A concertino for violin and string orchestra is altogether more ingratiating, with an arresting opening melody and busy interplay between soloist and ensemble. The tenth symphony, which wraps up the album, is a post-tonal experiment of the late s, daring for its time and place but unchallenging to modern, western ears. The playing quality is top drawer. Weinberg always leaves me wanting to hear more.
February 4, In the golden age of orchestral recording — the s cusp between mono and stereo — American labels piled into London and Vienna after an aggressive union priced their own musicians out of work. At Abbey Road, players worked thirty days on the trot, three sessions a day, to feed a burgeoning market for classical music. In Vienna, the Philharmonic exclusively contracted to Decca performed under six different names for other labels. Westminster was one of the busiest of these producers and its arhives have been virtually unavailable for the past quarter-century, since the digital dawn.
This overdue compilation of 40 CDs is filled with uncollected glories, some half-remembered, others unknown. This is fantasy casting of an almost unimaginable pedigree and few today are aware that these recordings even exist. Where on earth to begin? January 6, We now have piano concertos by three composers called Tchaikovsky. The first is written in B flat minor, a dark key that others mostly shunned.
The second is by Boris Tchaikovsky, a student and kindred spirit of Dmitri Shostakovich.
The Florida alligator ( November 04, 1969 )
That was a name picked by his grandmother to pluck him from the Warsaw Ghetto and keep him alive, hidden in a closet, until the Nazis were defeated. The boy, a pianist and composer, was an unsettled soul who lived mostly in England until his death of cancer, aged 46, in Last summer, however, his opera The Merchant of Venice received a triumphant premiere at the Bregenz Festival and the third Tchaikovsky too late to change the name is now firmly back in play.
His piano concerto, written for Radu Lupu in the late s, reflects the swirling currents of Sixties London. Atonal and dramatic, it is austere only in its frugality — not a note out of place. A sultry mischief, alternately angry and amused, pervades the work. The music engages the listener with a powerful personality and an infectious musicality. We need to hear this concerto at the BBC Proms to sample its exciting potential. December 16, The original American in Paris, George Antheil titled his best-selling memoirs Bad Boy of Music and tried hard to live up to his billing.
Raised a Lutheran in Trenton, New Jersey, he went wild among artists and ladies, filling his apartment with new acquisitions — a Braque, a Picasso, a Leger, two Kubins, the paint still wet. Shuttling between s Paris and Berlin he finally headed to Hollywood, last refuge of the wannabe celebrity. The promise soon wears thin. Aiming to break sound barriers, he lands somewhere between honky-tonk and his all-time idol, Igor Stravinsky. The solo piano music is entertaining enough in noisy spells.
Guy Livingston, intermittently joined by two other pianists, hurls himself at the keyboard and spares no effort to make a case for an Antheil revival. No fault of his that the music is no more than a dinner plate shattered into period pieces. December 9, Nobody does church like James MacMillan. Every year, as Christmas nears and a Mass or Magnificat of his lands on the deck, the composer contrives to surprise, bending the harmonic line out of the blue like David Beckham in his prime, while staying true throughout to a traditional sacred format. It is recorded in the challenging acoustic of the Church of the Holy Rude, Stirling.
Madeleine Mitchell pops up with a stunning violin solo, which she plays more like country fiddler than concert soloist, filling in the harmonic hills and valleys while the vocals curl upwards into the roof beams. MacMillan is a champion virtuoso of church space. December 2, Then the second phrase chimes in and you realise that you have never listened properly to a piano before.
In one minute and seven seconds, a Hungarian composer takes off both your ears, gives them a rinse and polish and leaves them half a tone sharper than before. This is a specialist service offered only by Hungarian composers and their interpreters. Solo piano in Hungarian is a world unto itself, a world apart. November 25, Karl Amadeus Hartmann, who lived all his life in Munich and died 50 years ago next month Dec , went into inner exile during the Nazi regime. He refused to allow his music to be performed after January and joined an underground movement that helped people flee the country.
After the War, he founded Musica Viva, a concert series that introduced Bavarians to all the new music they had missed under Hitler. His own music is a vital link in German cultural history and is played all too little abroad, or on record. His second string quartet, begun in May , ripples with overt references to Alban Berg and his violin concerto.
Like Berg, Hartmann weaves tonal into atonal and hints at sources in Bach. Like Berg he is, for all the cross-references, entirely himself. The music, intimate and intense, grips the ear with great force. It is played here by the Zehetmair Quartet in a context that is at once imaginative and ambitious. Then the quartet play Hartmann and you grasp the coherence of the compilation. The final piece, commissioned by the Zehetmairs from the Swiss composer Heinz Holliger, is full of allusions to German literature, though lacking lacks a strong conclusion.
