The reissue of keyboardist Claude Bolling's recordings of the 1960s may prompt a positive reevaluation of his contributions. Bolling has been known, at least outside France, mostly for the flute-and-piano works he composed for Jean-Pierre Rampal; his recordings with Rampal hit a certain popular groove and stuck with the formula. They were undeniably appealing in a simple way, but they became fatally overexposed. Bolling's earlier recordings reveal more imagination in his treatment of the relationship between jazz and classical music. Take for example this 1965 album, recorded in Paris. It's one of the few successful jazz treatments of Mozart, who is notoriously resistant to jazz treatment. The difficulty comes as a result of Mozart's reliance on harmonic rhythm, or the speed of the rate of change of the harmonies in the music. This feature seems impossible to capture in jazz, which heavily relies on regular chord changes, but Bolling's solutions here, making use of a classic jazz sextet, are brilliantly imaginative.
The six Sonatas for flute and piano presented in this edition were written by Mozart when he was eight years old. They are dedicated to the Queen of England …
This riveting film takes a look behind the scenes at one of the 20th century's cinema classics and at one of contemporary cinema's most maddeningly brilliant directors, Milos Forman.
Antonio Salieri believes that Mozart's music is divine. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing.