http://www.nashvillescene.com/blog/nash ... 0721.shtml
Instead of opening next season with tenor Jose Carreras, the Nashville Symphony Orchestra announced today that Elvis Costello will be in town to play with the orchestra on Sept. 9. Gosh, that's like finding out Neil Sedaka has been replaced by the Beatles. Tickets are $45-$150 and are on sale now to 2007-08 season ticket holders only. Tickets go on sale to the general public July 28. Call 687-6401. The NSO's regular season opens as scheduled Sept. 8 with Leonard Slatkiln.
Elvis/Il Sogno, Nashville, Sept 9 '07
-
mood swung
- Posts: 6908
- Joined: Thu Jun 05, 2003 3:59 pm
- Location: out looking for my tribe
- Contact:
My feelings exactly. Chances are, it would be less than 30 minutes of the Il Sogno "suite" and an hour and a half of greatest hits as interpreted by the orchestra. The My Flame Burns Blue CD is much better than anything I've heard from the other orchestra shows EC did a year ago. Employing an orchestra for a one-nighter seems a bit futile to me. . .no sense of the momentum gained from an extended tour.mood swung wrote:Well, it *is* my birthday.
But I just can't get excited about Il Sogno.
And I've tried. I really have.
With the lukewarm reissue program, too-short Imposters tour, out-of-reach European dates with AT and now these autumn orchestra shows, I'm really looking forward to what 2008 brings for EC. 2007 just seems like a patchwork of projects designed to give EC plenty of down time with the wife and twins. . .but who can blame him for that!!
Still, I'll look forward to the next proper album (still using that old term) and extended tour.
http://www.herald-citizen.com/NF/omf.wn ... 758+cr=gdn
August 17, 2007
Nashville Symphony launches new season
NASHVILLE -- One year after the Sept. 9 gala opening of Schermerhorn Symphony Center, the Nashville Symphony will introduce its 2007-08 concert season with contrasting, yet equally powerful, opening performances featuring the Gala Organ Celebration on Saturday, Sept. 8, at 8 p.m. and pop icon Elvis Costello on Sunday, Sept. 9, at 7 p.m.
"We are thrilled to kick off our second season with the kind of musical diversity that has come to be expected from the Nashville Symphony," said Alan D. Valentine, president and CEO of the Nashville Symphony. "Our magnificent pipe organ will sound amazing in the Schermerhorn Symphony Center, and I am personally a very big fan of Elvis Costello. These concerts are ones not to miss."
The much-anticipated debut of the Schermerhorn Symphony Center pipe organ, led by Music Advisor Leonard Slatkin, will feature organ soloist Andrew Risinger with the Nashville Symphony in a program that includes four preeminent organ works: Bach's "Toccata and Fugue in D minor," Maurice Duruflé's "Prelude and Fugue on the Name ALAIN," Barber's "Toccata Festiva" and Saint-Saëns' "Symphony No. 3 in C minor," or "Organ."
Made in San Francisco by Schoenstein & Co., this custom-built concert organ is comprised of 47 voices, 64 ranks and 3,568 pipes, every one of which will have been individually tuned in the in Laura Turner Concert Hall before this exciting inaugural performance.
The organ has been designed with a rich palette of tonal colors and will be well-suited for a wide range of music repertoire, particularly for orchestra and organ works from the late 19th and early 20th centuries.
The full black-tie gala event includes an elegant pre-concert reception for $195. Concert tickets range from $35-$105 (plus convenience fee) but are extremely limited.
For more information, call the Nashville Symphony box office at 615.687.6400. The Organ Gala Celebration is made possible by the generous support of First Tennessee.
Singer/songwriter Elvis Costello will provide an exciting dimension to Nashville Symphony's 2007/08 season-opening weekend as the symphony, led by Resident Conductor Albert-George Schram, joins Costello in a debut collaborative performance.
On the first half of the program, the Nashville Symphony will perform the Suite from Costello's first full-length orchestra composition, "Il Sogno," which was based on an adaptation of "A Midsummer Night's Dream."
The dance premiere took place at the Teatro Communale in Bologna in 2000, but it was The Brooklyn Philharmonic which premiered the concert-version of the ballet in 2004.
