Plenty of bands and artists have tried to perfect chamber pop into an ideal mixture classical ideas, instrumentation, and compositions with modern sensibilities and textures. Some end up landing mostly in the pop category with a few strings and horns sprinkled in, other veer far into the experimental and lose any pop appeal entirely. But Neil Hannon, leader and only consistent member of the Divine Comedy, apparently hit the ideal balance sometime in the late ‘90s and just keeps running with it. But Foreverland doesn’t sound like the result of an artist that’s been at it for over two decades. It’s still fresh and impressively in tune with the rest of the musical landscape.
Collection includes: 'Tidal' (1996); 'When The Pawn…' (1999); 'Extraordinary Machine' (2005), and 'The Idler Wheel…' (2012).
Hailing from Sweden, the Radio Dept. is one of Scandinavia’s finest indie-rock bands. Collection includes: Lesser Matters (2003); Pet Grief (2006); Clinging to a Scheme (2010).
Johann Melchior Molter was a German baroque composer and violinist. (…) Molter's surviving works include an oratorio; several cantatas; over 140 symphonies, overtures, and other works for orchestra; many concertos, including some of the first clarinet concertos ever written; and many pieces of chamber music.
…Ensemble Villa Musica was founded in 1990 when a group of principal players from several of Germany's major orchestras assembled for master classes in Mainz under the state-sponsored Villa Musica foundation. The players decided to form the group with no limitations in repertory, but with a focus on neglected masterworks of the past. Most of the members retained their posts in orchestras and/or on the faculties of universities or music schools. The ensemble's leader since its founding has been clarinetist Ulf Rodenhäuser…
»This recording is a true marvel!« ~Fanfare
“It’s good to have a disc devoted to Klein’s music in the superb performances and lifelike sonics we’ve come to expect from Ensemble Villa Musica and MDG.“ (American Record Guide)
"…The music works beautifully in this arrangement by group member Thomas Schindl, scored for piano, harp, vibraphone, and double bass, along with a part for guest percussionist Sven von Samson. The colorful and unusual instrumentation creates an even broader expressive palette than the piano version, and the evocative percussion atmospherics that surround some of the pieces add about 10 minutes to the total duration of the suite. The playing is delicate and spirited throughout, and the sound quality of the SACD is balanced and detailed." ~allmusicguide