Ruggles, Moore & Ward: Orchestral Works - Japan Philharmonic Orchestra, William Strickland. Открывайте новую музыку каждый день.

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Douglas Moore (1893-1969) was best-known as an opera composer; his "greatest hit" was "The Ballad of Baby Do. But he also wrote some wonderfully melodic.

Japan Philharmonic Orchestra, William Strickland. Ruggles, Moore & Ward: Orchestral Works. The Orchard Music (от лица компании "NWCRI").

Composed By – Carl Ruggles. Composed By – Douglas Moore. B. Symphony No. 2. Composed By – Robert Ward (6). 20:40. Conductor – Akeo Watanabe (tracks: A1), William Strickland (tracks: A2, B). Cover – Judith Lerner. Orchestra – Japan Philharmonic Symphony Orchestra. Other Versions (1 of 1) View All. Cat.

All materials are provided for educational purposes. Tracklist of Robert Ward (6), Douglas Moore, Carl Ruggles on this page

Organum - Carl Ruggles, Akeo Watanabe. In Memoriam - Douglas Moore, 9:480:30. 3. 2: Symphony No. 2: I. Fast and Energetic (♩ 144-152) - Robert Ward, 7:410:30. 4. 2: II. Slowly (♩ 66) - Robert Ward, 8:230:30. 5. 2: III. Fast (♩ 192-200) - Robert Ward, 5:010:30.

A2. In Memoriam Composed By. – Douglas. 2 Composed By – Robert Ward. Conductor – Akeo Watanabe (tracks: A1), William Strickland (tracks: A2, B) Cover – Judith Lerner Orchestra – Japan Philharmonic Symphony Orchestra. Category Country Year.

Douglas Stuart Moore (August 10, 1893 – July 25, 1969) was an American composer, educator, and author. He wrote music for the theater, film, ballet and orchestra, but his greatest fame is associated with his operas The Devil and Daniel Webster (1938) and The Ballad of Baby Doe (1956). Moore was born in Cutchogue, Long Island, New York. His ancestors were among the first settlers to Long Island, NY. Moore was an alumnus of the Fessenden School, the Hotchkiss School and Yale University

Charles Sprague "Carl" Ruggles (March 11, 1876 – October 24, 1971) was an American composer. He wrote finely crafted pieces using "dissonant counterpoint", a term coined by Charles Seeger to describe Ruggles' music. His method of atonal counterpoint was based on a non-serial technique of avoiding repeating a pitch class until a generally fixed number such as eight pitch classes intervened. He wrote painstakingly slowly so his output is quite small.