En esta nueva novela, Steven Saylor ”escritor aclamado por la crítica internacional gracias a sus recreaciones del mundo romano” da vida a la epopeya de los primeros mil años de existencia de la ciudad de Roma, desde antes de su fundación por los gemelos Rómulo y Remo hasta su increíble ascenso como capital del Imperio más poderoso de todos los tiempos.
Signature style, where AOR and West Coast meets in the middle. This time around, David has upped his stakes in production and assembled the best working musicians in making this cd. This includes three members of Push UK and long time collaborator Jon Dewsbury and guitarist Ray Hatfield (ex Martin Turner's Wishbone Ash). Special guest duet appearance on the track Sacrifice is Phil Bates (ex ELO 2 and Atlantic singer). Other tracks include Open Door which has a classic Scandi sound if you cross Alien and Rainbow. The added cover of John Waite, Missing You, is dedicated to the memory of David's late father and sister.
Twelve months have passed since US born/ UK based singer songwriter David A Saylor released his most recent album - Strength Of One. Sticking firmly to the same path, David is soon to release his new album, "Built 2 Fight" an album chock full of tracks that prove traditional AOR songs and Mr. Saylor's signature vocals are a match made in heaven. While 2015 has already seen the release of a few quality AOR cd's, DAS brings something different to the party with his raspy vocal soaked in a wall of elegant instrumentation, employing the perfect balance of rock and melody that is sure to keep both the AOR purists and hard rock community happy…
What a versatile artist Steven Isserlis is. Having made his name as a sympathetic interpreter of a wide variety of romantic and modern music, here he shows he can be just as persuasive in eighteenth-century repertoire. His stylistic awareness is evident in beautiful, elegant phrasing, selective use of vibrato and varied articulation, giving an expressive range that never conflicts with the music’s natural language. In the cello concertos he is helped by an extremely sensitive accompaniment, stressing the chamber musical aspects of Haydn’s pre-London orchestral writing. The soft, intimate sonority at 3'06'' in the first movement of the D major is a typical example. The Adagios are taken at a flowing speed, but Isserlis’s relaxed approach means they never sound hurried. The Allegro molto finale of the C major Concerto, on the other hand, sounds poised rather than the helter-skelter we often hear. In his understanding of the music, Isserlis is a long way ahead of Han-na Chang, whose version places the emphasis on fine, traditional-style cello playing. Mork’s vivacious, imaginative performances characterize the music very strongly, but my preference would be for Isserlis’s and Norrington’s lighter touch and greater refinement.