"Il Sogno" was subsequently recorded by the London Symphony Orchestra, conducted by Michael Tilson-Thomas, for Deutsche Grammaphon and stayed at the top of Billboard's Contemporary Classical chart for 14 weeks.
The second half of the program will include Costello with pianist Steve Nieve, bassist Paul Gill, percussionist Sam Bacco and the Nashville Symphony performing a selection of favorites ranging from "Alison" and "She" to "Almost Blue" and "God Give Me Strength."
Tickets range from $45-$150 (plus convenience fee) and can be purchased by calling the Symphony Center box office at (615) 687-6400 or by going online to nashvillesymphony.org.
The Elvis Costello performance is made possible by the generous support of First Tennessee.
------------------------------------------------------------------------------------
http://www.mhrrecords.com/catalog/index.html
( extract)
Paul Gill – bass
Bassist Paul Gill, a New Yorker via Baltimore, has
worked with saxophonists Stanley Turrentine, Gary
Bartz and Benny Golson, trumpeter Tom Harrell, and
vocalist Jon Hendricks. He has also recorded with the
Richie Vitale Quintet, appearing on “Live at Small’sâ€
August 17, 2007
Nashville Symphony launches new season
NASHVILLE -- One year after the Sept. 9 gala opening of Schermerhorn Symphony Center, the Nashville Symphony will introduce its 2007-08 concert season with contrasting, yet equally powerful, opening performances featuring the Gala Organ Celebration on Saturday, Sept. 8, at 8 p.m. and pop icon Elvis Costello on Sunday, Sept. 9, at 7 p.m.
"We are thrilled to kick off our second season with the kind of musical diversity that has come to be expected from the Nashville Symphony," said Alan D. Valentine, president and CEO of the Nashville Symphony. "Our magnificent pipe organ will sound amazing in the Schermerhorn Symphony Center, and I am personally a very big fan of Elvis Costello. These concerts are ones not to miss."
The much-anticipated debut of the Schermerhorn Symphony Center pipe organ, led by Music Advisor Leonard Slatkin, will feature organ soloist Andrew Risinger with the Nashville Symphony in a program that includes four preeminent organ works: Bach's "Toccata and Fugue in D minor," Maurice Duruflé's "Prelude and Fugue on the Name ALAIN," Barber's "Toccata Festiva" and Saint-Saëns' "Symphony No. 3 in C minor," or "Organ."
Made in San Francisco by Schoenstein & Co., this custom-built concert organ is comprised of 47 voices, 64 ranks and 3,568 pipes, every one of which will have been individually tuned in the in Laura Turner Concert Hall before this exciting inaugural performance.
The organ has been designed with a rich palette of tonal colors and will be well-suited for a wide range of music repertoire, particularly for orchestra and organ works from the late 19th and early 20th centuries.
The full black-tie gala event includes an elegant pre-concert reception for $195. Concert tickets range from $35-$105 (plus convenience fee) but are extremely limited.
For more information, call the Nashville Symphony box office at 615.687.6400. The Organ Gala Celebration is made possible by the generous support of First Tennessee.
Singer/songwriter Elvis Costello will provide an exciting dimension to Nashville Symphony's 2007/08 season-opening weekend as the symphony, led by Resident Conductor Albert-George Schram, joins Costello in a debut collaborative performance.
On the first half of the program, the Nashville Symphony will perform the Suite from Costello's first full-length orchestra composition, "Il Sogno," which was based on an adaptation of "A Midsummer Night's Dream."
The dance premiere took place at the Teatro Communale in Bologna in 2000, but it was The Brooklyn Philharmonic which premiered the concert-version of the ballet in 2004.
"Il Sogno" was subsequently recorded by the London Symphony Orchestra, conducted by Michael Tilson-Thomas, for Deutsche Grammaphon and stayed at the top of Billboard's Contemporary Classical chart for 14 weeks.
The second half of the program will include Costello with pianist Steve Nieve, bassist Paul Gill, percussionist Sam Bacco and the Nashville Symphony performing a selection of favorites ranging from "Alison" and "She" to "Almost Blue" and "God Give Me Strength."
Tickets range from $45-$150 (plus convenience fee) and can be purchased by calling the Symphony Center box office at (615) 687-6400 or by going online to nashvillesymphony.org.
The Elvis Costello performance is made possible by the generous support of First Tennessee.
