He painted the Mona Lisa and The Last Supper, observed nature with scientific understanding and helped mankind with his visionary ideas to advance towards a number of innovative technologies. Leonardo da Vinci was one of the most important polymaths of all time - and a man who lived at a time of tremendous upheaval. That is apparent from the music that surrounded him: on 39 tracks the double album The Da Vinci Sound captures the sound of the Renaissance - with masses and motets, with songs, dances and madrigals.
This collection features songs drawn from opposite corners of England which during the 20th century experienced catastrophic decline in their traditional local industries: Cornwall now relies heavily on tourism and Tyneside has become a center for science-based technology. Traditionally, both have maintained a proud tradition of community music-making and we feature sea songs with Cornish baritone Ben Luxon and the Holman-Climax Male Voice Choir, whilst much-loved Geordie bass Owen Brannigan sings airs from Tyneside, and patriotic songs (Heart of Oak, Bay of Biscay).
Lauded as one of the most original and brilliant of Georgian composers, Sulkhan Tsintsadze synthesized 20th-century classical elements with the rhythmic, melodic, harmonic, and modal characteristics of Georgian folk music. In so doing he developed, across a wide spectrum of the repertoire, his own highly personal and approachable idiom. His 24 Preludes for Piano were composed in 1971 and are unmistakably national in character. He gave new life to traditional Georgian folk songs and dances in a masterfully structured cycle that flows with the seamless eloquence of a film. This virtuosic kaleidoscope of contrasting images reveals music that is both extravagant and vibrant. Inga Fiolia studied at the Central Music School of the Tchaikovsky Conservatory in Moscow and the Cologne Musikhochschule with Alexey Nasedkin, Rudolf Kehrer and Vassily Lobanov. She has collaborated with orchestras including the Brussels Philharmonic, the Georgian State Chamber Orchestra and National Philharmonic, and the South Westphalia Philharmonic, and has broadcast on all the major German TV and radio stations.
"Novelty Fox – an “All Stars Combo” led by virtuoso percussionist Jean-Michel Davis – invites us to take a trip into the timeless and imaginary universe of Light Concert Music. Orchestral favorites such as “Belle of the Ball” and “Sleigh Ride” are performed on a smaller scale but with panache, and elicit the sense of Americana that was so dear to Leroy Anderson, the renowned composer of light orchestral music. The Polka caprice “Joyeux Canari” composed by Adolphe Deprince (who was Maurice Chevalier’s celebrated accompanist) and “Bohemian Dream” by Waltz King Jo Privat evoke the alluring atmosphere of Parisian folk dances, enhanced here by seductive and colorful instrumentation. This recording travels through time and encompasses a variety of trends. Its lavish style bridges classical and world music, reuniting its audience around the concept of light and entertaining music that remains, nonetheless, worldly and sophisticated." Patrick Fremeaux & Benjamin Goldenstein
The two works on this album were commissioned by conductor Paul Sacher in the 1930s for the orchestra he founded in 1926, the Basel Chamber Orchestra. This orchestra was famous for it's adventurous programing, often combining baroque repertoire with contemporary works. Bartok's Divertimento nods at the baroque concerto grosso in it's use of individual groups of players, and the title 'divertimento' recalls Mozart's many examples of this form. By contrast, the earlier of the two commissions avoids any musical category - Bartok simply called the work Music for Strings, Percussion & Celeste. 'Strings' in this works title includes harp and piano, 'percussion' adds not only timpani, but snare drum, bass drum, cymbals, tam-tam and xylophone, and of course the sparkling sound provided by the celeste. It is a beautiful score, culminating in a brilliant finale with dance rhythms and folk dance syncopations.
The album SZINERGIA celebrates the interconnectedness of composers who, despite leading different lives, found common ground in the dance rhythms and folk traditions that inspired their music. At the heart of this album is Karl Amadeus Hartmann's Kammerkonzert for clarinet, string quartet, and string orchestra, a poignant homage to Zoltán Kodály. Hartmann's work epitomizes the synergy of musical ideas, blending the spirit of Hungarian folk music with a modern, introspective voice. Zoltán Kodály's Kálló Double Dance and Epigrams Nos. 3 & 6 showcase his profound connection to Hungarian traditions. These pieces, reimagined through contemporary arrangements, reveal the timeless nature and the vibrant energy of his melodies. Léo Weiner's Divertimento No. 1 "Old Hungarian Dances" adds a nostalgic yet lively dimension to the album. The expert arrangements by Lajos Sárközy and István Várdai breathe new life into these classic dances, highlighting the enduring appeal of Hungarian folk music. Paco de Lucía's Callejón del Muro brings a touch of Andalusian passion to the collection. Pablo Barragán's arrangement seamlessly integrates the fiery flamenco rhythms into the album's narrative, illustrating the universal language of dance that transcends cultural boundaries. Béla Bartók's Romanian Folk Dances, arranged for clarinet, cimbalom, and strings by Jonas Dominique in dedication to Swedish clarinetist Martin Fröst, further enriches the album's tapestry. Bartók's dedication to preserving folk music traditions shines through in these lively, evocative dances, demonstrating his deep connection to the musical heritage of Eastern Europe. Performed by clarinetist Pablo Barragán, the Franz Liszt Chamber Orchestra under the musical direction of István Várdai, and the Sárközy Trio, SZINERGIA presents a rich, multifaceted soundscape. Each piece highlights the unique voice of it's composer while uncovering the profound connections that link them. SZINERGIA is a celebration of the unity found in diversity. Through the lively rhythms and evocative melodies, listeners are invited to experience the harmonious dance of parallel lives, bound together by the shared threads of musical inspiration.