That said, this is a bold and intelligent album, played with passion, a signature project. November 17, When an opera singer turns to movies there is reason to suspect that the primary motives are not necessarily artistic. Less suspicion, perhaps, in the case of Natalie Dessay, who considers herself a singing actress rather than a diva and whose personal interests range above and beyond a stretch-limo ego and a high tessitura.
What Ms Dessay sings here is, she says, the soundtrack of her life. Ms Dessay heard him first when she was six years old. The chance to meet him was irresistible, the record that followed inevitable. A cake recipe sung with Patricia Petibon falls into both categories. Just listen. November 11, This album comes strongly recommended. The music is another matter. The Prokofiev third concerto is opened by a delicious clarinet solo that is picked up by the rest of the orchestra. There are some wild moments in the andantino, but the finale reverts to non-communication, the orchestra going one way, the pianist the other.
The result is not so much disturbing as insipid: a breezy misreading of one of the most scalp-tingling concertos on record. This interpretation, however, bears no resemblance to that sovereign landmark. Here, the music is driven by agitation, its wistful accents mashed into robotic motion.
The Berlin Philharmonic Orchestra sound magnificent, earning the production its second critical star. October 14, Every now and then, however, an event leaps off its stage and can no longer be contained in house. A set of Brahms intermezzi and snippets of Bach and Mendelssohn complete the set. On paper, just another classical release. In your ears, an inimitable experience. The lone drawback is a booklet with dreary pics and words. Wigmore Hall has great house style. October 7, Winning one of the four top piano competitions is supposed to change your life with a dazzle of big dates and a major label contract.
Boris Giltburg has resisted the instant temptations, sticking with a niche label for his first two releases after taking the Queen Elisabeth contest by storm. No corporate label would have countenanced so unyielding a display of serious intent, and Giltburg might have done this release a favour by appending a soft encore for less rigorous listeners. On the other hand, if he wants the world to respect his sincerity, he could hardly have picked a stronger set.
The playing is an unalloyed delight, rich in character, devoid of distracting tricks and with no surplus artillery noise in the Liszt. Giltburg is a pianist you will want to hear live. Clap long enough and he might even smile up an encore. September 30, This is the critical fortnight in September when labels launch vocal albums for the Christmas market and critics cower beneath the bed hoping they will go away. Except Diana Damrau, who lands on my deck like an untimely spring breeze. The Bavarian soprano usually covers mainstream opera from Mozart to Strauss with a dash of big Italian roles.
Here, she dips into operetta, but with a personal twist. David Charles Abell conducts the Royal Liverpool Philharmonic in top-notch sound and the only regret is the superfluous, expensive inclusion of a brittle-voiced Rolando Villazon in the Merry Widow duet. September 23, What did Wagner do before he became Wagner? In he wrote a pair of piano sonatas, a timely idea for a musician of 19, trying to find his voice. Beethoven was five years dead and no-one had yet dared to address his summit 32 sonatas.
Perfect opportunity for a brash Leipzig iconoclast. Except he lacked the means. The melodies, moderately interesting, lead nowhere in particular and the occasional burst of bombast serves only as a hinted anticipation of operas to come. They are, however, well worth hearing for the sheer megalomaniac presumption that a smooth-faced student with no prior experience could match Beethoven at his peak.
This fascinating album also contains a set of sung variations by Wagner on the theme of Faust — further proof of an outsized ambition. September 16, Depressed and disillusioned, Eisler wrote a set of Serious Songs for baritone and instrumental ensemble, finishing it shortly before he died in August His musical language is closer to Mahler than to Schoenberg, whose pupil he had been.
Every song aches for an unattainable home. More even than Dietrich Fscher-Dieskau, who took up these songs half a century ago, Goerne goes to the heart of pain without a trace of pity and with sudden flashes of wit. The sound is exemplary and the cover image arresting; this is a near-perfect record. August 15, Percussion has come a long way since then, both in the diversity of instruments and in force of ambition. Kuniko Kato, a US-based Japanese virtuoso, applies her marimbas, crotales, bells and vibraphones to the works of living composers, several of whom are delight in the extra colours and dimensions she adds to their work.
Three women singers. Ian Burnside accompanies. Alice Coote — with Julius Drake at the piano — delivers a rich and dark journey, lacking just the top notch of tension. The next big voice in Baroque mixes Handel with Purcell, shedding many English consonants along the way.
