This is the second volume in a series from Neeme Järvi and the Orchestre de la Suisse Romande dedicated to the orchestral music of the Swiss-born composer Joachim Raff. Although he was a highly popular and prolific composer during his day, his works quickly fell out of the repertoire after his death and are largely forgotten today. The idiomatic performances by Neeme Järvi and his Swiss orchestra in Volume 1, described as ‘peerless’ by BBC Music (*****), suggest that they are the perfect performers to reinvigorate interest in Raff’s music. This second volume features the rhapsody, Abends, and a number of overtures and preludes alongside Symphony No. 5. Subtitled Lenore, the fifth is one of Raff’s so-called programme symphonies, the only one based on a precise extra-musical source: Gottfried August Bürger’s poetic ballad of the same name. The shorter works show very different sides of Raff’s compositional personality.
This disc marks the beginning of a new series, dedicated to the engaging, albeit neglected, orchestral works of the German-Swiss composer Joachim Raff. The survey starts with Symphony No. 2 and the orchestral preludes to four plays by Shakespeare: The Tempest, Macbeth, Romeo and Juliet, and Othello, all idiomatically performed by the Orchestre de la Suisse romande, conducted by its new Artistic and Music Director, Neeme Järvi.
For fifty years 'The Jazz Book' has been the most encyclopedic interpretive history of jazz available in one volume. …
American Baroque flutist Mary Oleskiewicz has established herself as a specialist in the music of Johann Joachim Quantz, not only performing it but discovering a cross-section of pieces that were hidden in various libraries. Quantz's name is ubiquitous in discussions of German musical life in the middle of the 18th century, but his actual music, almost all of it for flute, was virtually unknown until Oleskiewicz came along. The four concertos heard here are pleasant examples of the galant style, with mostly major-key slow movements that highlight the gentle sound of Oleskiewicz's wooden Baroque flutes.
French saxophonist Émile Parisien, instigator of some of the most musical, formidably skilful yet wackily diverting adventures in recent European jazz, makes a rare UK visit in a duo at November’s London jazz festival, but this exuberant album rams home the full Parisien experience, with a new quintet, regular accordion partner Vincent Peirani, and two revered European elder statesmen in German pianist Joachim Kühn and French bass clarinet original Michel Portal. From the opening vibrato-trembling soprano sax Préambule (Parisien can be a spiky avantist, but he’s a devoted Sidney Bechet admirer, too), through the hard-swinging Poulp – which sounds like the work of a 21st-century Hot Club band with Ornette Coleman leanings – through the contemporary-noir doom-walk of Brainmachine or the accordion-throbbing Umckaloabo, Parisien leads an exhilarating genre-hop bubbling with captivating remakes of US and European jazz traditions.
Andreas Silbermann (16 May 1678 - 16 March 1734) was a German organ builder, who was involved in the construction of 35 organs, mostly in Alsace. Andreas also established the Silbermann family tradition of organ building, training his brother Gottfried and his son Johann Andreas in the profession.