George Thomson of Edinburgh, a notable promoter of Scottish music, encouraged settings of his nation’s folk songs. In particular, he found a rich source of arrangements in Vienna, where he commissioned first Haydn and then Beethoven to set a large sequence of poems, including those of Robert Burns and Sir Walter Scott. Thomson envisaged simple works, agreeable to amateurs, but Beethoven found it impossible to compose within such limitations and his settings, which include Irish and Welsh songs, with the accompaniment of strings and piano, have proved perennially popular. Pianist Bernadette Bartos is the featured pianist of the Beethoven Liederseries, Vol. 1 (8.574071). Her playing was described as ‘fairly lively and sensitive’ by The Art Music Lounge. Bartos has performed at venues across Europe, including the Wiener Musikverein and the Wiener Konzerthaus. Her debut at Regent Hall, London gained her First Prize in the Beethoven Chamber Music Competition of the Beethoven Piano Society of Europe. German soprano Paula Sophie Bohnetmade her operatic debut in 2013with the role of Barbarina in Le nozze di Figaro. She was the recipient of the prestigious Giovanni Omodeo Scholarship and has been awarded several prizes from organizations such as the Österreichischen Bundesministerium für Bildung, Wissenschaft und Forschung for her Master’s degree. Austrian tenor Daniel Johannsen studied with Lieder specialists such as Robert Holl, Dietrich Fischer-Dieskau and Christa Ludwig, and thus approaches art song performance with great affection. Along with the great Schubert and Schumann cycles, his repertoire includes more than 300settings, which he has performed with pianists Graham Johnson, Charles Spences and Helmut Deutsch, among others.
An album of new orchestral works by Peter Fribbins. 'Gommecourt', a four-movement symphony with obbligato piano, traces the dramatic story of his grandfather, Tom Fribbins, at the Battle of the Somme in 1916. It is paired with the passionate, and at times wild, 'Cello Concerto', and the beautiful melodic lines of his 'Folk Songs' for viola and chamber orchestra.
If you dig the organ trio genre, you'll flip over Deep Blue - Guitar Player Magazine. Celebrating the classic organ trio configuration as well as the Black-American experience through music, Bobby Broom, Chris Foreman & Greg Rockingham bring a modern edge to a musical timepiece. A mainstay on the Chicago jazz scene, the trio has played weekly at the Green Mill for the last six years, with each performance recounting the tales of the essence of jazz music's past travels through funk, soul, R&B, gospel and spirituals. On Folk Music, the trio plays with the kind of tightly knit connectivity only found among the highest level of seasoned musicians.
The award-winning duo of flautist Silvia Schiaffino and guitarist Renato Procopio present a musical travelogue ranging from Western to Eastern Europe before journeying further afield to Japan, Iran and Korea. As well as masterpieces such as Bartok's Romanian Folk Dances, and a rip-roaring Monti Csardas, this evocative selection includes the colourful and piquant, such as the music of Sakura, as well as Procopio's own vibrant arrangement of Korean folk songs.
