"…Within a great session at an scottish artist location sang Christian Willisohn very impulsive and played a very concisely piano. Expressive join in sax, guitar, bass and drums into a very dynamic and balanced sound characteristics…" ~sa-cd.net
Following the completion of the 4th’s subtle psychography, 11 years would pass before Pyotr Ilyich Tchaikowsky would return to the composition of a ‘purely’ symphonic work – the 5th Symphony (the composer considered his mighty Manfred Symphony dating from 1885 as his only explicitly programmatic symphony). Despite having just returned from a spectacularly received European concert tour, he commenced the project in a state of complete exhaustion, self-doubt & uncertainty. From his new country residence in Klin, he wrote in the spring of 1888: “I frequently have doubts about my own abilities & wonder if it is not time to stop, & if my creativity has not been stretched to the limit.” His comments in a letter to his benefactor, Nadeshda von Meck, in June, are similar; he fears that “the well may be dry.”
Who says you can’t make a great record in one day — or night, as the case may be? The Trinity Session was recorded in one night using one microphone, a DAT recorder, and the wonderful acoustics of the Holy Trinity in Toronto. Interestingly, it’s the album that broke the Cowboy Junkies in the United States for their version of “Sweet Jane,” which included the lost verse. It’s far from the best cut here, though. There are other covers, such as Margo Timmins’ a cappella read of the traditional “Mining for Gold,” a heroin-slow version of Hank Williams’ classic “I’m So Lonesome I Could Cry,” “Dreaming My Dreams With You” (canonized by Waylon Jennings), and a radical take of the Patsy Cline classic “Walkin’ After Midnight” that closes the disc.
When back in 2003 Rachel Podger’s recording of Vivaldi’s 12 violin concertos Op.4 ‘La Stravaganza’ Vivaldi: La Stravaganza – Podger/Arte Dei Suonatori was released it was universally acclaimed & quickly went on to garner numerous awards from many sections of the music press including Gramophone, Stereophile & The Absolute Sound as well as winning a Diapason d’Or. It is also interesting to note that even on SA-CD.net more than 100 people have recommended that recording. In the intervening years Rachel Podger has widened her recorded repertoire to make further highly regarded recordings of works by Bach, Haydn & Mozart, but she has now made a triumphant return to Vivaldi with this wonderful set of the composer’s 12 Violin Concertos Op.9 known as ‘La Cetra’ .
The early Beethoven, the late Haydn… Where is the borderline between these 2 – what is the connection, what differentiates them? Although their ways of life & characters were clearly different, both masters lived in a time during which it was as important to obey the prescribed musical rules as it was to connect the artists intellect with his creativity, personality, & emotional world.
By late summer of 1837, the 27-year-old Schumann was secretly engaged to his beloved Clara Wieck. The powerful emotions connected with this event were a stimulus to Schumann’s creative impulses, for he was a Romantic through & through. It was at this time that he composed the deeply personal Davidsbundlertanze -18 dances inspired by the imaginary league of David. This fellowship, invented by Schumann, consisted of Schumann’s own alter egos, plus a number of well-respected musicians & friends including Felix Mendelssohn-Bartholdy. The group was established as a way of fighting against the Philistines; it was Schumann’s response to contemporary musical trends which he saw as cheap, excessively virtuosic, & superficial.
This 2008 live recording with the London Symphony Orchestra is Valery Gergiev's 2nd complete recording of Prokofiev's ballet Romeo & Juliet, the 1st being a 1991 Philips release with the Kirov Orchestra. This performance, like his 1st, is notable for its refinement & lyricism. It's perhaps surprising that Gergiev, known for the wildness & ferocity of his performances of other Prokofiev works, like The Fiery Angel, shows such restraint here. Gergiev clearly understands the ballet as a work in which Prokofiev, writing originally for the Bolshoi, a theater known for its conservatism (although that production was canceled), tailored his score to follow in the tradition of the 3 great Tchaikovsky ballets.
Bach showed that the cello can dance, but composers from Rossini to Shostakovich have favored it as an instrument of pensive reflection and brooding melancholy. The playful cover photo notwithstanding, SOLO features Yo-Yo Ma in five 20th century cello works of a serious nature, all with folk influence and all echoing at least a bit of the troubles of the times in which they were written.
Master saxophonist David Sanborn makes an astounding label debut with Time Again, and once again reminds his fans that he is firmly established as one of jazz's best alto saxophonists. Joined by an all-star ensemble of master musicians that includes Russell Malone on guitar, Steve Gadd on drums, Christian McBride on bass, Mike Mainieri on vibraphone, and Randy Brecker on trumpet and flugelhorn, among others, David Sanborn delves deep into his seemingly never-ending repertoire to bring his distinctive sound to a variety of pop and jazz standards. Opening with a super-funky rendition of "Comin' Home," Sanborn reveals the culmination of hard work and staying power with a powerful statement of the melody which seamlessly segues into awesome solos taken by Mainieri and McBride.