A strong and impressive debut effort from this Greek ensemble, taking the art of sophisticated folk inspired music into new and exciting territories at their best. Their blend of medieval inspired folk wanderings blended with touches of jazz and symphonic progressive rock isn't a novelty in itself, but the manner in which these elements are blended together is something of a novelty. In particular in the cases where guitar riffs of a more metal oriented nature are utilized to good dramatic effect, but also when the organ, clarinet and various additional instruments for intriguing and richly layered soundscapes with ample room for subtle dissonances and disharmonies, with the occasional jazz-tinged motif sneaking in on these themes as well…
Deserted by his father, and dislocated by the Second World War, Paul is a boy who wants affection and attention and cannot find it at home. For a while, he becomes the pet of some German soldiers, running errands for them. Later, he helps the Resistance, and when the Americans come to stay, he is really in his element with them.
From the city of the South, where he works, Fabio returns to his native Ivrea, to take part (as it always has) the three-day carnival, during the traditional local festival. In the city Fabio met Manuela, young as he, on vacation alone and eager to escape. The encounter leads to a three-day love senseless and unrestrained, discoveries and confessions, the two know exactly who will be and this also leads them to completely surrender to a "transgression" total. But the game of "orange throwers" of Ivrea has a time limit. Fabio and Manuela leave the city, each in their own way, with only a wealth of new experience.
This program offers three lively, colorful, and captivating orchestral works by two United States composers, born almost a century apart. These pieces exhibit the fruitful exchange and flow of musical material between North and South America that has long played a role in popular music, apparent not only in commercial song and dance music using Latin American melodies and rhythms but also in early jazz and blues where tango rhythms are so often heard, as in W. C. Handy's St. Louis Blues. And both Gottschalk in the 1850s, close to the beginning of a creative American musical tradition, and Gould in the 1950s, when such a tradition had flowered considerably, show a combination of seriousness of approach with a popular touch.