------------------------------------------------------------------------------------
http://www.mhrrecords.com/catalog/index.html
( extract)
Paul Gill – bass
Bassist Paul Gill, a New Yorker via Baltimore, has
worked with saxophonists Stanley Turrentine, Gary
Bartz and Benny Golson, trumpeter Tom Harrell, and
vocalist Jon Hendricks. He has also recorded with the
Richie Vitale Quintet, appearing on “Live at Small’sâ€
-
verbal gymnastics
- Posts: 13648
- Joined: Wed Jun 11, 2003 6:44 am
- Location: Magic lantern land
mood swung wrote:Well, it *is* my birthday.
But I just can't get excited about Il Sogno.
And I've tried. I really have.
Has that got you excited MDM?johnfoyle wrote:http://www.herald-citizen.com/NF/omf.wn ... 758+cr=gdn
On the first half of the program, the Nashville Symphony will perform the Suite from Costello's first full-length orchestra composition, "Il Sogno," which was based on an adaptation of "A Midsummer Night's Dream."
...
The second half of the program will include Costello with pianist Steve Nieve, bassist Paul Gill, percussionist Sam Bacco and the Nashville Symphony performing a selection of favorites ranging from "Alison" and "She" to "Almost Blue" and "God Give Me Strength."
I must admit, when I saw EC in Amsterdam last year I had the dread that there would be a full Il Sogno show to be followed by an EC set. Fortunately the show only had a few excerpts from Il Sogno and the rest of the show was EC, Steve and the Metropole Orkestra which was fabulous.
But I couldn't hack the full Il Sogno suite although it was much better watching and hearing it live.
It's probably best that you get something else for your birthday.
Who’s this kid with his mumbo jumbo?
-
spooky girlfriend
- Site Admin
- Posts: 3007
- Joined: Mon Jun 02, 2003 5:19 pm
- Location: Huntsville, Alabama
- Contact:
I'm still very much looking forward to seeing Elvis in Nashville - loved his show in Atlanta with the Atlanta Symphony - but I'm a bit apprehensive about one thing: I saw Diana Krall in the same hall this summer and the acoustics are definitely wierd. She sounded great on all of the slower, sparser tunes. But whenever the show got uptempo with a lot of notes coming at you there was a kind of echo which made it hard, at times, to cleanly separate her voice from the rest of the band. I was sitting about seven rows back from the stage, just behind the first set of speakers hanging from the ceiling. For Elvis, I'll be on the third row before those speakers hearing most of the sound directly from the stage. I'm hoping that improves things, but I really have no idea.
Shame about the acoustics at this hall. It really is impressive looking. But I've heard classical music buffs review it the same way. It could be something they can fix down the road - maybe by next weekend!
Shame about the acoustics at this hall. It really is impressive looking. But I've heard classical music buffs review it the same way. It could be something they can fix down the road - maybe by next weekend!
http://www.rctimes.com/apps/pbcs.dll/ar ... 5/MTCN0303
Thursday, 09/06/07
Song never remains same for Costello
Rock and Roll Hall of Famer creates wide range of work
By NICOLE KEIPER
Staff Writer
Few artists can boast as diverse a body of work as Elvis Costello, whose discography leaps from bristling rock to classic country, jazzy pop, intricate orchestral work and elsewhere.
And the title of the songwriter's 1977 debut My Aim is True certainly proved prophetic, too, as that diverse aim hast earned Costello not scorn for muddling his legacy but an increasingly vaunted reputation as one of modern rock's great minds.
"Not every record should be the same," Costello says from a Milwaukee stop on wife/jazz star Diana Krall's summer tour, with his almost-9-month-old twin sons Dexter Henry Lorcan and Frank Harlan James cooing in the background. "There are records or groups of songs where you're driven by different impulses."
On Sunday at Schermerhorn Symphony Center, Costello will pull from a broad stock of those records, performing selections from his ballet score Il Sogno and a collection of his non-classical work, joined by the Nashville Symphony. In advance of that show, the Rock and Roll Hall of Famer shared the wisdom behind some of those wide-stretching impulses.
Don't look down.
"I only ever had one piece of advice from my grandfather; he died when I was very young. But he used to say, 'You can't fall, there's nothing to stop you.' Which is one of those pieces of like Irish nonsensical wisdom, you know? I've held to it pretty much my whole life. Because I think if you start convincing yourself that something is not right or you might be wrong in doing something, you'll never do anything."
