The career of rock band Kin Ping Meh from Mannheim lasted almost exactly seven years and reached quite a few heights. But it still left the band rather disillusioned in the end. Drummer Kalle Weber's resume from the Spring of 1977: "If you're not a pop star, you're still the asshole." Together with amateur musicians Werner Stephan (vocals), Joachim Schafer (guitar, piano), Frieder Schmitt (organ piano) and Torsten Herzog (bass), Weber had formed Kin Ping Meh in 1970. The name Kin Ping Meh (meaning "branch of a plum blossom in a golden vase") is taken from a Chinese 16th century novel depicting the life and customs of that time. On September 15, 1970 the band gave their first concert. Over the next months, they took part in seven important talent competitions. They won them all and were offered a recording contract from Polydor. From now on, everything went very quick - the important Sunday paper "Bild am Sonntag" had a two-page report about the band in January and their first single was released in February. 'Everything's My Way' made the Top 5 of various radio playlists and March saw the band tour with The Hollies.
Debut album from this Mannheim (west of Frankfurt) quintet (standard prog quartet plus a lead singer and acoustic guitarist) that will have a relatively long life, starting at the dawn of the 70's and ending just before close to the end of it. Their sound was a relatively hard prog rocking album where the organ and guitar alternate at the front of the music, while the English lyrics singing from Werner Stephan is pleasant and apt…
Kin Ping Meh are not your typical Krautrock band. Although they're quite frequently labelled as such, theor sound is more akin to Art Rock, or "Hard Prog," like in the case of Birth Control. Kin Ping Meh, whose name was of Chinese origin, was founded in 1970 in Mannheim as a quintet featuring Joachim Schaffer, Werner Stephan, Torsten Herzog, Kalle Weber, and Joachim Schafer. In their early years, Kin Ping Meh performed many covers by bands like Blood, Sweat & Tears, Deep Purple, The Steve Winwood Group, etc… Soon, they were discovered by Polydor records, who signed them immediately. Schaffer left before the first album was recorded, but was replaced by Willie Wagner, who wrote perhaps their most famous track, "Fairy Tales"…
For the final instalment of his survey of Beethoven’s works for piano and orchestra, Ronald Brautigam has saved ‘the final crowning glory of his concerto output’, as Beethoven specialist Barry Cooper describes the Fifth Piano Concerto in his liner notes. It is coupled on this disc with the Choral Fantasia – an intriguing work scored for piano, orchestra and chorus with vocal soloists.
The apparently insatiable Dutch pianist Ronald Brautigam continues to gobble up standard and not-so-standard Beethoven with this 2009 disc featuring the composer's Fourth Piano Concerto and the piano transcription of his Violin Concerto, a recording that should please fans of the pianist's previous Beethoven recordings. Performing on a modern concert grand rather than the fortepianos he had favored in some earlier releases, Brautigam delivers readings that sparkle in the outer movements, sing in the central movements, and never resort to technical or emotional grandstanding to make their points.
Ronald Brautigam releases his second disc of Beethoven’s Piano Concertos – this time offering a youthfully fresh Concerto No. 2 which was actually conceived long before the First Piano Concerto. The programme also includes two rarities: the Piano Concerto in E flat major, WoO4, sometimes referred to as Beethoven’s ‘Concerto No.0’, and the Rondo in B flat major, WoO6, composed during the long period of composition of Concerto No.2 and probably at one stage intended as the finale of this work.
As smooth and delicious a performance of Beethoven's First Piano Concerto as has been released since the turn of the century, Ronald Brautigam's account of the work with Andrew Parrott and the Norrköping Symphony Orchestra compares with Richter's for sparkle, with Pollini's for cleverness, and with Michelangeli's for liveliness. Brautigam's opening Allegro con brio has velocity and control, his central Largo expressivity and refinement, and his closing Rondo wit and whimsy.
Hans Rott was a friend of Gustav Mahler's and Hugo Wolf's in their conservatory days, and his career was to end sadly, like Wolf's, in madness probably brought on by syphilis. While traveling by rail to take up a job as a choral director, his mind gave way and he claimed that Brahms had rigged the train to explode. He never reported for work, obviously.