The voice is lovely. Jonathan Cohen directs. August 8, One spring Saturday in May , remembered by witnesses as if yesterday, the most famous living pianist gave his first recital in Europe for 31 years. Vladimir Horowitz had been acclaimed as a phenomenon when he escaped Communist Russia, aged 22, in No-one, however, owned Vladimir Horowitz. His sensibility was so particular that he never rose before lunchtime, ate steamed fish, and played recitals only at four in the afternoon. His long absence from Europe was due to periods of mental instability and hospitalisation.
Few who attended the RFH in May had ever heard him live before. The opening notes of a Scarlatti sonata demonstrate that this was a pianist who interpreted music from within a bubble of impermeable subjectivity, oblivious to precedent and expectation. The recorded sound, a shade indistinct, is no harsher than his New York studio sessions, and the remoteness of the applause underlines a perceptual distance between Horowitz and the rest of us. Only in his final DG recordings, taped in his own home, does Horowitz permit intimacy. No piano lover can afford to leave this disc unplayed.
Tosca has been staged on the ramparts of Rome and Turandot on the Great Wall of China, but putting Peter Grimes on Aldeburgh beach in June risked the inclemency of an early English summer, which proved frigid. Rehearsals and first performances of this open-air production were survived with heavy blankets and hip-flasks. Even after the gales ceased, greatcoats remained essential. There was never a risk of stage nudity in this production. Adult content, on the other hand, is innate.
Raising sympathy for a fisherman who caused the death of boys and may have abused them is as tough a call today as it was at the Sadlers Wells premiere in June How to play the loner Grimes is one of the supreme challenges in modern opera.
Alan Oke nails it from his first response to the examining coroner. Neither confrontational nor contrite, he stands tall in the dock, his voice pure and sure. A fishing man who lives by his catch, he needs to find another boy to take to sea. Scene by scene, we are drawn to his plight.
At the open-air beach performances, the Britten-Pears Orchestra was beamed in from indoors. The mix here is imperceptible and the sound unobtrusive; engineer Mike Hatch deserves a credit twice the size and conductor Stueart Bedford pulls off an extraordinary feat of coherence and endurance. Now there are three. Schnabel was probably the most influential pianist of the 20th century, if by no means the most popular. The great crowd pleasers were Russians and Poles. Schnabel was a Vienna-trained intellectual who edited Beethoven and Schubert sonata editions and performed with a blazing disregard for occasional wrong notes.
Schnabel was the first to record the 32 Beethoven sonatas and to perform the late Mozart concertos. A man of limitless curiosity, he softened his demeanour with twinkling wit. Many of his quips and his recordings are still doing the rounds today. Telling everyone he was first and foremost a composer, he was very little performed.
His late works, of which he was proudest, are severely atonal. The music here dates from around the First World War, much of it long-lost. At almost an hour it tests the patience, but the personality behind it is recognisably Schnabel — a man who always liked to have the last word. Other works include a piano sonata and two sets of songs. The earlier the music, the more playful it gets. Irmela Roelcke is the pianist behind the project and her persistence really pays off. Next time you listen to a historic Schnabel recording, try some of this for dessert.
At the risk of prejudicing any latecomers and with barely half gone, I declare this release to be my choral album of the year. The oldies are the least interesting of the fifteen tracks. Campbell is the conductor here of the professional chamber choir, Blossom Street. MacMillan wrote it as a wedding song for a pair of pals.
I shall be singing it in the shower all next week, and inviting friends to join. Terrific stuff. The Bucharest intelligentsia used to imagine they lived in an outer suburb of Paris, so aspirational was French influence in their Romanesque corner of Europe. Wondrously melodic, they ripple with mutually antagonistic rhythms and underlying tensions, possibly a reflection of his inner turmoil. Enecus stands head and shoulders in influence above all Rumanian composers. Stirbat, who recently campaigned to save his childhood home from demolition plays his pieces with the greatest empathy.
The composer Mihail Jora was found dying by Enescu in a military hospital during the First World War and literally played back to life by his mentor. The rest consists of two original compositions for keyboard and orchestra — one of them a nostalgic sort of homeward bound piece that provides the title track and the other a languid, rather envious paraphrase on themes of Brian Eno.
Andres takes on the so-called Coronation Concerto and subjects it to random deconstruction, bending a theme way out of tune or so far off line that it becomes a completely different subject. These are clever little mind games and, for the first few bends, you will smile and go along with his fancy. Andres, raised in rural Connecticut, has formidable fingers and a quirky mind that bears some comparison to the early Thomas Ades.
