By nature shy and retiring, Klaus Tennstedt was a reluctant celebrity, and his international career in the last quarter of the twentieth century must have seemed utterly incredible to him. Yet as introverted and introspective as Tennstedt was, it doesn't seem at all obvious in this 1983 concert recording of Gustav Mahler's Symphony No. 6 in A minor, "Tragic," for this is one of the conductor's most extroverted, aggressive, and potent performances.
Die Hamburger Ratsmusik: ein Ensemble mit 500-jähriger Geschichte. Dieser Gegensatz reizt zum kreativen Dialog zwischen Tradition und Gegenwart, von Alter Musik und lebendiger Interpretation. Die Anfänge der Hamburger Ratsmusik reichen zurück bis ins 16. Jahrhundert. Nach dem Grundsatz „Gott zu Ehren und Hamburg zur Lust, Ergötzlichkeit und Nutz“ leistete sich die Stadt ein Eliteensemble von acht Ratsmusikern, das vielen fürstlichen Hofkapellen Konkurrenz machen konnte.
Goes Classic is a Schulze's adaption of masterworks by the old classical masters, done with his usual cosmic flair. The arrangements of the pieces don't sound updated or original. Except for a very few novel sounds, the synthesizer patches sound like basic programs and samples found on many mid- level synthesizers of the early nineties. The recordings sound too much like a synthesizer trying to replicate an orchestra, rather than reinterpret. The innovative sounds that made the seventies Schulze albums enjoyable are nowhere to be found. Nonetheless, the album makes good background music. While the synthesis does not capture the excitement of a live orchestra, Schulze manages to keep the recording from sounding robotic.
This is Schulze's first attempt at opera, and it has yielded mixed results. Klaus Schulze has been deeply influenced by Richard Wagner and his music. So it is natural that he would compose, produce and perform (except the vocals) the world's first electronic opera. Totentag: Oper in 7 Bildern (roughly Death Day: An Opera in 7 Scenes) is a monumental achievement. Klaus, in keeping with a tradition started by Mozart, composed the opera in his native German. He recruited five virtuoso vocalists to play/sing the roles. The opera, again in the truest German tradition, is tragic. It tells the story of a young man and his drug induced hallucinations and visions.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music.
"Royal Festival Hall Vol. 1" is the first album in a trilogy that includes a second volume, also recorded at Royal Festival Hall, as well the third album entitled The Dome Event. On Volume 1, Schulze's 45-minute keyboard suite called "Yen" is broken up into ten different subtitles, but the songs are all fused together by way of single-toned electronic streams and the faint pulsations of analog synthesizer riffs…
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. Shadowlands contains just five tracks over 2 CDs, and as we've come to expect from Schulze, look for plenty of mind expanding explorations into space and loads of calming tranquility. The near 57 minute "The Rhodes Violin" offers up soothing, at times fluttering synth washes, brief spoken word vocals, and a myriad of ethnic Middle Eastern instruments. The epic title track opts for more menace, and will remind some of the early Tangerine Dream material, complete with ominous synth & Mellotron sounds plus those Middle Eastern influences…