The LP version: When Baroque Meets Folk Energy In 'folk baroque', the music of Georg Philipp Telemann encounters the vibrant dance traditions of central Europe. The program grew out of a collaboration between recorder virtuoso Erik Bosgraaf and the Italian ensemble filoBarocco during the Gottingen International Handel Festival, initiated within the European support programme EEEMERGING+. At the heart of the project lies the fascinating Rostock Manuscript, a historical source long associated with Telemann's fascination with Central European folk traditions. For Bosgraaf and filoBarocco, the manuscript offers the perfect point of departure for exploring the meeting ground between Baroque repertoire and living folk music traditions. The ensemble shares a deep enthusiasm not only for historical performance practice but also for music that retains the energy, spontaneity, and expressive freedom of traditional dance music. Telemann himself was renowned for his openness to musical influences from across Europe. During his travels he encountered Polish and Hanna folk traditions that left a lasting impression on him. In his autobiographical writings, he vividly describes the impact of this music: it's rhythmic vitality, it's improvisatory spirit, and it's powerful melodic expression. These qualities fascinated him and found their way, sometimes subtly, sometimes quite directly, into his own compositions. Yet reconstructing the sound world of the eighteenth century presents a unique challenge. Unlike music from the twentieth or twenty-first centuries, there are no recordings to tell us exactly how this repertoire once sounded. Historically informed performance with this repertoire therefore requires re-composition. Musicians must piece together clues from written scores, historical treatises, instrument research, and contemporary descriptions. On the recording 'folk baroque' the musicians expand this process further by drawing inspiration from living folk traditions. Many rhythmic patterns, ornamentations, and expressive gestures that appear in Baroque music still survive today in Central European dance music. These traditions offer valuable insights into how such musical gestures might function in performance. The goal is not to recreate a supposedly 'authentic' past because that would be inherently impossible, but to create a musical interpretation that feels convincing, vibrant, and alive for modern listeners inspired by the timeless melodies of the Rostock Manuscript. For this reason, the program includes elements of improvisation and experimental playing techniques. While this approach may initially seem unusual in a Baroque context, it reflects the spirit of exploration that shaped the music of Telemann's own time. The musical notation in the Rostock Manuscript often provides only a framework rather than a fully fixed sound image. It invites performers to engage creatively with the material and rediscover it's inherent energy. The result is a concert experience that feels both historical and contemporary. The music is rooted in eighteenth-century sources, yet interpreted by musicians who are equally at home in the traditions of early music and in modern sonic experimentation. Ultimately, what connects this repertoire with today's audience is emotion. Instruments and styles may change over time, but the fundamental human passions expressed through music remain the same: joy, melancholy, longing, passion, and the irresistible urge to dance. When listeners begin to grasp the expressive language behind these works, the music suddenly feels remarkably immediate. It ceases to be merely a historical artefact and becomes a living experience, almost as if a sleeping frog had been awakened with a kiss
In this thoughtful collection of chamber music, Ian Stephens' work reveals a rare balance of melodic clarity and inventive disruption, qualities that have drawn artists like Cate Le Bon, Ian Broudie, and OMD to his arranging talents. Here, Stephens' signature rhythmic vigour, theatrical subtlety, and knack for weaving unexpected moments define each piece, creating a body of work that intrigues as much as it soothes. Celtic Elegy for clarinet and cello sets the tone with a gentle homage to Celtic traditions. Initially inspired by the Irish air She Moved Through the Fair, the piece unfolds it's own melody through understated layers, mirroring the drones and ornamentation of Scottish bagpipes. This composition showcases Stephens' sensitivity to the soul of folk music while remaining efficient in form. Springhead Echoes and the Clarinet Quintet, two works linked by memory and place, extend Stephens' nuanced approach to melody and rhythm. Commissioned in memory of Rosalind and Brian Richards, they explore themes rooted in friendship and place. Springhead Echoes for string quartet channels Brahms with themes that emerge in delicate counterpoint, invoking the charm of Rosalind's lifelong connection to her home in Dorset. Meanwhile, the Clarinet Quintet subtly references Beethoven's opera Fidelio, blending nostalgic elements with Stephens' penchant for inventive structure. In North Country for string quartet, Stephens deftly reinterprets the folk tune The Oak and the Ash, transforming it across three movements: Lilting, Heartfelt, and With Abandon. The tune surfaces and recedes, guiding listeners through a series of evolving textures. From the reflective openness of the first movement to the vibrant, Latin-inspired rhythms of the finale, Stephens showcases his ability to shift seamlessly between tradition and innovation. Finally, the Oboe Quintet offers a poignant tribute to two amateur musicians of the Liverpool music scene. Here, Stephens emphasizes the oboe's natural expressiveness through long phrases and joyful rhythmic interjections, balancing lyrical intimacy with structured dance-like sequences. The Passacaglia, inspired by Bach, builds through symmetrical chords and shifting time signatures, adding depth to the piece's intricate framework. These chamber works not only illustrate Ian Stephens' gift for melody and recontextualization but also his acute attention to instrumental character. Each piece encourages reflection, embodying both the intellect and spontaneity that mark Stephens as a contemporary voice with a profound respect for musical lineage. Ian Stephens, composer: Raised in Devon as a cellist and singer, Stephens studied at the University of Bristol and later worked with the Royal Liverpool Philharmonic Orchestra. He now teaches at Chetham's School of Music in Manchester. His works, including Ella's Big Chance: A Jazz Age Cinderella and Pinocchio, demonstrate his skill in elevating melody with strong rhythmic profiles and theatrical clarity. His Celtic Elegy showcases his ability to blend soul and efficiency, earning him work as an arranger for artists like Cate Le Bon and Ian Broudie.
