THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE is a monographic box-set collection aimed at recounting the most beautiful chapters that revolutionised the history of jazz. A deep philological work, beginning with the original recordings on original master tapes, patiently integrally remastered paying strict attention to sound quality.
Anticipating the ultimate judgements of posterity can be a risky business, and yet in the case of Shostakovich concertos I'll risk putting my neck on the line by proclaiming the First Violin Concerto greater than the Second, and the Second Cello Concerto greater than the First.
Gregor Theleen was born in a family of musicians. He studied at the Music College ofHilversum, Holland; he worked with several well-known artists, he composed, arranged, wrote musicals as well as pieces for string quartets and film music. He is a recording engineer, he teaches and writes for piano. He makes movies and produces for theatre. And, by the way, he plays the piano, the accordion and the guitar.
Mister Ed (Eduardo Gomes de Bifteca) studied the recorder and specialised in classical music. In 1987 he graduated from the famous Berklee College of Music. Once moved to New York, Ed met two guys who were looking for a singer with a high voice! Together they formed the rock group Forked Tung and toured through the US and Europe. They had lots of fun but lacked success. Eventually mister Ed found work as a DJ touring US airbases. He always kept his nickname Mr. Ed. This time he earned good money and was able to buy enough gear to atart his own Mr. Ed studio. This he did in Cork, Ireland and that is where he created his first two albums: "Orange Dream" and "Ultra-Beige Dream".
These works both received their first performances in Leipzig - the Magnificat in 1723 and Cantata 82 in 1727. It was in 1723 that Bach had taken up thepost of Kantor at the Thomaskirche in Leipzig, having previously been Kapellmeisterto Prince Leopold in Cothen. The Magnificat was originally heard ina version in E flat major at Christmas Vespers when movements with seasonaltexts were inserted; the version included on this disc was rendered by Bach someyears later, returning to the ordinary Magnificat text in order to makethe work performable all year round. Bach's approach to the evening canticle ischaracteristically large-scale. There is no use of recitative, owing perhaps tothe poetic nature of the text: the verses have little natural hierarchy and itis appropriate that they should all be afforded extended settings. The scoringis unusually rich and includes three trumpets, two flutes, two oboes, strings,continuo, and timpani - one of the largest ensembles to be assembled at theThomaskirche in Bach's time. Bach takes a literal view of the text in which, forinstance, the full five-part choir is used to demonstrate Omnes generationes ("All generations") with soloists used for the more reflective movements. Ina typically Bachian gesture the opening material returns for Sicut erat inprincipio ("As it was in the beginning").