2018 release. The concept of freedom in music relates to many things. Bassist/composer Clovis Nicolas didn't eschew formal jazz harmony and rhythm in the search for freedom but found a measure of added purpose and space for his bass playing in a chord-less band format without piano or guitar. Freedom Suite Ensuite is a recording of Nicolas's efforts in this formation and a tribute to the musician who exemplifies playing free within a form, saxophone great Sonny Rollins.
The 18th century had a dynamic musical scene in which much experimentation went alongside respect for accepted traditions. A wide range of hybrid forms emerged in the wake of the French dance suite and the new Italian solo sonata: not only sonatas with divergent forms and suites in which French character titles suddenly gave way to Italian tempo indications, but also everything in between. Korneel Bernolet here presents an anthology of European 'compiled' sonatas in the form of or derived from suites, alongside contrasting compositions that sought the true sonata form. He plays the Joannes Daniel Dulcken magisterial 1747 single-keyboard harpsichord, whose ambassador and titular player he is.
Bartok: Kossuth, Two Portraits, Suite / Falletta, Buffalo Philharmonic
Naxos
CD
$9.99$19.99Save 50%Sep 09, 2014
All three of the works in this program reveal a young composer on the threshold of greatness, serving as his passport to the vast new world of orchestral music prevailing at the beginning of the 20th century. Inspired by the tone poems of Richard Strauss, Bartók’s Kossuth dramatically commemorates the struggle for Hungarian independence in 1848 with an alluring and provocative orchestration. The Two Portraits set moods of love and painful heartbreak into stark contrast, while the First Suite is a showcase of symphonic effects which caused a sensation in Vienna at its première in 1905.
Prokofiev: Romeo and Juliet Suites Nos. 1 and 2 - Pushkin Wa
Naxos
CD
$9.99$19.99Save 50%Jul 31, 2012
Sergey Prokofiev's Romeo and Juliet was completed after the composer's final repatriation to Soviet Russia after a period abroad. It was written for the Kirov Ballet but early productions faltered, and Prokofiev soon adapted his music to the concert hall. The Suites avoid narrative sequence, selecting crucial moments such as the famous "balcony scene", and dramatic climaxes such as the Death of Tybalt. Composed to celebrate the famous author's 150th anniversary, the Pushkin Waltzes are relaxed, easygoing, and with a typically witty edge.
Here (Jurowski) offers performances that are near ideal, the electric tension giving the illusion of live music-making. We have had some impressive recordings from this orchestra in the past but this one is among the finest. Tchaikovsky's Third Suite... Jurowski, maybe influenced by conducting opera and ballet, brings out the surging lyricism...'Elegie', the phrasing totally idiomatic. The rhythmic Waltz leads to a dazzling Scherzo, taken at a genuine presto, while the Variations have rarely seemed so attractive, with a thrilling build-up and conclusion. With exceptionally vivid sound, recorded by Dutch engineers in Moscow, this disc cannot be recommended too highly. (Gramophone)
Giacinto Scelsi (1905–1988) is one of the most unusual composers of the twentieth century, a unique figure whose importance was only fully recognized and celebrated after his death. During his lifetime, he was often dismissed, especially in Italy, as a pretentious dilettante because he did not notate his music himself. Beginning in the mid-1950s, he recorded his improvisations at the piano and had them transcribed by others. In this way, in the course of only a few years hundreds of piano pieces appeared, many of which Scelsi then collected into suites. He began his series of suites with the number 8, since the number 8 had for him a mystic significance. The “Suite No. 8” is subtitled “Bot-ba”, which means “Tibetan”. In fact, the suite has nothing to do with actual Tibetan ritual music, but is an expression of Scelsi’s deep affinity for Eastern philosophy. His final “Suite No. 11” is a special case and was put together quite late in Scelsi’s life, at least in its final version. The interpretation by internationally acclaimed pianist Sabine Liebner is therefore the first authentic recording of the work with its original sequence of movements. Liebner’s meticulously researched 2015 recordings of Scelsi’s Suite No. 9 and Suite No. 10 (WER 67942) have been celebrated by critics.
