In 17th and 18th century New England, transplanted Englishmen like Daniel Read, Abraham Wood, and especially William Billings were composing beautiful but rough-hewn and distinctly American vocal music for use in what were called "singing schools." Far to the west and south, in what was then called New Spain and would later be called Mexico, natives and transplanted Spaniards were composing liturgical music of a richness and complexity that was worthy of the greatest cathedrals of Europe – and teaching their native converts to do the same. This disc showcases the works of two of 18th century Mexico's finest composers: the Mexican-born Manuel de Zumaya and the transplanted European Ignacio de Jerusalem. The latter is represented by a polychoral Mass in D Minor, a responsory, and a gorgeous Dixit Dominus setting written in six sections; from the former listeners have a setting of Jeremiah's lamentations, a breathtakingly complex solfeggio composition titled Sol-fa de Pedro, and the polychoral Celebren, Publiquen.
Prior to the Spanish Inquisition, peace, tolerance, and shared learning existed. This shared knowledge influenced all subjects from the sciences to the arts. The music composed and performed during this time was about being in the moment: Some pieces tell stories–'Cancionera de la Columbina' for example–while others express emotions, as in the 'Romances.' Interestingly enough, the "non-Jewish" selections were written during the Inquisition, while the Sephardic selections were written right before it. Director Jordi Savall and Hesperion XX, an ensemble that specializes in early music from all over the world, are like chameleons. Soprano Montserrat Figueras is able to inhabit each work with great authenticity and individual style…
Bing Satellites (Brin Coleman) is a prolific ambient, shoegaze musician and producer from Manchester, UK. Almost 80 minutes of deeply chilled ambient goodness.
Building on their work from the BBC detective show's two previous seasons, veteran composers David Arnold (James Bond) and Michael Price (Band of Brothers) offer up 23 more tracks of playful suspense on Sherlock: Music from Series Three. Employing a subtle blend of electro-infused themes, classically inclined mood pieces, and atmospheric piano backdrops, they've again found a way to complement the show's portrayal of Sherlock Holmes and John Watson in a modern, tech-savvy world with nods to both the character's and Britain's history. Working with a script that begins with Holmes' resurrection following Series Two's apparent suicide cliffhanger, there was plenty of tension and conspiratorial whimsy to inspire the new score, which introduces new thematic elements (Holmes' wedding gift composition "Waltz for John and Mary") while making well-placed references to the show's main running themes (the grandeur of "#SherlockLives" and the playfully techno "Stag Night"). Compelling on all fronts, the Sherlock series is a classy production and the musical score remains in good hands thanks to Arnold and Price.
While fans of the hugely popular BBC adaptation of Sir Arthur Conan Doyle's classic detective novels had to wait 18 months to get their hands on the original score for the first series, the official soundtrack to the second arrived just weeks after its intriguing finale pulled in a massive eight million viewers. Composed yet again by Michael Price (Band of Brothers) and David Arnold (James Bond), its 19 instrumentals pursue a similar minimal and suitably suspenseful classical sound as its BAFTA/Emmy-nominated predecessor, from the haunting violin solo of "Irene's Theme" (the opening track dedicated to the ruthless dominatrix who appeared in A Scandal in Belgravia), to the unsettling percussion and eerie sound effects of "Pursued by a Hound" (from a pivotal scene in The Hounds of Baskerville), to the unbearably intense orchestral crescendo of "Prepared to Do Anything" (the climactic number from the watercooler final episode, The Reichenbach Fall).