Weiss is archaic in his material: he shuns electronic elements and favours natural sound sources (voices, hands, feet) and employs considerable fantasy in the process of deriving sounds from objects which in their original environment have no musical function.
Already an obscure record when it was initially released in 1980, Harald Grosskopf's Synthesist has become something of a cult item, the kind of album that inspires devotion in aficionados of early electronica and German music. Grosskopf himself has kept steadily busy as a solo musician and session drummer since the late '60s, being associated with early lineups of the Scorpions and Wallenstein and working with Lilli Berlin and Cosmic Jokers, among many others. But despite his long underground career, his debut solo Synthesist may ultimately stand as his defining work and as a key representation of the path of electronic music.
…Harald Vogel is an authoritative proponent and guide through all aspects of this music, and the quality of his playing, and of the recordings and choice of instruments can hardly be faulted. Already recognised as interpretations and recordings without equal, certainly in a complete edition, this set has to be considered the current Buxtehude standard bearer.
Brahms' works for piano open and close his career as a composer. In his earliest sets of variations, especially those of Op. 9, the melody is of primary importance, and Brahms clings to it while freely changing the harmony. His later studies of Beethoven, however, led to his transformation of the melody into something new, adhering to the theme's basic phrase structure and harmonic pattern. As had Bach in his "Goldberg" Variations and Beethoven in the "Diabelli" Variations, Brahms, in the Variations and Fugue on a Theme of Händel, Op. 24, constructed a sprawling masterwork ……..