Avant garde. Eccentric. A maniac. Wild and adventurous. Off the wall. Extraordinary. No marketing hyperbole - this is how the players of the Orchestra of the Age of Enlightenment describe Carl Philip Emmanuel Bach and his music. One of the many children of JS Bach, CPE Bach always lived in his father’s shadow, and now is an almost unknown figure at least beyond the classical cogniscenti. How can such an unknown be considered a gamechanger? A listen to his music reveals just why – it constantly shifts, wrongfooting the listener when they least expect it with wild changes of direction and colour – it is bright, effervescent, and is a fascinating link between the music of his father (and the Baroque era) and Joseph Haydn (and the Classical era).
…For fans of C.P.E Bach, this disc will be fascinating. For fans of late Baroque and early Classical music who don't already know C.P.E.'s music, it will be revelatory.
This is an important document, not least because what is actually captured on these discs is the first performance of this work since 1772. The score is presently housed in the archive of the Berlin Sing-Akademie after its discovery in the Ukraine. C.P.E.’s version of the Christ story is a dynamic one, with plenty of drama and much interaction between the various soloists and the chorus - a chorus that represents the Jews as well as performing the chorales.
C.P.E. Bach's "Magnificat" is one of the glories of the choral repertoire, and, like other reviewers, I envy you your first experience of this magnificent music. I first heard it in the impressive performance by Philip Ledger and the Academy of St.-Martin-in-the-Fields. I think Rilling's performance is even better, though, more supple and nuanced, without sacrificing speed and intensity.
It's a damn shame that Leucocyte is the final studio album by the Esbjörn Svensson Trio. Svensson died in a tragic diving accident in June of 2008, shortly after this set was finished. More than any other recording issued by this excellent band, Leucocyte captures the art of music making at the moment of conception; it was recorded as live-in-the-studio improvisation over two days in an Australian studio. It was completely finished, post-production and all, with a release date before Svensson's death. The words "post-production" mean plenty when it comes to E.S.T.'s music. The trio often recorded and added sonic effects to their structured, composed pieces. It underscored their hip sophistication and accessibility. It made them a hit with both jazz fans and younger audiences who listen to Radiohead, Sigur Rós, and even heavy metal more than jazz.
Questo volume si rivolge agli studenti dei corsi di Basi di dati dei corsi di laurea in Ingegneria, Scienze dell'Informazione, Informatica.
Il testo costituisce la versione estesa della quarta edizione del volume Basi di dati. Modelli e linguaggi di interrogazione, pubblicato a giugno 2013, ed è rivolto ai corsi di Basi di dati con molti crediti, non divisi in moduli. …
Pablo’s Eye started working as a collective in 1989, a flexible project in which additional members were always welcome to participate. Making music was important but sharing the same artistic attitude was the main focus. Their wish was to remain simple and open by mixing different musical forms, cultures, and ideas. Their common goal has always been to create a feeling of travelling in time and space, by going from past memories to future hopes. Their aim remains to express the ideal and explore the real through both personal and global stories…