Ernest Chausson’s death in 1899 in a bicycle accident robbed French music of a major talent. Almost his entire orchestral output fits on this extremely fine CD. Yan Pascal Tortelier’s performance of the richly romantic Symphony is the best since Munch’s Boston Symphony recording. Like Munch, Tortelier knows how to keep the music moving along–he’s only an insignificant two minutes slower than Munch for the whole work–without overindulging the more luscious moments, which in Chausson’s opulent setting really do take care of themselves. Even better, rather than some overplayed encore piece by another composer, the symphony is coupled with two very attractive, rarely heard tone poems and two charming orchestral excerpts from the composer’s incidental music to Shakespeare’s The Tempest. The orchestra plays with conviction, Chandos’ sonics are gorgeous, and if you don’t buy this disc, you’re missing out on some marvelous stuff.
A reading of the oeuvre of Toni Morrison ― fiction, non-fiction, and other ― drawing extensively from her many interviews as well as her primary texts. The author aligns Morrison's novels with the works of Virginia Woolf and William Faulkner, assessing her works as among the most innovative, and most significant, worldwide, of the past fifty years.
An insane hunter arranges for a ship to be wrecked on an island where he can indulge in some sort of hunting and killing of the passengers.
The Swiss cellist Christian Poltéra here performs works by Frank Martin, Arthur Honegger and Othmar Schoeck. This follows a series of discs from Poltéra that were dedicated to these three composers. His disc of Frank Martin’s music (BISCD1637) was a Gramophone Editor’s Choice.
Frank Martin's long, quietly productive career reflected a quest to reconcile creative imperatives with stylistic integrity in an era of unprecedented technical challenges, experiments, and fragmentation. A conventionally trained musician would have been less liable to brook such challenges as an ethical dilemma or to see in them an almost paralyzing array of possibilities, while Martin, the tenth child of a Calvinist pastor, felt both keenly. Martin began composing at 8, was overwhelmed by a performance of Bach's St. Matthew Passion at 10, and by his 16th year knew that music was his destiny. While formally studying mathematics and physics at his parents' behest, he pursued music privately with ………From Allmusic