As mentioned in his autobiographies, Telemann's encounters with Eastern European gypsy music influenced his own compositions. The young composer must have been enthralled by the wonderful inventiveness of this music, as typified in this recording with the last movements of the Caprice Symphony and the Concerto in e minor for recorder and flute.
Traditional German songs from the area of Märkische Heide performed by the folklore group Havelländer Musikanten. Great classical vocal technique and instrumentation, sweet and lively melodies !
Rick Wakeman's return to YES in June of 2002 coincided with the completion of the recording of "Out There", his first progressive rock album with his own band for 26 years. In true Wakeman tradition, "Out There" is a musical concept continued from where he left off in 1976 with his quest for the origins of all music with "No Earthly Connection" which sold in excess of five million copies worldwide…
Rick Wakeman spent much of the '80s and '90s recording instrumental albums that veered toward either classical or ambient, so 2003's Out There comes as a bit of a shock: it's an honest to goodness revival of the full-throttle prog rock Wakeman pursued on his solo albums in the '70s. A large part of this is due to his decision to form a full-fledged supporting rock band. Called the New English Rock Ensemble, they're a quintet led by Wakeman and featuring Damian Wilson on vocals, Ant Glynne on guitar, Lee Pomeroy on bass, and Tony Fernandez on drums and percussion. They're a powerful and skilled outfit, able to follow Wakeman's shifting tempos and moods with dexterity without ever losing sight of their forceful rhythmic core, which keeps this rock, not new age. Wilson is a similarly versatile vocalist, as convincing on the surging "Out There" as he is on the contemplative "To Be with You."
These readings of Fauré's two late piano quintets by the Schubert Ensemble of London are paradoxical. The group's performances are strong-willed and purposeful in the outer movements, particularly in the C minor Quintet's ever accelerating Finale, yet soft-focused and sensuous in the central slow movements, especially the D minor Quintet's deeply dolorous Adagio. The tone changes from robustly incisive to sweetly sonorous, the ensemble from vigorously muscular to smoothly refined, and the rhythms from sharply accented to softly undulating.