Some context: Kevin Moore (born May 26, 1967) is an American keyboardist, vocalist, composer, and founder of the Chroma Key music project. He is also a former member of the American progressive metal/rock band Dream Theater, co-founder of the progressive rock supergroup O.S.I. and has composed film soundtracks. Throughout his career, he has become known for his emotional music and lyrics, nomadic lifestyle and use of spoken word samples. Moore started his music career in progressive metal band Dream Theater.
After leaving Dream Theater, Moore moved to Santa Fe, New Mexico and started writing material for his solo album. A demo tape known as Music Meant to Be Heard was shared among fans, and the songs included many spoken-word samples from interviews Moore recorded during his cross-country travels. Most of these songs were later released in 1999 on a limited-edition CD called This is a Recording. In 1998, Moore released his first solo album, Dead Air For Radios, under the name Chroma Key on his self-created record label, Fight Evil Records. Mark Zonder and Joey Vera of Fates Warning served as his support musicians for that record. The album featured a dark, ambient sound, closer to Peter Gabriel and Tori Amos than the complex and intricate Dream Theater style. In hindsight, Dream Theater fans noticed that Moore had subtly explored this style of composition in "Space-Dye Vest." In 2000, Moore moved to Los Angeles, California, where he recorded the digitally-themed You Go Now. The line-up for that record was Moore, David Iscove (guitars) and Steve Tushar (loops, programming). During his westcoast stay, Moore earned a BFA at California Institute of the Arts, where he created a little-known documentary called Octember Revolution, which depicted a Southern California gated community intervention. He then moved to Costa Rica, where he worked for Radio For Peace International, producing a bi-weekly activist radio program. In fact, some of Moore's work on Radio for Peace International was later released in an internet-only album called Memory Hole 1. In 2004, Moore scoured public domain films looking for one that exuded a certain mood, intending to write a pseudo-soundtrack to it. The film he chose was Age 13, an educational film from the 1950s, originally for use in schools. He took the existing film, slowed it to half speed, and let it dictate the moods, textures, and even running times of the songs he wrote to it. The resulting album is titled Graveyard Mountain Home, which included a DVD containing the movie set to Moore's music.
Was that album a success?
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Some context: Pierre Benjamin Monteux (pronounced [pjeR mo.to]; 4 April 1875 - 1 July 1964) was a French (later American) conductor. After violin and viola studies, and a decade as an orchestral player and occasional conductor, he began to receive regular conducting engagements in 1907. He came to prominence when, for Sergei Diaghilev's Ballets Russes company between 1911 and 1914, he conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloe, and Debussy's Jeux. Thereafter he directed orchestras around the world for more than half a century.
Monteux made a large number of recordings throughout his career. His first recording was as a violist in "Plus blanche que la blanche hermine" from Les Huguenots by Meyerbeer in 1903 for Pathe with the tenor Albert Vaguet. It is possible that Monteux played in the Colonne Orchestra's 20 early cylinders recorded around 1906-07. His recording debut as a conductor was the first of his five recordings of The Rite of Spring, issued in 1929. The first of these, with the OSP, is judged by Canarina to be indifferently played; recordings by Monteux of music by Ravel and Berlioz made in 1930 and 1931, Canarina believes, were more impressive. Stravinsky, who also recorded The Rite in 1929, was furious that Monteux had made a rival recording; he made vitriolic comments privately, and for some time his relations with Monteux remained cool. Monteux's final studio recordings were with the London Symphony Orchestra in works by Ravel at the end of February 1964. In the course of his career he recorded works by more than fifty composers. In Monteux's lifetime it was rare for record companies to issue recordings of live concerts, although he would much have preferred it, he said, "if one could record in one take in normal concert-hall conditions". Some live performances of Monteux conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras survive alongside his studio recordings, and some have been issued on compact disc. It has been argued that these reveal even more than his studio recordings "a conductor at once passionate, disciplined, and tasteful; one who was sometimes more vibrant than the Monteux captured in the studio, and yet, like that studio conductor, a cultivated musician possessing an extraordinary ear for balance, a keen sense of style and a sure grasp of shape and line." Many of Monteux's recordings have remained in the catalogues for decades, notably his RCA Victor recordings with the Boston Symphony and Chicago Symphony orchestras; Decca recordings with the Vienna Philharmonic; and Decca and Philips recordings with the LSO. Of Manon, one of his few opera recordings, Alan Blyth in Opera on Record states "Monteux had the music in his blood and here dispenses it with authority and spirit". He can be heard rehearsing in the original LP issues of Beethoven's Eroica Symphony with the Concertgebouw Orchestra (Philips 835132 AY) and Beethoven's 9th with the London Symphony (Westminster, WST 234). Video recordings of Monteux are scarcer. He is seen conducting Berlioz's Roman Carnival Overture and Beethoven's 8th symphony with the Chicago Symphony Orchestra, and Dukas' L'Apprenti sorcier with the London Symphony Orchestra in an "unshowy, deeply satisfying humane way".
Did he do any othe rorchestra?
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Some live performances of Monteux conducting the Metropolitan Opera, and among others the San Francisco Symphony, Boston Symphony, BBC Symphony and London Symphony orchestras