European Jazz Trio • Best Of Classics

 

about the trio.
The European Jazz Trio, comprising Marc van Roon on Piano, Frans van der Hoeven on bass and Roy Dackus on drums has been recording and performing since 1995, when it released a CD of Beatles' songs in fresh arrangements.

On each album, the trio has taken songs in every style, shape and color, and has given them a jazz interpretation. For the trio 'Jazz' means to have the freedom to combine and mix styles, melodies, sounds and rhythms to create something fresh and surprising.

Van Roon: "A Specialty of the trio is to try and find some unusual material - unusual in a jazz setting - and to arrange it for the trio. It works both ways: You can take the sound of a jazz trio and give it a fresh voice, a new approach; likewise, you can take the music that everybody knows - pop tunes and classical tunes - and give people a chance to hear them in a different way."

The European Jazz Trio pushes the envelope of jazz music by adding to it its own sound and rhythm, a result of the music that has influenced the trio's members.

"We grew up in the seventies and eighties with pop, rock, classical, rap and lots of fusion music. It wasn't only jazz anymore. Being musicians, we try to absorb everything like a sponge and use it somehow. The classical music we perform we really admire, it's very close to us - to our European side."

With every song the trio records the main focus is on the essence and the inner beauty of the composition.

"You cannot approach each song in the same way. And it doesn't have so much to do with what we as a trio want to do. It's contained within the song, it's already there. So it's more about what we can leave out, what we don't have to play. This makes each performance unique and special."

The European Jazz trio has been recording new albums every year since the release of 'Memories of Liverpool' in 1995. All recording are produced by Makoto Kimata, a highly appreciated jazz producer based in Tokyo. Recent albums have been co-produced by Hiro Yamashita from the record label M&I / Pony Canyon Tokyo.


about the players.
Marc van Roon is born in The Hague, The Netherlands on November 2, 1967. He began classical piano lessons at the age of ten. His interest in jazz was sparkled at a young age by Marc's father, being a professional jazz pianist himself.
Throughout high school and college Van Roon was studying with Dutch jazz pianists Frans Elsen and Rob van Kreeveld and classical piano with Geoffrey Madge and Lanny Kho. In 1986 Marc did the Berklee School of Music summer course in Perugia, Italy. Upon graduation from the Royal Music Conservatory in The Hague in May 1991, he began postgraduate studies in New York ('92-'93) with pianists Richie Beirach, Kenny Werner and Barry Harris. He Performed and recorded with Clarck Terry, David Liebman, Charlie Mariano, Art Farmer, Tineke Postma, Tony Lakatos, Billy Hart, Santi Di Briano, Ebony Big Band, Sabine Meyer, Peggie Larson, Fay Claassen, Clifford Adam, Chuck Findley, Bob Findley, Ack van Rooyen.
Other activities: For the Netherlands Dance Theatre in The Hague Marc composed and arranged ballet music for choreographer Paul Lightfoot's 'softly as I leave you' in 1994 and for Johan Inger's choreography Melantid in 1995. Marc is currectly a music educator at the jazz conservatories in Groningen and The Hague.

Frans van der Hoeven Bassplayer, Composer, Arranger, Soloperformer, Teacher, Multi Instrumentalist.
Plays with:
Jesse van Ruller Trio Eef Albers Trio Fay Claasen Band Red Yellow & Blue Jeroen van Vliet trio
Played with:
Clark Terry, Woody Shaw, Barney Wilen, Jack deJohnette, Eivind Aarset, Harry Sweets Edison, Art Farmer, Ronnie Cuber, Tom Harrel, Lee Konitz, Dee Dee Bridgewater,Toots Thielemans, Kurt Rosenwinkel and more…
Recorded with:
The Toon Roos Quartet, Rob Madna,Jesse van Ruller,Han Bennink, Diederik Wissels/David Linx, Art Farmer, Charlie Mariano,Fairouz,Lew Tabackin, the Dutch Jazz Orchestra and others.
Frans van der Hoeven.Com for more information


Roy Dackus (‘64) Roy Dackus started to play drums at a young age following his father who was a professional drummer. In 1987 he graduated from the Conservatory of Amsterdam. During the years he has performed and recorded with very different artists and orchestra's including Art Farmer, Toots Thielemans, Randy Brecker, Richard Galliano, Charly Mariano, 70-ties rock band Focus, The Metropole Orchestra directed by Vince Mendoza, Jazz orchestra of the Concertgebouw and his own co-led group the European jazz Trio.
http://www.europeanjazztrio.com/

///////

sobre el trío.
El Trío de Jazz Europeo, compuesto por Marc van Roon al Piano, Frans van der Hoeven al bajo y Roy Dackus a la batería, ha estado grabando y actuando desde 1995, cuando lanzó un CD de canciones de los Beatles en nuevos arreglos.

En cada álbum, el trío ha tomado canciones de todos los estilos, formas y colores, y les ha dado una interpretación de jazz. Para el trío 'Jazz' significa tener la libertad de combinar y mezclar estilos, melodías, sonidos y ritmos para crear algo fresco y sorprendente.

