Rossini considered the ‘mezzo’ voice to be his ideal, stating that ‘the contralto is the norm against which the other voices and instruments of the composition must be gauged.’ Containing numerous premiere recordings, this penultimate release in Alessandro Marangoni’s acclaimed traversal of Rossini’s complete piano music is vibrant with national colours from France, Italy and Spain, and rich in emotions of sadness and love, from the tragic Adieux à la vie! sung on a single note, to the sustained operatic embellishments of Questo palpito soave.
Apart from Grieg, no Scandinavian composer has written for the piano with more individuality and insight than Nielsen. Right from the very outset of his Five Piano Pieces, Op. 3, there is no doubt that his is an individual voice. The first emerges from a Schumannesque innocence to speak with personal accents, but all five are strong on humour and character. Nielsen’s greatest piano music is clustered into a period of four years (1916-20) with his final thoughts in the medium, the Three Pieces, Op. 59 of 1928 being composed in the immediate proximity of his Clarinet Concerto, music that already breathes the air of other planets. With the exception of Leif Ove Andsnes, no pianist of international standing has championed it on record, and apart from John Ogdon and John McCabe it has been the almost exclusive preserve of Nordic artists. True, the American scholar Mina Miller, who edited the autographs for the Hansen edition, recorded a complete survey in 1995 – also for Hyperion. But although Schnabel was the dedicatee of the Suite, Op. 45, he never broke a lance for it on the international scene. The Suite is not only Nielsen’s greatest keyboard work but arguably the mightiest ever written in Scandinavia. Martin Roscoe is right inside this music and guides us through its marvels with great subtlety and authority.
Japanese only remix album, compiled from tracks previously available on Children Of The Revolution (Tony Visconti '87 Remix) and Get It On (Tony Visconti 87 Remix). Erratum: "Cadilac" is incorrectly titled "Cadillac" - Bolan always spelt it with one 'l'.
Limited to 5000 copies. Paper sleeve. PURE DYNAMITE! LIVE AT THE ROYAL was released in 1964 as KING K-883 with a gatefold cover that included photos and a biography. It reached #10 on the Billboard album charts. When Polydor reissued it they kept the "883" code number. In England it was released on the Stateside label. Most of the album was recorded live except for "Oh Baby Don't You Weep," which was originally a two-part single, here it's the whole take with overdubbed applause. All of the material performed here charted except for "I'm Tired But I'm Clean" a comedy routine featuring Bobby Bennett. The original release info and chart positions follow the song titles. The sound quality is what you expect for a live recording by a regional label in 1963, but it's not bad if you crank it up.