Back in 1990, Texas songwriter Butch Hancock staged a massive, six-night event entitled No Two Alike, wherein he played six straight evenings at Austin's Cactus Cafe. In the process, he recorded 140 of his own songs without repeating one. He then released the output later on cassette tapes. The reason for citing Hancock in a Paul Kelly review, particularly this one, is simply to establish the only precedent for this wonderful eight-disc live box set, the A to Z Recordings. Between 2004 and 2010, the revered Australian songwriter would perform his now legendary A to Z concerts, during which he would play two (largely) unplugged sets per evening for four nights, performing many of his songs, all in alphabetical order.
Une plongée dans un Paris interlope, populaire et englouti, par un clochard, compagnon de Doisneau et d'autres piliers du Paris poétique. Un texte exceptionnel digne d'un Nicolas Bouvier. …
Known to opera audiences worldwide, Camilla Tilling is also a dedicated recitalist. On two previous BIS releases, the Swedish soprano and her musical partner Paul Rivinius have interpreted Strauss as well as Schubert, to critical acclaim: 'Tilling takes her place among the leading Strauss sopranos of the day' (Sunday Times); 'a Schubert recital of rare pedigree' (Gramophone). On her present offering she turns northwards, interpreting songs by Grieg, Sibelius and Wilhelm Stenhammar. The disc takes its title from an early song by Stenhammar, I skogen ('In the forest'), and many of the selected songs are either played out in or depict natural settings, in a manner we are familiar with from Nordic composers.
Philip Glass’ Concerto Fantasy for Two Timpanists and Orchestra, composed in 2000 and transcribed for wind ensemble by Mark Lortz in 2004, is a significant addition to the repertoire of large-scale works for timpani. The work is rhythmically galvanizing, sonically alluring, and features virtuoso cadenzas for both soloists. Symphony No 4 ‘In the Shadow of No Towers’ is Mohammed Fairouz’s first major work for wind ensemble, and its inspiration is the provocative comic book by Art Spiegelman, written shortly after the terrorist attacks on September 11, 2001. Spiegelman himself has commented: “I’m moved by [this] scary, somber, and seriously silly symphony…I’m honored that the composer found an echo in my work that allowed him to strike a responsive chord and express his own complex responses to post 9/11 America. He emerges from the rubble with a very tony piece of high-brow cartoon music.”