In the courtroom, Joan Alton (Brick Randall) and Mike Hathaway (John St. James) are legal adversaries, but outside the halls of justice they are entangled in a torrid love affair. When Mike's wife finds evidence of her husband's extramarital activities, she confronts him with the proof, and he storms out. Unable to reach Joan, Mike stops at a local strip club where he finds comfort in a few stiff drinks and the come-on of a blonde who doesn't want to know his name. When Hathaway wakes up alone at a local motel, the blonde is gone. Soon after, he discovers that his wife has been brutally murdered, and he's the number one suspect. Suddenly, all of the people able to verify his alibi are not talking or they're turning up dead. As the police build a case against Mike, digging up all the dark secrets they can find, Mike turns to the one person he can trust and the one person who might be able to clear his name—his mistress.
“There is no more important reason for composing music than spiritual renewal.”–Sofia Gubaidulina. Shostakovich once famously said of his student, Sofia Gubaidulina, “I want you to continue along your mistaken path.” Mistaken, that was, in the former Soviet Union, where the deliverance preached through her devout composing sat uncomfortably with censors. So much so that when she composed her Seven Words in 1982, she was obliged to leave out “…of Our Savior on the Cross” from its title. Nevertheless, this riveting work is one of the twentieth century’s reigning masterpieces.
The Finnish Radio Symphony Orchestra, although a relatively small orchestra, is one of the most adventurous orchestras in Europe and one of the best orchestras in a country that has more symphonies per capita than any other country. Based in Helsinki, it is the primary radio orchestra of the Finnish Broadcasting Company.
Written in 1724, just after Giulio Cesare and just before Rodelinda, Tamerlano comes from one of the most fruitful periods of Handel’s career, full of compelling inspiration, yet it has been relatively neglected on disc. This Avie recording was made live at Sadler’s Wells in London in collaboration with the BBC in June 2001, marking a welcome return to disc of Trevor Pinnock and the English Concert. The result is delicate on a smallish scale, less sharply focused than Pinnock’s Archiv recordings, but with unerring judgement on style and pacing.