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Aaron Copland: Billy the Kid; Rodeo
 
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Aaron Copland: Billy the Kid; Rodeo

Aaron Copland (Composer), Leonard Slatkin (Conductor), Saint Louis Symphony Orchestra (Orchestra)
4.0 out of 5 stars  (2 customer reviews) | More about this product

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Product Details
  • Composer: Aaron Copland
  • Conductor: Leonard Slatkin
  • Orchestra: Saint Louis Symphony Orchestra
  • Audio CD (October 25, 1990)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Angel Records
  • ASIN: B000002RO5
  • Average Customer Review: 4.0 out of 5 stars  (2 customer reviews)
  • Amazon.com Sales Rank: #202,706 in Music (See Bestsellers in Music)

    Popular in this category: (What's this?)

    #90 in  Music > Classical > Featured Performers, A-Z > ( S ) > St. Louis Symphony Orchestra

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Listen to Samples

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1. Copland: Billy The Kid (Complete Ballet) Listen Listen
2. Copland: Rodeo: Buckaroo Holiday Listen Listen
3. Copland: Rodeo: Corral Nocturne Listen Listen
4. Copland: Rodeo: Piano Interlude & Saturday Night Waltz Listen Listen
5. Copland: Rodeo: Hoe-Down Listen Listen
On this CD:
  1. Billy the Kid, ballet
    Composed by Aaron Copland
    Performed by St. Louis Symphony Orchestra
    Conducted by Leonard Slatkin

  2. Rodeo, selections from the ballet (including "Four Dance Episodes")
    Composed by Aaron Copland
    Performed by St. Louis Symphony Orchestra
    Conducted by Leonard Slatkin

Editorial Reviews
Amazon.com
Leonard Slatkin, who has done such outstanding service for American music, upholds the Copland tradition with potent, sympathetically argued accounts of the big ballets. The performances by the Saint Louis Symphony could hardly be bettered, and the recordings stand out for their solid sound as well. Slatkin does both Billy the Kid and Rodeo in full, restoring some delightful music in both scores that is missed when only the suites are presented. In Rodeo, for example, it comes as a delicious surprise to hear the Saloon-piano interlude before the "Saturday Night Waltz"--and Slatkin insists on an out-of-tune upright--just the right touch. These are idiomatic, persuasive accounts, thrilling in their buildups and potent in their climaxes. Even Appalachian Spring is done in full, though in its version for full orchestra. The treatment here is gentle, and while Slatkin generates less voltage than Bernstein, his reading has nobility and an engaging warmth. The recordings were made at a rather low level, but have a wonderful ambience and extraordinary dynamic range. Unfortunately, the individual scenes of both Billy the Kid and Appalachian Spring are not separately banded. --Ted Libbey