Beequeen is a duo from Nijmegen, Netherlands, formed by Frans de Waard and Freek Kinkelaar. They have been making music together since 1988. This is a reissue of an album that was originally released in a limited run on the now-defunct Isomorphic Records in 1996. For this edition, a previously unreleased 13-minute bonus track from the original sessions has been appended to the album. Music For the Head Ballet is possibly Beequeen's most ambient work to date: a series of quietly abstract, lengthy organ drones that amass slowly over time, gradually revealing their denseness and complexity.
An excellent round-up of the 15 hit singles that, between late 1980 and fall 1984, saw Spandau Ballet transcend every prediction ever levelled at their music, and establish themselves among the most versatile British bands of their era. From the utterly convincing white boy Funk of the early "To Cut A Long Story Short", "The Freeze", "Musclebound" and "Chant No 1", through the bodyswerve to ballad-ville that ushered in the age of "True" and "Gold", and onto the near-anthemic guitar pop of "Only When You Leave" and "Highly Strung", The Singles Collection suffers only from its failure to tell the tale in strict chronological fashion.
Famously conducted the world premieres of Stravinsky's The Rite of Spring and other prominent works including Petrushka, Ravel's Daphnis et Chloé, and Debussy's Jeux. Monteux was the principal conductor of the French repertoire at the Metropolitan Opera in New York.
The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
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.