No voice on this album, just his great piano playing, and some additional whisteling. The album is hauntingly beautifull, but terribly short - it only lasts about 20 minutes. It's a kind of Brad Mehldau meets minimalism album; it might sound very simplistic, it still is beautifull enough to blow you away. If it would be a bit longer, it would be a five star album for sure.
Wim Mertens has been a fount of creativity for many decades. Sometimes that creativity produces ethereal results, sometimes they are bland, and unfortunately, sometimes the results are unlistenable. Of the many Mertens CDs I have, this is my second favorite (after Jardin Clos). His bubbly, cyclical, effervescent style works beautifully on almost every selection here. This lively and living music twists, turns, churns, and percolates into an intoxicating (how many mixed metaphors in THAT description?) blend that always puts a smile on my face.
Wim Mertens' first album after dropping the group name Soft Verdict, the double-disc Maximizing the Audience consists of the music for Jan Fabre's play The Power of Theatrical Madness, which premiered in Venice, Italy, on June 11, 1984. This is Mertens' first foray into extended compositional forms; the pieces on earlier Soft Verdict records had been between two and nine minutes in length, but aside from the four-and-a-half-minute "The Fosse" and the 12-minute title track, all the pieces on Maximizing the Audience are close to 20 minutes long.
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.
Massive 13-CD box-set of Mertens' album-releases on Crepuscule.For 35 years, Wim Mertens has been one of Flanders’ most famous composers. Yet after all that time, he still seems to be an outsider: not classical enough for the classical music world; too classical for the world of pop. He did have some crossover successes in the 1980s, in particular with Struggle for Pleasure, the album by his ensemble Soft Verdict. Years later, the title track was used as a jingle by mobile phone operator Proximus, becoming one of the most widely known tunes in the country.