Zodiac (Zodiak, Russian: Зодиа́к, Latvian: Zodiaks) was a space disco music band that existed in the 1980s in Latvia, then a part of Soviet Union. The band was extremely popular in the Soviet Union and has been credited by critics as the Soviet answer to the French band Space who were popular at the time…
Opilec Music is back with another treasure trove of music that outlines how important Turin and the Piedmont area was to the development of electronic and dance music in the 70s and 80s and beyond. This compilation has been expertly put together by Opilec Music boss, I-Robots, from his own experiences as a DJ and collector and from time spent digging in archives, old collections and anywhere else he could. It marks the start of a new series and is the latest in a long line of such projects he has worked on before now.
In 1991 Bobby Previte was given a most unusual assignment: to create a new score of music for the Moscow Circus. Previte, an innovative composer who learned from Gil Evans the joy of combining together acoustic and electronic instruments, was up to the challenging task. The result is a generally fascinating soundtrack, music that stands up by itself but makes one very curious to see how it fits into the circus routines.
English composer and violinist William Brade was a significant transitional figure in instrumental music between the Renaissance and Baroque periods. Brade is credited with transplanting English musical practices most readily associated with William Byrd, Peter Philips, and John Dowland to North German and Scandinavian soil, and in aiding the transformation from the Renaissance notion of the English consort to the more continental Baroque idea of a string orchestra.
Julius Röntgen was born on 9 May 1855 in Leipzig, the son of Dutch violinist Engelbert Röntgen, leader of the Gewandhausorchester there, and German pianist Pauline Klengel. He started composing at an early age and took the stage with his own works in Hamburg, Dusseldorf and Leipzig as a child prodigy. At the age of fifteen he was introduced to Franz Liszt, who invited him to one of his famous soirees after he played two of his own compositions to him.
Música Callada (Music of Silence) is a very special work, one of the most beautiful and elusive in the entire piano repertoire. It is extremely difficult to perform. On the one hand, there’s the temptation to stretch each piece out hypnotically, if monotonously, while quicker speeds preserve the music’s melodic essence at the expense of much of its atmosphere and harmonic richness. For although much of the music is indeed quiet, and none of it moves quickly, it is all meaningful. Mompou himself found the perfect balance between incident and repose, and of all the pianists since, Jenny Lin arguably comes closest to doing the same, only in much better sound. It’s not so much that her tempos match Mompou’s own (she’s actually not copying him–it would hardly be possible in a work containing 28 individual pieces), but rather that her phrasing and sense of timing let the music breathe and sing with its own special poetry. To take just one example, consider the sadness that Lin finds in the fourth piece, “Afflitto e penoso”, by allowing the piece’s harmonic color time to speak simply and eloquently.