It has become a platitude to claim that Ravel (1875-1937) delighted in paradox and harmless deception. In a sense, therefore, nothing would have pleased him more than to learn that his stupendous reputation as an orchestrator continues to rest on works not expressly written for the medium. One must be careful not to misconstrue this allegation. …
Extended version of 2015's critically acclaimed "Music Complete" by New Order. This two disc set features the first CD release of the extended versions as included within the limited edition vinyl box set (including two versions exclusive to this package).
May 17th sees Erik Satie's 150th anniversary and ECHO-Klassik Award winning pianist Olga Scheps presents the only new studio recording of his most beautiful piano solo works for the Satie celebrations 2016. Erik Satie is among the most popular composers worldwide, his most famous piano pieces such as „Gymnopédie No. 1” or “Je te veux” are instantly recognisable, having be used constantly in motion picture soundtracks and TV ads. As a special Bonus Olga Scheps recorded “Gentle Threat” by Chilly Gonzales, whom she frequently works together with on stage. Olga Scheps was born in Moscow in 1986, the daughter of two pianists, and discovered the instrument for herself at the age of four. She began studying the piano more intensively after her family moved to Germany in 1992. At an early age she had already developed her own unique style of keyboard playing, which combines intense emotiveness and powerful expressivity with extraordinary pianistic technique.
You might think that Handel's Water Music, HWV 348-350, arguably the most familiar piece of Baroque music (the Four Seasons of Vivaldi can give it a run for its money, but its popularity is more recent), has received every possible interpretation. And you would be wrong, as the musicians of the Akademie für Alte Musik Berlin have shown in this Harmonia Mundi release, precisely recorded in Berlin's Teldex studio. You get a steady parade of innovations here, marked overall by, but not in the least restricted to, blisteringly fast tempos that turn the horn-dominated movements into tests of virtuosity. Unexpected dynamic contrasts and the unusual rhythmic treatment of the "Overture" to the Suite No. 1 (sample track one) are other novelties, but this veteran group is not out for shock value. The Akademie für Alte Musik Berlin operate without a conductor, and their coordination in these crisp prestos is worth the price of admission in itself. Their ability to act as one in really unusual shapings of each individual movement is remarkable, and the treacherous horn parts are near perfection in the hands of Erwin Wieringa and Miroslav Rovenský.