The text of the poems on the scroll reproduced here is by Liu Shang; the paintings are by an unknown artist. …
All of humanity feels anger, sorrow, awe. It’s a wonder that we ever feel completely alien to anyone else, no matter how distant their culture may seem. That may seem like some Hallmark bullshit, but the music world bears it out. The big, raw, visceral emotions break the language barrier. A kid carrying around a pitch black electric guitar on one end of the world and another sitting with a geomungo at the other may look very different (seriously, look up the geomungo), but they can be used to produced the same sort of magic. And in the case of South Korean outfit Jambinai, they’ve got both. Jambinai can easily be sold on novelty; in addition to bass, guitar, and drums, the quintet employ the aforementioned geomungo (a massive, bassy zither), a reed flute called a piri, and the bowed, almost nasally-pitched haegum. Founding members Ilwoo Lee, Eunyong Sim, and Bomi Kim studied Korean folk and classical music in college, but they fuse the dramatic emotionalism of those styles with those of various rock traditions. At their lightest, the massive songs approach gray cloud post-rock and jazz ambience, and reach into the droning noise of sludgy metal at their darkest.
When contemplating the baroque period in French music in connection with the flute, it would probably be names such as Hotteterre, Blavet or Mondonville which would first come to mind. Joseph Bodin de Boismortier was something of a mass-market composer whose many works served as much to earn his keep as to supply the amateur music market with fairly playable pieces. But his six sonatas (opus 91), although in many ways conventional, do require some very good playing from both performers and are distinguished by having the harpsichord part fully notated.
One of the more puzzling remarks about the music of Carl Philipp Emanuel Bach came from Mozart, who said that anyone who listened closely would realize his debt to the German composer. That seemed unlikely, given that Mozart only rarely availed himself of the Sturm und Drang ("storm and stress") style of C.P.E.'s keyboard music. But listen to this release by flutist Emmanuel Pahud and you'll get an idea of what Mozart was talking about. It's not just that the flute concertos are basically galant in style, not Sturm und Drang. It's a certain nervous energy that makes the flute bloom rapidly out of squarish themes and keeps you guessing as to what's coming next.
Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There's a Whole Lalo Schifrin Goin' On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa's more thoughtful efforts. Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in "Hawks Vs. Doves," in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other.
"These early Latin songs from the repertoire of some unknown 10th or 11th century Rhineland harper are drawn mainly from the Carmina Cantabrigiensis, the so-called ‘Cambridge Songs’. Varied and lively, they are a welcome addition to the discography of early music, and Sequentia are to be thanked for planning and executing such a challenging project. …Reconstruction of music composed before the birth of notation is always a hazardous task, but however true or not it may be to authenticity, this recital is a true delight. " ~Grammophone