Performed by: Ritchie Blackmore • guitar. Ian Gillan • vocals. Jon Lord • keyboards. Ian Paice • drums. Roger Glover • bass guitar. The Royal Philharmonic. Concerto for Group and Orchestra is a music live recording by DEEP PURPLE (Proto-Prog/Progressive Rock) released in on cd, lp / vinyl and/or cassette. Concerto for Group and Orchestra is a live album by Deep Purple and the Royal Philharmonic Orchestra conducted by Malcolm Arnold, recorded at the Royal Albert Hall, London, in September It consists of a concerto composed by Jon Lord, with. MOTHRA 1961 To set a new at pm. Getting Started has 7 the creation. On the growth at code, which runs within and supports numerous features.
It would be wonderful to see a 5th anniversary commemoration in some form. To perform Concerto with reduced orchestra pieces? Are you kidding? Paul Mann did fantastic job in conducting it all together in tight unit. The problem with version was named Ritchie Blackmore and his musical exhibitionism.
And he agreed with it himself later. Sorry for being straight, just named it as it is. You are commenting using your WordPress. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Skip to content. Final revised version, Moderato — Allegro II.
Andante III. EMI Music Publishing Full score and parts available on hire Study Score on sale forthcoming Additional information: View examples of the work done on the revised score. Share this: Facebook Twitter Email Print. Like this: Like Loading Leave a comment Enter your comment here Fill in your details below or click an icon to log in:.
Email required Address never made public. Name required. As for the two bonus tracks presented above , I have never heard them under that particular version. Unfortunately, it was a bomb. The true mix of genres didn't happen at all. It was like someone was saying "Okay, now the band plays" and then "Okay, now the orchestra takes a turn" and back and forth like that throughout the LP. It was a dreadful disappointment even to my naiive and idealistic ears.
There seemed to be no attempt to meld or adapt either medium, just musicians playing what they were told to play. But the good news was that they tried and for that I give them an E for effort. It took some serious cajones to even attempt this project live on stage and in the Royal Albert Hall, at that. And maybe this was one of the many reasons the wonderful, earthquaking, restriction- shattering Mellotron was developed.
And we all know what that did for Progressive rock. More of a curious footnote to the developing grand scheme of things at the end of that glorious decade of musical experimentation than any kind of a true classic, it still has to be judged on its own merits and, in that regard, I have to give it a low grade. Gilan and Glover have just joined the band. It must be one of their earliest live version for it and Gilan is really fanstastic in the vocals.
This version is by far superioir to the one on "Made In Japan". Ritchie outrageous guitar solo is also one of the greatest hard rock experience you can expect. The "Hush" version also shows that Gilan is from another caliber than Rod Evans. You should only buy this one if you can get hold on the double CD version unless you can stand classical music which is not my case.
For the very good bonus CD, I will rate this one three stars only one star for the original vinyl album. You don't make rock progress by simply adding the Royal Philharmonic or any other orchestra for that matter. Progressive rock is not necessarily the inclusion of the influnces and musical ideas borrowed from Classical symphonic music of the XIX century.
Or not only that. Otherwise it becomes a pathetically indulgent piece of work where the rockers are urged to show their musicianship and composing skills in a rather bombastic and pompose way. The performance of "Concerto" is quite fair and decent, but what's the point?
Orchestral parts and all that "movement" structure is pretty boring, Blackmore's and Paice's solo parts save the material a bit and remind you that this is after all a rock band. Jon Lord probably wanted to present himself as a "serious" composer and arranger in front of the academically trained musicians but he did not succeed.
Both are patchworks. The question is how successful from the artistic point of view these patchworks are. Okay, the title is completely wrong. Concerto is a piece composed for a soloing instrument and orchestra. This is only my cynical intention to draw attention to the fact that both band and orchestra were not actually working well and homogeneous together. It was more like playing on turns. The first one is an average Purple's bluesy tune, certainly not on a level of intended majestic atmosphere of a concerto.
If we take into the consideration the over-discussed fact about plagiarism of another band, then these two rock tunes are certainly just a patchwork of ideas that was suitable enough to fill the fourth vinyl side in. As far as the Concerto goes, it's not a real concerto neither, since concerti are written for one soloing instrument rarely two and orchestra; we can talk about rock band as an one-piece entity and a very versatile instrument too but this happened only in traces.
Lord respected the traditional structures and forms three movements , and his writing skills are sometimes lovely, sometimes interesting, sometimes ingenious, sometimes plain boring. To know why this Concerto was recorded at first place we should probably enter into the Lord's head and see what was he thinking at the time: he introduced new members of the band, wanted more advanced approach to the music, and was inclining towards classical repertoire.
It was and rock music was music was moving towards the symphonic sphere rapidly - but even in the right moment, the record was not really a coherent statement, more a semi-failure and historical curiosity rather than a staple. I guess because it is inconsistent. On a plain surface, some moments in Concerto are brilliant, Lord were using not only major and minor scales, the main theme in the first movement is both catchy and intelligent, second movement is dramatic, third one is furious.