Van Roon: "Una especialidad del trío es tratar de encontrar algún material inusual, inusual en un escenario de jazz , y arreglarlo para el trío. Funciona en ambos sentidos: puedes tomar el sonido de un trío de jazz y darle una voz fresca, un nuevo enfoque; del mismo modo, puedes tomar la música que todo el mundo conoce, melodías pop y clásicas, y darle a la gente la oportunidad de escucharlas de una manera diferente."

El Trío de Jazz Europeo empuja el sobre de la música de jazz al agregarle su propio sonido y ritmo, resultado de la música que ha influido en los miembros del trío.

"Crecimos en los años setenta y ochenta con pop, rock, clásica, rap y mucha música fusión . Ya no era solo jazz. Siendo músicos, tratamos de absorber todo como una esponja y usarlo de alguna manera. La música clásica que interpretamos realmente la admiramos, está muy cerca de nosotros, de nuestro lado europeo."

Con cada canción que el trío graba, el foco principal está en la esencia y la belleza interior de la composición.

"No puedes abordar cada canción de la misma manera. Y no tiene mucho que ver con lo que nosotros, como trío, queremos hacer. Está contenido en la canción, ya está ahí. Así que se trata más de lo que podemos dejar de lado, de lo que no tenemos que tocar. Esto hace que cada actuación sea única y especial."

El trío de Jazz europeo ha estado grabando nuevos álbumes cada año desde el lanzamiento de 'Memories of Liverpool' en 1995. Todas las grabaciones están producidas por Makoto Kimata, un productor de jazz muy apreciado con sede en Tokio. Los álbumes recientes han sido coproducidos por Hiro Yamashita del sello discográfico M & I / Pony Canyon Tokyo.


sobre los jugadores.
Marc van Roon nació en La Haya, Países Bajos, el 2 de noviembre de 1967. Comenzó a tomar clases de piano clásico a la edad de diez años. Su interés por el jazz fue despertado a una edad temprana por el padre de Marc, siendo él mismo un pianista profesional de jazz.
A lo largo de la escuela secundaria y la universidad, Van Roon estudió con los pianistas de jazz holandeses Frans Elsen y Rob van Kreeveld y piano clásico con Geoffrey Madge y Lanny Kho. En 1986, Marc hizo el curso de verano de la Berklee School of Music en Perugia, Italia. Tras graduarse en el Conservatorio Real de Música de La Haya en mayo de 1991, comenzó estudios de posgrado en Nueva York ('92-'93) con los pianistas Richie Beirach, Kenny Werner y Barry Harris. Actuó y grabó con Clarck Terry, David Liebman, Charlie Mariano, Art Farmer, Tineke Postma, Tony Lakatos, Billy Hart, Santi Di Briano, Ebony Big Band, Sabine Meyer, Peggie Larson, Fay Claassen, Clifford Adam, Chuck Findley, Bob Findley, Ack van Rooyen.
Otras actividades: Para el Teatro de Danza de los Países Bajos en La Haya, Marc compuso y arregló música de ballet para el coreógrafo Paul Lightfoot 'softly as I leave you' en 1994 y para la coreografía Melantid de Johan Inger en 1995. Marc es actualmente educador musical en los conservatorios de jazz de Groningen y La Haya.

Frans van der Hoeven Bajista, Compositor, Arreglista, Solista, Profesor, Multiinstrumentista.
Juega con:
Jesse van Ruller Trío Eef Albers Trío Fay Claasen Band Rojo Amarillo y Azul Jeroen van Vliet trío
Jugado con:
Clark Terry, Woody Shaw, Barney Wilen, Jack DeJohnette, Eivind Aarset, Harry Sweets Edison, Art Farmer, Ronnie Cuber, Tom Harrel, Lee Konitz, Dee Dee Bridgewater,Toots Thielemans, Kurt Rosenwinkel y más…
Grabado con:
El Cuarteto Toon Roos, Rob Madna, Jesse van Ruller, Han Bennink, Diederik Wissels / David Linx, Art Farmer, Charlie Mariano, Fairouz, Lew Tabackin, la Orquesta Holandesa de Jazz y otros.
Frans van der Hoeven.Com para más información


Roy Dackus ('64) Roy Dackus comenzó a tocar la batería a una edad temprana siguiendo a su padre, que era baterista profesional. En 1987 se graduó en el Conservatorio de Ámsterdam. Durante los años ha actuado y grabado con artistas y orquestas muy diferentes, como Art Farmer, Toots Thielemans, Randy Brecker, Richard Galliano, Charly Mariano, la banda de rock de 70 lazos Focus, la Orquesta Metropole dirigida por Vince Mendoza, la orquesta de Jazz del Concertgebouw y su propio grupo codirigido European jazz Trio.
http://www.europeanjazztrio.com/

 

www.europeanjazztrio.com ...

European Jazz Trio • Best of Classics II

 

about the trio.
The European Jazz Trio, comprising Marc van Roon on Piano, Frans van der Hoeven on bass and Roy Dackus on drums has been recording and performing since 1995, when it released a CD of Beatles' songs in fresh arrangements.

