Versiones de música clásica en Emerson, Lake And Palmer (o Powell) y The Nice

[sahagun]

Como hablamos ayer, el objetivo real de este hilo es ver y cuantificar por qué este grupo hizo tantas versiones clásicas, algo que se dio en ellos y en nadie más con semejante profusión. Entonces, entre lo que has puesto ahora y lo que se va puliendo en cuanto al sentido del hilo, me toca volver a pulir el post #1. Me parece que se podría hacer un recopilatorio de esto porque es un material con una estructura argumental. Pero otra cosa es que interese o no. El poner el 80% de un disco desvirtuaría mucho un recopilatorio así. Y pese a tener una estructura argumental, el contenido sería muy dispar.

Bueno, a lo largo de la mañana iré puliendo el post #1. Empiezo con el título.

[sahagun]

Habría que mirar también el disco de Emerson en solitario. Yo no lo tengo.

[sahagun]

Por cierto, "The Sage" no es una composición de Edward Grieg con letra de Lake, sino una canción (música y letra) de Greg Lake, ¡ojo!

Entonces hay que quitarla, ¿no?

[icrp1961]

Por cierto, "The Sage" no es una composición de Edward Grieg con letra de Lake, sino una canción (música y letra) de Greg Lake, ¡ojo!

Entonces hay que quitarla, ¿no?

Es parte integral del álbum, pero no de la obra original de Mussorgsky.

[icrp1961]

Habría que mirar también el disco de Emerson en solitario. Yo no lo tengo.

Tiene varios discos.

Studio albums[edit]
Honky (1981) (digitally re-mastered 2013)[127][128]
The Christmas Album (1988)[129]
Changing States (aka Cream of Emerson Soup) (1995)[130]
Emerson Plays Emerson (2002)[131]
Keith Emerson Band featuring Marc Bonilla (2008)[64]
The Three Fates Project (with Marc Bonilla, Terje Mikkelsen) (2012)[132][133]

Live albums[edit]
Boys Club – Live From California (with Glenn Hughes, Marc Bonilla) (2009)[134]
Moscow (with Keith Emerson Band Featuring Marc Bonilla) CD & DVD (2010)[135]
Live From Manticore Hall (with Greg Lake) (2014)[136]

Soundtrack albums[edit]
Inferno (1980)[137]
Nighthawks (1981)[138]
Best Revenge (1985)[139]
Murder Rock (1986)[140]
Harmageddon/China Free Fall (1987) — Split album with Derek Austin. Emerson did the Harmageddon soundtrack while Austin did the China Free Fall soundtrack.[141]
La Chiesa (2002) — Music from the 1989 horror film The Church, also known as La chiesa. Also contains material by Fabio Pignatelli and Goblin.[142]
Godzilla: Final Wars (2004)[143]

Compilations[edit]
Chord Sampler (1984)[144]
The Emerson Collection (1986)[145]
At the Movies (2005)[146]
Hammer It Out – The anthology (2005)[147]
Off the Shelf (2006)[148]

Esto es de la wikipedia
https://en.wikipedia.org/wiki/Keith_Emerson#Solo_works

Habría que ver en discogs.

[icrp1961]

De la wikipedia en inglés, corto y pego. Es interesante:

Pieces based on other works[edit]

Emerson would occasionally cover or sample other musical works in his compositions. Permission to use pieces was sometimes denied by the composer or his family; for example Gustav Holst's daughter refused to grant official permission for rock bands to perform her late father's composition Mars, the Bringer of War.[152] However, a number of composers did grant permission for their works to be used. Aaron Copland said that there was "something that attracted [him]" about ELP's version of "Fanfare for the Common Man", and so approved its use, although he said, "What they do in the middle, I'm not sure exactly how they connect that with my music[.]"[153] Alberto Ginastera, on the other hand, enthusiastically approved Emerson's electronic realisation of the fourth movement of his first piano concerto, which appeared on their album Brain Salad Surgery under the title "Toccata". Ginastera said, "You have captured the essence of my music, and no one's ever done that before."[154]

