With his idiomatic and graceful style, pianist Philip Martin has established himself as the foremost exponent of Gottschalk. Much of his music is by no means easy to play; it requires an impeccable technique matched with Èlan and joie de vivre for its most effective execution. Although not essentially a great composer, Louis Moreau Gottschalk had a unique spontaneity and individuality which Martins performances bring vividly to the fore. The composers music was hugely popular during his lifetime and his works display a real melodic charm and a great sense of fun. Each of the eight discs in Martins extensive Gottschalk series has received wide acclaim and left pianophiles eagerly awaiting the next issue.
Ivan Gobry est docteur ès Lettres. Il a enseigné pendant 27 ans à l’Université de Reims et parallèlement à l’Institut catholique de Paris. Auteur de plus de cent ouvrages, il a participé à de multiples émissions et conférences radiophoniques et reçu de très nombreux prix, dont cinq de l’Académie française. …
After scoring a hit with "I shot The Sheriff" ERIC CLAPTON, recorded an album with Jamaican-born ARTHUR LOUIS, who at the time was one of the few authentic reggae artists residing in the UK. One of the songs Eric Clapton recorded for Arthur's album was a reggae version of the DYLAN tune 'Knockin' On Heaven's Door'. The interpretation so much caught Eric's attention that a few months later he decided to record the same song for himself, using Arthur Louis identical arrangement, and scoring - once again - a substantial hit. Arthur Louis' album was released in Japan in 1976 but remained unavailable in Europe until now. 'Knockin' On Heaven's Door' isn't a pure reggae album. Reggae influences are evidently present but as a whole the album is a homogeneous blend of reggae, blues and R&B, probably due to Arthur's lengthy residence in New York, as well as to Clapton's "guitar-print".
An extraordinary enterprise … As an experience of the sounds and styles of French organ culture this boxed set, it seems to me, is indispensable … the body of music is mostly, here, not created but simply made alive by the apt choice of instruments … it is a resource to which to return with delight.
Ten of Collins' soft-rock hits (including "In the Air Tonight," "One More Night," and the cover of "Groovy Kind of Love") are given a smooth, friendly easy-listening treatment on this disc; the only drawback are the oppressive synthesized drums, which give the entire recording a mechanical feel.
You'd get differing answers to the question of whether John Adams is America's greatest living composer, but he's the one to whom the country turned in the aftermath of the terrorist attacks of September 11, 2001. The demand for new work from him has only increased since he achieved senior citizen status. Fortunately, he's been able to meet that demand with distinctive large-scale works. Consider 2016's Scheherazade.2, recorded here by the violinist who premiered the work, Leila Josefowicz, with the St. Louis Symphony Orchestra under David Robertson. The piece succeeds on several levels. It is, outwardly, as close as Adams has come to writing a big Romantic violin concerto, and it will no doubt be welcomed into the concert repertory as such. Yet go into it more deeply, and it seems less a concerto than – well, what, exactly? Adams calls it a "dramatic symphony." English critic Nick Breckenfield has compared it to Berlioz's Harold in Italy, with the soloist representing an individual making her way through a series of adventures that may have a threatening tinge.
The Planets, composed between 1914 and 1916, is a suite of seven movements. Holst's starting point for the music was the astrological character of each planet, though his interest in astrology went no deeper than its musical suggestiveness…
24-bit remastered French exclusive compilation is packaged in a well designed digipak. 24 tracks performed by Louis Armstrong with various ensembles, His Hot Five, His Hot Seven, His Orchestra, Savoy Ballroom Five & others.
First things first: if you're seeing a picture of this disc on the site of an online retailer, be aware that it contains the Mass in C minor, K. 427, not the "Mass in C," promised by the cover, which would more likely be the "Coronation" Mass in C major, K. 337. It is always a shame when designers are given power of diktat over content editors. The so-called "Great" Mass in C minor is one of Mozart's most ambitious and most problematical works. There was no known immediate stimulus for its composition. Did Mozart begin writing it out of one of his rare religious impulses, on the occasion of his marriage to his bride Constanze? Out of his growing devotion to Freemasonry? Was it his first major exercise in applying the lessons in Bach-style counterpoint he had been receiving at the intellectual salons of the Baron van Swieten in Vienna? Or was it meant as a showpiece for singer Constanze with its killer soprano arias? It was all of these things and none of them, for Mozart never finished the mass.