I think I've found traces of Stravinsky somewhere there, but that's not the problem. The bands sounds too dry on a recording; that's not a problem with orchestra of course, but lacking the "beef" in the sound of the rock band, the record in its entirety already lost half of the possible appeal. The other thing is, they were playing on turns: eight bars of orchestra - eight bars of the band.
Lord's songwriting saw light of a day too soon; it certainly lacks a lot of polishing. Raw drumming is out of place, Blackmore's anxiety too. Gillan's voice on Second Movement is sweet, and the lyrics are intentionally neutral - they can be interpreted both from a lenses of love as well as religion; that part was fine, although a bit tacky. Lord's Hammond is not on the same level as orchestral parts - it's majestic, expressive, powerful, but not both complex and beautiful as orchestrations.
Since the whole Concerto was his baby, we can only wonder whether it is due to his technical inability as a organist, or his intention while writing a piece to emphasize the contrast between a rock band and classical orchestra. If the first one is the case, we will forgive him. If it's the second case, then that's a pure arrogance and nothing else. Arrogance and self-indulgence shouldn't be here - and here's why: Nobody expected Emerson or Wakeman on Hammond here, they would be both out of place in my opinion , on the other hand Ken Hensley because of his raw power would be out of place too.
The only organist that fits here is Lord himself - with his amount of classical influence and furious rock approach - but he simply doesn't fit perfectly. Which means that the whole peace should have been rewritten - or to put it simply - it's weak. Too bad. This record could have been a masterpiece if only a Lord had polished his piece long enough b waited for another parameters to happen, and for audience's preferences to become more inclined towards progressiveness and c if he had written Concertino For Group and Orchestra.
Contrary to many people's perception, the first album released by the classic mark 2 line up of Deep Purple was not "In Rock", but this live recording. Very much a Jon Lord project, this was one of several attempts around this time to bring together a rock group and an orchestra. The bands concerned went about it in different ways, with Procol Harum simply orchestrating existing material, the Moody Blues creating essentially a symphonic pop album while The Nice made a rock album with orchestral support.
Lord decided to attempt to write something which was essentially classical, but with digressions into rock from time to time. He had been working on the project for many years, an indication of the way he was thinking coming on the final track "April" on the band's third self titled album. When Lord finally managed to get the go ahead, he had just three months to compose the score ready for the planned event at the Royal Albert Hall RAH in London.
Incidentally, the score was subsequently lost, being painstakingly re-created by a fan many years later, but that's another story. The gig at the RAH took place on 24th September The first part of the performance was a recital by the orchestra alone of a symphony written by their conductor Malcolm Arnold. There then followed a band performance of three of their songs, with the concerto occupying the latter part of the evening.
Only the actual concerto appeared on the original LP release. This was partially rectified on the CD version, when two of the three band tracks were added to the start of the CD. These are a 13 minute version of "Wring that neck", a song originally recorded by the mark 1 line up prior to the arrival of Gillan and Glover, and "Child in time" which had then yet to appear on a studio album. The other song was "Hush" by the way. The version of "Child in time" here lacks the refinement of the subsequent studio recording, but in some ways that is what makes it alluring.
That said, this is pretty much the finished product here. The Concerto is divided into 3 lengthy parts running to just under an hour, with the titles of the "Movements" using classical terms such as Allegro, Andante and Vivace-presto to emphasise the ambitions of the composition.
The second section is the most accessible and the softest. The strings are the most dominant overall in this movement, while Gillan adds some regal vocals. The final section is marred by an unnecessary drum solo which completely destroys the "Concerto" notion. This part of the movement is an indulgence pure and simple and should never have made it into the composition.
Thankfully, the rest of the band and orchestra are soon back from their comfort break, and things continue as before. The main criticism which can be levelled at the concerto is that it largely fails in its objective. Group and orchestra do not really work together at all, with one or the other taking centre stage at any given time.
This leads to rather jarring contrasts between the two styles, which in turn makes for a rather disjointed feel. I have seen it said that this was deliberate on the part of Lord, who wanted to demonstrate through the three movements how the two opposites band and orchestra start off apart, but move together as the piece progresses. While the intention is undoubtedly noble, whether it works is open to debate. All that aside though, this album is further evidence of the prog credentials of this fine band.
This album was the representation of Deep Purple music when they were not so sure about their music direction. It was Jon Lord who drove this project and made it for an album for Deep Purple. It has always good when I say a particular band tries the new music horizon they never been before because by doing so, it can be seen how the individual member of the band contributes the music skills. Overall, this is quite enjoyable for those of you who have been familiar with classical music.
The Concerto itself, which makes up the last two thirds of the album, is ridiculous. The "classical" portions are mediocre movie soundtrack quality at best; I guess the same thing could be said about the orchestrations on Days of Future Passed , an album I love, but those orchestrations existed to augment the moods of the actual songs and provide segues.
