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On this collection, principal trombonist of the Royal Concertgebouw Orchestra Jorgen van Rijen and Wim Van Hasselt, professor of trumpet at the University of Music Freiburg in Germany, team up to explore compositions written for the combination of trumpet and trombone. The recording is named after Folke Rabe's composition Tintomara - a dualistic figure from The Briar Rose Book by the Swedish author Jonas Love Almqvist. This richly rewarding recording includes both duets and solo works.
With this superlative 1999 recording by violinist Isabelle van Keulen with the Swedish Radio Symphony Orchestra under Thomas Dausgaard, the Swedish modernist Allan Pettersson's late Second Violin Concerto receives its first digital recording. The only previous recording on Capriccio from 1980 had been performed by the forces that gave the work its premiere early that year, violinist Ida Haendel with the Swedish Radio Symphony under Herbert Blomstedt, and it stood inviolate for almost 20 years until the arrival of this disc.
It always seems to create a certain amount of confusion when a multi-talented artist like Tony Furtado grows in a new direction. Once upon a time, he recorded instrumental banjo music for labels like Rounder, adventurous acoustic music for fans of David Grisman, Tony Rice, and Béla Fleck. A few years later, however, finds Furtado – artistically speaking – all over the map. Now, he also plays guitar (acoustic and electric), sings, writes, and performs in multiple styles. On 2005's Bare Bones, Furtado takes a step back from the eclectic hodgepodge of These Chains for a low-key concert album. True to the title, he backs his own vocals with acoustic and electric guitar and banjo over 11 tracks, producing a quiet and intimate album that reminds one a bit of Leo Kottke's later material.
Unlike Rameau's other operatic output, 'Le Temple de la Gloire' has been incomprehensibly neglected on disc and on the stage until very recently. There have been a few recordings of the dances from the opera, arranged into suites, but this is the first recording of the complete work. The libretto by Voltaire involves mainly allegorical, symbolic and mythical characters, but its intention is serious – namely to demonstrate his philosophy advocating tolerance, freedom, the welfare and contentment of the people. Of course these are concepts which few of us would argue with today, but it was a different matter under the absolutism of the 18th century.