Following on their impressive debut album [Ex]tradition, the Curious Bards - an early music ensemble founded by violinist Alix Boivert in 2015 - continue to explore material from the Scottish and Irish folk traditions preserved in 18th-century publications. This new collection of airs and dances is a chance to discover more of this fascinating repertoire, in which the distinctions between serious music and popular inspiration need no longer apply.
For the second project in it's Meridiane series, Sjaella explores the music of cultures whose languages exist only as mother tongues for minorities. On this new album, spoken, the a cappella vocal ensemble shares it's fascination for cultural diversity and vocal sounds through new interpretations of traditional music. The arrangements of folk songs and dances, as well as new compositions, represent sound worlds that move between tradition and modernity. Sjaella's Meridiane series, which continues on Fuga Libera, is a succession of colourful musical treasures that strengthens the ensemble's connection to it's own cultural roots.
Folk Singer (Chess Acoustic Sounds Series) [180g LP] Presented here in it's highly sought-after mono mix, Folk Singer has never sounded better. Recorded at the crest of the early '60s folk revival, Folk Singer, despite it's title, is the blues in it's purest form. Returning to the all-acoustic approach of his earliest recordings, Waters is joined by Buddy Guy on guitar and Willie Dixon on bass, with subtle drum accompaniment from Clifton James on select tracks including "Good Morning Little Schoolgirl" and "Feel Like Going Home."
The first of The Art Ensemble of Chicago's renowned trio of albums for BYG's Actuel series now returns in a deluxe edition. Housed in a CD gatefold digi-sleeve that echoes the vibe of the original LP, it includes a 16-page booklet and an inner printed wallet, along with a new and insightful essay by renowned author & music journalist John Masouri. This album is the Art Ensemble's most celebrated release, capturing the American avant-garde jazz collective at their most sensational, provocative, and startlingly original in a historic June 1969 session at Studio Saravah in Paris. Recorded in the aftermath of widespread anti-government protests and student riots, this album showcases what happens when four highly intuitive and accomplished musicians-driven by Black Nationalism and dreams of liberation, and armed with an array of diverse instruments-let their inspiration run free. The tracks on A Jackson in Your House challenge us to view music in a different light-not just as a source of entertainment, but as enlightenment, wonderment born of togetherness, courage, beauty, and surprise, all mixed with terrifying honesty.
This double disc compilation album presents the best of English folk, where artists such as Eliza Carthy, The Demon Barbers, Bellowhead and Kate Rusby amongst others have revived traditional English folklore penned over a century ago, bringing it back to the forefront of the folk scene. The fourth in the series of ARC Music’s exclusive Ultimate Guide albums, this is an exciting and superb collection of 35 songs that steeps the listener in history from all corners of England. “There cannot be many examples in history of an obsolete art form reaching the verge of extinction only to rise phoenix-like from the ashes and come to dominate popular culture, yet such is the story of English folk…” (Jon Boden)
A dance teacher from Boston (Charles Collins) is tricked into joining a band of pirates, which leads to him being fitted for a noose in California. He catches a break when the mayor's daughter demands the hanging be postponed until he teaches her to waltz, but his problems are only beginning! The Dancing Pirate (1936) received an Academy Award nomination for Best Dance Direction, and was billed as The first dancing musical in 100% new Technicolor.
NHØP is undoubtedly the most widely recorded and most highly regarded jazz bassist today. This is his second leader album recorded in New York while he was touring with Oscar Peterson. NHØP selected the very best of sidemen from the New York scene to make this
“supremely musical album which will afford a lot of listening pleasure to a lot of people.” (Mike Hennessay) 180g Audiophile Vinyl
Disillusioned with life, the aged philosopher Faust calls upon Satan to help him. The devil Méphistophélès appears and strikes a bargain with the philosopher: Faust can have youth and the love of the beautiful Marguerite, but only in exchange for his soul... Gounod’s masterpiece is given the grandest of Royal Opera stagings in David McVicar’s richly layered and theatrically exuberant production, with the drama moved to Second Empire Paris, spectacular sets and costumes, and extensive dance. Michael Fabiano as a seductively witty Faust, Erwin Schrott as a devilish Méphistophélès and Irina Lungu as a passionate Marguerite are joined by the Royal Opera Chorus and a cast of Royal Opera favourites. Dan Ettinger conducts the Orchestra of the Royal Opera House in Gounod’s gloriously tuneful score.
