Italian violinist Enrico Gatti has made various recordings of the late Baroque violin repertory with Ensemble 415 and other groups, and his booklet notes, as encrusted with decorations as the music itself, are always part of the attraction. Here he holds forth, in English, French, and German translations of the original Italian, on Giuseppe Tartini's life and career, heading his reflections with an Emily Dickinson poem (unfortunately somewhat less effective in German) and diverging into such avenues as an attack on daily newspaper journalism as it pertains to Baroque music.
Someone ought to get some t-shirts made that say "Vivaldi rocks!" At least that partly accounts for his popularity in the twenty first century; among the old masters, Antonio Vivaldi's sense of rhythmic dynamics and the gale-like force of many of his string concertos are close enough to the ever-enervating pulse of pop music that he has found an unlikely audience among younger listeners. Andrea Marcon and the Venice Baroque Orchestra's disc Vivaldi: Concerti & Sinfonie per Archi delivers these very kinds of goods, and will prove pleasing to Vivaldi fanciers of the younger set.
R.E.M. began their Warner contract in 1988 as the biggest band to emerge from the college-radio-fueled American underground. Fifteen years later, they released In Time: The Best of R.E.M. 1988-2003, the first overview of their long stint at Warner Records. During that decade and a half, R.E.M. had a turbulent journey…
Dave Edmunds assembled a self-consciously eclectic roots-rock album for D.E. 7th, his first post-Rockpile effort. Instead of returning to a one-man band status, Edmunds hired a new band, which prevented him from returning to the studied perfectionism of his early work. Nevertheless, D.E. 7th lacks the pop sensibilities that made early Edmunds a guilty pleasure, concentrating instead on roots musics. While that occasionally means there's mis-steps like "Deep in the Heart of Texas," but it also means the wonderful bluegrass-stomp "Warmed Over Kisses (Left Over Love)," the country-rocker "Bail You Out," the cajun-tinged "Louisiana Man" and the excellent Springsteen cover "From Small Things (Big Things One Day Come)." The rest of D.E. 7th is uneven, but there a few enjoyable cuts, and compared to what came later, it's certainly more fun.
After the release of the two highly successful 12inches "Filicium" and "Third Space", which generated the first UK Big Beat charts entrance for the Elektrolux label, Hamburg/Germany based electro specialists N)E(M deliver their first longplayer. "Northern Electro Movement" is a groundbreaking album, which represents all aspects of contemporary Electro and helps to push the music another step further. The producers of this master work, 3DJ Dirsch and Andreas Roll, already rank among the top german Electro artists, performing live all over the country (listen to "United Meadow" and "Silikon").
Édition de référence avec notes et augmentée de clefs de lecture. Des clefs de lecture tout à fait passionnantes, inspirées de la Tradition des Pères de l'Église. Une autre façon de lire et de découvrir la Bible, éclairée par la lumière de la foi catholique.
The four concerti in The Four Seasons of Antonio Vivaldi have probably earned the distinction of being the most frequently recorded classical works in the digital era. Originally published as part of a set of 12 concerti as Vivaldi's Opus 8, the other eight concerti also get some attention, particularly La tempesta di mare, but the set as a whole is comparatively seldom recorded. In Europa Galante's Virgin Classics release, Vivaldi: Il cimento dell'armonia e dell'inventione, violinist Fabio Biondi, who has recorded The Four Seasons at least once before for Opus 111, leads his expert ensemble in the whole of the Opus 8 set. The 12 concerti fit comfortably onto two CDs, with some reshuffling of the pieces into a different order than that assembled by Vivaldi, though not through splitting up the "big four."
Authentic and authoritative, these 1985 recordings of Mozart and Beethoven's quintets for piano and winds have almost everything going for them. Performing on a pianoforte modeled on a 1790 Viennese instrument, Jos van Immerseel is an adroit player, while the quartet drawn from the period instrument wind band Octophoros – Paul Dombrecht on oboe, Elmar Schmid on clarinet, Piet Dombrecht on horn, and Danny Bond on bassoon – are likewise all skillful instrumentalists. But while their playing is beyond contention – listen to their keen balances, their smooth ensemble, their unified rhythms – their interpretations miss the one thing that defines these works: their sense of fun..