The conventional wisdom about Venetian Antonio Lotti, composer of the a cappella masterwork "Crucifixus," is that as a card-carrying member of the stil antico he represented a conservative viewpoint akin to that of his later contemporary Leonardo Leo – the fewer instruments the better, the closer to the polyphonic language of Palestrina the better. Moreover, if the "Crucifixus" was the only work of Lotti that someone became acquainted with, then he/she could not be blamed for believing this was so, although he/she might note the distinct Baroque harmonic coloring of the piece as being rather unlike that of Palestrina. Here is a challenge for you – CPO's Antonio Lotti: Vesper Psalms performed by the Sächsisches Vocalensemble and Batzdorfer Hofkapelle under Matthias Jung. It presents a selection of Lotti's surviving concerted sacred choral works, pieces that are scored with a small Baroque orchestra and easily comparable to contemporary music by Handel, Johann Sebastian Bach, and his direct competitor Antonio Vivaldi. Careful scrutiny of the poorly compiled worklist for Lotti in Grove's Dictionary of Music and Musicians reveals that some of these pieces are so listed, but with no mention whatsoever of the instrumental forces involved; they are identified as a cappella works just like the others. One wonders to the extent of Grove's oversight in this matter.
Henry Corbin a rencontré Jung à de multiples reprises, avant de prendre sa succession, lors des rencontres d'Ascona, en Suisse italienne, où se sont réunis pendant des années les plus grands spécialistes mondiaux de l'expérience religieuse tels Mircea Eliade, Hermann Hesse, Gilbert Durand, Gershom Scholem… Ce sont ses textes, totalement inédits, sur les rapports de Jung à la «pensée» bouddhique que l'on trouve dans ce livre.
Blake Shelton veered toward the somnolent on the quite pleasing Bringing Back the Sunshine so it's not entirely surprising its 2016 sequel, If I'm Honest, is a bit crisper and livelier. Some of this brightening in attitude may be due to him lightening his load following a much-publicized 2015 divorce from singer Miranda Lambert – certainly the title suggests it's time for the singer to get down to what's real – but the electronic sheen and good times also feel like a reaction to Shelton sliding too deeply into softness. If If I'm Honest is indeed a divorce album, it's a Back in the High Life, not a Blood on the Tracks: Shelton is seizing the day, embracing his new lease on life with renewed vigor and a new love, who just happens to stop by to sing "Go Ahead and Break My Heart." Gwen Stefani's presence offers a reminder that Shelton stars on the televised singing competition The Voice, and If I'm Honest is targeted more at the mainstream audience attracted by the show than country radio proper.