But the dominant voices on this album belong to others. His own, at the moment, is frustratingly shy. Three symphonies. This is early music correctness gone off the scale. The playing is decent, but would sound much better on 19th century instruments. Because its conductor, Sakari Oramo, fell in love with the piece while working in Birmingham and wants to teach it to the world. The performance is supple to the point of slickness and very appealing in the first two movements. It loses wit in the Rondo, but the finale has swagger and the sound quality is outstanding.
Stockholm is fast becoming a musical destination. Refer to Klemperer for a recording that leaves no doubts. Fun with Elliott Carter is not a phrase I ever expected my fingers to tap out. The US composer, who died last year at the age of , was a reflective intellectual who erred, if at all, on the side of asceticism. Which is to say, he could be as dry as dust. But the three songs that open this album consist of a mock Elizabethan madrigal and two ballads that could have been written by Samuel Barber were the orchestration not so witty.
A great big smile spreads across my chops. Onto the serious stuff. You can say that again. But no way is Rosen going to lose this fight. The foremost composer in the early years of the state of Israel, Ben-Haim was a romantic nationalist in an alien landscape. Munich born in , Paul Frankenburger docked at Haifa in and was shocked to discover that Europe did not hold a monopoly on musical tonalities.
He took a Hebrew surname and, inspired by a Yemenite folksinger, Bracha Zefira, composed Hebrew songs in microtones, with ultra-correct German precision. His chamber music, written for domestic use under the heavy skies of a Tel Aviv summer, has fallen into disuse; this release is an illuminating introduction. Passing quickly over a juvenile piano quartet, we discover a kindred spirit to Bartok, ears wide open to indigenous and ambient sounds, feet ever ready to jump up and learn a Beduin dance.
Ben Haim died in , never fully acclimatised to his newfound land. No photographer credited, but a joy to behold. Three concerto albums. The Dvorak piano concerto is a relative rarity, the Schumann ubiquitous. Jiri Belohlavek. They make the more persuasive case for the Dvorak, played in the original version; the andante of the Dvorak simply must be heard. Written in his 20s and not performed until the composer was long dead, the juvenile work anticipates the great B-minor cello concerto of in depth of tone and colour.
It has a couple of original themes and is unmistakably Dvorak. Nice idea, but the Debussy piano concerto is juvenile, the Francaix is frippery, the Poulenc fizzles out after an arresting opening and only the Ravel G major counts as an unqualified masterpiece. Florian Uhlig has all the fun at the keyboard. An intriguing concept by the rising Romanian pianist, Alexandra Dariescu, this is the first of three releases to contain the complete preludes of different composers - in this instance Frederic Chopin and Henri Dutilleux.
It is also the first Dutilleux recording to appear since his death last month in Paris, aged The two composers, separated by a century and more, are joined by a city and its culture. Both regarded the conquest of Paris as the summit of their dreams. Both conceived sounds of rare refinement. Each of the three, however, is a perfect gem, none more so than the playful and perplexing Jeu de Contraires Game of Opposites , which Dariescu opens up, alyer by layer, like a Russian doll. In Chopin, her playing is never less than pleasing, if seldom revelatory. Nice, when a small label still cares for appearances.
Three pianists. Arcadi Volodos shot out of Russia around the same time as Evgeny Kissin, but settled in Spain and has travelled less. His first album in quite a while focuses on the contemplative Spanish composer Mompou. Daria van den Bercken rides round Amsterdam on her bike inviting people to her home for tea and Handel. Her debut disc is full of flair and passion, beautifully recorded. The bonus is a little-known Mozart tribute to Handel. Olga Scheps, a young Russian in Paris, plays drawing-room miniatures that reveal great skill and little taste.
This album is an instant collectible. It marks the record debut of the last artist to be signed by EMI Classics before the label disappears. The artist is 19 years old, born in Illinois to Chinese immigrant parents and drawn to both piano and violin. At 14, he played concertos by Mendelssohn, one for each instrument, in the same concert. He also composes. Here, he plays solo piano, opening with a winsome shard of minimalism by Meredith Monk, whom he claims as an influence. It is all rather accomplished for a musician of his age. Regrettably, it is no more than rather. The playing in Rachmaninov and Ravel lacks signature or singularity.
Tao plays the pieces off pat, all the notes in place and mostly joined together. He has nothing new to say. As for his own creations, which include a six-minute sketch for piano and iPad, they are little more than doodles, tiny ideas with nowhere to go. Tao has a definite musical facility that may develop over time.