On each album, the trio has taken songs in every style, shape and color, and has given them a jazz interpretation. For the trio 'Jazz' means to have the freedom to combine and mix styles, melodies, sounds and rhythms to create something fresh and surprising.

Van Roon: "A Specialty of the trio is to try and find some unusual material - unusual in a jazz setting - and to arrange it for the trio. It works both ways: You can take the sound of a jazz trio and give it a fresh voice, a new approach; likewise, you can take the music that everybody knows - pop tunes and classical tunes - and give people a chance to hear them in a different way."

The European Jazz Trio pushes the envelope of jazz music by adding to it its own sound and rhythm, a result of the music that has influenced the trio's members.

"We grew up in the seventies and eighties with pop, rock, classical, rap and lots of fusion music. It wasn't only jazz anymore. Being musicians, we try to absorb everything like a sponge and use it somehow. The classical music we perform we really admire, it's very close to us - to our European side."

With every song the trio records the main focus is on the essence and the inner beauty of the composition.

"You cannot approach each song in the same way. And it doesn't have so much to do with what we as a trio want to do. It's contained within the song, it's already there. So it's more about what we can leave out, what we don't have to play. This makes each performance unique and special."

The European Jazz trio has been recording new albums every year since the release of 'Memories of Liverpool' in 1995. All recording are produced by Makoto Kimata, a highly appreciated jazz producer based in Tokyo. Recent albums have been co-produced by Hiro Yamashita from the record label M&I / Pony Canyon Tokyo.


about the players.
Marc van Roon is born in The Hague, The Netherlands on November 2, 1967. He began classical piano lessons at the age of ten. His interest in jazz was sparkled at a young age by Marc's father, being a professional jazz pianist himself.
Throughout high school and college Van Roon was studying with Dutch jazz pianists Frans Elsen and Rob van Kreeveld and classical piano with Geoffrey Madge and Lanny Kho. In 1986 Marc did the Berklee School of Music summer course in Perugia, Italy. Upon graduation from the Royal Music Conservatory in The Hague in May 1991, he began postgraduate studies in New York ('92-'93) with pianists Richie Beirach, Kenny Werner and Barry Harris. He Performed and recorded with Clarck Terry, David Liebman, Charlie Mariano, Art Farmer, Tineke Postma, Tony Lakatos, Billy Hart, Santi Di Briano, Ebony Big Band, Sabine Meyer, Peggie Larson, Fay Claassen, Clifford Adam, Chuck Findley, Bob Findley, Ack van Rooyen.
Other activities: For the Netherlands Dance Theatre in The Hague Marc composed and arranged ballet music for choreographer Paul Lightfoot's 'softly as I leave you' in 1994 and for Johan Inger's choreography Melantid in 1995. Marc is currectly a music educator at the jazz conservatories in Groningen and The Hague.

Frans van der Hoeven Bassplayer, Composer, Arranger, Soloperformer, Teacher, Multi Instrumentalist.
Plays with:
Jesse van Ruller Trio Eef Albers Trio Fay Claasen Band Red Yellow & Blue Jeroen van Vliet trio
Played with:
Clark Terry, Woody Shaw, Barney Wilen, Jack deJohnette, Eivind Aarset, Harry Sweets Edison, Art Farmer, Ronnie Cuber, Tom Harrel, Lee Konitz, Dee Dee Bridgewater,Toots Thielemans, Kurt Rosenwinkel and more…
Recorded with:
The Toon Roos Quartet, Rob Madna,Jesse van Ruller,Han Bennink, Diederik Wissels/David Linx, Art Farmer, Charlie Mariano,Fairouz,Lew Tabackin, the Dutch Jazz Orchestra and others.
Frans van der Hoeven.Com for more information


Roy Dackus (‘64) Roy Dackus started to play drums at a young age following his father who was a professional drummer. In 1987 he graduated from the Conservatory of Amsterdam. During the years he has performed and recorded with very different artists and orchestra's including Art Farmer, Toots Thielemans, Randy Brecker, Richard Galliano, Charly Mariano, 70-ties rock band Focus, The Metropole Orchestra directed by Vince Mendoza, Jazz orchestra of the Concertgebouw and his own co-led group the European jazz Trio.
http://www.europeanjazztrio.com/

///////

sobre el trío.
El Trío de Jazz Europeo, compuesto por Marc van Roon al Piano, Frans van der Hoeven al bajo y Roy Dackus a la batería, ha estado grabando y actuando desde 1995, cuando lanzó un CD de canciones de los Beatles en nuevos arreglos.

En cada álbum, el trío ha tomado canciones de todos los estilos, formas y colores, y les ha dado una interpretación de jazz. Para el trío 'Jazz' significa tener la libertad de combinar y mezclar estilos, melodías, sonidos y ritmos para crear algo fresco y sorprendente.

Van Roon: "Una especialidad del trío es tratar de encontrar algún material inusual, inusual en un escenario de jazz , y arreglarlo para el trío. Funciona en ambos sentidos: puedes tomar el sonido de un trío de jazz y darle una voz fresca, un nuevo enfoque; del mismo modo, puedes tomar la música que todo el mundo conoce, melodías pop y clásicas, y darle a la gente la oportunidad de escucharlas de una manera diferente."

El Trío de Jazz Europeo empuja el sobre de la música de jazz al agregarle su propio sonido y ritmo, resultado de la música que ha influido en los miembros del trío.

"Crecimos en los años setenta y ochenta con pop, rock, clásica, rap y mucha música fusión . Ya no era solo jazz. Siendo músicos, tratamos de absorber todo como una esponja y usarlo de alguna manera. La música clásica que interpretamos realmente la admiramos, está muy cerca de nosotros, de nuestro lado europeo."

Con cada canción que el trío graba, el foco principal está en la esencia y la belleza interior de la composición.

"No puedes abordar cada canción de la misma manera. Y no tiene mucho que ver con lo que nosotros, como trío, queremos hacer. Está contenido en la canción, ya está ahí. Así que se trata más de lo que podemos dejar de lado, de lo que no tenemos que tocar. Esto hace que cada actuación sea única y especial."

El trío de Jazz europeo ha estado grabando nuevos álbumes cada año desde el lanzamiento de 'Memories of Liverpool' en 1995. Todas las grabaciones están producidas por Makoto Kimata, un productor de jazz muy apreciado con sede en Tokio. Los álbumes recientes han sido coproducidos por Hiro Yamashita del sello discográfico M & I / Pony Canyon Tokyo.


sobre los jugadores.
Marc van Roon nació en La Haya, Países Bajos, el 2 de noviembre de 1967. Comenzó a tomar clases de piano clásico a la edad de diez años. Su interés por el jazz fue despertado a una edad temprana por el padre de Marc, siendo él mismo un pianista profesional de jazz.
A lo largo de la escuela secundaria y la universidad, Van Roon estudió con los pianistas de jazz holandeses Frans Elsen y Rob van Kreeveld y piano clásico con Geoffrey Madge y Lanny Kho. En 1986, Marc hizo el curso de verano de la Berklee School of Music en Perugia, Italia. Tras graduarse en el Conservatorio Real de Música de La Haya en mayo de 1991, comenzó estudios de posgrado en Nueva York ('92-'93) con los pianistas Richie Beirach, Kenny Werner y Barry Harris. Actuó y grabó con Clarck Terry, David Liebman, Charlie Mariano, Art Farmer, Tineke Postma, Tony Lakatos, Billy Hart, Santi Di Briano, Ebony Big Band, Sabine Meyer, Peggie Larson, Fay Claassen, Clifford Adam, Chuck Findley, Bob Findley, Ack van Rooyen.
Otras actividades: Para el Teatro de Danza de los Países Bajos en La Haya, Marc compuso y arregló música de ballet para el coreógrafo Paul Lightfoot 'softly as I leave you' en 1994 y para la coreografía Melantid de Johan Inger en 1995. Marc es actualmente educador musical en los conservatorios de jazz de Groningen y La Haya.

Frans van der Hoeven Bajista, Compositor, Arreglista, Solista, Profesor, Multiinstrumentista.
Juega con:
Jesse van Ruller Trío Eef Albers Trío Fay Claasen Band Rojo Amarillo y Azul Jeroen van Vliet trío
Jugado con:
Clark Terry, Woody Shaw, Barney Wilen, Jack DeJohnette, Eivind Aarset, Harry Sweets Edison, Art Farmer, Ronnie Cuber, Tom Harrel, Lee Konitz, Dee Dee Bridgewater,Toots Thielemans, Kurt Rosenwinkel y más…
Grabado con:
El Cuarteto Toon Roos, Rob Madna, Jesse van Ruller, Han Bennink, Diederik Wissels / David Linx, Art Farmer, Charlie Mariano, Fairouz, Lew Tabackin, la Orquesta Holandesa de Jazz y otros.
Frans van der Hoeven.Com para más información


Roy Dackus ('64) Roy Dackus comenzó a tocar la batería a una edad temprana siguiendo a su padre, que era baterista profesional. En 1987 se graduó en el Conservatorio de Ámsterdam. Durante los años ha actuado y grabado con artistas y orquestas muy diferentes, como Art Farmer, Toots Thielemans, Randy Brecker, Richard Galliano, Charly Mariano, la banda de rock de 70 lazos Focus, la Orquesta Metropole dirigida por Vince Mendoza, la orquesta de Jazz del Concertgebouw y su propio grupo codirigido European jazz Trio.
http://www.europeanjazztrio.com/

 

www.europeanjazztrio.com ...

Trilok Gurtu-Arkè String Quartet ‎• Arkeology

 

Trilok Gurtu, the great Indian world-music percussionist, plays the Jazz Cafe in London on Monday with this lineup, and it will be interesting to see how he gets on in what can be a sonically competitive environment with a lot of quiet themes and four quiet partners. Gurtu is the only improvising soloist here (on staccato, percussion-mimicking vocals as well as a multiplicity of instruments), and contributes three out of 10 compositions - the others are by the chamber group members.

