windowdresser's channel

Uh...that is not Andy's voice.

Oh my. Quite a flaw in this post. A sizable portion of the beginning of the piece is missing.

I'm crazy about the wham! gesture heard at 0:20.

The 60s orchestrations enrich this song. The "bubbling" trills in the strings, the cha-cha percussion, the muted brass interjections, the immensely satisfying and knowing countermelodies, all of it captured in extraordinary stereo sound. One of my top favorite Garland songs. Superb repertoire c...

The opening of this work is incomparable. It stops time every time I hear it. It impressionistically translates the opening lines of a Hart Crane poem about seagulls in the New York harbor. That's Gerard Schwartz on the trumpet.

Raksin's score for "The Bad and the Beautiful" is one of Hollywood's greatest, and this scherzo is extraordinary, but it is not heard in the film in such elaborate form. The actual cue used in the movie begins at 2:56. I believe Raksin expanded it in order to fill out the scherzo movement of h...

I love this piece for its audacity, vividness, majesty, complexity. It's among the most difficult to perform of all orchestral works. Early recordings, including this one from 1966, were game but scattershot, reflecting performances of the time. The first great recording was Boulez/Cleveland ('95...

The wonderfully cataclysmic 4th movement finale is missing from this post!

Schifrin is a genius, and this music is very "scary", but the film would have been way less scary if this score had been used. "The Exorcist" has an uncanny realness, almost like a documentary. This music would have lent an operatic quality which would have made the film much easier to shake of...

A masterpiece, but what a curious video. More like a documentation for a conducting class. Stationary camera, brackish color..... One longs for better production values commensurate with the quality of the music. Many thanks for uploading, though!

She's ultra elegant, and poised in that wonderfully artificial way that only movie stars were poised. Contrary to other observers below, I see no nervousness and no tipsiness.

Lypsinka is such a genius, but I've always suspected that the "Wigstock Movie" producers either couldn't afford or couldn't obtain the rights to use the proper voices of Fay Dunaway and Barbra Streisand that belong in this number. It diminishes the integrity of Lyp's performance.

Why don't these Drexel interviews include the dates of the interviews? We can guess at some of them, but this would be basic, academic information, no?

Love this. The dissonance is invigorating. A composer in Hollywood today who tried to deliver a score like this would be run out of town by the reactionary kids in charge.

How dubious of Barbara Walters to try to draw a connection from the great Lucille Ball to Roseanne Barr.

This is profoundly beautiful, and certainly underrated.

Love this. Dolores Grey was a killer. That hot, hot orchestration suits her, as do the campy lyrics by Comden and Green.

Astounding how so little can do so much. Amazing how a few chords and a simple melodic line can summon such atmospheric intensity. Indelible.

One cannot overestimate the greatness of this work.

I miss the big crashing guitar chord.

Great playing, but the first movement is abridged.

Great, but I've never heard the fast sections taken quite this fast.

I have always loved the surprise opening of this work. Four measures in, and we're already hit by that bracing, fortissimo, twelve-note chord. Fearless! It's like a bungee jump. One of the best opening gambits in the wind repertoire. Lets you know that anything can happen later. And, of course...

Lance was fabulous, fruity, witty, and a trailblazer. He had a touch of antic nihilism. Barely over 20 here, he must also be considered a wunderkind. Too bad about the tone of some of the comments here. Forty years has done little to dispel the finger-pointing and taunting that a queer sensibili...