Agricola was praised by his contemporaries for the bizarre turn of his inspiration, and his music likened to quicksilver. By the standards of the period this is a highly unusual turn of phrase, but remains spot-on. The Ferrara Ensemble anthology, the first ever devoted to the composer, focused on the secular music, both instrumental and vocal, precisely the area covered by Michael Posch and Ensemble Unicorn in this most satisfying disc. Where there's duplication (surprisingly little, in fact) the performances compare with those of the Ferrara Ensemble, although the style of singing is very different. The voices are more up front and less inflected, perhaps the better to match the high instruments with which they're sometimes doubled. But the tensile quality of Agricola's lines comes through none the less, as does the miraculous inventiveness and charm of his music. Further, much of what's new to the catalogue really is indispensible, for example Agricola's most famous song, Allez, regretz. Unicorn keeps its improvisations and excursions to a minimum, and the music is the better for it. It really is a must-have.
This spontaneous chamber music establishes further advances in the development of improvisation as compositional process. Recorded in the prestigious Arte Suono Studios, Udine." "As you taste this dish, you'll be perhaps so engaged to query about the ingredients. At any given time you could lay this musical output equally at the feet of jazz, classical, or 20th century composed music. But the ingredients won't explain why it's so delicious – it's the spices, seasoning, and flair of the chefs.
The performers in Kurzwellen react to the completely unforeseeable events which they receive on short-wave radios while performing on their instruments. But this is not improvisation. Stockhausen s score instructs them how to transform what they hear: how they imitate amd modulate it, make it longer or shorter, how to rhythmically articulate it, higher or lower, louder or softer, darker or more playful. Whether they should play and as solo, duo, trio or quartet, etc. Though not so familiar now, at the time short-wave radios made it possible to listen to live radio stations from all over the world. The transmission was not always clean, but disturbed by noises and interferences. Moving from one station to another one could hear Morse-code signals, amateur radio communications and all kind of electronic sounds and noises. Stockhausen wanted this sound world to be part of Kurzwellen. This new version created by C.L.S.I., premiered at the Stockhausen Summer Course in Kurten on August 10th 2011, is a kind of updating of Stockhausen s one of the 1960s.
" Summerhill, c'est l'aventure d'une école autogérée fondée en 1921 dans la région de Londres. Son fondateur, le psychanalyste A. S. Neill, a mis les découvertes psychanalytiques au service de l'éducation. Il s'est dressé contre l'école traditionnelle soucieuse d'instruire mais non pas d'éduquer. Il s'est dressé contre les parents hantés par le critère du succès (l'argent). Il s'est insurgé contre un système social qui forme, dit-il, des individus "manipulés" et dociles, nécessaires à l'ensemble bureaucratique hautement hiérarchisé de notre ère industrielle.
Zemlinsky's Die Seejungfrau ("The mermaid") is a three-movement symphonic fantasy based on the Hans Andersen story. It was first performed (under the composer's direction) in 1905, and is thus a good deal earlier than the works that have recently excited renewed interest in him—the oneact operas Eine florentinische TragOdie (1916) and Der Zwerg (1921), and the exquisite Lyric Symphony of 1922. In its masterly handling of a large orchestra, however, and of an episodic but firm structure, it is a far from immature piece. Zemlinsky was 34 when he wrote it, after all. If his list of works were not in such a terrible mess—many are unpublished; several, including the present work, were until recently thought to be lost—Die Seejungfrau would count as his Op. 30 or thereabouts.
Known for his “impressive virtuosity” (La Presse), soloist Vincent Lauzer is featured in this new album devoted to Vivaldi recorder concertos. Lauzer is accompanied by Arion Baroque Orchestra under the direction of Alexander Weimann. Though Vivaldi composed more than 500 concertos, mostly for the violin, he also wrote concertos for wind instruments, including a number for the transverse flute and for recorder. Flutes and recorders were often as included as obbligato instruments in his sacred and secular vocal works.
Based out of Vancouver, Canadian bowed guitar player and trumpeter C. Diab creates music that conjures the beauty of the landscapes and awe-inspiring wilderness of his childhood home in the Vancouver Island town of Port Hardy. Having gained critical acclaim with the release of his debut album 'No Perfect Wave' (2016) and his collaborative works with Ian William Craig, C. Diab is pleased to announce the release of his sophomore album 'Exit Rumination', on 30th March via Injazero Records. 'Exit Rumination' is packed with the skilful guitar and trumpet playing and tape manipulation that made 'No Perfect Wave' so special but comes from a darker, more devastating place. It is a hypnotic, meditative, mesmerising affair which immerses the listener even deeper in his universe.