I was looking for Ginastera’s Hieremiae Prophetae Lamentationes, which was completely new for me; but this is by no means the only work worthwhile on this album. The record is full of surprises.
In 17th and 18th century New England, transplanted Englishmen like Daniel Read, Abraham Wood, and especially William Billings were composing beautiful but rough-hewn and distinctly American vocal music for use in what were called "singing schools." Far to the west and south, in what was then called New Spain and would later be called Mexico, natives and transplanted Spaniards were composing liturgical music of a richness and complexity that was worthy of the greatest cathedrals of Europe – and teaching their native converts to do the same. This disc showcases the works of two of 18th century Mexico's finest composers: the Mexican-born Manuel de Zumaya and the transplanted European Ignacio de Jerusalem. The latter is represented by a polychoral Mass in D Minor, a responsory, and a gorgeous Dixit Dominus setting written in six sections; from the former listeners have a setting of Jeremiah's lamentations, a breathtakingly complex solfeggio composition titled Sol-fa de Pedro, and the polychoral Celebren, Publiquen.
When Martin Scorsese decided to remake "Cape Fear", he paid tribute to the original by featuring original stars Gregory Peck, Robert Mitchum, and Martin Balsam in cameos. Scorsese also recognized the contribution of the first film's composer Bernard Herrmann. Thus, Elmer Bernstein, himself a legendary musician (and recent Oscar nominee for "Far from Heaven"), adapted, arranged, and conducted Herrmann's original score for the newer film. This is a marriage of two giants in the business. A score that is as haunting and chilling as the more recognizable works "Psycho" and "Marnie", "Cape Fear" is true Herrmann with its ominous cues and screeching strings. Fans of Herrmann, Bernstein, or Scorsese must have this one!
De levensgeschiedenis van Josef Lanner (1801-1843) is niet zo kleurrijk als die van de leden van de Straussfamilie. Bovendien is er nog niet zo veel over bekend. Pas in 1994 verscheen in Wenen een betrouwbare biografie en een oeuvrecatalogus met daarin zo'n 300 werken. De populariteit van Johann Strauss (1804-1849) strekte zich uit over heel Europa terwijl die van Lanner beperkt bleef tot Graz, Mailand en Br³nn. In de jaren dertig van de vorige eeuw waren Strauss en Lanner beiden aktief in Úen van de meest populaire danslokalen in Wenen.