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Dialogues

Teodor Wolgers

Film Soundtracks - Released May 19, 2023 | [PIAS]

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Creatures of the Late Afternoon

Kid Koala

Electronic - Released April 14, 2023 | Envision Records

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Blues Farm

Ron Carter

Jazz - Released January 1, 1973 | CTI

In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album.© Nathan Bush /TiVo
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CODE GEASS Lelouch of the Rebellion R2 Original Motion Picture Soundtrack 1

Kotaro Nakagawa

Film Soundtracks - Released August 27, 2008 | SUNRISE Music Label

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Reconnaissance

Helsinki Chamber Choir

Classical - Released June 16, 2023 | BIS

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This release followed closely on the death of composer Kaija Saariaho in 2023, and the physical version includes worthwhile notes from her and her son, Aleksi Barrière. Saariaho is known for large orchestral works with fine gradations rather than for choral music, but in her note, she states that she has always had an inclination toward the latter genre. These are engaging works, and the involvement of her son, who wrote the text to the title work, makes the album all the more to be treasured as a memento of this important composer. Sample the eight-movement work that opens the program, Nuits, adieux, which is repeated at the end without its light layer of electronics. This is for four solo voices (with some of the texts by, of all people, Honoré de Balzac), but Saariaho exploits the minimal resources so as to provide a range of textures approaching that of her larger works. The singers, in addition to vocal lines, provide hisses, indistinct chatter, and gasps. Considerable virtuosity is required from the singers, and the members of the Helsinki Chamber Choir step up. The title work, described by Saariaho's son as a science fiction madrigal (and there are no electronics here, despite the futuristic element), is in English and contains strong environmental overtones, ending with a prayer-like requiem. Tag des Jahr, to texts by Friedrich Hölderlin, would make an offbeat entry on Four Seasons programs. For those new to Saariaho, this album could even serve as a good introduction to her music, presenting her ideas in small-scale forms. BIS situations the music in a somewhat overresonant church, but this does bring out the small vocal details that are at the heart of these works.© James Manheim /TiVo
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CODE GEASS Lelouch of the Rebellion R2 Original Motion Picture Soundtrack 2

Hitomi Kuroishi

Film Soundtracks - Released September 24, 2008 | SUNRISE Music Label

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R. Schumann: Complete Solo Piano Works, Vol.2 - Carnaval Op. 9, Impromptus über ein Thema von Clara Wieck, Op. 5 & Faschingsschwank aus Wien, Op. 26

Dana Ciocarlie

Classical - Released September 29, 2017 | La Dolce Volta

Hi-Res Booklet Distinctions Choc de Classica - Choc Classica de l'année
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Spontini: Olimpie

Flemish Radio Choir

Classical - Released March 22, 2019 | Bru Zane

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Olimpie was described by Hector Berlioz as a “sublime work” and Spontini himself viewed it as his best composition. When it was premiered in Paris, however, it gathered no interest. The work is based on a lesser-known play by Voltaire and was considered out of fashion before it even reached the stage in 1819. In Berlin two years later, in a translated and happier version modified by E.T.A. Hoffmann, Olimpie was more of a success. Back in Parisian venues in 1826, the piece was rarely played, which Berlioz regretted. It occasionally made it to Germany, but was eventually forgotten until its rediscovery in the 1950’s as an Italian version performed by La Tebaldi in Florence. Olimpie is not often included in operas’ repertoires, but nevertheless, with its visuals and refined language, it features many magnificent moments and offers a plethora of staging opportunities.The original 1819 musical score has disappeared. Jérémie Rohrer is presenting instead the 1826 version of the score prepared by Federico Agostinelli with various printed sources as well as an autographed manuscript. The album follows this version with the exception of two cuts during Acts I and III. The recording is meticulous and benefits from the splendid acoustic of the Philharmonie de Paris. Recorded before the concert given at the Théâtre des Champs-Elysées, it features a set of excellent soloists led by Jérémie Rohrer’s imagination and energy. A perfect resurrection and a gift from the indispensable Bru Zane Foundation in Venice. © François Hudry/Qobuz
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Schumann: Papillons, Carnaval & Davidsbündlertänze

Philippe Bianconi

Classical - Released August 25, 2016 | La Dolce Volta

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Schumann: Études symphoniques, Papillons & Carnaval

Samson François

Classical - Released August 28, 2020 | Warner Classics

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Schumann, Chopin, Liszt, Mendelssohn, Tchaïkovsky...

Serge Rachmaninoff

Classical - Released May 28, 2011 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Schumann: Papillons, Carnaval & Davidsbündlertänze

Philippe Bianconi

Classical - Released August 25, 2016 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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9.11

Bumblefoot

Hard Rock - Released January 1, 2001 | hermit inc

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Bach, Chopin, Debussy, Liszt, Schumann: Piano Works (Live)

Youri Egorov

Classical - Released June 24, 2016 | First Hand Records

Hi-Res Booklet Distinctions 5 de Diapason
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Auto Reconnaissance

The Tangent

Rock - Released August 21, 2020 | InsideOutMusic

Schumann: Carnaval, Davidsbündlertänze & Papillons

Boris Giltburg

Classical - Released February 3, 2015 | Naxos

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Hardwired

Mitch Murder

Dance - Released November 30, 2018 | 555620 Records DK2

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No, Virginia

The Dresden Dolls

Rock - Released January 1, 2008 | Roadrunner Records

Considering that it's an album of leftovers -- one B-side from Yes, Virginia..., four unreleased recordings, one old demo, a cover, and five new recordings, to be exact -- the songs on No, Virginia... are unexpectedly strong. Comprised of material from five years together as a duo, these are the numbers that were left off the Dresden Dolls' prior releases because, according to singer/pianist Amanda Palmer, she tends to shy away from her pop side. This definitely seems to be the case, as the pop sensibilities on this record are more exposed, and shining brighter than ever before. When compared to the edgier numbers on the first two albums, the majority of tunes feel like potential singles: a strange concept for a punk cabaret group. But it's a kinder, gentler burlesque show this time around. A demo of "Mouse and the Model" shows off Palmer's delicate side, with her husky boisterousness forgone for weary swooning, as does "Boston," a slow building power ballad that by all means should have made the cut of Yes, Virginia... had it not overextended the running time. In fact, all of the new songs, which were recorded with the previous album's producer Sean Slade, could have blended into the mix of songs on the similarly themed and produced Yes, Virginia... if not for the fact that they were just too upbeat, with interfering big melodies and major chord progressions. That's the strange world of the Dresden Dolls. One where the powerful catchy hooks get the axe, while the more somber and obscured tracks make the cut. It also exposes the primary problem with trying to establish yourself as an originator of your own "Brechten" genre: if the songs aren't baroque enough, they get tossed and replaced with the ones that are more defining of your character. Luckily, the discarded gems finally found a home, rewarding fans with some of Palmer and Brian Viglione's most intimate and accessible moments, along with a solid cover of "Pretty in Pink" originally released on a John Hughes-inspired High School Reunion compilation.© Jason Lymangrover /TiVo
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Schumann: Carnaval / Kinderszenen

Brigitte Engerer

Classical - Released November 15, 1996 | harmonia mundi

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Réécriture

Glauque

Alternative & Indie - Released June 26, 2020 | Universal Music Distribution Deal

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