The Arke Quartet have shrewdly and musically lent an ear to a lot of world-music materials - from a softly singing microtonal quality reminiscent of Chinese violin music, to the rhythmic devices of Indian classical music and a Shakti-like Indo-jazz fusion, to a Celtic skip, an ambient tone-poetry sigh and much more. So, although perhaps the samplings from these different cultures don't entirely escape the local equivalents of hot licks, the programme is very varied, sensitively played and affectingly melodic - and Gurtu's famously tumultuous jamming against it is as inventive as ever.

https://www.theguardian.com/music/2007/feb/16/jazz.shopping1

 AllMusic Review by Chris Nickson

There's definitely something interesting going on here. Mix percussionist Trilok Gurtu with Italy's Arke String Quartet, whose instrumental arsenal extends a little beyond convention, and you have a marvellous blend of East and West, apparent from the outset with "Balahto," which just cracks out of the box. It really is a cultural blend, too, with everyone responsible for the compositions, such as Gurtu's "Folded Hands," which is extensive and exploratory, gorgeously melodic, and rhythmically inventive. Creatively, the musicians are real equals, all striving for something new and making connections. The fact that they're all virtuosos doesn't hurt, either, readily able to translate their ideas from the head to the fingers, and with a deep knowledge of global music and an obvious desire to learn more. It takes some unexpected turns, like the tabla that mixes with the music of Southern Italy on "Taranta Suite," but works perfectly. In its own quiet way, this is one of the great successes of the year.

https://www.allmusic.com/album/arkeology-mw0001086921

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Trilok Gurtu, el gran percusionista de la música mundial de la India, toca el lunes en el Jazz Café de Londres con esta formación, y será interesante ver cómo le va en lo que puede ser un ambiente sónico competitivo con muchos temas tranquilos y cuatro compañeros tranquilos. Gurtu es el único solista que improvisa aquí (en staccato, voces que imitan la percusión, así como una multiplicidad de instrumentos), y contribuye con tres de cada 10 composiciones - las otras son de los miembros del grupo de cámara.

El Cuarteto Arke ha escuchado con astucia y musicalidad muchos de los materiales de la música del mundo - desde una calidad microtonal que canta suavemente y que recuerda a la música del violín chino, hasta los dispositivos rítmicos de la música clásica india y una fusión de indo-jazz similar a la Shakti, pasando por un saltito celta, un suspiro de poesía y tono ambiental y mucho más. Así que, aunque quizás las muestras de estas diferentes culturas no escapan del todo a los equivalentes locales de las lamidas calientes, el programa es muy variado, tocado con sensibilidad y afectuosamente melódico - y la famosa y tumultuosa interferencia de Gurtu contra él es tan inventiva como siempre.

https://www.theguardian.com/music/2007/feb/16/jazz.shopping1

 Reseña de AllMusic por Chris Nickson

Definitivamente está pasando algo interesante aquí. El percusionista Trilok Gurtu con el cuarteto italiano Arke String Quartet, cuyo arsenal instrumental se extiende un poco más allá de lo convencional, y tienes una mezcla maravillosa de Oriente y Occidente, evidente desde el principio con "Balahto", que simplemente se rompe al sacarlo de la caja. Realmente es una mezcla cultural, también, con todos los responsables de las composiciones, como "Folded Hands" de Gurtu, que es extensa y exploratoria, bellamente melódica y rítmicamente inventiva. Creativamente, los músicos son realmente iguales, todos luchando por algo nuevo y haciendo conexiones. El hecho de que todos ellos sean virtuosos tampoco hace daño, ya que son capaces de traducir sus ideas de la cabeza a los dedos, y con un profundo conocimiento de la música global y un obvio deseo de aprender más. Toma algunos giros inesperados, como la tabla que se mezcla con la música del sur de Italia en "Taranta Suite", pero funciona perfectamente. A su manera, este es uno de los grandes éxitos del año.

https://www.allmusic.com/album/arkeology-mw0001086921

L. Subramaniam • Fantasy Without Limits

 

 

indianviolin.com ...

Adam Baldych,Leszek Możdżer • Passacaglia

 

Description from ACT Music (actmusic.com):
Passacaglia is a multi-colored musical dialogue between two unique characters who are leading figures in European jazz and contemporary music, Adam Baldych and Leszek Możdżer. The repertoire ranges from free improvisations over works co-written by the musicians themselves to their very personal interpretations of themes by Erik Satie, Josquin des Prez and others. The album features a highly unusual combination of instruments: a Renaissance violin, two grand pianos - one tuned to 442 Hz and the other 432 Hz - and a prepared upright piano. This setup allows an infinitely varied palette of musical expression, which defies styles, genres and even tonal and harmonic convention. The world that Baldych and Możdżer create is one of well-balanced beauty, expressed in the noble form of chamber music, but it is also one of turbulent and intensely emotional improvisation. Like all great art, it draws you in and leaves you intrigued at the same time - and also makes you want to come back and explore it all over again.
https://www.actmusic.com/en/passacaglia/ACT-9057

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Descripcion de ACT Music (actmusic.com):
Passacaglia es un dialogo musical multicolor entre dos personalidades unicas que son figuras lideres del jazz europeo y la musica contemporanea, Adam Baldych y Leszek Możdżer. El repertorio va desde improvisaciones libres sobre obras coescritas por los propios musicos hasta sus interpretaciones muy personales de temas de Erik Satie, Josquin des Prez y otros. El album presenta una combinacion de instrumentos altamente inusual: un violin renacentista, dos pianos de cola (uno afinado a 442 Hz y el otro a 432 Hz) y un piano vertical preparado. Esta configuracion permite una paleta de expresion musical infinitamente variada, que desafia estilos, generos e incluso la convencion tonal y armonica. El mundo que crean Baldych y Możdżer es uno de belleza equilibrada, expresada en la noble forma de la musica de camara, pero tambien uno de improvisacion turbulenta e intensamente emocional. Como todo gran arte, te atrapa y te deja intrigado al mismo tiempo, y ademas te hace querer volver a explorarlo una y otra vez.
https://www.actmusic.com/en/passacaglia/ACT-9057

www.adambaldych.com ...

Jon Lord • Live

 

Biography by Bruce Eder
Jon Lord was best known as the co-founder and keyboard player for Deep Purple, but he had a lengthy career with other bands (and as a session musician) long before that band first recorded in 1968, and had an extensive solo career as well, in addition to playing with such offshoot groups as Whitesnake and Paice, Ashton & Lord. He was born Jon Douglas Lord in Leicester, England, in 1941, and manifested an interest in music very early on, taking up classical piano at age five -- his boyhood influences ranged from pre-Baroque through Johann Sebastian Bach to Late Romantics such as Sir Edward Elgar. As the 1950s went on, he also absorbed the music of such jazz and blues figures as Jimmy Smith and Jimmy McGriff, and rock & roller Jerry Lee Lewis. He eventually shifted away from classical music and into playing blues and jazz as a means of earning money, while also studying acting for a time. At the start of the 1960s, he passed through the orbit of jazz guru Bill Ashton, and soon after met Art Wood, an alumnus of Alexis Korner and Cyril Davies' Blues Incorporated. Lord began to pick up session work in the mid-'60s, and that's his piano on the Kinks' debut hit, "You Really Got Me." He ended up as a founding member of Art Wood's band the Artwoods -- although the latter group never had a major hit, it was a busy performing outfit and made a large number of television appearances across its three-year existence, which ended in 1967 with a brief period as the Saint Valentine's Day Massacre, a name under which the group issued its final single, "Brother, Can You Spare a Dime."

That band's breakup began a pivotal year for Lord. He organized a studio outfit called Santa Barbara Machine Head, with ranks including future Rolling Stone Ron Wood (brother of Art Wood), which recorded a tiny handful of his instrumental compositions -- and in his first stint as a leader, he debuted a sample of the heavy keyboard style that would figure in his subsequent career. To keep paying bills he also passed through the lineup of the Flower Pot Men, where he made the acquaintance of ex-Johnny Kidd bassist Nick Simper. Fate took a hand in the person of ex-Searchers drummer Chris Curtis, who was looking to organize a band of his own, to be called Roundabout -- that effort was cut short by Curtis' personal instability, but through it Lord first met guitarist Ritchie Blackmore. The Curtis gig vanished, but Lord and Blackmore decided to try working together anyway, Simper came aboard, along with Ian Paice and Rod Evans, and the result was Deep Purple.

On the group's early album, Lord's instrument was the dominant part of their sound, and his compositions stood out for their boldness and sophistication (though it was songs such as "Hush" by Joe South and "Kentucky Woman" by Neil Diamond that were selling records for them). For most of the 1960s, Lord had played a mix of piano and organ, but with Deep Purple he concentrated far more on the latter, and especially the sound of the Hammond organ -- the latter had been a favorite of players such as Steve Winwood and, especially, Keith Emerson, but the development of the Mellotron and then the Moog synthesizer drew away most of the best players in rock to those instruments. Lord proved the exception, and he turned the Hammond organ into his signature sound (occasionally augmented by the electric piano and harpsichord) on the first seven years of Deep Purple's work. His aspirations as a composer also came to the fore early on, with pieces that melded classical influences with rock & roll on the group's second and third LPs. In 1969, he delivered the almost LP-length "Concerto for Group and Orchestra," which was performed live with the Royal Philharmonic Orchestra under conductor Malcolm Arnold in September of that year at Royal Albert Hall.

The concerto and the resulting album elevated the group's status in the British rock music world, and also became their first release in America on Warner Bros., the label where they would make their permanent mark on music -- but it also created a schism within the lineup; Blackmore, especially, had tolerated this digression into classical music, but the notion of any subsequent efforts in that direction was rejected out of hand, even when the BBC commissioned a classical/rock piece soon after the concert. Lord would have to pursue those ideas on his own. Meanwhile, the band returned to rock & roll with a vengeance (and a new lineup, Ian Gillan and Roger Glover having taken over on vocals and bass, respectively, before the concerto performance) on In Rock, Fireball, and Machine Head. Their early-'70s output would ultimately sell in the tens of millions and turn them into international legends, Lord's playing at the center of it in tandem with Blackmore's work.