I remember the Great Unus of Ringling Brothers Circus placing a round glove on top of his upright cane-then proceeding to balance himself by standing on his forefinger. Of course that's the answer-it can't be done. Like the Great Unus, is this some kind of magician's trick Mr. Rich is putting on us? - that we really don't hear or see what we think we do? I recall standing with Shelly Manne and Bobby Rosengarden at the Nice Jazz Festival in 1978. We stood to the right side of the bandstand so Shelly and Bobby could watch Buddy's right foot! Just his right foot! After the set, they looked at each other in disbelief. It was obviously an illusion they had seen. During a Rich engagement in Los Angeles some years ago, twenty-two drummers were in the audience. At the conclusion of the "Channel One Suite" half of them were openly crying. One should not try to explain the magician's trick-once you know the modus of operandi, the thrill is gone. So keep your secrets, Buddy Rich, and let the audience forever be amazed and in wonderment of your art. The Great Unus may have retired, but Traps, the Drum Wonder makes US all believers. - Johnny Carson Includes: Machine, Best Coast, One O'Clock Jump, Sophisticated Lady, Norwegian Wood, Love for Sale, No Exit, Channel One Suite.
Giacinto Scelsi never saw himself as a traditional composer. In his later creative period he would sit at the piano, record his improvisations and then let others transcribe then. Scelsi's world view was grounded in the Eastern mysticism. His spiritual orientation is expressed in the subtitles of the piano suites performed here by Sabine Liebner. Suite No.9 "Ttai" is titled after the 11th symbol from the I Ching which signifies peace. Suite No.10 "Ka" is titled after a Sanskrit word that refers to something unnameable and unspeakable.
Jacques Schwarz-Bart has been at the center of several musical revolutions: Neo Soul next to D'angelo and Erika Badu, New Jazz as a founding member of Roy Hargrove's RH Factor, and he is a leading pioneer in the creation of two surging new styles: Gwoka Jazz, and Voodoo jazz, reuniting jazz music with it's Afro-Caribbean and spiritual origins. Jacques' impressionistic writing, powerful tone, and wide-ranging language - both lyrical and angular - have fueled a growing presence on the world stage.
'Mahan Esfahani couldn't make a routine recital of Bach's keyboard music if you paid him' was BBC Record Review's verdict on a previous release: prospective listeners to this wonderful new set should rest assured that any hint of the routine remains as distant a threat as ever.
Richard Tunnicliffe's recording of the Bach cello suites was released in 2012; the culmination of many years of study and countless performances, it has been very warmly received by critics: The Sunday Times praised it's "clear-sighted, intelligently informed yet emotionally engaged performances" and The Independent chose the album as one of the 'best classical releases of 2012.' Performing Bach's iconic suites has become a rite of passage for many cellists and Tunnicliffe's extensive experience and virtuosity has allowed him to create a recording that highlights the distinct personality and individuality of each movement. Tunnicliffe's chosen instruments (a four-string attributed to Leonhard Maussiell and a five-string piccolo by Pierre Malahar) add a welcome authenticity to his performance since both are contemporaries of Bach's suites. His concert performances of the six works have been acclaimed in Europe and Australia as well as at numerous venues in Great Britain, including Wigmore Hall and the Purcell Room in London.
Bergen Barokk's second release on the LAWO Classics label Suite Life, takes us to the French court during the reign of the Sun King. Elegant conversation, music, painting, fencing and dance - the arts performed with a certain nonchalance - were the true test of aristocrats. The leading musicians during the Sun King's reign composed obligingly within the confines of strict protocols of style, though they were allowed to give their own personal touch. The suites on this recording are largely taken from the many great musical publications from the Paris of the early 1700's. The publications, which were released "avec Privilege du Roy" reflect the grand balls, concerts, opera and ballet performances at the court and were well-received by a bourgeoisie filled with reverence for the luxurious and illustrious court life.
