In 1970, respected English composer Arthur Bliss -- nearing the age of 80 -- entered the recording studio for the last time. Some five decades had gone by since he had first done so in 1920; however, Bliss' contact with recording had not been continuous, as was Stravinsky's, and in 1970 the vast majority of his works still had never been recorded, let alone under the composer's baton. For his final series of sessions as conductor, Bliss decided to visit some of his earlier works from the 1920s; Rout (1920), Melée ...
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In 1970, respected English composer Arthur Bliss -- nearing the age of 80 -- entered the recording studio for the last time. Some five decades had gone by since he had first done so in 1920; however, Bliss' contact with recording had not been continuous, as was Stravinsky's, and in 1970 the vast majority of his works still had never been recorded, let alone under the composer's baton. For his final series of sessions as conductor, Bliss decided to visit some of his earlier works from the 1920s; Rout (1920), Melée Fantastique (1921) the Hymn to Apollo (1928), and Serenade for orchestra and baritone (1929). Bliss had touched up all but the Serenade somewhere along the way, but the spirit of the pieces conforms to his initial, Stravinskïan impulses and riotously colorful approach to orchestration. In addition to these early works, Bliss also recorded his most recent work, the choral setting The World is charged with the grandeur of God (1969) and the ballet suite to Adam Zero (1946). Obviously he had...
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