This important set contains the sixteen Beethoven sonatas that Wilhelm Kempff recorded for Grammophon in Germany between 1940 and 1943. Several are reissued here for the first time since their original release on 78rpm discs and none are currently available elsewhere. The sound is excellent for the period and all reveal the young Kempff at his best, in performances that compliment his later thoughts. The release is the companion of two previous APR releases of early Kempff Beethoven recordings the late sonatas (APR6018) and piano concertos 1, 3, 4 & 5 (APR6019), both of which received excellent reviews and were amongst APRs best sellers.
Italian theater and opera has had a profound effect on Turkish culture in the past century. Like the terminology ofseamanship, the terminology of music and theater derived from Italian. In the argot of the improvisational theater of Istanbul the stage was called "sahano", backstage was referred to as "koyuntu", backdrops depicting countryside were "bosko", the appiause was "furi" and the songs sung between the acts and plays were called "kanto".
It was the Turks who early on discovered the power of military bands to excite fighters while encouraging their warrior spirit, and to maintain discipline in unity during marches in times of peace. While the roots of this tradition reach back to the Hun Empire, Turks used music on the military field in an active and functional way. In particular, the morale of the army was boosted by the incessant beating of the large drum, "kos" (a large kettle drum) and by playing inarches.
These new CDs are not being introduced as a simple addition to the consumer market, as they were produced with the consciousness that authentic Byzantine melody is not music intended for popular consumption, nor can it become an object of commercialization. On the contrary, Byzantine music belongs to the realm of transcendence. It is word [logos] in musical form, the word of revelation and disclosure of truth and the experience of the Church that is not related to the provocation of the senses, emotion, pleasure, or delight. The beauty, therefore, of Byzantine music does not have an aesthetic basis, but rather an ontological one, which imprints and defines this beauty in both an iconic and Eucharistic fashion in the Divine Services.
To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett).