A wonderful prog album that is difficult to categorize as it has eclectic elements throughout: symphonic, neo, jazz fusion, psychedelia, trip-hop, Ange-like theatrics, and even funk-pop influences. The band's core is a trio each coming from quite disparate musical backgrounds, all from Montréal, Québec. Very accessible and melodic.
Giuseppe Verdi's first big Paris hit, Jérusalem is an 1847 rewrite of I Lombardi. Along with a new French text, the action is clarified, characters and scenes are dropped, the tenor role is beefed up, and the obligatory ballet is added, among other changes. It's a more coherent opera in this version, although Italian audiences have clung to I Lombardi, which is still mounted on the world's stages. The Philips team, however, makes a powerful case for this French grand opera story of betrayal, love, war and rescue, penitence, and vindication painted in primary colors on a canvas of Crusaders and villains, rousingly set to effective, if blunt, music.
Hard to describe what’s going on in Triangulus and Björn J:son Lindh. The closest analog - would be what would happen if the Alan Parson’s Project relocated to the island of Majorca and replaced their members with Swedish electro-acoustic minimalists. Imagine a very math-y (complex, musical time signatures galore) version of Balearic music that’s as interested in taking you on a tropical journey as it is into not completely shaking off its progressive Scandinavian experimental heritage. Because that’s basically what it is. A mix of Triangulus’ minimal prog style with the late Björn J:son Lindh’s ambient flute-driven jazz-fusion creating a not so distant kin of Coste Apetrea‘s similar, ruminative ideas…
This release is part of a set of Bach cantata recordings by the Belgian group Il Gardellino and director Marcel Ponseele: not an entire new Bach cantata cycle but a set of thematically oriented recordings that may also include works by other composers. "De profundis" (from the depths) offers three cantatas based on Psalm 130, which begins with the words "From the depths I cry to thee, Lord" and was translated into German in several ways.
Originally released between 1975 to 1991 on the now-defunct Calliope label, Andre Isoir's recordings of the complete organ works of Bach have been unanimously acclaimed by both the press and the public. La Dolce Volta now offers these landmark recordings (unavailable since 2008), completely remastered, in a deluxe, specially priced boxed set. The set includes a 152 page, full color booklet rich with photos and information about the music and the recordings.
Orphée is the tenth and final full-length studio album by Icelandic composer Jóhann Jóhannsson, released under Deutsche Grammophon on September 16, 2016. The music is inspired by Ovid's interpretation of the Orpheus myth.
Masaaki Suzuki was better known as a keyboard player in the first decade or so of his career, but since about 1990 has established himself as one of the leading conductors of Baroque choral music. Suzuki was born in Kobe, Japan, on April 29, 1954. As a child he exhibited musical talent early on and by age 12 was a church organist. He later enrolled at the Tokyo National University of Fine Arts and Music, where he studied composition and organ.
Born in 1964 in Chiswick, England, the only son of a world-famous guitar legend, Juergen Richard “J.R.” Blackmore began his musical career in Germany. When he was just five years old, his parents separated and J.R. left the United Kingdom together with his mother to live in her birthplace Hamburg. It was the early years of modern-day Hamburg, which had seen legends to be like The Beatles play in the Star-Club before their heyday. Just like his father, Ritchie Blackmore, who made a name for himself and later became world-famous as a founding member of Deep Purple and later Rainbow. If you were going to be somebody in the music business, Hamburg was the place to be and was a gateway into stardom for a plethora of bands…
It is 22 years since Savall and Koopman first recorded the Bach gamba sonatas, in the days when Koopman still looked like he should have been presenting The Old Grey Whistle Test. This release for Savall's own Alia Vox label, however, is right up to date, a tame-haired Koopman and an amazingly unaltered Savall having set them down at the beginning of this year. The recording's quick turnaround is a fitting reflection of the state of the musical relationship that has obtained between these two ever since they first performed together in 1970 after only half an hour's rehearsal. Make no mistake, these Bach performances are right in the slot.