Don't grow up, either.
"I'm pretty much of the conviction that everybody has a song or story of some kind. It sounds a little fanciful, but we can all draw when we're kids, we can all make up stories when we're kids, and somewhere we get it knocked, beaten, frightened, embarrassed out of ourselves. And those of us that run around on a stage in one way or another doing stuff haven't really lost that part of it. However serious it might seem and however grave or solemn or sad or tragic, even, some songs might be, there's an element of play — dressing up, because you wear different clothes to go on stage usually than you would wear in the street, and adopting guises at different times. And of course in my case, working in different areas in music with different collaborators."
Classical, pop, rock or otherwise, you need lead and supporting roles just the same.
"That's the hierarchical nature of music . . . in a rock 'n' roll band, there's a singer and a rhythm section. If the rhythm section are drawing attention to themselves in every moment away from the singer, the song's not gonna get sung, it's not gonna get told, the story's not gonna get over. (Classical work) really isn't that different, it's just the way we go about communicating is the main difference. The degree of formal training is obviously very different. But ultimately it's with the objective of telling a story, setting a mood, representing some emotional/spiritual longing that's in a song or in a piece of music. That's all."
Sometimes the song tells what it wants to say.
"Feeling is conveyed in music even when there aren't words, and sometimes words are the confirmation of those. If the composition is a really good one, the song is a good one, if you were to play it instrumentally you would get something of the sense that's intended. I think that's really true of the songs that I wrote with (Burt) Bacharach — I found myself looking for confirmation of what I took from the parts of the songs that he composed. . . . The music is proposing a lot of things to you, suggesting a lot of things even before you put words into it."
Success doesn't make creating any easier.
"It doesn't seem easy to me. I think because I've written a lot it maybe makes it seem like it must be effortless or I have millions of songs laying around or that I write all the time, none of which would be true. I don't think I've written any songs much for a couple of years, you know? I just didn't have any occasion to write them. . . . I'm not a compulsive writer, and I don't feel the need to write all the time. I only write when I'm moved to write."
Sometimes a breather and some fresh blood can cure a rut.
"I like to make a break sometimes, and I find that I get disenchanted with the verses, the lines falling on the page in the same way all the time. If I write constantly, I stay in the same flow too much. That was one of the great advantages of working with Burt Bacharach — the different structure of the music forced me out of my convenient patterns."
Follow your muse and don't worry about who's coming with you.
"Well, I think I kind of got over that one the first time I came to Nashville (to make 1981 country covers album Almost Blue). I mean, if I'd worried about that then. . . . I didn't particularly worry about it then, I just did what I felt and I've been doing it ever since. . . . The people that want to talk down, say what I'm doing working with orchestras, 'Will he just come to his senses and make another Armed Forces,' ignore the fact that you can't go back and make the same record again — people would rightly ridicule you for trying to do that. There is an audience for all these different adventures. They sometimes are a different shape, a different constituency, and that's the way I want it to be. I'm not trying to please all the people all the time. I'm not a megalomaniac. I'm not trying to make the biggest audience possible. I'm quite happy for there to be discreet or overlapping audiences for all these different adventures."
Times, they're always a-changin', but some things stay true.
"There's less and less records made, records of consequence made anyway. And I'm less and less interested in recording myself — I'm much more interested in performing than I am recording right now. I don't have any plans to record, because it doesn't seem to be a viable business in recording anymore. The format is changing, and it may take a couple of years to settle down. I don't subscribe to the idea that the Internet is everything. It's just something. But I do think that the event of playing music in a concert and one thing being different to the next thing is very exciting still, as it has been for hundreds and hundreds of years. And recorded music has been a brief interlude in that . . . I'd rather play concerts, myself. That's just the way I feel."
Even serious musicians need a little silliness.
