Klaus Schulze has announced that he’ll release his new studio album later this year. Titled Silhouettes, it’s the Krautrock pioneer’s first record in five years and will arrive on May 25 via SPV on CD, 2LP and via digital platforms. Silhouettes features four compositions which were created last year and were written following an extended period of rest due to health issues affecting Schulze.
Fierrabras of 1823 is the last of Franz Schubert’s stage works. Rarely performed to this day, this heroic-romantic opera has now been staged for the first time ever at the Salzburg Festival by famous director Peter Stein. The strong cast includes the “marvellously expressive miracle Dorothea Röschmann” (Die Zeit) and “Michael Schade, who exudes his exceptional tenor in Fierrabras’s heroic arias” (Der neue Merker). Under the energetic baton of lngo Metzmacher, the Vienna Philharmonic unfold “the melos, the poetry, the sweetness and the dramatic force of Schubert’s highly refined and atmospheric sound worlds” (Kleine Zeitung) in highly romantic fashion.
The Concerto for Prepared Piano and Orchestra is one of Cage's most delicate works. The orchestra is treated as a group of soloists throughout, and for the most part operate with a small set of pitches and timbres, but is extended by a large array of percussion instruments played by four players. The piano, played by the superb contemporary piano interpreter Stephen Drury, weaves between the orchestral sonorities, rarely taking extended solos, as the piece becomes progressively more sparse until it tapers into silence at the end.
Goes Classic is a Schulze's adaption of masterworks by the old classical masters, done with his usual cosmic flair. The arrangements of the pieces don't sound updated or original. Except for a very few novel sounds, the synthesizer patches sound like basic programs and samples found on many mid- level synthesizers of the early nineties. The recordings sound too much like a synthesizer trying to replicate an orchestra, rather than reinterpret. The innovative sounds that made the seventies Schulze albums enjoyable are nowhere to be found. Nonetheless, the album makes good background music. While the synthesis does not capture the excitement of a live orchestra, Schulze manages to keep the recording from sounding robotic.