Prior to this concert, it had been seven months since the Double Trio had last assembled before an audience in Argentina. The first gig of any tour is always a slightly fraught affair; anything that can go wrong probably will. Gear will futz, fingers and feet will lie to their owners and the sound could well be unsound as the entire crew get to grips with the task of presenting nearly two hours of challenging music.
Instead of the tentative Discipline which opened the gig in Austria, Milan is greeted with a full-on Vrooom. It’s a better decision because right off the bat, the group sound assertive and in control of their surroundings. Even the slight stumble early in Frame By Frame can’t unseat this ferocious beast of a rendition - no wonder Belew can be heard exclaiming “Alright!” off mic at its conclusion.
NEVERMIND is made up of four young musicians and friends whose passion for early music and for the influence of jazz and traditional music stimulated them to form an ensemble whose virtuosity is equalled only by their youthful impetuosity and their love of fine music . . . For its first disc, Nevermind tackles the treasures of the Baroque in the shape of two totally neglected French composers.
At the height of the Renaissance, the music of Orlande de Lassus frequently combines the emotion of secular music with sacred compositions. With their erotic connotations, the texts of The Song of Songs are an ideal source for bringing together sacred and profane feelings. Based on his most famous song, Lassus wrote one of his unitary masses: Suzanne un jour. Along with the Magnificat that he composed on De Rore’s madrigal Ancor che col partire, here are two religious compositions of which the themes are borrowed from evocations of amorous turmoil.
Teodorico Pedrini is the only 18th century composer of which we know that he wrote European music in China, where he arrived after an eight year long journey from Italy to the Canary Island, Chile, Mexico, Peru and the Philippines. After his arrival in Beijing in 1711, he worked for the emperors Kangxi, Yongzheng and Qianlong until his death in 1746. Until today, he has been appreciated as one of the most important cultural ambassadors for Western music in Asia of all times.
In seventeenth-century Germany, a Wunderkammer (typically translated as “Cabinet of Curiosities”) was a type of private museum collection in the home of an aristocrat. Always in search of the most fascinating music from this era, ACRONYM has unearthed a large number of previously unrecorded manuscript sonatas written by long-forgotten composers. Some of these pieces contain harmonic eccentricities, rhythmic or metric irregularities, or structural curiosities. This disc includes ten such works, ACRONYM's own musical Wunderkammer. The composers are Samuel Capricornus, Adam Drese, Johann Philipp Krieger, Andreas Oswald, Antonio Bertali, Daniel Eberlin, Philipp Jakob Rittler, Georg Piscator, Alessandro Poglietti, and Clemens Thieme.
This recording of Georg Muffat's monumental mass alongside church sonatas by his contemporaries creates a vivid impression of the imposing sacred music heard at leading Catholic courts during the High Baroque. The Abbey Church of Muri with its four galleries and its historical Bossart organs proves to be a performance venue with perfect acoustics for these polychoral works.
This CD from the ever-enterprising Belgian label, Musique en Wallonie, presents clean, clear, penetrating, yet appropriately emotionally-charged singing from Psallentes, the nine-person group from that country. They have captured the calm and the conviction of anonymous vocal works - including the beautiful Mass, Sancta Trinitas - from fifteenth and sixteenth century religious music of the region. The manuscripts (shelf-marked ‘BCT A 58’) are located in the cathedral of Tournai (also in Walloon) and were rediscovered in 2006 after having disappeared (and thought lost) at the end of the Second World War.
Gil Evans was his spiritual father, and when the pianist and composer Laurent Cugny took charge of the ONJ en 1994. He already had big-band experience: for more than ten years he’d been leading the Big Band Lumière. For Laurent Cugny, the ONJ would be an extension of that rewardind experience, and it was enhanced by great encounters.
Have you ever seen any beguines? We haven’t either. Those devout laywomen of centuries past are no more. But would you like to hear them sing? That is possible. The Beghinae of Psallentes♀ sing works from manuscripts found in the beguinages of Bruges, Antwerp and Amsterdam, among others. Beguines? They appear before your very eyes.