Dream Attic heralds the return of Richard Thompson, one of the most distinguished guitarists and songwriters of our time, with a magnificent collection of 13 new songs. This deluxe edition includes a bonus CD of all 13 tracks performed as acoustic demos.
“I do not know precisely what is my destination: however, I do know that 1 evening, after for the 1st time hearing a symphony by Beethoven, I became feverish & ill. As soon as I recovered, I became a musician.” Thus Richard Wagner described the enormous impression that Beethoven’s music had made on him in his novelette Eine Pilgerfahrt zu Beethoven (a pilgrimage to Beethoven). Although it is difficult to separate fact & fiction in this novelette, Beethoven’s music did indeed exert a major influence on the life of the young composer. Wagner was 17 years old when he 1st heard Beethoven’s 9th Symphony, a work which was to play a central role during his entire life, & which he was, for instance, to conduct in 1846 at the opening of the Festival Theatre in Bayreuth.
With an outstanding solo quartet and a great chorus and orchestra, Davis leads a sterling performance that challenges the supremacy of his 1966 Philips recording of Messiah. Davis leads a dramatic performance; the famous "Hallelujah" chorus appropriately grand, the final "Amen" bristling with brazen energy, both sung with extraordinary tonal coloring and precise articulation by the chorus, which also shines in a lithe "He shall purify" and a vividly virtuoso "For unto us a child is born." Soprano Susan Gritton's solos are a delight, whether in the measured "Behold, a virgin shall conceive" or her exuberant "Rejoice greatly." The vocal purity of her "I know my redeemer liveth" makes this track a highlight. Alto Sara Mingardo's darker tones are especially moving in her arias and dramatic in "He was despised."
Weather Report's ever-changing lineup shifts again, with the somewhat heavier funk-oriented Leon "Ndugu" Chancler dropping into the drummer's chair and Alyrio Lima taking over the percussion table. As a result, Tale Spinnin' has a weightier feel than Mysterious Traveller, while continuing the latter's explorations in Latin-spiced electric jazz/funk. Zawinul's pioneering interest in what we now call world music is more in evidence with the African percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on the previous two albums and Alphonso Johnson puts his melodic bass more to the fore. While not quite as inventive as its two predecessors, this remains an absorbing extension of WR's mid-'70s direction.
Performances of the music of Richard Wagner will for many be associated with Ivбn Fischer's elder brother Adam who has conducted complete Ring cycles at Bayreuth & in Budapest. Those, however, who follow the concert schedules of Ivбn Fischer & his phenomenally hard working Budapest Festival Orchestra will know that they have performed the Wagner programme featured on this SACD – or variations on it - to great acclaim in many of the major European cities over the past couple of years.
Two rarely recorded Haydn violin concertos frame Rachel Podger’s performance of Mozart’s Sinfonia Concertante in E flat on this disc. Both concertos have only string accompaniment, here provided by the Orchestra of the Age of Enlightenment, and a discreet harpsichord (the player’s name unaccountably omitted from the list of the orchestra personnel in the accompanying booklet). Rachel Podger has chosen to play both concertos on her own Pesarinius violin (1739) that she feels is most suited to the style of these works and few would disagree with her choice. Her agile and spirited playing in the outer movements is complemented by her pure cantilena in the slow movements. As is to be expected, both works are full of baroque idioms and, while neither presents Haydn at his most inventive, they make an enjoyable pairing.