"I recorded some new melodies for some of my older songs, and for a gag I recorded them on just a cassette player. And I didn't have a microphone so I plugged in headphones into the tape recorder, because you switch them backwards, they work as a microphone. I didn't want to be like a Luddite, so I put them on a CDR, and I put 10 of the CDRs in 10 copies of the best of record that we released in April, and hid 'em in the shops in America, just to see whether anybody bought records anymore. And as nobody's found 'em yet and it's now September, I guess nobody buys records anymore. But somewhere somebody's gonna get a little surprise one of these days . . . They're gonna be in Wal-Mart or somewhere, and they're gonna buy one of these records and they're gonna discover a little free gift from me. . . . There's not enough fun with the business of music. It's all very serious. The record thing for as long as it's gonna last, it needs a little mischief put back into it."
Thursday, 09/06/07
Song never remains same for Costello
Rock and Roll Hall of Famer creates wide range of work
By NICOLE KEIPER
Staff Writer
Few artists can boast as diverse a body of work as Elvis Costello, whose discography leaps from bristling rock to classic country, jazzy pop, intricate orchestral work and elsewhere.
And the title of the songwriter's 1977 debut My Aim is True certainly proved prophetic, too, as that diverse aim hast earned Costello not scorn for muddling his legacy but an increasingly vaunted reputation as one of modern rock's great minds.
"Not every record should be the same," Costello says from a Milwaukee stop on wife/jazz star Diana Krall's summer tour, with his almost-9-month-old twin sons Dexter Henry Lorcan and Frank Harlan James cooing in the background. "There are records or groups of songs where you're driven by different impulses."
On Sunday at Schermerhorn Symphony Center, Costello will pull from a broad stock of those records, performing selections from his ballet score Il Sogno and a collection of his non-classical work, joined by the Nashville Symphony. In advance of that show, the Rock and Roll Hall of Famer shared the wisdom behind some of those wide-stretching impulses.
Don't look down.
"I only ever had one piece of advice from my grandfather; he died when I was very young. But he used to say, 'You can't fall, there's nothing to stop you.' Which is one of those pieces of like Irish nonsensical wisdom, you know? I've held to it pretty much my whole life. Because I think if you start convincing yourself that something is not right or you might be wrong in doing something, you'll never do anything."
Don't grow up, either.
"I'm pretty much of the conviction that everybody has a song or story of some kind. It sounds a little fanciful, but we can all draw when we're kids, we can all make up stories when we're kids, and somewhere we get it knocked, beaten, frightened, embarrassed out of ourselves. And those of us that run around on a stage in one way or another doing stuff haven't really lost that part of it. However serious it might seem and however grave or solemn or sad or tragic, even, some songs might be, there's an element of play — dressing up, because you wear different clothes to go on stage usually than you would wear in the street, and adopting guises at different times. And of course in my case, working in different areas in music with different collaborators."
Classical, pop, rock or otherwise, you need lead and supporting roles just the same.
"That's the hierarchical nature of music . . . in a rock 'n' roll band, there's a singer and a rhythm section. If the rhythm section are drawing attention to themselves in every moment away from the singer, the song's not gonna get sung, it's not gonna get told, the story's not gonna get over. (Classical work) really isn't that different, it's just the way we go about communicating is the main difference. The degree of formal training is obviously very different. But ultimately it's with the objective of telling a story, setting a mood, representing some emotional/spiritual longing that's in a song or in a piece of music. That's all."
Sometimes the song tells what it wants to say.
"Feeling is conveyed in music even when there aren't words, and sometimes words are the confirmation of those. If the composition is a really good one, the song is a good one, if you were to play it instrumentally you would get something of the sense that's intended. I think that's really true of the songs that I wrote with (Burt) Bacharach — I found myself looking for confirmation of what I took from the parts of the songs that he composed. . . . The music is proposing a lot of things to you, suggesting a lot of things even before you put words into it."
Success doesn't make creating any easier.
"It doesn't seem easy to me. I think because I've written a lot it maybe makes it seem like it must be effortless or I have millions of songs laying around or that I write all the time, none of which would be true. I don't think I've written any songs much for a couple of years, you know? I just didn't have any occasion to write them. . . . I'm not a compulsive writer, and I don't feel the need to write all the time. I only write when I'm moved to write."
Sometimes a breather and some fresh blood can cure a rut.
"I like to make a break sometimes, and I find that I get disenchanted with the verses, the lines falling on the page in the same way all the time. If I write constantly, I stay in the same flow too much. That was one of the great advantages of working with Burt Bacharach — the different structure of the music forced me out of my convenient patterns."