As the very last artist on EMI Classics, he turns out the lights with a mere whimper. Why did no-one think of this before? A batch of bedtime stories, wickedly recited by top actors, interspersed with music derived from the selfsame fairy tales. Simple, and brilliantly done. This makes bedtime so much more fun for parents and kids than it ever was before.
The music is age-neutral and the whole album feels like a family affair, a marriage of lightness and lilt. Three Bach sets. His playing is quick and supple and the New York studio is appropriately resonant. Among several sets this year, these suites have easily the best sound. Either way, the performances just fizz along with the Accademia Bizantina. You got it. But more, much more. The tempi are fiery and full of risk, all done without a named director. Thrilling performances from Stravinsky was merciless to conductors who attempted his signature work. Even Pierre Monteux, who conducted the riotous premiere, came in for muttered criticisms of his subsequent performances.
Still, if the man who write the music declares a performance to be downright wrong, why should we bother to listen to it? Because it can be downwrong right. It explodes out of nowhere like a thunderstorm at sea and keeps us gripping the sides for dear life. This account ticks all three boxes. No matter how many Rites you own, this one is not to be resisted. There are episodes of exquisite natural beauty and organic sounds.
These are two extremes of how the Rite can sound. Take your pick. Three contemporary CDs. The Swedish composer in residence at the New York Philharmonic presents three large works in shimmering, rich textures that remind me of an ocean liner seen from afar. The filling in this convoy is a big-boned piano concerto for Yefim Bronfman. Every orchestra should have a resident like Lindberg. Bulgarian-British, Tabakova creates hypnotic fusions in the manner of Gavin Bryars with an underlying ache of exile.
It makes for very easy listening. The biggest and best piece is a cello concerto, sensationally played by Kristina Blaumane. Little known outside Spain, Nebra composed around 50 operas and stage works, as well as a large volume of church music in his capacity as Deputy Master of the Royal Chapel in Madrid. What we hear on this album for the first time is his keyboard music, which has gathered dust in church and private archives, its originality unrecognised. The sonatas and toccatas reveal an intelligent musician who is searching for a language that is as far away as possible from Domenico Scarlatti, dominant in Spain at the time.
Secure in his classical structures Nebra writes in a manner reminiscent of early Haydn or Mozart — frisky, entertaining and easy to absorb, or ignore. One imagines these pieces were intended for ruling-class dinner parties; if so, they could serve the same purpose today. Where Nebra arrests the attention is in his slow pieces, marked Grave, some of which are so slow they stop the clock and ask big questions about life on earth.
The music feels at once familiar and entirely fresh. Moises Fernandez Via plays the set with great daring on a modern instrument in a Massachusetts banqueting hall, finishing off one of the incomplete Graves with his own improvisation. Try it for dessert. Four Mozart concertos. The touch is like no other. After a pedestrian introduction from the Stuttgart Radio orchestra conductor Antoine de Bavier , the pianist enters with the sound of a raindrop in a water barrel. Uncanny, inimitable, you must hear Michaelgeli in the K and K concertos, recorded in mono.
No second thoughts. The Canadian pianist is recording the set in an Italian mountain resort, far from the studio pressures of the big city. The climactic K feels a tad too laid back for my taste. Hannu Lintu conducts the Mantua chamber orchestra. The companions works are the bassoon and second flute concertos.
The Chamber Orchestra of Europe and its principal clarinet play the concerto without benefit of conductor. Five orchestra members then add an admirably well-sprung account of the clarinet quintet. Vasily Petrenko, the conductor, is 36 years old. He grew up in the dying embers of Communism and addresses the symphonies with no ideological agenda.
He performs the Leningrad Symphony not as a relic of an historic event but as a work of music that demands objective interpretation in a different century. The ear is struck immediately by his refusal to overplay textural excesses. Flutes and clarinets are reduced to a whisper and strings to a hushed susurrus.
When the climaxes explode, they do so with total shock and desperation. Between extremes, the conductor maintains an even emotional keel, avoiding the risk of melodrama that Bartok so wickedly caricatured in his Concerto for Orchestra. Petrenko puts his mind to saving the symphony from itself. Playing in another port-city at the western edge of a civilisation, the Royal Liverpool Philharmonic Orchestra deliver delicacy, empathy and, when required, astonishing power.
