Handel's Saul is an operatic oratorio with ever intensifying action and increasingly drastic scenes. Handel seems to have been especially moved by this particular text. He gives each of the five main soloists a distinctive profile. Even the vocal supporting roles are unique and intentionally individual. In none of his other oratorios does Handel call for a more differentiated orchestra. Alongside the strings, he uses oboes, recorders, bassoons, trumpets, timpani and trombones. For me, Saul is one of the great high points of Handel's works. All of the performers on this recording thoroughly enjoyed taking on the challenges brought forth by this music. - Helmuth Rilling
Fernando Benadon has a rich background as a composer, saxophonist, improvisor, and scholar. He brings this experience to his most recent recording project, delight/delirium, particularly to the final two tracks, Búgi Wúgi and Rhythmensional, both of which engage with the boundaries between improvised and notated music in interesting ways. For Rhythmensional, Benadon recorded an improvised drum solo by acclaimed Cuban jazz drummer and composer, Dafnis Prieto. Benadon then composed a through composed piece to be performed along with the recording of Prieto's solo - essentially turning Prieto's improvisation into fixed media. As a scholar, Benadon has had an enduring interest in the field of "microtimings", which investigates the aspects of time in a performer's performance that go beyond notation, particularly as they relate to different styles. By recording Prieto and then placing his playing at teh foundational level of the piece, in a sense, Benadon has frozen the microtimings in the improvisation while guaranteeing microvariation in the rhythmic realization of the score by the live performers playing along with Prieto's track. Búgi Wúgi consciously goes in the opposite direction, achieving the looseness of ealry jazz piano masters Earl Hines and Bubber Miley adn the post-modern sensibility of contemporary experiemental improvisors like Ethan Iverson and Vijay Iyer by keeping the left hand steady and meticulously notating improvised "sounding" material in the right hand. Cotxes in inspired by the visual imagery of Barcelona, as this unique quartet of sax, vibes, harp, and piano spin out lush, impressionistic harmonies through notated lines that again sound improvised. delight/delirium opens with materal that perhaps could be improvised, but reveals itself clearly as a fully through composed piece when we hear tightly coordinated unisons between clarinet and piano near the on eminute mark. Nevertheless, the work often falls forward like an improvisation, with a sense of structure that is less oriented towards managed development of material than it is towards a journey whose changes of directions are suggested each moment anew. Cosmicomics is the odd man out aesthetically on the recording, not only because it is the only large ensemble work, but also because it inhabits a more conventionally composerly sound world. The work ebbs and flows between the gently pulsating, impressionistic chords of the opening and more explosive moments that bristle with orchestral color. Cosmicomics is a more direct look at Benadon's material palette apart from his engagement with exploring the subtle boundaries between improvised and notated music.
Mezzo-soprano Eva Zaicik, who has signed up with Alpha for several recordings, is one of the most prominent vocal artists of her generation. She was chosen as 'Revelation lyrique' at the Victoires de la Musique Classique 2018, and elected the same year a Laureate of the prestigious Queen Elizabeth of Belgium Competition. She has participated in the "Jardin dex Voix" of les Arts Florissants under William Christie, and regularly collaborates with Le Poeme Harmonique and Vincent Dumestre- but her constant accompanist is the harpsichordist Justin Taylor. Together with two other musicians- violinists Theotime Langlois de Swarte and Sophie de Bardonneche, they have founded Le Consort, to explore both sacred and secular works by composers such as Charpentier, Campra and Clerambault. For this recording they are joined by the flautist Anna Besson and gamba player Lucile Boulanger, both well-known to the Alpha label, as well as Louise Pierrard and Thibault Roussel. This recording is devoted to the Cantatas of Lefebvre, Monteclair, Clerambault and Courbois, more than half of which have never previously been recorded.
Originally released in 1996 and now re-issued as part of Linn's ECHO series, 'Years Apart', Martin Taylor's second recording with his Spirit of Django band, featured a star-studded guest list that included legendary violinist Stéphane Grappelli, Britain's leading jazz vocalist Claire Martin and pianist Brian Kellock. Released to critical acclaim and public popularity, the album won two British Jazz Award categories: 'Best Guitar' and 'Best Small Group'. 'As revivalists go, Martin Taylor's Spirit of Django rank among the more ingenious.' (The Guardian)
Woolf: Angel Heart - A Music Storybook / Uccello, St. Martin de Porres School Children's Choir
PENTATONE
SACD
$21.99Dec 07, 2018
Lisa Delan and Luna Pearl Woolf write of their new release: “We were dreaming of lullabies. Each of us, unbeknown to the other, imagined creating the kind of recording we wanted to hear as we tucked our children in at night. Meeting in this shared land, our commingled dreams sowed the seeds of Angel Heart. Buds broke through in the farm of songs that we gathered from disparate corners of the world, with vastly differing musical languages. Delighted with the landscape, what, we wondered, would it look like in full bloom? When we laid our seedlings at the feet of Cornelia Funke, the flowering began. Her words took root around the songs to form a single story: a tale told by voices in speech and in song, suspended above a rich bed of cellos. Bringing pictures in to play, our nursery blossomed with contrast and color. Come, lay a blanket down among the stalks and petals and experience Angel Heart through music, story, sight, and touch. Join us!”
Composers include Robert Anderson, C. Coleman, Fanel Cornelius, Thomas A. Dorsey, Robert Fryson, G. Haenssler, Brendan Keeley, Robert McGimsey, Lars Morlid, Kenneth Morris, Lukas Di Nunzio, Peter Sandwall, Felicia Taylor, Ken Taylor, Leon Taylor and Lee Weisman. Lyricists include James Waddell Alexander, Robert Anderson, Anonymous, Bible - Old Testament, C. Coleman, Thomas A. Dorsey, G. Haenssler, Lars Morlid and also includes such artists as Choralerna, the Golden Gate Quartet, Mahalia Jackson, Soul Affair, Tullamore Gospel Choir, Brendan Keeley and more.
Recorded in London, England with esteemed producer Nicholas Parker and bathed in the acoustics of Saint Augustine, The Tree of Life features the Trinity Choir including choristers from across Canada and members of the Tallis Scholars, the Gabrieli Consort and the Monteverdi Choir. These are magnificent interpretations that Daniel Taylor directs with passion and dedication. These compositions span over two thousand years, from a sixth-century chant to the miraculous works of Parsons and Mouton to the remarkable compositions from today by Pärt, Britten and Tavener. Among the pieces we find the "Seven Antiphons" by Arvo Pärt, disarmingly impassioned, otherworldly; the extraordinary "Hymn to the Mother of God" by John Tavener, and Benjamin Britten's transformative "Hymn to the Virgin". In close kinship with these profound offerings, the restrained ecstasy of "Nesciens Mater" by Jean Mouton, the "Ave Maria" of Robert Parsons and the moving "Jesus Christ the Apple Tree" by Elizabeth Poston, bring forth a sense of serene wonder.
Vinyl LP pressing. In 1968, Johnnie Taylor 's provocative single, "Who's Making Love" gave the newly independent Stax Records it's first major hit. The song peaked at #5 on the Billboard Hot 100 and helped to bolster the label's profile. The album Who's Making Love was released months later, and not only featured the title track but also an irresistible collection of bluesy songs penned by Booker T. Jones, Bettye Crutcher, Steve Cropper and the inimitable team of Isaac Hayes and David Porter.
Sylvia McNair has won two Grammy Awards, and is today’s leading interpreter of American Popular Song. After a thriving opera career, she recorded several albums, including her award winning albums with pianist Andre Previn. This programme includes a mix of new and old standards, such as Orange Colored Sky, Love Is In The Air, Summertime, and One Hundred Easy Ways. Jazz musicians Ted Taylor, Jeremy Allen, and Steve Houghton accompany McNair for this recording.
Humperdinck: Hansel And Gretel / Delfs, Mentzer, Et Al
Avie Records
CD
$14.99$29.99Save 50%Nov 01, 2004
If it's Hansel-in-English you're looking for, this set clearly is your choice...Here we get a lovely pair of kids in Suzanne Mentzer and Heidi Grant Murphy, their voices so utterly un-alike that the listening experience is vivid for that alone--but besides that, their interplay is credible and they both make wonderful sounds. Mentzer's dark-hued mezzo is suitably boyish, while Murphy's little-girl tone is charming. Judith Forst, hardly in the first bloom of her career, is a vicious Witch, smacking her lips and exuding spite and malice--and her diction is quite good too, unlike Murphy's, just to offer one comparison. Janice Taylor's portrayal of the mother is very fine, but her tone is wobbly; Robert Orth is a sympathetic, burly father; and Anna Christy's double-duty as Sandman and Dew Fairy is impressive. Conductor Andreas Delfs favors slowish tempos, bringing out the rich, symphonic aspects of the score and always making clear that Humperdinck was heavily influenced by Wagner. The Milwaukee Orchestra is excellent, with playing both atmospheric and grand from the brass section in this live performance (no audience is discernible). I guess it's nice to hear the opera in English even if much of it can't be understood, but--not to pick nits--why would a child say toil" when he can say "work"? The sound is better than good--rich and colorful." --Robert Levine, ClassicsToday.com
This lovely performance from the Taylor Festival Choir presents two very different but both profoundly spiritual arrangements of the Catholic Mass. Both of these works display their composers’ strong Celtic roots. Celtic Mass by Michael McGlynn includes sections in Irish Gaelic between the traditional Latin phrases. Mass by James MacMillan sets the movements in English, and includes other liturgical texts that make the work acceptable for a stand-alone service. The Taylor Festival Choir, conducted by Robert Taylor, has earned itself a strong reputation for being one of America’s most prestigious professional choirs.