Follow your muse and don't worry about who's coming with you.
"Well, I think I kind of got over that one the first time I came to Nashville (to make 1981 country covers album Almost Blue). I mean, if I'd worried about that then. . . . I didn't particularly worry about it then, I just did what I felt and I've been doing it ever since. . . . The people that want to talk down, say what I'm doing working with orchestras, 'Will he just come to his senses and make another Armed Forces,' ignore the fact that you can't go back and make the same record again — people would rightly ridicule you for trying to do that. There is an audience for all these different adventures. They sometimes are a different shape, a different constituency, and that's the way I want it to be. I'm not trying to please all the people all the time. I'm not a megalomaniac. I'm not trying to make the biggest audience possible. I'm quite happy for there to be discreet or overlapping audiences for all these different adventures."
Times, they're always a-changin', but some things stay true.
"There's less and less records made, records of consequence made anyway. And I'm less and less interested in recording myself — I'm much more interested in performing than I am recording right now. I don't have any plans to record, because it doesn't seem to be a viable business in recording anymore. The format is changing, and it may take a couple of years to settle down. I don't subscribe to the idea that the Internet is everything. It's just something. But I do think that the event of playing music in a concert and one thing being different to the next thing is very exciting still, as it has been for hundreds and hundreds of years. And recorded music has been a brief interlude in that . . . I'd rather play concerts, myself. That's just the way I feel."
Even serious musicians need a little silliness.
"I recorded some new melodies for some of my older songs, and for a gag I recorded them on just a cassette player. And I didn't have a microphone so I plugged in headphones into the tape recorder, because you switch them backwards, they work as a microphone. I didn't want to be like a Luddite, so I put them on a CDR, and I put 10 of the CDRs in 10 copies of the best of record that we released in April, and hid 'em in the shops in America, just to see whether anybody bought records anymore. And as nobody's found 'em yet and it's now September, I guess nobody buys records anymore. But somewhere somebody's gonna get a little surprise one of these days . . . They're gonna be in Wal-Mart or somewhere, and they're gonna buy one of these records and they're gonna discover a little free gift from me. . . . There's not enough fun with the business of music. It's all very serious. The record thing for as long as it's gonna last, it needs a little mischief put back into it."
-
nobodygirl
- Posts: 53
- Joined: Tue Aug 23, 2005 9:13 am
http://wkrn.com/nashville/news/hootie-t ... 117229.htm
(extract)
In other entertainment news, British pop rocker Elvis Costello is crossing some music lines of his own.
He played to a packed Schermerhorn Symphony Center Sunday that started with a symphony piece he wrote.
He eventually came out and sang with the symphony and then sang with his band.
The show wrapped up at about 9:30 p.m.
(extract)
In other entertainment news, British pop rocker Elvis Costello is crossing some music lines of his own.
He played to a packed Schermerhorn Symphony Center Sunday that started with a symphony piece he wrote.
He eventually came out and sang with the symphony and then sang with his band.
The show wrapped up at about 9:30 p.m.
http://www.elviscostello.info/wiki/inde ... _Nashville
Setlist
EC introduces the Nashville Symphony and Il Sogno
Il Sogno (suite):
01. Prelude
02. Overture
03. Puck 1
04. Workers' Playtime
05. Oberon And Titania
06. The Conspiracy Of Oberon And Puck
07. Puck 2
08. The Face Of Bottom
09. The Spark Of Love
10. Tormentress
11. Oberon Humbled
12. Sleep
13. The Play
14. The Wedding
EC joins onstage
15. All This Useless Beauty
16. Still Too Soon To Know - new arrangement
17. The Girl In The Other Room
18. The Birds Will Still Be Singing
Intermission
Steve Nieve joins
19. Still
20. Green Shirt
21. Shipbuilding
22. Veronica
23. Watching The Detectives
24. My Flame Burns Blue (Blood Count)
25. She
26. God Give Me Strength
Encore
27. I Still Have That Other Girl
28. Accidents Will Happen
29. The Scarlet Tide
30. Couldn't Call It Unexpected No. 4 - no mic
* Start time: 7:00 PM
* End time:
Submitted: Hi Tone
Setlist
