The Colonel & The Governor "World-renowned Australian "fingerstyle" acoustic guitarist Tommy Emmanuel, CGP, and Britain's Martin Taylor, MBE, release their highly anticipated collaboration album "The Colonel & The Governor" on Mesa/Bluemoon Recordings. " - Guitar International "Aficionados of the style out there will love it... The guitar work is mesmerizing. " - No Depression "Tommy Emmanuel and Martin Taylor Releasing New Album - A Top Story" - AntiMUSIC. Com The sound they put together is inviting, homely and truly incredible. The images each tune throws up is one of stimulating and carefully loved enticement, designed to relax the listener whilst at the same time giving a sense of hope and off beat gentleness. - Liverpool Sound and Vision The music has a delicious feel, relaxing and soulful and one can picture up families, even with small children, dancing around the kitchen or living room, the music has a wholesome, family feel about it all, and in today's commercial world this album is a simply a blessing. - Rockshot. Com "Any aspiring guitar player might have one of two reactions to a performance by six-string virtuosos Tommy Emmanuel and Martin Taylor. You might stand, open-mouthed in amazement and admiration, and walk away inspired and energized. Or you might savor their complex skills and beaming passion, then abandon all hope of ever being able to master the instrument yourself... Few can match his [Emmanuel] flawless standard, but for his latest record release and tour Tommy has teamed up with a man with all the right credentials - his long-time friend and British acoustic guitar hero Martin. " - This is Somerset "It's as if they were always destined to work together. " - The Birmingham Mail "After years of planning, they're out on the road for a 21-date UK tour following the release of The Colonel & The Governor album, a sensational collection of personal favourites. In the autumn they tour China, Japan and Asia. There's no language barrier when two great performers let the instruments do the talking. " - This is Devon

Principal cast: Ernestine Jackson (Ruth Younger); Ralph Carter (Travis Younger); Helen Martin (Mrs. Johnson); Joe Morton (Walter Lee Younger); Debbie Allen (Beneatha Younger); Virgina Capers (Mama Lena Younger); Robert Jackson (Joseph Asagai).
Recorded at Columbia Records 30th Street Studio, New York on October 27, 29 and November 2, 1973. Includes liner notes by Robert Brittan and Judd Woldin.
All songs written by Judd Woldin and Robert Brittan.
RAISIN opened at the 46th Street Theatre in New York on October 18, 1973 and ran for 847 performances, closing on December 8, 1975.

The voice of this lovely singer is now in its freshest full bloom. These years, the early middle period, of a singer's career ought to be cherished and relished like the fine days of our fickle summer. Yet we have an ungrateful way of passing them over with a forward look towards the things of autumn, the mellow fruitfulness of the mature interpreter, the ripeness of art that knows all shades of expression from the most playful to the most profound. Listening to this record, I find the critical habit urging me on to commit this kind of folly. In the very first song, Dowland's Come again, one is already preparing to go and look for Janet Baker's record (HMV HQS1091, 7/67); in Liszt's Die drei Zigeuner the ineffaceable memory of Schwarzkopf interposes. And it is true: there are limitations to the success of this delightful record. By comparison with Schwarzkopf there is something passive and underlit about the story-telling in that song; just as Baker's exceptionally strong projection and rhythmic vitality make von Stade's singing of Conte again seem placidly hymn-like, wanting sharpness of flavour (and sometimes of consonant also). There is a limit, too, to the success of The Blessed Virgin's Expostulation, the dynamics less imaginatively judged than in Britten's edition of the piece, and with a rather square regularity in the pacing of recitative. But how sad if because of this one were to miss the tender absorption of von Stade's performance here, or the lovely pianissimo of such phrases as "flattering hopes, farewell". What a loss, too, if the second side of the record were to go unheard because of the qualified success of the first. The Bilitis songs have the most winning feminity, "La chevelure" drawing from the singer a richer, more sensual tone, while a new darkness colours the satyres' obituary in the last song (and, if reassurance is needed, it should be added that Martin Katz accompanies more sensitively than he did in the recording by Marilyn Home some years ago—Decca SXL6577, 6/74). Then comes the set of four French folk songs arranged by Canteloube of the Auvergne: magically evocative, and bolder in the projection of personality. Finally, a touching, quite simple American song, addressed to Jenny Rebecca ("four days old"), serves as an encore piece, allowing the voice to settle and linger graciously in the mind. Von Stade is already an accomplished recitalist, though she will no doubt come to communicate more vividly and imaginatively on record. Meanwhile, here is one of the finest singers of the younger generation, her voice in that precious early summertime condition, fresh-toned and beautifully placed: a fine, admirably recorded, first song recital, and, one hopes, the first of many.

– Gramophone [11/1978]

This selection includes a downloadable bonus track, Vincenzo Bellini's "L'allegro marinaro," from classiconline.com.

Naomi Frederick and Jack Laskey star in this Thea Sharrock production of the Shakespeare comedy.

Import Hybrid-SACD pressing.

