The revival of Spanish music of the Baroque period continues moving forward into the Classical era with this premiere recording of sonatas for "violin y bajo" – violin and bass – by Juan de Ledesma. The sonatas were rediscovered only in the late 1980s, and they're very elegantly presented here in a package adorned by a reproduction of a marvelous French fan of the period. There isn't anything of earthshaking importance among the five sonatas on the disc, but they're attractive pieces with some challenges for the violinist, and both players of the instruments and those with collections of Spanish music will find the release of interest. The booklet notes by violinist Blai Justo (in English, French, and German, with Spanish and Catalan additionally available online) point to Corelli's influence, but also note the presence of the galant style of the period, and it is the latter sound, with its atmosphere of charm and its relaxed procession of contrasting two-measure phrases, that predominates. The players do well to avoid a harpsichord accompaniment, using either a combination of cello and guitar or one or the other instrument alone.
This is the movie that gave us the phrase "Klaatu barada nikto!" As befits the film that kicked off the Atomic Age's obsession with flying saucers and giant robots, Bernard Herrmann's score is the last word in 1950s sci-fi. Although many of its elements have become cliches over the years, the original has lost none of its power. Thanks to the many eerie, theremin-drenched passages, it's almost impossible to hear that instrument without thinking about guys in space suits. Other great moments: tinkling space pianos, ominous robot monster chords, and weird, plangent orchestrations. One of Herrmann's most visionary and influential scores.
Following abortive collaborations with David McAlmont and Richard Ashcroft, ex- Suede guitarist Bernard Butler finally heeded his wife's advice and took centre stage for his solo debut. Not surprisingly, wide-eyed positivism is the presiding sentiment here–so much so, that, at times, People Move On seems to be about little more than itself. Save for that melodically slight Top 10 hit "Stay" though, it's hard to raise much objection in the face of such sustained inspiration. Highlights? Well, "You Just Know" will be better known to football fans as the plaintively catchy riff used during the 1998-9 season on Match Of The Day. "Change Of Heart" crashes along some beautiful George Harrison-style playing. Best of all though are "Autograph" and "Woman I Know"–not least for the way their gothic grandeur exposes the limitations of Butler's old band.
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