EC introduces the Nashville Symphony and Il Sogno
Il Sogno (suite):
01. Prelude
02. Overture
03. Puck 1
04. Workers' Playtime
05. Oberon And Titania
06. The Conspiracy Of Oberon And Puck
07. Puck 2
08. The Face Of Bottom
09. The Spark Of Love
10. Tormentress
11. Oberon Humbled
12. Sleep
13. The Play
14. The Wedding
EC joins onstage
15. All This Useless Beauty
16. Still Too Soon To Know - new arrangement
17. The Girl In The Other Room
18. The Birds Will Still Be Singing
Intermission
Steve Nieve joins
19. Still
20. Green Shirt
21. Shipbuilding
22. Veronica
23. Watching The Detectives
24. My Flame Burns Blue (Blood Count)
25. She
26. God Give Me Strength
Encore
27. I Still Have That Other Girl
28. Accidents Will Happen
29. The Scarlet Tide
30. Couldn't Call It Unexpected No. 4 - no mic
* Start time: 7:00 PM
* End time:
Submitted: Hi Tone
-
invisible Pole
- Posts: 2228
- Joined: Tue Jun 29, 2004 2:20 pm
- Location: Poland
http://www.nashvillescene.com/Stories/A ... ing_Debut/
Nashville Scene
September 13, 2007
Dazzling Debut
NSO puts its new organ pedal to the metal—and then swings with Elvis Costello
by John Pitcher
(extract)
The Nashville Symphony Orchestra’s season-opening concerts last weekend revealed exactly what this ensemble can do when everything clicks. On Saturday, the NSO under its music adviser Leonard Slatkin delivered classical renditions that were both dead-on accurate and passionately romantic. In performances with Elvis Costello the following night, the orchestra proved it could swing as if it were a bona fide big band.
In recent years, there’s been some legitimate concern about the fate of pops orchestras. These ensembles once could rely on a steady stream of talent from both Broadway and the jazz world. But how would pops orchestras do in the age of rock?
The answer, apparently, is fantastic, at least when it comes to Elvis Costello. This rocker has long been comfortable working with orchestras. And on Sunday he gave an unforgettable performance with the NSO.
The concert, under NSO resident conductor Albert-George Schram, opened with Costello’s Il Sogno Suite, an instrumental work the rocker composed in 2000 to accompany a performance of Shakespeare’s A Midsummer Night’s Dream. Stylistically, the piece was a real hodgepodge. It was an odd mix of Renaissance period music (those prominent dulcimer solos), John Williams soundtrack (the lush strings) and big band romp (Puck was expressed through a jazz saxophone). Yet the piece was also amazingly approachable, and it the won the composer some polite classical applause.
The thunderous ovations came later, when Costello picked up his guitar and began singing. He occasionally performed tunes with his trademark rhythmic drive—“Veronicaâ€
Nashville Scene
September 13, 2007
Dazzling Debut
NSO puts its new organ pedal to the metal—and then swings with Elvis Costello
by John Pitcher
(extract)
The Nashville Symphony Orchestra’s season-opening concerts last weekend revealed exactly what this ensemble can do when everything clicks. On Saturday, the NSO under its music adviser Leonard Slatkin delivered classical renditions that were both dead-on accurate and passionately romantic. In performances with Elvis Costello the following night, the orchestra proved it could swing as if it were a bona fide big band.
In recent years, there’s been some legitimate concern about the fate of pops orchestras. These ensembles once could rely on a steady stream of talent from both Broadway and the jazz world. But how would pops orchestras do in the age of rock?
The answer, apparently, is fantastic, at least when it comes to Elvis Costello. This rocker has long been comfortable working with orchestras. And on Sunday he gave an unforgettable performance with the NSO.
The concert, under NSO resident conductor Albert-George Schram, opened with Costello’s Il Sogno Suite, an instrumental work the rocker composed in 2000 to accompany a performance of Shakespeare’s A Midsummer Night’s Dream. Stylistically, the piece was a real hodgepodge. It was an odd mix of Renaissance period music (those prominent dulcimer solos), John Williams soundtrack (the lush strings) and big band romp (Puck was expressed through a jazz saxophone). Yet the piece was also amazingly approachable, and it the won the composer some polite classical applause.
The thunderous ovations came later, when Costello picked up his guitar and began singing. He occasionally performed tunes with his trademark rhythmic drive—“Veronicaâ€
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact: