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Japan's brightest rising guitar virtuoso and Xotic endorser Yuya Komoguchi showed off his talents in his album Picture.
Yves Rousseau is one of the leaders of the french and european jazz scene. Among his various activities, he has managed for more than ten years, as head of his quartet, a work of writing and improvisation at the outpost of jazz and new music styles. With an original orchestration that gives to this formation its so unsual sound. It unites 4 musicians with affirmed personnality in touch with various musics like jazz, of course, but also baroque music, song, without neglecting the major composers of the 20th centuary… The result is a wide variety of melodies, tempi, nuances, choices in the timbres and in the modes of play which have a single quality and aim to solicitate the publics imaginative.
Sometimes a return to basics can be the best way for an artist to move forward. For Salif Keita, that's definitely the case with Moffou. In spite of using a hefty number of musicians (17, plus six backing vocalists), the sound is very stripped-down. Even the supple electric guitar work of Djeli Moussa Kouyaté is mellow and low-key. The real beauty here is Keita's voice, carefully framed and used to maximum effect. High, almost piercing, it's a gorgeous instrument that can ride and transform a melody, whether the lulling gentleness of "Yamore" or the more upbeat – but never frenzied – "Iniagige." Overall, it's a record of swaying, seductive gentleness, one perfectly suited to Keita's style. After a few artistic missteps, he needs an album like this to reaffirm who he is and give a renewal to his sound.
Gidon Kremer, instead of coupling the Shostakovich Second Concerto with its natural partner, No. 1, enterprisingly chooses a concerto which Shostakovich labelled as his own Op. 129, but which in fact confusingly enough is Schumann's Op. 129. This is a novelty on two counts. Not only does it bring us Shostakovich's orchestration of the work, aiming to improve on Schumann's own, but for the first time to my knowledge puts on disc Schumann's violin version of his cello concerto. Shostakovich's aim in renovating the orchestration with changes predominating in the tuttis was to improve the work for his protege, Rostropovich.
With the present release of this Donizettian masterpiece, recorded live in 2001, Dynamic makes an historic move, becoming the first Italian label to produce a DVD opera. This very high quality production by Teatro Donizetti di Bergamo features, in the roles of the two queens, Carmela Remigio (Maria Stuarda) and Sonia Ganassi (Elisabetta), two great artists here making a fine display of their excellent vocal and acting skills. Francesco Esposito’s direction and costumes, and Italo Grassi’s sets are very effective and superbly highlighted by the filming. What makes the release even more interesting is the use of a new critical edition made by the renowned Swedish musicologist Anders Wiklund for Casa Ricordi.
There have been a number of outstanding recordings of the Dvorák Concerto since this DG record was made, but none to match it for the warmth of lyrical feeling, the sheer strength of personality of the cello playing and the distinction of the partnership between Karajan and Rostropovich. Any moments of romantic licence from the latter, who's obviously deeply in love with the music, are set against Karajan's overall grip on the proceedings. The orchestral playing is superb.
To make this album, Kudsi Erguner worked from a recording of Kani Karaca, Akagündüz Kutbay and Nezih Uzel in London in 1971. He added taksims to the ney. Poems and songs from the repertoire of Ottoman classical music, based on makams. Detailed booklet in French and English.
This is a repackaging in a budget priced twofer of previously released singles, both Read more Legends for cello and piano, received two reviews, one by William Zagorski and another by Martin Anderson, both in 24:4. By now it is well known that Heinrich von Herzogenberg (1843–1900) practically worshipped Brahms. But it wasn’t enough for him to try to imitate the elder composer’s style; he ended up marrying the woman that Brahms had proposed marriage to and then reneged on.