de Rue~La Romance de Paris (1961)
  16. DALIDA «Je me sens vivre» (Un uomo vivo) (1961)
  17. GLORIA LASSO «Toi, tu fais la loi» (There I was in love) (1959)
  18. HENRI SALVADOR «Faut Rigoler» (1960)
  19. P.MAURIAT ET SA GRANDE FORMATION «La Marie — Vison» (1957)
  20. LUCIEN JEUNESSE «Guitare et Tambourin» (1958)
  21. ROLAND GERBEAU «Hoopa Hoola» (Houla Hoop) (1959)
  22. RIKA ZARAÏ «Regarde-moi bien» (1959)
  23. EDUARDO RUO ET SES CHA CHA BOYS «Je sais que vous êtes jolie» (1959)
  24. JEAN PHILIPPE «Rendez-Vous au Lavandou» (1959)
Les Merveilleuses Orchestrations

terça-feira, 3 de julho de 2012

Franck Pourcel Grand Orchestre - Classic In Digital - Vol. 1

  1. La Grande Porte de Kiev (Tableaux D'Une Exposition) (M. Moussorgski)
  2. Gymnopedie Nº 1 (E. Satie)
  3. Danse Rituelle Du Feu (M. de Falla)
  4. Cavalleria Rusticana (Intermezzo) (P. Mascagni)
  5. Sicilienne (J. S. Bach)
  6. Carmen (Ouverture) (G. Bizet)
  7. Tango (I. Albeniz)
  8. Les Vepres Siciliennes (Ouverture Allegro) (G. Verdi)
  9. Danse Norvegienne Nº 2 (E. Grieg)
  10. Gymnopedie Nº 3 (E. Satie)
Classic In Digital Vol. 1

Related Posts Plugin for WordPress, Blogger...