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The recorded sound is a shade below pristine my only reservation but the performance is treasurable, a terrific affirmation of a towering masterpiece. Three Latino releases. Six CDs of music by a fascinating Cuban composer and pianist, who played the halls of Europe and won the envy of Ravel. Lecuona has a rhythm all his own and an inexhaustible reservoir of dance tunes. How Thomas Tirino manages to stay seated at his piano is a mystery. The Polish Radio orchestra accompanies. Cristiane Roncaglio sings the socks off a set by Jobim, Villa-Lobos and others less known.
Accompanied alternately on piano and guitar, she gives a semi-latte vocal flavour to these dark, romantic and insistently evocative ballads. The songs are by Astor Piazzolla and Valentina herself. They speak of the force of love, and its futility. The voice is sultry, bruised, undefeated. When the Soviet Union collapsed, a generation of fine composers vanished into the vortex. Bereft of a parent state that fed and restrained them, some embraced exile, others bewailed the loss. Valentin Silvestrov, a Ukrainian rebel in Soviet times, adopted a baby-faced musical innocence that is at once appealing and disturbing.
Beyond that beats a heart that aches for the certainties of melody and a head that knows exactly how to steer a tune clear of sentimentality. Elisaveta Blumina, an accomplshed Leningrad pianist exiled in Dublin, delivers marbled enigmatic serenity, much as Tatiana Nikolayeva did when she played the Bach-like preludes and fugues written by Dmitri Shostakovich in darker times. There may be secrets in this neo-classical revival for John Le Carre to decode. Three Rachmaniov recordings. The German cellist Julian Steckel, 30, is more sentimental than most Russians in this ultra-romantic sonata.
Paul Rivinius is the pianist. Alexei Grynyuk is the pianist and the sound is outstanding. Fabulous sound. Sometimes composers are best understood by what they do least. Neither Olivier Messiaen nor Kaija Saariaho wrote much for piano. Both use large orchestras and unconventional instruments to describe the world they inhabit. Messiaen evokes wonderment at the idea of love and the glories of nature. Saariaho born explores human intimacies. For both composers, the piano was a working tool rather than a means of expression. Or so one is led to believe.
But this remarkable cache of little-known piano music connects the two composers in unexpected ways, tracing their common heritage in the impressionistic pianism of Claude Debussy. Rather than mourning his loss, he seeks meaning in a kaleidoscope of colours. His piano quintet is a three-minute valediction from the year before his death.
Together, the two pieces bookend his life with the intensity of confession. Gloria Cheng drives the keyboard, the Calder Quartet provide energetic strings. No sworn fan of either composer, I warmed to this album on first hearing, and keep returning to it. April 15, Bringuier, 26, is the youngest conductor since Gustavo Dudamel to take command of a world-class orchestra. Barely a minute in, he freezes the tempo to release the most delicate of clarinet lines.
Bringuier teases out the emotion that lies beneath its brocaded bourgeois formality, no small feat for an interpreter. The Vitagraph Studios was the most prolific American film production company in Ryan's dog in the TV series VR Troopers ; about three young men messing with virtual reality to save the planet. Nanny's wolf-dog in the movie The Journey of Natty Gann ; about a tomboy in the s who runs away from her guardian to join her single father who is miles away; starring Meredith Salenger and John Cusack.
The kids' dog in the Canadian children's animated TV series Jibber Jabber ; about fraternal twins who have very active imaginations and share the same vision of their adventures. Balto's love interest in the animated movie Balto ; based on a true story. In the movie and the book Higglety Pigglety Pop! The book was written by Maurice Sendak. Mister Haggin's dog in the book Jerry of the Islands ; about a dog and his master on a whaling ship in the South Seas; written by Jack London. A police dog in the movie K9 ; about a mischievous drug-sniffy dog Sequels include K in and K British silent animated movie dog of the silent film era , created by Sid Griffiths and inspired by the American animated Felix the Cat.
The narrating dog in the movie for TV Animal Farm ; about animals on a farm who revolt against their human owner and end up with a tyranny; base on George Orwell's book of the same name. Two dogs in the comic series Jigg and Mooch ; about a large dog, Jiff, and a small dog, Mooch, romping around; a short lived series created by John Stanley.
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Pet of Sigmund Freud to whom he was greatly attached as the dog frequently stayed in his office during psychoanalytic sessions. A friend of Lady in the animated movie Lady and the Tramp ; about an American Cocker Spaniel who lives with a refined upper middle-class family and a stray called Tramp; produced by Walt Disney. Also occasionally in the strip are dogs Yorky and Fifi. The author's dog in the book Jock of the Bushveld ; based on the true story about the author's travels with his dog during the s in South Africa; written by James Percy Fitzpatrick. It later was made into the movie Jock: Corey's dog in the TV series Run Joe Run ; about a K-9 dog who is falsely accused of attacking his master escapes being put down and while on the run helps people he encountered.
