While they never scored major commercial success in either the United States or the United Kingdom, the Creation inspired a cult following during their original 1966-1967 run that continues to grow with the passage of time, and with good reason. The Creation's pre-psychedelic fusion of mod style and freakbeat sound was intriguing enough, but the real key to their music was the guitar work of Eddie Phillips, who combined forceful, elemental picking with feedback and the use of a violin bow (years before Jimmy Page embraced the idea) that allowed him to conjure singular sounds from his axe…
Sir Simon (Denis) Rattle became one of the world's leading conductors at an unusually early age. As a boy, Rattle studied percussion; at the age of 11, he appeared as a percussionist with the Royal Liverpool Philharmonic Orchestra. He joined the National Youth Orchestra, again as a percussionist, and began conducting when he was a teenager. At 15, he founded and conducted the Liverpool Sinfonia.
Lou Reed has a new album out although you might not know about it yet. Metal Machine Trio: The Creation of the Universe is an instrumental double album recorded over two nights at Los Angeles' Redcat. These two special live concert recordings of non-vocal music featuring Lou on guitar and electronics, Ulrich Krieger on tenor sax and live-electronics, and Sarth Calhoun on live processing and Fingerboard Continuum.
Haydn’s Creation, the culmination of his life’s work, in a legendary 1986 performance conducted by Leonard Bernstein in the Baroque splendour of the Benedictine Abbey of Ottobeuren, Bavaria. Includes Leonard Bernstein’s spoken introduction to the performance.
“Bernstein held it all together with maximum expressive power and spirit of contemplation. A great, moving occasion.” Abendzeitung (Munich) [concert review]
“The Creation gives us time to remember – and rejoice in – the purity and grace and fortitude of Nature, to restore our souls, to recover our moral strength, and to rediscover our power to praise” (Leonard Bernstein)
Das Oratorium Die Schöpfung ist eines der Höhepunkte des späten Schaffens von Joseph Haydn. Das 1798 uraufgeführte Werk gilt als das erfolgreichste Werk des großen Komponisten und zugleich als Paradebeispiel des klassischen Oratoriums. Die vorliegende Aufnahme der Schöpfung stammt von 1975. In den Hauptrollen singen die preisgekrönte amerikanische Sopranistin Helen Donath, der deutsche Tenor Adalbert Kraus sowie der Schweizer Bass-Bariton Kurt Widmer.
Begleitet werden sie von der Altistin Vera Scherr sowie vom Süddeutschen Madrigalchor und dem Festivalorchester Ludwigsburg, unter der Leitung von Wolfgang Gönnenwein, dem langjährigen künstlerischen Leiter der Festspiele (1972 bis 2004).
Although The Creation is no stranger to period-instrument performance, two in particular spring to mind as particularly outstanding. The first of these is Christopher Hogwood's on L'Oiseau-Lyre, which is in English and remains the only version to assemble the huge forces for which Haydn actually wrote, with singularly thrilling results. Second, there is Hengelbrock on Deutsche Harmonia Mundi, who demonstrated that at least on recordings the music can sound just as big and colorful, but without extensive doubling of instrumental parts. In his version of The Seasons, René Jacobs accomplished a similar feat, and so does this newcomer, even outdoing Hengelbrock in wringing every last drop of color from Haydn's perennially fresh orchestration. All of the other period performances, including Brüggen, Weil, Harnoncourt (twice), Kuijken, and Gardener, stand at some remove from these three.
This is perhaps the best recording of THE CREATION in the catalogue. Hengelbrock's conducting of a fine period-instrument orchestra is the most exciting since Bernstein's '60s recording; nothing is dainty or underplayed. The burst of light is truly thrilling, and all the descriptive passages are played for all they're worth (listen to the great bronx cheer from the brass at "Den boden druckt der thiere last"). The chorus is very good, if not quite in the class of Gardiner's Monteverdi Choir; but whereas Gardiner's recording had some casting weaknesses, here all the youngish soloists do good work, particularly the Uriel, Steve Davislim. The sound is mostly excellent, though once or twice the engineers seem to have trouble coping with choral climaxes (no distortion, though).