MARILYN HORNE - ROSSINI RECITA

If you're holding this CD in your hands, you prize the unexpected. Not because it's written on the cover, but most likely just because you like to listen to new music. In other words: The unexpected is exactly what you're expecting. Admittedly, this expectation makes it considerably harder to present you with something genuinely unexpected in the seventh CD of the Edition MusikFabrik released by the label WERGO. The question posed by David Lang in the title of his melodrama - "Are you experienced?" - is rhetorical in nature, given that the piece takes a speculative look at the unexpected end of a concert evening. Philippe Boesmans, best known as a composer of operas, surprises us with a "Biedermeier" sextet. For Richard Barrett, interference becomes a structural principle, and Luca Francesconi knows the formula for driving the formulaic out of music. The tracks on this CD also trace an arc, from the beginning of the Ensemble MusikFabrik i'm WDR concert series to a world premiere during concert twenty-four at the network's Cologne studios: twenty-four concerts that formed the basis of the first seven CDs in the Edition MusikFabrik series. After many more concerts, the public can answer the ironic question "Are you experienced?" with confidence: "Yes, we are." How about you?

NOEL! NOEL! NOEL! CHRISTMAS WI

Bach & Reger: Sonatas for Cello and Piano, Vol. II

Hill, W.: 2 Romances / 3 Pieces for Viola and Piano / Violin

"One of the most unlikely of mystics, Benjamin Britten penned his Hymn to the Virgin when he was just sweet 17. In its antiphonal responses between eight-part choir hymning the Virgin’s virtues in English and four-strong semi-chorus echoing their phrases back at them in Latin, it’s a gift to the Choir of Westminster Abbey, singing on its home ground, under Martin Neary. This all-Britten collection surrounds the familiar Ceremony of Carols – surely the most affecting anthology of its kind ever composed – with less familiar items like the Wedding Anthem for Lord Harewood and Marion Stein (now Thorpe) and the Christopher Smart setting Rejoice in the Lamb, plus a guest performance, as it were, of Canticle II: Abraham and Isaac with its other-worldly opening for unison alto and tenor (Michael Chance and Ian Bostridge) as the Voice of God – worth a million dollars, as BB himself confided to Tippett...This disc is one of the best things [Neary and the Westminster Choir] have done."

-- BBC Music Magazine

ADESTE FIDELES! - CHRISTMAS DO

Classical Music

Beethoven, L. van: Complete Cello Music

Classical Music

Import Hybrid-SACD pressing.

Import Hybrid-SACD pressing.

Import Hybrid-SACD pressing.

Classical Music

Chandos Movies is one of the best known film music labels in the industry, and has received tremendous critical acclaim. The series is especially associated with the conductor Rumon Gamba, whose undertstanding and enthusiasm for the form shines through. Vaughan Williams's film music ranks amongst the very finest ever written, and this CD contains some excellent examples. What makes this disc so important is that some of the material has never been recorded before, music which has been painstakingly assembled by Chandos' in-house arranger and music researcher, Stephen Hogger. The result is a hugely important release which will be of interest to both film music buffs and fans of Vaughan Williams.

Vivaldi (Dallapiccola): Cellosonaten

FELDMAN String Quartet (1979) ? Group for Contemporary Music ? NAXOS 8.559190 (78:35)


The Group for Contemporary Music made several CDs of American music for Koch in the early 1990s, the above being one of them. Now here it is, reappearing as part of Naxos?s ?American Classics? series. I expect one of Fanfare ?s resident Feldman specialists covered it back then?I think Mike Silverton was doing it in those days?but I have been unable to locate any review. According to the CD information, this was a world premiere recording.


Although not to be confused with his monumentally long second string quartet, this late work of Feldman?s still runs for almost 80 minutes. (Well, it doesn?t exactly run .) Readers unfamiliar with this composer?s music but interested in experimenting at the low Naxos price should dispense with any normal idea of the passing of time. Feldman?s work unfolds at a snail?s pace, with the result that every musical incident is examined in minute, close-up detail. Imagine walking down your garden path to the mailbox; now imagine doing it on your hands and knees with a magnifying glass, taking over an hour to complete the journey. You would know a heck of a lot more about the nature of your garden path by the end of it.


Of course, it?s not entirely as simple as that. Feldman understood the big picture, form-wise: the apparent randomness of the sounds he dwells on in his own good time is kept in balance by a fierce musical intelligence. These sounds include rocking motifs, chords, and often even single notes, usually separated by moments of complete silence. Feldman requests the quartet to play without vibrato and, most of the time, using mutes. Much of the material consists of high harmonics. It is nearly all pianissimo or softer, except for some sudden loud interruptions?for example, at 26:00 and 33:30 respectively. (The Eastern-bloc composer Kancheli appears to have known his Feldman. Unheralded fortes are a fingerprint of his as well.) As the work progresses, earlier motifs or textures are revisited and developed, providing at least an unconscious sense of structure. In the end, the painstaking process undertaken together by the composer, the performers, and the listener creates a unique, mesmerizing context where sudden shifts of emphasis are almost seismic. The forte s mentioned above seem earth shattering. The occasional consonant harmony, unnoticed in another context, becomes pure balm. The slightest rhythmic acceleration feels like panic. High, quiet harmonics from the solo violin assume the cloak of unbearable loneliness.