Captain "Doc" Council's dog in the movie Fool's Parade ; about three ex-convicts who hope to go straight and an evil prison official who wants to steal their money and kill them; starring James Stewart and George Kennedy. Martin's dog in the movie Johnny One-Eye ; about a former gangster turned legitimate businessman who ends up in trouble; starring Pat O'Brien.
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Engie's dog in the children's animated TV series Engie Benjy ; about a boy and his dog who save the day with their extra special fixing skills. Mary's dog in the movie Ring of Bright Water ; about a man with a pet otter who moves into a rustic cottage overlooking the sea in Scotland where he meets a woman and her dog; starring Bill Travers and Virginia McKenna ; based on the book by Gavin Maxwell. Bommel's loyal butler in the Dutch comic strip Tom Puss ; about a white anthropomorphic cat, and his best friend, Lord Oliver B.
Bumble, set in a fantasy world with many characters. Kel's pet in the fantasy book Protector of the Small ; the second of the quartet Protector of the Small , about a girl page who must prove herself on her way to becoming a knight; by Tamora Pierce. Family dog in the comic strip Muggs and Skeeter ; about a couple of youngsters in humorous situations; created by Wally Bishop.
The dog the kids befriend in the movie Race to Witch Mountain ; about a Las Vegas cabbie who enlists the help of a UFO expert to protect two kids with paranormal powers from an evil organization; starring Dwayne Johnson. Marvin's dog in the animated movies Marvin the Martian of Looney Tunes.
Lukas's alternate form in the German book The Hound of Florence ; about adolescent who has lost his parents and lives in Vienna in great poverty, and by magic, his wish to live in Florence is granted, but every other day he must take the form of a dog; written by Felix Salten. A dog who must choose between a circus life or a loving family in the book Kastanka ; written by Anton Chekov.
Companion of Rumfoor in the book The Sirens of Titan ; about the richest, most depraved man on Earth who takes a journey to distant worlds with his dog; by Kurt Vonnegut. Witness to murder in the movie Jaws of Justice ; where Sgt. Kincaid of the Mounties comes to the aid of the murdered man's daughter and her mute friend Kickabout; starring Jack Perrin. Len's dog in the movie Kelly and me ; about a failed vaudevillean who finds a trained dog that helps him succeed in early talking films; starring Van Johnson and Piper Laurie.
A intelligent talking dog in a robotic exoskeleton in the comic book series Top 10 ; about the people of Neopolis, a city in where everyone has super powers. The family dog in the comic strip Born Loser ; about a guy who can't get any breaks; created by Art Sansom and continued by his son Chip Sansom. The dog that bites Dave transforming him into a dog in the movie The Shaggy Dog ; about a deputy district attorney who changes into a dog when excited, then back again when calm; starring Tim Allen. See Chiffon for the movie. More about Yukon King.
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Pet of President Herbert Hoover. The main character in a series of books and in the animated TV series Kipper ; about a mischievous and funny dog and his friends; written by Mick Inkpen. Ricky's dog in the children's book A Dog Called Kitty ; about a boy terrified by dogs comes to cherish a helpless puppy; the first of 37 dog stories by author Bill Wallace. Dog in the painting Study of Kleberg , by Jamie Wyeth. The Wyeth dog was named by Mrs. Wyeth after her friend Robert Kleberg breeder of Yellow Labs. A brickmaker in the comic strip Krazy Kat ; about the love triangle between a cat, an antagonist mouse and a protective police dog; created by cartoonist George Herriman.
Arwyn's dog in the comic book series Sojourn ; about a woman, her dog and a one-eyed man who travel throughout the planet Quin looking for 5 shards of a magic arrow. Superman's dog in the various comic books starring Superman ; published by DC comics. Gru's dog in the animated movie Despicable Me ; about a criminal mastermind who uses a trio of orphan girls as pawns for a grand scheme.
The author's dog in the movie Lad: The family dog in the TV series Please Don't Eat the Daisies ; about a family who moves from a crowded apartment to an old house in the country; based on the movie , starring Doris Day and David Niven. Pet of President Warren G.
More about Laddie Boy. Skeeter's dog in the book and in the movie Goodbye My Lady ; about an old man and a young boy living in the Georgia swamps who are brought together by the love of a dog; written by James H. In the animated movie Lady and the Tramp ; about an American Cocker Spaniel who lives with a refined upper middle-class family and a stray called Tramp; produced by Walt Disney.
