ANDRE KOSTELANETZ AND HIS ORCHESTRA
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ANDRE KOSTELANETZ AND HIS ORCHESTRA
| SIDE 1 TRACES THEME FROM "ROMEO AND JULIET" FOOL ON THE HILL THEME FROM "THE THOMAS CROWN AFFAIR" I'LL CATCH THE SUN ZORBA THEME |
SIDE 2 I'VE GOTTA BE ME TRY A LITTLE TENDERNESS THIS GUY'S IN LOVE WITH YOU GALVERSTON CHITTY CHITTY BANG BANG |
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TRACES | ||
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THEME FROM "ROMEO AND JULIET" | ||
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FOOL ON THE HILL | ||
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THEME FROM "THE THOMAS CROWN AFFAIR" (Windmills of Your Mind) | ||
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I'LL CATCH THE SUN | ||
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ZORBA THEME | ||
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I'VE GOTTA BE ME | ||
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TRY A LITTLE TENDERNESS | ||
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THIS GUY'S IN LOVE WITH YOU | ||
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GALVERSTON | ||
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CHITTY CHITTY BANG BANG | ||
| TRACES ANDRE KOSTELANETZ AND HIS ORCHESTRA FEATURING - I'VE GOTTA BE ME/GALVERSTON |
Produced by Teo Macero -
Arranged by Luther Henderson - Arranged by Eddie Sauter Arrangements Edited by Teo Macero - Orchestra Personnel: Morris Stonzek |
| SIDE 1 TRACES THEME FROM "ROMEO AND JULIET" FOOL ON THE HILL THEME FROM "THE THOMAS CROWN AFFAIR" (Windmills of Your Mind) I'LL CATCH THE SUN ZORBA THEME |
SIDE 2 I'VE GOTTA BE ME TRY A LITTLE TENDERNESS THIS GUY'S IN LOVE WITH YOU GALVERSTON CHITTY CHITTY BANG BANG |
| If all the men in all the
orchestras Andre Kostelanetz has conducted—think of all the concerts,
recording sessions, film tracks and benefits!—well, if they were all marshalled together and marched past at a smart tempo, it would take longer than "Gone With the Wind." This is very hard to prove but, happily, equally as hard to disprove. The point is, the Maestro—as he is called by musicians—is one of the very few full-fledged four-star field marshalls of the world of music. While the opening sentence of the paragraph above may be an exaggeration, the fact remains that he has been addressed as maestro (master) by a staggering number of the most professional musicians in the world. It-is not a word used loosely, not in those circles. It indicates a healthy respect for the talent, the training, the artistry and the self-discipline of the man. It is a word with a sense of history to it—centuries-old associations of craftsmanship and skill won through countless days and years of struggling to make men and musical instruments blend together in sonority. To make each man a capable musician is the work of long years. To make each instrument a tractable mechanism with its own technique and virtuosity was the work of centuries. To be able to stand before an ensemble of greatly skilled men and direct them well is a matter of authority, tradition, experience, knowledge and sensitivity that is just a bit awesome. But what particularly singles out Andre Kostelanetz from the handful of master conductors with comparable careers is his unaccountable ability to move with the times, to stay young. No matter the age of the score, there is not an "old" note in his music. A Kostelanetz interpretation is as crisp and fresh as the first newspaper off the pile tomorrow morning. Part of this—but only part—is due to his extraordinary feeling for and understanding of the musical uses of electricity and electronics—both in the new amplification of instruments and the new recording techniques that have developed only recently. But more basically, it is, perhaps, his great sense of nuance. As times change, as language changes, as skirts go up and down and the old returns in new forms, so do the meanings in contemporary...music shift. A new group or writer or performer comes along and we hear a different tone of voice, a subtler shading in expression, a shift of emphasis that somehow has more than musical significance. It tells us about a new state of mind, and we welcome it. Andre Kostelanetz has for many years now been "tuned in" to these gradations of intention—both as expressed in the lyrics of tunes and in the unspoken variations of point of view that lie behind them. He has stayed young because he has never stopped listening and feeling and sensing what was new, what was different, what was changed in the intent of music that might—to an ordinary conductor—seem much like previous music from the way the dots lay on the page. If you stay with a changing form every day and keep your awareness of it sharp, you are almost bound to evolve as it evolves, or at least to understand that evolution. The Age of Aquarius will find Maestro Kostelanetz a skilled interpreter of Aquarian music—because he heard it coming. There are other conductors who have fine, thorough classical training and can, as Kostelanetz has so often, lead huge orchestras and choruses through the masterpieces of classic literature. There are also other conductors who have their own identifiable style with a popular piece, so distinctive that you can recognize the conductor from the sound alone, without being told. But you will look in vain for any other conductor who is a master of both these aspects. There is only Andre Kostelanetz. Count him on the fingers of one finger. He is, finally, a man who has taken upon himself the responsibility for a million million separate musical details. Again, this may be an exaggeration—but not by far. One of the details of his creative life has to do with the extremely careful selection of those who work with him and under him. As in all details, he is meticulous about this—demanding, exacting—and rewarding. Those who have worked with him will always choose to again, given the opportunity. Why? Because he is The Maestro. - Charles Burr Engineering: Frank Laico, Russ Payne, John Guerriere |
