Sharon Bezaly here performs with the eminent Australian Chamber Orchestra and Richard Tognetti in a programme which takes its name from the Australian composer Carl Vine’s work for flute and orchestra. Pitangus Sulphuratus from the Venzuelan composer Adina Izarra’s concerto – composed in 1987, but with a new cadenza written especially for Bezaly – depicts a yellow and brown bird found in the Caracas valley. Its call appears throughout the piece.
Cat Dreams is my new music album on compact disc (cd). It is a work of love, dreams, heart, magic. Music from my life shared with some beautiful little creatures, loved ones. Being a part of their lives as they were and are a part of mine. Biographical dreams and stories. Life music: sweet, emotional, deep, beautiful, happy and sad. Cat Dreams starts and ends with the sound of rain, with cats by a window listening to the rain outside and napping together. Dreaming together an episodic flow of stories, songs, dances, memories, moments, travels, adventures.
Giampaolo Pretto is the main conductor of the Orchestra Filarmonica di Torino, in Italy from 2016, and has been coach conductor of the Orchestra Giovanile Italiana in Fiesole from 2012 until 2018. As a conductor whose career is constantly increasing, he always aimed to face the most different repertoire and he choose from the beginning to cope with the more different styles and composers, from classic up to contemporary music. He closed the 2015 season of Petruzzelli Theatre in Bari performing Ravel, Battistelli, Stravinsky and Copland, while opening the 2015-16 Season of OFT in Torino with Mahler’s IX. He conducted the italian première of the Bach/Stravinsky "Four préludes and fugue for chamber orchestra", together with Paganiniana di Casella, at the Orchestra di Padova e del Veneto; Brahms Serenade op. 11 in Tbilisi and in Italy during the georgian orchestra Paliashvili tour ; Pergolesi Stabat Mater in Florence with the Orchestra V. Galilei.
Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the legendary Orrin Keepnews. The 1974 release of this album on the Fantasy group's Milestone label created an instant impact and launched one of the most exciting and tempestuous vocalists of the decade. Flora Purim and her husband, the brilliant percussionist Airto Moreira, had been part of Chick Corea's "Return to Forever" band, and Airto had gained much attention with Miles Davis, but this record combined their Brazilian rhythms for the first time with the "fusion" jazz of players like George Duke and Stanley Clarke. The result was a high-energy music of enormous appeal.
Though in step with its time, this release suffers from excessive reliance on ambient synthesizers, which litter much of the recording, rendering it only slightly more interesting than many of the Windham Hill new age recordings of the same era. Unfortunate, because the disc opens with strength and gradually peters out by the end. The disc opens with "He Came From the North," which features a melody based on a traditional Lapp joik from the artist's native Norway and progresses into a longer section with an interplay that is both sparse and rhythmic. The sax line here is astonishingly beautiful. The second piece, "Alchuri, the Song Man," a sax and percussion piece, is energetic and lively as well. And from here the energy gradually diminishes. Much can be attributed to popular styles of the time, but this release simply does not stand up to other music of its genre that came later.