In 1977 The Metropolitan Museum of Art presented Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, the largest exhibition ever to focus on the period that spans the transition between the classical and medieval ages. In keeping with the didactic spirit of the exhibition, the Museum held a symposium in November 1977 to provide the public with a broad background for appreciation of this little-known field and to offer art historians the provocative speculations and conclusions of their colleagues. In addition to art history, the distinguished scholars who participated in the symposium discussed the theology, literature, politics, economics, and architecture of the first centuries of the Christian Era.
Repeat Offender is the second studio album by singer/songwriter Richard Marx. Released in mid-1989, it reached No. 1 on the Billboard Pop Albums chart. The album went on to sell over five million copies in the US alone (several times that worldwide) due to five major singles on the Billboard charts, including two No. 1 hits: "Satisfied" and the Platinum-certified "Right Here Waiting".
This disc of music by Arvo Pärt offers a generous representative sampling of his orchestral and chamber works from early in his holy minimalist (or, as he preferred, tintinnabuli) phase, mostly from the late 1970s but some as late as 1990. The pieces include some of his most popular works, notably Fratres (which exists in nearly a dozen incarnations), Spiegel in Spiegel (of which there are nearly half as many versions), Summa, and Cantus in Memory of Benjamin Britten.
Age of Falconry is Richard’s first release with Mega Dodo. Richard’s versatile compositions walk the edge of combining the abstract with contemporary electronica. His music steps out of the ordinary, transforms into unusual shapes and spheres, the latter ranging from hypnotizing and a bit foreboding to free form compositions with quirky elements occasionally lurking underneath. Age of Falconry has a haunting beauty at work on many of its tracks, juxtaposed with a cheery warmth, both elements sitting comfortably next to each other despite their polar opposite natures.
George Dyson (1883-1964) studied with Charles Villiers Stanford at the Royal College of Music and Dyson's own compositions tend to reflect the kind of romanticism of both Stanford and Perry or the era just before Elgar, Vaughan Williams, and William Walton. His music is always lyrical if a bit modest,or perhaps understated is a better word after all, leggiero means "lack of pomp or pretention or prolixity." In this, he resembles Frederick Delius. The works on this disc come from Dyson's later years 1949 to 1951 which were his most creative.