The penultimate volume in Hyperion’s four-part survey of the complete solo piano music of Ernő Dohnányi focuses on music from the period when the composer’s pre-eminent position was being assured. The titles of the largest works here, Ruralia hungarica and the Variations on a Hungarian Folksong, mask in their nationalistic ostentation the skill of a true master of piano composition. Martin Roscoe inhabits the world of Dohnányi’s music like no other—appraisals of the earlier volumes attest to this—and this new recording is a joy.
The trio Arabesque was created by two Frankfurt-based German producers at the height of the disco era in 1977. After one album and a few singles that found surprising success in Japan, the producers changed the lineup, keeping Michaela Rose and replacing the two other members with Jasmin Vetter and Sandra Lauer. Vetter, a former gymnast, also became the trio's choreographer and Lauer, soon to be billed simply as Sandra, assumed the position of a lead vocalist. The first single of the updated Arabesque, "Hello, Mr. Monkey," went to number one in Japan. The Far East remained the band's biggest market, with numerous albums and compilations released over the years. However, Arabesque's success in their homeland was very modest, with only one single, "Marigot Bay," entering the German charts at number eight in 1981. In 1984, they disbanded and Sandra embarked on a successful solo career with the songs written by future husband Michael Cretu (of Enigma fame). Jasmin Vetter and Michaela Rose formed a duo, Rouge, but after a few obscure singles it ceased to exist.
It may be rash to claim that the French pianist Monique Haas (1909-1987) never made a bad recording, but you won't find one among her complete DG sessions. Dating from the late 1940s up to 1965, the recordings have been transferred from scratch, and they sound remarkably well for their respective vintages. The repertoire is diverse and unhackneyed, ranging from Mozart piano duets (with Heinz Schröter) and K. 449 and K. 488 concertos, rare Haydn gems (the E-flat Arietta with Variations and the Fantasia in C major), and the Stravinsky Capriccio, to Hindemith's Concert Music for piano, brass and harps (with the composer conducting), and a substantial sonata by Marcel Mihalovici (the pianist's husband) featuring violinist Max Rostal.
The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.
These first complete recordings of the string quartets of Schoenberg, Berg, Webern and Zemlinsky have won numerous international awards and been hailed as landmarks in the discography of 20th-century music. Impeccable ensemble, superbly blended timbre and pure intonation ….This set [Schoenberg, Berg, Webern] is indeed a wonderful achievement (MusicWeb International). Febrile intensity and faultless proportioning of each formal structure [Zemlinsky] (Guardian).
Little Feat were on Warner Bros Records from 1971's Little Feat through 1990's Representing the Mambo, but for a full decade of those 20 years, the band was inactive. …these albums have the songs and sensibility that built their legacy, which does include their remarkably successful return in 1988. All the albums are presented as mini-LPs and the set is affordable, making this a very appealing bargain for all kinds of Feat fanatics.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. The group's name is a bit of wordplay, and might make you think they're presenting themselves in a flip sort of way – but their music is rock-solid, and has this well-crafted, rock-solid approach that's mighty nice! Intrioduction have that open, flowing sensibility that the better European piano groups started to pick up towards the end of the 70s – a tradition that really seemed to flower in France during the 80s and 90s, but which also has a great proponent here – as the piano of Harry Happel opens up in these waves of lyrical lines that often have a lot of power, but a gentler sort of heart as well. Daan Gaillard is on bass and Fred Krens plays drums – and both players make themselves known throughout, but sometimes in nicely subtle ways.