In advertisements for Greyhound Lines bus company. More about Lady Greyhound. A farm dog and Napoleon's companion in the animated movie The Aristocats ; about a family of aristocratic cats who need the help of an alley cat after they are kidnapped; voiced by George Lindsey ; by Walt Disney. Elvio's dog in life and in the book Lampo, the Traveling Dog. The dog rode trains by himself to various parts of Italy and always returned. Station workers everywhere would tie rail ticket stubs to his collar showing where he'd been.
His statue is at Campiglia Marittima Station. A dog who treks many miles to be reunited with the boy she loves in the book Lassie Come Home ; written by Eric Knight. In the TV series the boy was played by Tommy Retig. Laurel and Stan's dog in the movie Laughing Gravy ; about two men who try to hide their pet dog from their mean-tempered landlord; starring Laurel and Hardy. A talking dog in the movie Lenny the Wonder Dog ; about a mutt whose implanted microchip gives him special powers as he and a young boy go on a quest to save the world.
The Lindsay family dog in the movie Halloween ; about a killer who gets out of a sanitarium to pursue is life's work; starring Malcolm McDowell ; a remake of the thriller. Sue's service hearing dog in the TV series Sue Thomas: Eye ; about a deaf woman whose talent for reading lips helps crack crimes and bag the bad guys for the FBI. Pet dog of President Gerald R. Also there was dogs Lucky and Misty. The President's dog and its look-alike in the movie for TV The Pooch and the Pauper ; about a snobby dog in the White House whose friendly look-alike accidently takes his place and brings a different spirit to the place; starring Fred Willard.
Clay's dog in the movie Soccer Dog-The Movie ; about an adopted boy whose dog has an uncanny ability to play soccer. A supervillain in the animated TV series by Disney Darkwing Duck ; the adventures of the titular superhero, aided by his sidekick who lives in an unassuming suburban house with his adopted daughter next door to a bafflingly dim-witted family. One of Billy's dogs in the children's book Where the Red Fern Grows ; about a boy and his quest for his own red-bone hound hunting dogs; written by Wilson Rawls. Also in the movie Where the Red Fern Grows. Mulan's dog in the animated movie Mulan ; about a Chinese maiden who takes her father place in the army and becomes one of China's greatest heroes; by Walt Disney.
In the comic strip Little Dog Lost ; about a dog that finds the adventure of the open road is addictive; by Steve Boreman. Henderson's pet Pug dog in the movie Norbit ; about a mild-mannered guy who is engaged to a monstrous woman and meets the woman of his dreams; starring Eddie Murphy. An alien bulldog-like being in the comic series Fantastic Four ; about super-powers on steroids.
A music loving pooch in the animated TV series Lomax, the Hound of Music ; about a good-natured puppet pooch, his feline sidekick, and their human companion on a tune-filled train ride; created by Christopher Cerf, Norman Stiles and Louise Gikow. Paul's dog in the book The Dogs of Babel ; about a man who tries to come to terms with his wife's death, witnessed only by the dog; written by Carolyn Parkhurst. Book title is Lorelei's Secret in the United Kingdom. Captain Crow's pet in comic strip Overboard ; about pirates anachronistically placed in modern times; created by Chip Dunham.
More about Loyal Heart Dog. Barton's dog in the comic book series Hawkeye ; about a superhero archer in many adventures with the Avengers. The Doctor's dog in the movie Dr. Dolittle and sequels, about a doctor who discovers he can talk to animals; starred Eddie Murphy ; based loosely on the children's book written by Hugh Lofting. In the movie and the animated TV series , the dog's name is Jip. The family dog in the TV series Married with Children ; about the lives of a hard luck salesman his obnoxious wife their dimwitted and promiscuous daughter and their girl-crazy son. An invisible dog in the movie My Magic Dog ; about a dog who comes to a lonely young heir's rescue by preventing the lad's greedy aunt from bilking him out of his fortune.
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Children 10 to 12 will audition from 2 to 4 p. April Those 16 and older will audition from 2 to 4 p. April 15, or from to p. For more information, call or visit www. Friday, 2 p. Saturday and at 1 p. Call for reservations or e-mail tickets stcroixballet. Boniface Catholic Church, Second St. Admission is free. The festival will showcase a free musical presentation from 7 to p. By Pioneer Press news pioneerpress. Ramsey County. More in News. To help reduce stigma and increase breastfeeding rates, St. Paul-Ramsey County Public Health is providing more resources to nursing mothers when they are in public places.
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