With the Nice[edit]
"America, 2nd Amendment", from West Side Story's "America", by Leonard Bernstein, credited, quoting Antonín Dvořák's Symphony No. 9, From the New World, uncredited.[14][155]
"Rondo", derived from Dave Brubeck's "Blue Rondo à la Turk", uncredited, quoting Bach, Italian Concerto third movement, uncredited.[14]
"Diary of an Empty Day", from Symphonie Espagnole by Édouard Lalo, credited.[14]
"Azrael Revisited", quoting Sergei Rachmaninoff's Prelude in C-sharp minor, credited.[14]
"Ars Longa Vita Brevis" – Bach, the third Brandenburg Concerto, Allegro, credited.[14]
"Intermezzo from the Karelia Suite" – Sibelius, credited.[14]
"Pathetique", Symphony No. 6 by Tchaikovsky, credited.[14]
"Hang on to a Dream", from "How Can We Hang On to a Dream?" by Tim Hardin, credited, quoting (during a live recording) "Summertime", from Porgy and Bess by George Gershwin, uncredited.[156]
"She Belongs to Me", by Bob Dylan, credited, quoting Bach, uncredited,[157] and fragments of the theme from The Magnificent Seven, by Elmer Bernstein, uncredited.[14]
"Country Pie", by Bob Dylan, credited, lyrics partly set to Bach, the sixth Brandenburg Concerto, credited.[14]

With ELP[edit]
"The Barbarian", based on Allegro barbaro, Sz. 49, BB 63 by Béla Bartók, uncredited on US release of Emerson Lake & Palmer (credited on the British Manticore re-pressing of the original LP, on the back cover of the LP jacket).[33]
"Knife-Edge", based on the Sinfonietta by Leoš Janáček, uncredited on US release (credited on the British Manticore re-pressing of the original LP, on the back cover of the LP jacket); middle section based on the Allemande from French Suites No. 1 in D minor, by J.S. Bach, uncredited.[33]
"The Only Way (Hymn)", incorporating (in the song's introduction and bridge) J.S. Bach's 'Organ Toccata in F and Prelude VI from Book I of the Well-Tempered Clavier', credited on Tarkus.[158]
"Are You Ready Eddy?", based on the tune of Bobby Troup's song "The Girl Can't Help It" and including a quote from the Assembly bugle call, both uncredited (on Tarkus).[159]
Pictures at an Exhibition, by Modest Mussorgsky, credited.[14]
"Blues Variation" from Pictures at an Exhibition also contains an uncredited quote of the 'head' of Bill Evans' minor blues piece "Interplay" (1:52).[160]
"Nutrocker", adapted by Kim Fowley, credited, from Tchaikovsky's "March of the Wooden Soldiers", uncredited.[14]
"Hoedown", from Rodeo by Aaron Copland, credited, quoting "Shortnin' Bread" and "Turkey in the Straw"", both traditional.[161]
"Abaddon's Bolero", quoting "The Girl I Left Behind", traditional.[162]
"Jerusalem", by C. Hubert H. Parry, credited.[163]
"Maple Leaf Rag", by Scott Joplin (in Works Volume 2), credited.[14]
"Toccata", from a piano concerto by Alberto Ginastera, endorsed by the composer, credited.[154]
"Karn Evil 9, 2nd Impression", quoting "St. Thomas", a Caribbean melody sometimes attributed to Sonny Rollins, uncredited.[164]
"Fanfare for the Common Man", by Aaron Copland, credited.[153]
Carmina Burana, by Carl Orff, quoted in an extended solo in live recordings from Poland.[165]
With Emerson, Lake & Powell, the main theme to "Touch & Go" is identical to the English folk song "Lovely Joan", better known as the counterpoint tune in Ralph Vaughan Williams' Fantasia on Greensleeves. Not credited.[166][167]
With Emerson, Lake & Powell, "Mars" is based on the equivalent movement from the suite The Planets, by Gustav Holst.[168]
"Romeo & Juliet" from the Romeo and Juliet suite by Sergei Prokofiev, credited.[168]
"Love at First Sight" intro, Étude Op. 10, No. 1, by Frédéric Chopin, uncredited.[169]

[sahagun]

Los compositores clásicos o clásico modernos que ha versioneado Emerson en The Nice, ELPalmer y ELPowell son, por orden alfabético:
Johann Sebastian Bach
Béla Bartók
Leonard Bernstein
Aaron Copland
Alberto Ginastera
Gustav Holst
Leoš Janáček
Modest Mussorgsky
Sergei Prokofiev
Joaquín Rodrigo
Jean Sibelius
Pyotr Ilyich Tchaikovsky

Por estilos:

Barroco: Johann Sebastian Bach

Romanticismo: Leoš Janáček

Nacionalismo ruso: Modest Mussorgsky, Sergei Prokofiev y Pyotr Ilyich Tchaikovsky

Nacionalismo finlandés: Jean Sibelius

Modernista popular: Leonard Bernstein, Aaron Copland

Música modernista: Gustav Holst

Modernismo español: Joaquín Rodrigo

Ayúdame Carlos, estaba intentando clasificarlos según lo poco que sé y esta lista https://es.wikipedia.org/wiki/M%C3%BAsica_del_Clasicismo por si de esto se saca algo:

