Originally written in 2003, DG will be releasing a new edition to celebrate its 15th anniversary with brand new artwork and bonus content, such as new arrangements, remixes, as well as a completely unreleased new track.
Max Pommer, sometimes called one of the few remaining "Old World" conductors, first drew attention for his interpretations of the works of J.S. Bach and other Baroque composers. But since the 1980s he has explored a much broader range of repertory, taking in compositions by contemporary Finnish composers Einojuhani Rautavaara and Kalevi Aho, as well as more traditional fare by Haydn, Mozart, Schubert, Debussy, and even Weill. Pommer, more than most first – rank conductors, has devoted much of his career to teaching, as well as to conducting university ensembles
Although Max Roach was very much a product of the be-bop revolution of the 1940s, he proved to be quite receptive to modal post-bop and avant-garde jazz in the 1960s. One of the finest post-bop dates Roach recorded during that decade was 1968's Members, Don't Git Weary, which finds the drummer leading a cohesive modal quintet that employs Gary Bartz on alto sax, Charles Tolliver on trumpet, Stanley Cowell on acoustic and electric piano, and Jymie Merritt on electric bass. Despite the use of electric instruments, this isn't an album that emphasizes rock or funk elements or predicts the fusion explosion that was just around the corner – Members, Don't Git Weary is very much a straight-ahead effort, and the harmonic richness of modal playing is illustrated by such gems as Cowell's "Equipoise," Bartz's "Libra," and Merritt's "Absolutions."
The three works on this album were all written by Max Bruch at the end of his life, after World War I, when he was more than 80 years old. They were not published until after his death in 1920, and then they were forgotten due to Nazi bans on Bruch's music because of his supposed Jewish ancestry, wartime manuscript loss, and the self-serving actions of modernist gatekeepers. In the world they depict, the Great War might as well never have happened, but perhaps that is part of the point.
La statue et la gloire de Voltaire cachent l’homme de chair. C’est celui-là que Max Gallo veut ranimer dans cette Vie de Voltaire. De sa naissance à sa mort, à quatre-vingt-quatre ans, à une décennie de la Révolution, on voit surgir un homme décidé à forger son destin jour après jour, mot après mot. …
Fox Music has released a soundtrack album for the sci-fi thriller Morgan. The album features the film’s original music composed by Max Richter (The Leftovers, Disconnect, Testament of Youth, Waltz with Bashir, The Congress). The soundtrack is now available to download on iTunes, where you can also listen to audio samples. Morgan is directed by Luke Scott and stars Kate Mara, Anya Taylor-Joy, Toby Jones, Rose Leslie, Boyd Holbrook, Michelle Yeoh, Jennifer Jason Leigh and Paul Giamatti. The movie produced by Ridley Scott centers around corporate troubleshooter who is summoned to a remote research lab to determine whether or not to terminate a genetically-engineered being. The thriller was released last week by 20th Century Fox and is now playing in theaters nationwide. Visit the official movie website to learn more about the film.
Although his name might not rate very highly on the recognition meter even of classical music buffs, Franz Tunder was a consequential entity in the early history of the German Baroque. Tunder served as organist at the Marienkirche in Lübeck from 1641 to his death in 1667, and during that time instituted the Abendmusiken, the first series of public concerts to take place in Germany. Seventeen vocal "concertos" exist from Tunder's pen and they were created for these special events; little more than half of them appear on this generous and well-performed CPO disc, Franz Tunder: Concerti. Conductor Hermann Max leads Das Kleine Konzert and the singing group Rheinische Kantorei in 10 concerti, which uses a variety of singers in frontline combinations. Tunder must have had some good basses in his chorus, as they have most of the hardest music in the Concerti, and five of these ten works are sung by bass or basses alone. Both men used here, Ekkehard Abele and Yoshitaka Ogasawara, do an excellent job. The string parts are crisp and do not dawdle, and Max never allows the music to get too grandiose, wisely keeping it within the boundaries of the chamber idiom to which it belongs. The music is never ornately busy and has a relaxed, soothing effect.