Lord was also busy with outside projects, most notably The Gemini Suite (1972), an outgrowth of the 1970 BBC commission. He followed this with Sarabande in 1975, the year that Deep Purple initially called it quits -- by that time, Lord and Ian Paice were the only originals still present (he also married Paice's sister-in-law). He spent a year as part of the trio of Paice, Ashton & Lord, did lots of session work, and then joined mid-'70s Purple singer David Coverdale's band Whitesnake. His six years there, from 1978 through 1984, also saw Lord finally adopt the synthesizer, and prove he could match Keith Emerson or Rick Wakeman in the on-stage keyboard arms race. He released two solo projects during this period, Before I Forget (1982) and Country Diary of an Edwardian Lady (1984), even as Whitesnake enjoyed a string of hits.

But Lord was never more than a salaried member of the band, a situation that he didn't relish, and in 1984 he left the group to become part of the re-formed classic Deep Purple lineup, which yielded the Perfect Strangers album and a huge international tour. The revived Deep Purple, which endured numerous lineup shifts and released albums and toured across the 1980s and 1990s, kept Lord busy in between various solo projects (and an increasing amount of soundtrack work) right into 2002, when he formally retired from the band. By that time, he'd been signed to Virgin Classics, a proper classical music label (later absorbed by EMI), and he had begun composing, performing, and recording freestanding classical works and belatedly establishing himself in that musical world. Lord continued to keep his hand in jazz and blues, even forming a band devoted to the latter christened the Hoochie Coochie Men (reviving a name associated with Cyril Davies and Long John Baldry), but straddling several musical worlds. Those performances, and the continued robust sales of the Deep Purple catalog, overlapped with his own 2007 Durham Concerto, a gloriously ambitious six-movement piece whose stylistic elements recalled (without mimicking) the work of Ralph Vaughan Williams, John Tavener, and Malcolm Arnold. He also recorded a classical album in memory of his longtime friend, the author Sir John Mortimer. After battling pancreatic cancer for nearly a year, Jon Lord died of a pulmonary embolism in London on July 16, 2012; he was 71 years old.
https://www.allmusic.com/artist/jon-lord-mn0000821351

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Biografía de Bruce Eder
Jon Lord era mejor conocido como cofundador y tecladista de Deep Purple, pero tuvo una larga carrera con otras bandas (y como músico de sesión) mucho antes de que esa banda grabara por primera vez en 1968, y también tuvo una extensa carrera en solitario, además de tocar con grupos derivados como Whitesnake y Paice, Ashton & Lord. Nació como Jon Douglas Lord en Leicester, Inglaterra, en 1941, y manifestó un interés por la música desde muy temprano, comenzando a tocar el piano clásico a los cinco años. Sus influencias de infancia abarcaron desde el prebarroco hasta Johann Sebastian Bach y románticos tardíos como Sir Edward Elgar. A medida que avanzaba la década de 1950, también absorbió la música de figuras del jazz y el blues como Jimmy Smith y Jimmy McGriff, y el rock & roller Jerry Lee Lewis. Eventualmente se alejó de la música clásica y se dedicó a tocar blues y jazz como medio para ganar dinero, mientras estudiaba actuación por un tiempo. A principios de la década de 1960, pasó por la órbita del gurú del jazz Bill Ashton, y poco después conoció a Art Wood, alumno de Alexis Korner y Cyril Davies' Blues Incorporated. Lord comenzó a retomar el trabajo de sesión a mediados de los 60, y ese es su piano en el éxito debut de The Kinks, " Realmente Me atrapaste."Terminó como miembro fundador de la banda de Art Wood, The Artwoods although aunque este último grupo nunca tuvo un gran éxito, era un grupo ocupado actuando e hizo una gran cantidad de apariciones en televisión durante sus tres años de existencia, que terminaron en 1967 con un breve período como The Saint Valentine's Day Massacre, un nombre con el que el grupo emitió su último sencillo, "Brother, Can You Spare a Dime."

La ruptura de esa banda inició un año crucial para Lord. Organizó un equipo de estudio llamado Santa Barbara Machine Head, con rangos que incluían al futuro Rolling Stone Ron Wood (hermano de Art Wood), que grabó un puñado de sus composiciones instrumentales and y en su primera etapa como líder, debutó con una muestra del estilo de teclado pesado que figuraría en su carrera posterior. Para seguir pagando las facturas, también pasó por la formación de The Flower Pot Men, donde conoció al ex bajista de Johnny Kidd, Nick Simper. El destino tomó una mano en la persona del ex baterista de Searchers, Chris Curtis, quien buscaba organizar una banda propia, que se llamaría Roundabout that ese esfuerzo se vio truncado por la inestabilidad personal de Curtis, pero a través de él Lord conoció al guitarrista Ritchie Blackmore. El concierto de Curtis desapareció, pero Lord y Blackmore decidieron intentar trabajar juntos de todos modos, Simper subió a bordo, junto con Ian Paice y Rod Evans, y el resultado fue Deep Purple.