Música antigua
(hace 50 000 años-500 d. C.)
Música en la Prehistoria
Música en la Antigüedad

Período medieval y renacentista
(500-1600)
Música medieval
Música del Renacimiento

Período de la práctica común
(1600-1910)
Música del Barroco
Música del Clasicismo
Música del Romanticismo
Música del impresionismo

Período moderno y contemporáneo
(1910-presente)
Música modernista
Jazz
Música popular
Música académica contemporánea

[sahagun]

Por cierto, "The Sage" no es una composición de Edward Grieg con letra de Lake, sino una canción (música y letra) de Greg Lake, ¡ojo!

Entonces hay que quitarla, ¿no?

Es parte integral del álbum, pero no de la obra original de Mussorgsky.

No hay nada de Edward Grieg?

[sahagun]

De la wikipedia en inglés, corto y pego. Es interesante:

Pieces based on other works[edit]

Emerson would occasionally cover or sample other musical works in his compositions. Permission to use pieces was sometimes denied by the composer or his family; for example Gustav Holst's daughter refused to grant official permission for rock bands to perform her late father's composition Mars, the Bringer of War.[152] However, a number of composers did grant permission for their works to be used. Aaron Copland said that there was "something that attracted [him]" about ELP's version of "Fanfare for the Common Man", and so approved its use, although he said, "What they do in the middle, I'm not sure exactly how they connect that with my music[.]"[153] Alberto Ginastera, on the other hand, enthusiastically approved Emerson's electronic realisation of the fourth movement of his first piano concerto, which appeared on their album Brain Salad Surgery under the title "Toccata". Ginastera said, "You have captured the essence of my music, and no one's ever done that before."[154]

With the Nice[edit]
"America, 2nd Amendment", from West Side Story's "America", by Leonard Bernstein, credited, quoting Antonín Dvořák's Symphony No. 9, From the New World, uncredited.[14][155]
"Rondo", derived from Dave Brubeck's "Blue Rondo à la Turk", uncredited, quoting Bach, Italian Concerto third movement, uncredited.[14]
"Diary of an Empty Day", from Symphonie Espagnole by Édouard Lalo, credited.[14]
"Azrael Revisited", quoting Sergei Rachmaninoff's Prelude in C-sharp minor, credited.[14]
"Ars Longa Vita Brevis" – Bach, the third Brandenburg Concerto, Allegro, credited.[14]
"Intermezzo from the Karelia Suite" – Sibelius, credited.[14]
"Pathetique", Symphony No. 6 by Tchaikovsky, credited.[14]
"Hang on to a Dream", from "How Can We Hang On to a Dream?" by Tim Hardin, credited, quoting (during a live recording) "Summertime", from Porgy and Bess by George Gershwin, uncredited.[156]
"She Belongs to Me", by Bob Dylan, credited, quoting Bach, uncredited,[157] and fragments of the theme from The Magnificent Seven, by Elmer Bernstein, uncredited.[14]
"Country Pie", by Bob Dylan, credited, lyrics partly set to Bach, the sixth Brandenburg Concerto, credited.[14]

