"…The music works beautifully in this arrangement by group member Thomas Schindl, scored for piano, harp, vibraphone, and double bass, along with a part for guest percussionist Sven von Samson. The colorful and unusual instrumentation creates an even broader expressive palette than the piano version, and the evocative percussion atmospherics that surround some of the pieces add about 10 minutes to the total duration of the suite. The playing is delicate and spirited throughout, and the sound quality of the SACD is balanced and detailed." ~allmusicguide
Following the long & rocky road to the 1st Symphony, on which, due to his teaching duties at the Moscow Conservatory, Tchaikovsky had been forced to work at night, the 2nd Symphony was composed mainly in the summer of 1872, hot on the heels of his 2nd opera, The Oprichnik. At this time, Tchaikovsky was once again taking a holiday on the country estate of his sister Aleksandra, located near the Ukrainian town of Kamianka, in the Kiev Governerate. Numerous anecdotes report Tchaikovsky’s touching assertion that he was not the true creator of the work, but rather, that it actually had been composed by a Pyotr Gerasimovich, 1 of the older servants in the household of his sister & her husband, Lev Davydov, for it was Pyotr Gerasimovich who had sung the folksong, The Crane, to him, which provided the basis for the work’s finale.
This release offers a pair of fairly early Delius works; they may not be instantly appealing to those making a start with this idiosyncratic English impressionist, but confirmed fans will love them. The roots of Frederick Delius’ Appalachia lay in his experiences as an orange plantation manager in Florida in the late 1880s, where he heard the singing of African-American laborers and, according to his own testimony, first began to think about becoming a composer. The work is subtitled “Variations on an Old Slave Song with Final Chorus for baritone, chorus, and orchestra,” and everything about it is intriguingly confused. Florida is not part of Appalachia. Nor is the Mississippi River delta, which Delius claimed was the inspiration for the work, but which he apparently never saw.
Hollow pathos is not his thing. From an artist like Mariss Jansons Friedrich Schiller’s Ode: “An die Freude” must receive a far deeper significance, which also fully encompasses the doubt and profound hope embodied in this text. And thus, in Jansons’s recording of the Ninth Symphony, the choral finale does not degenerate to mere superficial orgy of jubilation, but rather becomes a delicately balanced, wisely developed drama. On October 27, 2007, the Symphonieorchester des Bayerischen Rundfunks played Beethoven’s Ninth in the presence of the Pope in the Vatican. The recording of this memorable concert is now being released in the highest audiophile recording quality as a multi-channel SACD.
"…Stockfisch has reproduced the live feel of this extraordinary group with great precision. The separation of the instrumentation (especially between guitar and violin, and accordions) eliminates the occasional dint of live recording. The balance of the sound seems proportionate. Vocals never impinge on the music, and vice versa. Live At Stockfisch Studio is a towering achievement." ~audiophile-audition
"…The disc’s exceptional, state-of-the-art recording draws you in right close, with Allan’s very special and intimate delivery cocooned by the immaculately judged and empathic contributions of a handful of other musicians (guitar, dobro, accordion, banjo, bowed psaltery, fretless bass). I feel sure that Leaving At Dawn will come to be judged as one of Allan’s finest ever collections." ~folk roots
If Wishbone Ash can be considered a group who dabbled in the main strains of early-'70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie band like Ten Years After?), the confusion compounded by their relative facelessness and the generic nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own…
The Police were back in 1983 with Synchronicity, which hit No. 1 everywhere and remained on top a phenomenal 17 weeks in the U.S. The gold, Grammy-winning "Every Breath You Take" was No. 1 for eight weeks. "Wrapped Around Your Finger" was Top 10 and both "King Of Pain" and "Synchronicity II" became Top 20 hits. The quadruple platinum album took home a Grammy as well. "I do my best work when I'm in pain and turmoil," Sting told Rolling Stone. And indeed, the dissolution of his first marriage produced some of his best work yet, including "King of Pain" and the stalker's anthem "Every Breath You Take." There was pain and turmoil in the band, too — it would be the Police's last album."