CD Oscar & Steve (CD 396221),
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Oscar & Steve


  • 1. I Have the Room Above
    2. Loving You
    3. If I Loved You
    4. I Wish I Could Forget You
    5. Pleasant Little Kingdom / Too Many Mornings
    6. Kiss to Build a Dream On, A
    7. Poems
    8. You Are Beautiful
    9. Bali Ha'i
    10. Beat Out Dat Rhythm on a Drum
    11. There Won't Be Trumpets
    12. An Ordinary Couple / When The Children Are Asleep
    13. When I Grow Too Old To Dream / Remember
    14. Honey Bun
    15. Not a Day Goes By
    16. You've Got To Be Carefully Taught / Children Will Listen
    Read More...
  • Additional Info
    Manufacturer Part Number (MPN): 79392

  • Credits
    ProducerJohn McClure
    EngineerTom Lazarus

    Personnel: Mandy Patinkin (vocals); Eric Stern (conductor); Joyce Hammann
    (violin, concertmaster); Martha Mott, Suzanne Ornstein, Laura Seaton,
    Mitchell Stern, Alicia Edelberg, Katherine Livolsi-Stern, Nancy McAlhany, Alexander Vselensky (violin); Ronald Carbone, David Cerutti (viola); Clay Ruede, David Calhoun, Ellen Westerman (cello); Jennifer Hoult (harp); Elizabeth Mann, Less Scott, John Moses, Richard Heckman, Charles Wilson, Lawrence Feldman, John Winder (woodwinds); Robert Millikan, Anthony Kadleck, Danny Cahn, Larry Lunetta (trumpet); Russell Rizner, Ronald Sell, Roger Wendt (French horn); James Pugh, Bruce Bonvisutto (trombone); Nathan Durham (trombone, tuba); John Beal (bass); John Redsecker (drums); James Saporito, Thad Wheeler (percussion); Bruce Samuels (programming).
    Recorded at The Hit Factory, New York in June 1995. Includes liner notes by Jonathan Schwartz.
    All songs written or co-written by Oscar Hammerstein II or Stephen Sondheim.
    Personnel: Jennifer Hoult (harp); Nancy McAlhany, Alicia Edelberg, Mitchell Stern, Alexander Vselensky, Joyce Hammann, Suzanne Ornstein, Laura Seaton, Katherine LiVolsi Stern (violin); David Cerutti, Ronald Carbone (viola); David Calhoun, Ellen Westerman, Clay Ruede (cello); Charles Wilson, John Winder, Elizabeth Mann, Les Scott, Lawrence Feldman, John Moses, Richard Heckman (woodwinds); Anthony Kadleck, Robert Millikan, Danny Cahn, Larry Lunetta (trumpet); Ron Sell, Russ Rizner-French, Roger Wendt (French horn); Nathan Durham (trombone, tuba); James Pugh, Bruce Bonvissuto (trombone); Glen Daum, Georges Bizet (Fender Rhodes piano); Paul Ford (keyboards); John Redsecker (drums); Jim Saporito, Thad Wheeler (percussion); Bruce Samuels (programming).
    Liner Note Author: Jonathan Schwartz.
    Recording information: The Hit Factory, New York, NY.
    Editor: Paul Zinman.
    Photographers: Michael Le Poer Trench; Randee Saint Nicholas.
    Unknown Contributor Roles: Mandy Patinkin; Michael Yukon Grody; Bruce Samuels; Judy Blazer.
    Arrangers: Paul Ford ; Eric Stern.
    The relationship between Oscar Hammerstein II and Stephen Sondheim is among the most confounding in the American musical theater. On the one hand, Hammerstein was Sondheim's spiritual father, the guiding force who led him to become a writer of theater songs. On the other, the optimistic, wholesome attitude expressed in Hammerstein's lyrics and librettos could not be more different from the skeptical, subversive wit of Sondheim. Mandy Patinkin confronted this dichotomy head-on in his fourth album, alternating songs by the two, following Hammerstein's "If I Loved You" with Sondheim's "I Wish I Could Forget You," Hammerstein's "Honey Bun" with Sondheim's "Not a Day Goes By." Those juxtapositions emphasized the differences, but Patinkin also found similarities in some pairings. The odd thing was that, although Patinkin is identified with Sondheim, here he was more comfortable with Hammerstein. He is able to appreciate the ambivalent anguish of "I Wish I Could Forget You" and the savage wit of "Remember," but he's too nice to plumb the cruelty of either song. On the other hand, Hammerstein's embrace of sentiment is similar to Patinkin's, and in songs like "If I Loved You," "Bali Ha'i," and "Honey Bun," he was able to indulge his energy and back-wall-of-the-theater bellow. Sondheim can thank Patinkin for making his songs seem more conventional and acceptable than they really are. Here, Patinkin even found surprising warmth in two of the austere songs from Passion. But, despite Patinkin's obvious affection for Sondheim, that doesn't make him the ideal interpreter. On the other hand, listening to this record makes you wonder what he could do with Hammerstein standards like "Ol' Man River" or "Oklahoma!" ~ William Ruhlmann

  • Critic Reviews
    New York Times (Publisher) (1/6/96, p.C16) - Included on Stephen Holden's list of the Top 10 Albums of `95 - "...an emotionally charged lesson in Broadway musical history..."
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