Up In Lights
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| # | Pista | Duración | |
|---|---|---|---|
| Carl Davis, BBC Concert Orchestra, Matthew Trusler & Jenny McLaren | |||
| 1. | New York, New York: New York, New York (arr. I. McPherson) | 3:06 | |
| 2. | Carousel, Act I: Carousel Waltz (arr. D. Walker) | 8:17 | |
| 3. | Cats Suite (after A. Lloyd Webber) | 5:47 | |
| 4. | Hollywood Theme | 3:26 | |
| 5. | Keystone Kops (arr. D. Cullen) | 2:21 | |
| 6. | Porgy and Bess (arr. J. Heifetz and D. Matthews): Act I: Summertime | 2:18 | |
| 7. | Porgy and Bess (arr. J. Heifetz and D. Matthews): Act I: A Woman Is A Sometime Thing | 1:49 | |
| 8. | Porgy and Bess (arr. J. Heifetz and D. Matthews): Act II: Bess, You is My Woman Now | 5:22 | |
| 9. | Porgy and Bess (arr. J. Heifetz and D. Matthews): Act II: It Ain't Necessarily So | 2:41 | |
| 10. | West Side Story: Overture (arr. M. Peress) | 5:11 | |
| 11. | My Fair Lady: Ascot Gavotte (arr. I. McPherson) | 3:59 | |
| 12. | Fiddler on the Roof: Wedding Dance (arr. R. Bissill) | 5:31 | |
| 13. | Raindrops Keep Falling On My Head (arr. I. McPherson) | 4:06 | |
| 14. | Hair (arr. D. Wadsworth): Act I: Aquarius | 4:00 | |
| 15. | Hair (arr. D. Wadsworth): Act II: What a Piece of Work is Man | 3:28 | |
| 16. | Hair (arr. D. Wadsworth): Act II: Let the Sun Shine In | 4:29 | |
| 17. | A Chorus Line: One (arr. R. Bissill) | 5:42 | |
| 71:33 |
Carl Davis celebrates his 75th birthday this autumn with this new album UP IN LIGHTS.
The recording sees Davis conducting the earliest of his musical obsessions, songs from the stage and screen. From Richard Rodgers extraordinary Carousel Waltz to Jascha Heifetz's notoriously hard-to-play arrangements of Gershwin's Porgy and Bess, Davis takes a starry look at Broadway, the West End and Hollywood. His work on the original 1980 Thames TV Hollywood series is represented by the Hollywood Theme and Keystone Kops. This CD also premieres a new Cats Suite, arranged by Sir Andrew Lloyd Webber's principal orchestrator, David Cullen.
Carl Davis has always been fascinated in music for theatre and film. Aged four, it was film when he saw the nightmare-inducing Disney's Three Little Pigs and the even more terrifying Snow White and the Seven Dwarfs. Most defining for him was Fantasia. By now aged seven, he was intoxicatedparticularly by the Bach/Stokowski Toccata and Fugue with its abstract patterns. Determined to play it, despite only notching up three piano lessons, he was furious when his teacher quite rightly refused to teach him and he insisted his parents sack him. They didn't.
Davis's first experience of a Broadway musical was on what was called the 'subway circuit'. These shows had finished their Broadway run in Manhattan and would then tour within New York City, in this case a grand picture palace called the Flatbush Theater. It was there, aged 8 that he saw 'On the Town' with its original Broadway cast. It was a powerful experience - the spectacle, the fusion of dance (with Jerome Robbins at his youthful best), the originality of the score, the ingenuity of the fluid sets, the non-stop pace and energy of the playing in the pit as well as on stage. As Davis says �It was Grand!�.
Carl Davis, CBE (Hon) was born in New York in 1936 and came to the UK in 1960. His career has spanned many genres, but he is perhaps best known for his music for both television, which includes The Snow Goose, ITV's The World At War and Good Night Mr Tom, the BBC's Pride & Prejudice and Cranford, and film, including the classic The French Lieutenant's Woman.
Carl Davis' score for the Abel Gance five and a half hour silent film Napoleon, premiered in 1980, set the standard for a global revival of silent film with live orchestra. His next performances will be at the San Francisco Silent Film Festival in March 2012.
The recording sees Davis conducting the earliest of his musical obsessions, songs from the stage and screen. From Richard Rodgers extraordinary Carousel Waltz to Jascha Heifetz's notoriously hard-to-play arrangements of Gershwin's Porgy and Bess, Davis takes a starry look at Broadway, the West End and Hollywood. His work on the original 1980 Thames TV Hollywood series is represented by the Hollywood Theme and Keystone Kops. This CD also premieres a new Cats Suite, arranged by Sir Andrew Lloyd Webber's principal orchestrator, David Cullen.
Carl Davis has always been fascinated in music for theatre and film. Aged four, it was film when he saw the nightmare-inducing Disney's Three Little Pigs and the even more terrifying Snow White and the Seven Dwarfs. Most defining for him was Fantasia. By now aged seven, he was intoxicatedparticularly by the Bach/Stokowski Toccata and Fugue with its abstract patterns. Determined to play it, despite only notching up three piano lessons, he was furious when his teacher quite rightly refused to teach him and he insisted his parents sack him. They didn't.
Davis's first experience of a Broadway musical was on what was called the 'subway circuit'. These shows had finished their Broadway run in Manhattan and would then tour within New York City, in this case a grand picture palace called the Flatbush Theater. It was there, aged 8 that he saw 'On the Town' with its original Broadway cast. It was a powerful experience - the spectacle, the fusion of dance (with Jerome Robbins at his youthful best), the originality of the score, the ingenuity of the fluid sets, the non-stop pace and energy of the playing in the pit as well as on stage. As Davis says �It was Grand!�.
Carl Davis, CBE (Hon) was born in New York in 1936 and came to the UK in 1960. His career has spanned many genres, but he is perhaps best known for his music for both television, which includes The Snow Goose, ITV's The World At War and Good Night Mr Tom, the BBC's Pride & Prejudice and Cranford, and film, including the classic The French Lieutenant's Woman.
Carl Davis' score for the Abel Gance five and a half hour silent film Napoleon, premiered in 1980, set the standard for a global revival of silent film with live orchestra. His next performances will be at the San Francisco Silent Film Festival in March 2012.