The orchestrations here are meant to be treated as crucial portions of large-scale composition, and they're just not interesting enough to work that way. Parts go loud, parts go soft, and above all parts go nowhere. And the portions where the band joins in, gah There's an ok song buried inside the second movement though the thought of Ian Gillan being forced to sing pretentious, meaningless prog lyrics is one I find bothersome; aren't lyrics like this anathema to Ian's purpose of existence?
No thanks. Oh, and did I mention that the central feature of the third movement is a drum solo? Did I also mention that the "encore" involves the band and orchestra going through the section with the drum solo a second time? The thing that redeems this album, at least slightly, is that the expanded version includes the band's opening set, sans orchestra, which is actually pretty decent. The opening performance of "Hush" is flat out great, with Gillan putting more gusto into his vocals than Evans did, and the band is super tight.
Still, that's not a ringing endorsement, is it. At least the band didn't make this sort of thing its primary focus in the future The concert for this album was also filmed, and I also could watch it on the web. This album has some of the last Prog Rock attempts done by the band to mix Classical Music arrangements with Rock, a thing that they did several times in their first three albums. Those musical ideas were more influenced by Jon Lord thanks to his previous Classical Music trainning.
Those ideas sometimes worked well and sometimes they did not work well in those albums. Anyway, the band tried again with a more ambitious musical piece consiting of three Movements, with music composed by Lord, with the Second Movement having lyrics written and sung by Gillan. In the case of DEEP PURPLE the results are not very satisfactory, but as a "musical experiment" it was a good idea, before going with this new line-up to record more heavy albums playing Hard Rock and Heavy Metal music, both styles of music which were more proper for this band, I think.
Those years from the late sixties to mid seventies were a very creative period. So, several Rock bands tried several "experiments" and projects to try to give Rock music a more "serious" and respected role in popular music. This album was one of them. The album sounds more like a separated "musical dialogue" between the orchestra and the band, not really mixing their roles very often.
The orchestral parts are very good in most parts, and some of the music which the band plays is sometimes heavy. The best parts in this album for me are the Second Movement on which Gillan sings very well but also briefly, and the Third Movement which includes a very good drums solo by Ian Paice, showing that from his early twenties he really was a very good drummer. As a whole, the album sounds as a good project on which Jon Lord took the lead role more prominently. Unfortunately, the album really shows that it was recorded during an era of "musical experiments" which sometimes worked well and sometimes not.
I have to say it wasn't entirely a success. There could have been more band and orchestra interaction. Deep Purple it sounded like the orchestra did not relate to the band, and neither did the band relate to the orchestra, aside from Jon Lord. I am a bit torn about this album, but to my ears it isn't too bad, but this isn't exactly In Rock or Machine Head, and I obviously didn't expect that. There are some brilliant ideas, but there areas either the band or the orchestra loses focus.
So I guess three stars it is, because I enjoyed it despite obvious flaws. I have found that through the years this album been an alluring one. The cover is strikingly simple with its photo depicting the interior of Royal Albert Hall and the group is at first really not visible but there they are, slouched in the seats of the great theatre.
It has become quite an iconic cover and it has been the very thing that drew and draws me in to this album. And yet, I find it a difficult piece of Music but not in the sense one might imagine.. The marriage of classical music and rock is one that is made in heaven. The pompousness of classical music merges so well with the over the top view of progressive rock.
Unfortunately it doesn't always turn out as great as it could have done.
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Concerto for group and orchestra wrapping plasticRitchie Blackmore-Concerto for Group and Orchestra Solo 1969
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We started off in '68 — this is my opinion — as a relatively competent band with a lot to say but saying it all at the same time as each other. In '69 we went into the classical stuff because it was Jon Lord 's big thing to write a concerto for group and orchestra. He was very sincere, but I didn't like playing it or respect the fact that we were doing it. The orchestra was very condescending towards us, and I didn't like playing with them, so it was one big calamity onstage. But Jon was happy with it and management was happy with it because we had a press angle, which I resented very much.
In I said, 'right, we're going to make a rock and roll LP. If this doesn't succeed I'll play in orchestras for the rest of my life', because Jon wasn't too into hard rock. Luckily it took off, so I didn't have to play with orchestras any more. I love orchestras, chamber music—unaccompanied violin is my favourite.
But I respected them too much, and we just weren't in the same calibre. I'd been playing 15 years at the time, and stuck next to some dedicated violinist who's been playing for 50 years just to give an angle to the press—it's insulting. That's why it started and ended very abruptly. From Wikipedia, the free encyclopedia. Harvest Records. SHVL Brendan Ball's Blog o-iii.
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Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Classical crossover , progressive rock. Deep Purple Concerto for Group and Orchestra Deep Purple in Rock Contemporary period. Orchestra and group. Royal Albert Hall , London. Eagle Vision. Concerto for Group and Orchestra album George and The Sydney Symphony Orchestra.
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Concerto for group and orchestra mare calmoDeep Purple [Concerto For Group And Orchestra 1969] - Third Movement (Vivace - Presto) HD
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