With ELP[edit]
"The Barbarian", based on Allegro barbaro, Sz. 49, BB 63 by Béla Bartók, uncredited on US release of Emerson Lake & Palmer (credited on the British Manticore re-pressing of the original LP, on the back cover of the LP jacket).[33]
"Knife-Edge", based on the Sinfonietta by Leoš Janáček, uncredited on US release (credited on the British Manticore re-pressing of the original LP, on the back cover of the LP jacket); middle section based on the Allemande from French Suites No. 1 in D minor, by J.S. Bach, uncredited.[33]
"The Only Way (Hymn)", incorporating (in the song's introduction and bridge) J.S. Bach's 'Organ Toccata in F and Prelude VI from Book I of the Well-Tempered Clavier', credited on Tarkus.[158]
"Are You Ready Eddy?", based on the tune of Bobby Troup's song "The Girl Can't Help It" and including a quote from the Assembly bugle call, both uncredited (on Tarkus).[159]
Pictures at an Exhibition, by Modest Mussorgsky, credited.[14]
"Blues Variation" from Pictures at an Exhibition also contains an uncredited quote of the 'head' of Bill Evans' minor blues piece "Interplay" (1:52).[160]
"Nutrocker", adapted by Kim Fowley, credited, from Tchaikovsky's "March of the Wooden Soldiers", uncredited.[14]
"Hoedown", from Rodeo by Aaron Copland, credited, quoting "Shortnin' Bread" and "Turkey in the Straw"", both traditional.[161]
"Abaddon's Bolero", quoting "The Girl I Left Behind", traditional.[162]
"Jerusalem", by C. Hubert H. Parry, credited.[163]
"Maple Leaf Rag", by Scott Joplin (in Works Volume 2), credited.[14]
"Toccata", from a piano concerto by Alberto Ginastera, endorsed by the composer, credited.[154]
"Karn Evil 9, 2nd Impression", quoting "St. Thomas", a Caribbean melody sometimes attributed to Sonny Rollins, uncredited.[164]
"Fanfare for the Common Man", by Aaron Copland, credited.[153]
Carmina Burana, by Carl Orff, quoted in an extended solo in live recordings from Poland.[165]
With Emerson, Lake & Powell, the main theme to "Touch & Go" is identical to the English folk song "Lovely Joan", better known as the counterpoint tune in Ralph Vaughan Williams' Fantasia on Greensleeves. Not credited.[166][167]
With Emerson, Lake & Powell, "Mars" is based on the equivalent movement from the suite The Planets, by Gustav Holst.[168]
"Romeo & Juliet" from the Romeo and Juliet suite by Sergei Prokofiev, credited.[168]
"Love at First Sight" intro, Étude Op. 10, No. 1, by Frédéric Chopin, uncredited.[169]

Mira, a más gente le llamó la atención esto. Pues aquí sí que meten otras cosas no clásicas. No sé, ¿como lo enfocamos al final?

[icrp1961]

Por cierto, "The Sage" no es una composición de Edward Grieg con letra de Lake, sino una canción (música y letra) de Greg Lake, ¡ojo!

Entonces hay que quitarla, ¿no?

Es parte integral del álbum, pero no de la obra original de Mussorgsky.

No hay nada de Edward Grieg?

Dime tú de donde sacaste eso. Yo creo que es una confusión. Alguien leyó Grieg Lake en lugar de Greg Lake

[icrp1961]

Mira, a más gente le llamó la atención esto. Pues aquí sí que meten otras cosas no clásicas. No sé, ¿como lo enfocamos al final?

Está el tema de Emerson en solitario...
Yo metería sólo las versiones como tal no las citas.

[sahagun]

Dime tú de donde sacaste eso. Yo creo que es una confusión. Alguien leyó Grieg Lake en lugar de Greg Lake

De la wikipedia en español, otra pifia.

Mira, a más gente le llamó la atención esto. Pues aquí sí que meten otras cosas no clásicas. No sé, ¿como lo enfocamos al final?

Está el tema de Emerson en solitario...
Yo metería sólo las versiones como tal no las citas.

Sí, sí, hay que hacerlo. Voy mirando poco a poco.
Sí, sí, solo versiones. Pero creo que ya que estaba hecho, no merece la pena andar quitando otras versiones como las de Dylan y demás.

[sahagun]

Otra versión descubierta:

KEITH EMERSON BAND featuring MARC BONILLA 2008
9.- "Marche Train" Gustav Host (The Planets) (Emerson - Bonilla) no acreditada a Holst

[jolubur]

El otro día hablaba del interés de los músicos de progresivo por Bob Dylan (algo que casi daría para un hilo) y comentaba que ELP, en The Hot Seat habían versioneado (Lake, en concreto) el tema de "Oh, Mercy" llamado "Man in the Long Black Coat" (por cierto, infinitamente mejor la versión original de Dylan, que cuenta con producción de Daniel Lanois, que la de ELP). Revisando este hilo veo que Keith Emerson en The Nice también había hecho un par de versiones de Dylan: Country Pie (del álbum Nashville Skyline) y She Belongs To me (de Bringing it all back home). Siendo el único o casi el único músico de la esfera rock que ha sido versioneado por ELP, ya que el resto son compositores clásicos o jazzísticos.
Hoy leo que Steven Wilson cita a Dylan como modelo de músico que nunca se ha plegado a los designios de la moda o el mercado, mientras que Akerfeldt reconoce que Dylan fue su principal influencia a la hora de dar un giro de 180 grados a la carrera de Opeth y dejar los gururales atrás para convertirse en una banda de "progresivo clásico". Por supuesto, ser refiere al hecho de que Dylan dejara a sus fans con dos pares de narices plantados cuando agarró la eléctrica y les dejó boquiabiertos mientras esperaban que cantara tonadas protesta de corte acústico.