Joaquim Homs was a Catalonian composer, schooled in Schoenberg's twelve-tone techniques, so one might expect to hear music that shouts "I'm different, I'm learned, respect me!" However, Homs' piano music, particularly as played by Jordi Masó, speaks more for the person who wrote it, rather than for itself. Much of it is atonal and composed following prescribed techniques, but it is at the same time very evocative and emotionally expressive.AllMusic
The first six volumes of this unauthorized series of Dave Clark Five CD reissues contain everything from the 12 non-compilation LPs the group issued in the U.S. between 1964-1968, as well as everything from the four U.K. LPs (never issued in the U.S.) that followed in 1969-1972. The seventh and final volume contains 25 tracks that somehow didn't find a place on any of those LPs.
A spinoff of its parent magazine, Classic Rock Presents Prog takes a look at progressive music and the artists who weave them together. Each issue takes a soul-searching foray into the hearts and minds of the heroes of rock, reviewing both new and old releases. Building upon the history of some of the most genre-defining pieces ever devised and those who followed who continue to refine, revolutionise and completely discard the formulas of those who came before. Reflecting on the proud genesis of this unexpected genre, Classic Rock Presents Prog is an able tutor for those in the dark about the evolution of progressive music, and a tonic for existing fans.
Hermann Baumann is easily one of the finest horn players of the second half of the 20th century. He came to prominence as a soloist in the 1960s and in 1964 won the prestigious ARD International Music Competition in Munich, beating out Jessye Norman for first place
Styx's feisty, straightforward brand of album rock is represented best by "Blue Collar Man" from 1978's Pieces of Eight, an invigorating keyboard and guitar rush – hard and heavy, yet curved by Tommy Shaw's emphasized vocals…
Composer Claude-Bénigne Balbastre came at the end of the French Baroque keyboard tradition that produced François Couperin and Jean-Philippe Rameau. Composed in 1759, these pieces look back toward the tradition of French harpsichord music, with its individual piece titles designating various members of the French nobility and their individual personalities. Thirty years after Couperin announced the reunification of French and Italian tastes, they show only light influence of Italian style; the clearly diatonic, periodic Allegro tune of "La Laporte," track 16, is the exception. Nor does Balbastre attempt to take after the intellectual density and harmonic complexity of Rameau's keyboard music. Instead his little musical portraits have a mostly pleasant, pastoral mien, with harmonic touches that are unusual and evocative rather than difficult.
It is now some 12 years since William Christie made an excellent disc of Pancrace Royer's only published collection of harpsichord pieces (1746); and it was reissued recently on CD. Royer was a more prominent figure in French musical life than the comparative unfamiliarity of his name nowadays would suggest. He was an imaginative director of the Concert Spirituel, leader for several years of the Opéra orchestra, and a successful composer for the stage, as well. His ballet-héroIque, Zalde (1739) was especially popular and was still being performed in the 1760s. La Chasse do Zaide is the composer's own harpsichord arrangement of a "symphonie" in the opera and, in this new recital, Christophe Rousset appends it to the pieces of the 1746 publication. That, too, incidently contains a number of transcriptions by the composer of pieces from earlier stage works.