This pair of clarinet quintets from the revivified Sony Classical label presents a performer and a composer who have both been shaped by Jewish vernacular materials, and the combination delivers everything you hope it will. Osvaldo Golijov's Dreams and Prayers of Isaac the Blind was composed 1994, before this Argentine composer entered a period of sustained popularity. Unlike his later riotously genre-crossing style, this one focuses on his own Jewish musical background.
The Sound+Vision 4 cd boxset covers DAVID BOWIE s career from 1969 to 1994 starting with the acoustic demo version of his first hit, Space Oddity to the return to his Bromley roots for the soundtrack to Hanif Kureishi s The Buddha Of Suburbia which is often cited as the most underrated piece in the Bowie canon. Sound+Vision is a collection spanning four decades, covering the 21 albums from Space Oddity through to The Buddha Of Suburbia. It s a rich survey of David Bowie's many musical lives offering a generous helping of hits, an intriguing dip into archives, classic album tracks and long lost B-sides, explosive live recordings, soundtrack recordings and remixes.
All King Crimson fans should know about David Cross, as he was once the violinist and keyboardist in the band in the early 70's. He played on many of the classic King Crimson albums such as "Lark's Tongue in Aspic", "Starless and Bible Black" and "Red". On this solo album from 1994 you can hear many reminiscences to King Crimson. David's electric violin is always in the forefront of the music without being dominating: swirling, floating and sometimes it hits you right in the face. Five tracks are studio recordings, and four are recorded live at Flöz Club, Berlin, October 1993. When you're buying a David Cross album you'll never get disappointed. This album is as highly recommended as any other David Cross release is.
The Concerto for Prepared Piano and Orchestra is one of Cage's most delicate works. The orchestra is treated as a group of soloists throughout, and for the most part operate with a small set of pitches and timbres, but is extended by a large array of percussion instruments played by four players. The piano, played by the superb contemporary piano interpreter Stephen Drury, weaves between the orchestral sonorities, rarely taking extended solos, as the piece becomes progressively more sparse until it tapers into silence at the end.