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Alternative & Indie - Released April 13, 2010 | Nonesuch - Warner Records

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Rock - Released July 16, 2007 | Nonesuch - Warner Records

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Pop - Released April 11, 2006 | Nonesuch - Warner Records

Booklet
A pioneering work for countless styles connected to electronics, ambience, and Third World music, My Life in the Bush of Ghosts expands on the fourth-world concepts of Hassell/Eno work with a whirlwind 45 minutes of worldbeat/funk-rock (with the combined talents of several percussionists and bassists, including Bill Laswell, Tim Wright, David van Tieghem, and Talking Heads' Chris Frantz) that's also heavy on the samples -- from radio talk-show hosts, Lebanese mountain singers, preachers, exorcism ceremonies, Muslim chanting, and Egyptian pop, among others. It's also light years away from the respectful, preservationist angles of previous generations' field recorders and folk song gatherers. The songs on My Life in the Bush of Ghosts present myriad elements from around the world in the same jumbled stew, without regard for race, creed, or color. As such, it's a tremendously prescient record for the future development of music during the 1980s and '90s. © TiVo
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Comedy/Other - Released March 3, 2006 | Nonesuch - Warner Records

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Musical Theatre - Released February 13, 2006 | Nonesuch - Warner Records

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Jazz - Released February 6, 2006 | Nonesuch - Warner Records

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Opera - Released January 31, 2006 | Nonesuch - Warner Records

One of the last operas produced in the twentieth century was Louis Andriessen's Writing to Vermeer, premiered at the Netherlands Opera on December 1, 1999. It is a handsome production indeed, with libretto and gigantic film projection components by Peter Greenaway and bursts of electronic music contributed by Michel van der Aa. However, all things opera move slowly in the twenty first century, and it has taken a little over six years for Nonesuch to deliver the first recording of the work, Louis Andriessen: Writing to Vermeer. To be fair, this specific recording was not taken from the premiere performance, but from a revival given at Amsterdam in 2004; the U.S. premiere of Writing to Vermeer was presented at Lincoln Center in 2000. Divided into six scenes, this opera depicts three women close to seventeenth century Dutch Master Johannes Vermeer writing letters to him from his household in Delft, as he is away in The Hague on business. Women writing letters, in addition to doing household chores, practicing music, and other mundane tasks constitute the imagery we most readily associate with Vermeer the painter, and it was this aspect of Vermeer's visual style that Greenaway and Andriessen sought to evoke in Writing to Vermeer. Another hallmark of Vermeer's painting is a subtle lack of drama, and in Writing to Vermeer "drama" is supplied by way of the interruption of external events -- political assassinations, the invasion of Holland by French forces, and finally, the flooding of Delft as a measure to stall the French invasion, which literally washes all of the characters and action away. For Andriessen and Greenaway the parts dealing with domestic life, children and the daily activities of the good Dutch hausfrau are the key elements of this work. To the composer and librettist's chagrin, the external layer of events has dominated the discussion of Writing to Vermeer among critics and most audiences, with its unstated implication that if Vermeer had been there, he might have found a way to stave off these disasters, at least in his own household. This conflict of interpretation may not be resolved anytime soon. No matter what the controversy, Writing to Vermeer was one of the most completely controlled multimedia environments presented on the opera stage until now, and a mere recording of the music hardly does it justice -- one can argue that even a good DVD couldn't truly capture the experience of seeing it live. The style and sound of Andriessen's music falls somewhere between de Materie and de Staat -- it is not as dense as the former nor as rhythmically intense as the latter, and some of the instrumental texture even approaches a kind of lyric romanticism, albeit stated within the locus of Andriessen's usual modal/bitonal hybrid. The electronic segments by Michel van der Aa are excellent -- he has a masterful control of the technique of moving sound collages through space. One wonders why Andriessen, who long ago made some expert forays into electronic music himself, decided to outsource these segments, but it is undoubtedly for the better. The set comes with a 58-page-book containing the libretto, which one will want, as even though Writing to Vermeer is sung in English, that does not guarantee that all of its text is clearly comprehensible, even though the quality of the recording is outstanding. Writing to Vermeer is such a rich and complex work, chances are the listener will not "get it" on the first hearing, and it gets off to a slow start. Repeated listening, and time taken to concentrate fully on Writing to Vermeer, will reveal its many virtues. © TiVo
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Classical - Released December 6, 2005 | Nonesuch - Warner Records

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Classical - Released December 6, 2005 | Nonesuch - Warner Records

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Classical - Released December 6, 2005 | Nonesuch - Warner Records

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Classical - Released December 6, 2005 | Nonesuch - Warner Records

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Film Soundtracks - Released December 6, 2005 | Nonesuch - Warner Records

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World - Released December 6, 2005 | Nonesuch - Warner Records

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Classical - Released December 6, 2005 | Nonesuch - Warner Records

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Classical - Released November 22, 2005 | Nonesuch - Warner Records

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Classical - Released November 22, 2005 | Nonesuch - Warner Records

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Classical - Released November 22, 2005 | Nonesuch - Warner Records

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Rock - Released November 14, 2005 | Nonesuch - Warner Records

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Classical - Released November 1, 2005 | Nonesuch - Warner Records

Jan de Gaetani's consummate skills and uncommon restraint hold her in good stead in this landmark performance of Schoenberg's Pierrot lunaire. In keeping with the composer's wishes, de Gaetani maintains an ambiguous tone throughout, rendering the "Sprechstimme" in a detached manner that is unsettling and occasionally chilling. Her voice is compelling and almost poignant in the quiet songs, such as "Eine blasse Wäscherin" and "Der kranke Mond," but is more theatrical and disturbing in the sardonic "Raub" and "Gemeinheit." The Contemporary Chamber Ensemble, led by Arthur Weisberg, studied Pierrot lunaire for several years before making this recording. Their diligence paid off, for their playing eschews expressionist mannerisms and is carefully shaded and fresh. Schoenberg's The Book of the Hanging Gardens gives de Gaetani a chance to show a different side of her singing, one that is as human and passionate as Pierrot's vocal part is alien. Though ideally suited to a male voice, this brooding cycle is still effective when sung by a mezzo soprano. Gilbert Kalish, de Gaetani's collaborator for 30 years, provides a supple and sympathetic accompaniment. The analog tapes of the original 1970 recording have not been remastered, but the sound is clean enough to bear exposure on disc. © TiVo