Excellent addition to any Progressive-Folk music collection
After leaving The Young Tradition, Heather and Royston Wood (who weren’t related to each other), issued what might be called a follow-up, No Relation,
Essential: A masterpiece of Progressive-Folk music
The Young Tradition was formed on 18 April 1965 by Peter Bellamy (8 September 1944 – 19 September 1991), Royston Wood (born 1935 died 8 April 1990) and Heather Wood (born Arielle Heather Wood, 31 March 1945, Attercliffe, Sheffield, Yorkshire) (who was unrelated to Royston Wood). Most of their repertoire was traditional British folk music, sung without instrumental accompaniment, and was drawn especially from the music of the Copper Family from Sussex, who had a strong oral musical tradition. They augmented the pure folk music with some composed songs which were strongly rooted in the English folk tradition, such as sea shanties written by Cyril Tawney, of which “Chicken on a Raft” was the most notable.
Features 24 bit remastering and comes with a mini-description. Pianist Jay McShann has spent much of his career being classified as a blues pianist when in fact he is a flexible swing stylist. On this excellent release, McShann appears with two groups of all-stars. His original "Crazy Legs and Friday Strut" and "Georgia on My Mind" find him joined by Herbie Mann (on flute and tenor), baritonist Gerry Mulligan and a rhythm section that includes guitarist John Scofield. The other selections (two standards, Duke Ellington's "Blue Feeling" and McShann's own "Jumpin' the Blues") are performed by an octet also featuring Mann, altoist Earle Warren, trumpeter Doc Cheatham, trombonist Dicky Wells and Scofield. The unusual grouping of swing, bop and modern stylists is successful (the material is pretty basic) and Janis Siegel's guest appearance for a vocal duet with McShann on "Ain't Misbehavin'" works.
There are few composers who have vanished from music history to the extent of Johann Abraham Schmierer. We know very little about this composer’s origins, education, career and life journey. Some listeners, during or after hearing this recording, may well wonder why this music – despite its undeniable qualities and relatively early publication (already in 1902 in the tenth volume of Denkmäler Deutscher Tonkunst) – has not been recorded earlier. One reason is surely the fragmentary character of the collection, for six suites are obviously missing.
Staged and directed by Richard Wagner's grandson Wolfgang at the Bayreuther Festspiele in 1984, this production of Wagner's only comedy dispenses with the common cliches to reveal the humanity of each character. Here, Beckmesser is no longer a foolish caricature but a cultivated intellectual; Stolzing emerges as a thoughtful individual rather than aggressive aristocret; and Hans Sachs sheds his solemn patriarchal veneer to become a likeable middle-aged man. “Hermann Prey´s interpretation of Beckmesser as a cultivated intellectual is a triumph of dramatic and vocal artistry: a stunning performance . . . Brilliant . . . Bernd Weikl as Sachs – an almost unique combination of musical refinement and expressive power.” (Abendzeitung, Munich)
This vivid film of Wagner's romantic opera succeeds in conveying what famously been called "the wind that blows out at you whenever you open the score", including Daland's boat anchoring against the Sandwike cliffs, the red-sailed phantom ship, and the ghost crew rising from the dead. "Scenes that recall classic horror films… Brilliantly successful" (Nürnberger Nachrichten). "Captures the work's essence" (Süddeutsche Zeitung). With a superb cast; conducted by Wagner authority Wolfgang Sawallisch.
"This is the 6th instalment of PentaTone’s successful Wagner Edition. It is the first time in the recording history that a label records all major Wagner opera’s with the same orchestra, choir and conductor. This makes the PentaTone Wagner Edition a great collector’s item. All operas are recorded live in the Philharmonie in Berlin. The first five recordings were awarded with “Editor’s Choice” (Gramophone), Recording of the Month and Opera Choice of the Month (BBC Music Magazine), CD of the week (Sunday Times). Based on the reviews of the concert we expect high scores for the Tannhäuser recording as well." ~prestoclassical
"…This dramatic and involving 'Parsifal' raises Marek Janowski's epic Wagnerian journey to a new level of excellence that one hopes will be maintained in the performances and recordings yet to come - an exciting prospect for all Wagnerites!" ~sa-cd.net
Under the baton of James Levine, Gotterdammerung ("The Twilight of the Gods") has a narrative drive that reminds us that, of all the individual operas in Wagner's Ring cycle, this is the one most about human emotions and the one in which its heroes are pulled into a world where they are most vulnerable to them. Siegfried Jerusalem as Siegfried and Hildegard Behrens as Brunnhilde never, in a sense, stand a chance: they are innocents who allow themselves to be manipulated not merely by the villainous Hagen, but by the ordinary venality of Gunther and his sister Gutrune, who goes along with a dirty little scheme to get what she wants, and is destroyed by it.