For those readers already conversant with Feldman?s world, it need only be said that this performance seems to me as good as it could possibly be. (I don?t have access to a score.) The internal balance is finely judged, and all four members of the group must have spent many hours in meditation to be so at home in this time span. By the way, the stalwart players are Benjamin Hudson and Carol Zeavin, violins; Lois Martin, viola; and Joshua Gordon, cello. Recorded sound is first-rate. One can only hope Naxos will reissue the other recordings in the Koch series, particularly those of Wolpe and Wuorinen.


Morton Feldman?s mind worked in a manner unlike that of any other composer. This fact alone makes him important and his music riveting.


FANFARE: Phillip Scott

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.


This is an absolutely wonderful disc in every way. Weber's clarinet music is delightful, and it's hard to imagine it being better played or recorded. Martin Fröst has such a supple, liquid timbre that at times you could almost swear there were words behind the notes, especially in the slow movements of all four works. And few soloists manage to bring such an irrepressible feeling of joy to the virtuoso passages that you can hear, say, in the finale of the Second concerto.

Kantorow and the Tapiola Sinfonietta also offer perfect accompaniments: swift, sensitive, texturally transparent, and rhythmically snappy. The F minor concerto in particular has plenty of passion and drama. The conductor's own transcription of the Clarinet Quintet for string orchestra works beautifully and fills out the disc generously, while the engineering in all formats couldn't be better balanced or fall more easily on the ear. There's no need to go on at length: this is now the reference recording for this music. It defines "state of the art."

– David Hurwitz, ClassicsToday.com

Telemann drew inspiration from just about every national genre and style of the period throughout his lengthy and prolific career. Alluding to this diversity, this program titled “Ouvertures pittoresques” (picturesque openings) features three of Telemann’s more evocative and instrumentally diverse overtures, as well as two Concerto polonois, briefer works specifically inspired by his longstanding admiration of Polish music (early on he often visited the region and remained an enthusiastic fan of the culture, and especially its folk music). The Polish period-instrument ensemble Arte dei Suonatori, directed by Martin Gester, clearly has an affinity for these concertos and delivers first rate performances throughout this 77-minute program.

The opening Overture in D major, scored for three oboes (one of Telemann’s favorite instruments), strings, and basso continuo, is composed strictly in the French style and is the least adventurous offering of the lot. Nevertheless, it’s still consummate Telemann, and when performed this well the many inspired moments–the inventive fugue that laces the second-movement Prelude Tres viste; the witty rhythmic play during the Menuets; and the ebullient, boisterous humor of the fifth-movement Harlequinade–absolutely shine.

Immediately following is one of Telemann’s most fascinating and famous works, nicknamed posthumously Völker-Overture (“The Nations”) because instead of typical dance titles, most of the movements are subtitled and meant to be evocative of specific nationalities. Like most ensembles, Arte dei Suonatori has great fun here, though the Akademie für Alte Musik Berlin’s performance (Harmonia Mundi) reviewed earlier remains marginally more captivating. For instance, while the unusual use of percussion here in Les Turcs is a nice touch, Arte dei Suonatori’s performance just misses the momentum and wit that gives the Berliners’ romp a slight edge. Les Boiteux and Les Coureurs also suffer somewhat from this as well, but the group’s wonderful rendering of Les Moscovites, where the whole ensemble gradually eases into the beat (as opposed to each instrument eventually entering on their own in the Berlin performance), is equally compelling.

Before the final overture are the two Concerto polonois, works stylistically indebted as much to Poland and Saxony as they are to Italy (the verve of the allegros is especially Vivaldi-like). Musica Antiqua Köln (DG Archiv) has previously offered excellent performances of these two, often playing up the contrast between the two fast and two slow movements of each. Arte dei Suonatori takes a similar approach, yet their performance satisfies more because in comparison more attention is paid to the dynamic and rhythmic subtleties throughout, heightening the festive dance element Telemann most likely had in mind.

Concluding the program is another well-known Telemann favorite, his Ouverture, jointes d’une Suite tragi-comique, where each movement is meant to programmatically allude to either an ailment or a remedy. Not surprisingly, the ailment movements (Le Podagre, L’Hypocondre, and Le Petite-maitre) are slower, if not sluggish at times, and take nearly twice as long as the more celebratory and peppy remedies (La Poste et la Dance, Souffrance heroique, and Petite-maison: Furies). Here Arte dei Suonatori again rivals another formidable recording by the Academie für Alte Musik Berlin on Harmonia Mundi, though this time their performance is tops. For instance, the performance here of Le Podagre lumbers along convincingly enough while the Berliners’ rendering is so slow it at times borders on atonality. By drawing out more of the rhythmic variety in the Furies finale as well, Arte dei Suonatori delivers a much more exciting performance compared to the only slightly shorter Berlin mad dash.

The SACD sound is absolutely stunning. The clarity of the instrumental detail is remarkably life-like without sacrificing the illusion of the ensemble as a whole. This is state of the art Telemann and highly recommended.

-- John Greene, ClassicsToday.com