En los primeros álbumes del grupo, el instrumento de Lord era la parte dominante de su sonido, y sus composiciones destacaban por su audacia y sofisticación (aunque eran canciones como "Hush" de Joe South y "Kentucky Woman" de Neil Diamond las que vendían discos para ellos). Durante la mayor parte de la década de 1960, Lord había tocado una mezcla de piano y órgano, pero con Deep Purple se concentró mucho más en este último, y especialmente en el sonido del órgano Hammond the este último había sido el favorito de músicos como Steve Winwood y, especialmente, Keith Emerson, pero el desarrollo del Mellotron y luego del sintetizador Moog atrajo a la mayoría de los mejores músicos del rock a esos instrumentos. Lord demostró ser la excepción, y convirtió el órgano Hammond en su sonido característico (ocasionalmente aumentado por el piano eléctrico y el clavecín) en los primeros siete años de trabajo de Deep Purple. Sus aspiraciones como compositor también pasaron a primer plano desde el principio, con piezas que fusionaron influencias clásicas con rock & roll en el segundo y tercer LP del grupo. En 1969, entregó el "Concierto para Grupo y Orquesta" de casi LP, que se interpretó en vivo con la Royal Philharmonic Orchestra bajo la dirección de Malcolm Arnold en septiembre de ese año en el Royal Albert Hall.

El concierto y el álbum resultante elevaron el estatus del grupo en el mundo de la música rock británica, y también se convirtieron en su primer lanzamiento en Estados Unidos en Warner Bros., el sello donde dejarían su huella permanente en la música pero también creó un cisma dentro de la formación; Blackmore, especialmente, había tolerado esta digresión hacia la música clásica, pero la noción de cualquier esfuerzo posterior en esa dirección fue rechazada de plano, incluso cuando la BBC encargó una pieza clásica/rock poco después del concierto. Lord tendría que perseguir esas ideas por su cuenta. Mientras tanto, la banda regresó al rock & roll con una venganza (y una nueva formación, Ian Gillan y Roger Glover se hicieron cargo de la voz y el bajo, respectivamente, antes de la presentación del concierto) en In Rock, Fireball y Machine Head. Su producción de principios de los 70 finalmente se vendería en decenas de millones y los convertiría en leyendas internacionales, con Lord tocando en el centro junto con el trabajo de Blackmore.

Lord también estaba ocupado con proyectos externos, sobre todo The Gemini Suite (1972), una consecuencia de la comisión de la BBC de 1970. Siguió esto con Sarabande en 1975, el año en que Deep Purple inicialmente renunció -- para entonces, Lord e Ian Paice eran los únicos originales que aún estaban presentes (también se casó con la cuñada de Paice). Pasó un año como parte del trío de Paice, Ashton & Lord, hizo mucho trabajo de sesión y luego se unió a la banda Whitesnake del cantante de Purple de mediados de los 70, David Coverdale. Sus seis años allí, desde 1978 hasta 1984, también vieron a Lord finalmente adoptar el sintetizador y demostrar que podía igualar a Keith Emerson o Rick Wakeman en la carrera armamentista del teclado en el escenario. Lanzó dos proyectos en solitario durante este período, Before I Forget (1982) y Country Diary of an Edwardian Lady (1984), incluso cuando Whitesnake disfrutaba de una serie de éxitos.

Pero Lord nunca fue más que un miembro asalariado de la banda, una situación que no disfrutó, y en 1984 dejó el grupo para formar parte de la formación clásica reformada de Deep Purple, que produjo el álbum Perfect Strangers y una gran gira internacional. El revivido Deep Purple, que soportó numerosos cambios de formación y lanzó álbumes y realizó giras durante las décadas de 1980 y 1990, mantuvo a Lord ocupado entre varios proyectos en solitario (y una cantidad creciente de trabajo en la banda sonora) hasta 2002, cuando se retiró formalmente de la banda. Para entonces, había firmado con Virgin Classics, un sello de música clásica adecuado (luego absorbido por EMI), y había comenzado a componer, interpretar y grabar obras clásicas independientes y a establecerse tardíamente en ese mundo musical. Lord continuó manteniendo su mano en el jazz y el blues, incluso formando una banda dedicada a este último bautizada como The Hoochie Coochie Men (reviviendo un nombre asociado con Cyril Davies y Long John Baldry), pero a caballo entre varios mundos musicales. Esas actuaciones, y las continuas y sólidas ventas del catálogo de Deep Purple, se superpusieron con su propio Concierto de Durham de 2007, una pieza gloriosamente ambiciosa de seis movimientos cuyos elementos estilísticos recordaban (sin imitar) el trabajo de Ralph Vaughan Williams, John Tavener y Malcolm Arnold. También grabó un álbum clásico en memoria de su viejo amigo, el autor Sir John Mortimer. Después de luchar contra el cáncer de páncreas durante casi un año, Jon Lord murió de una embolia pulmonar en Londres el 16 de julio de 2012; tenía 71 años.
https://www.allmusic.com/artist/jon-lord-mn0000821351

jonlord.org ...

Renaud Garcia-Fons ‎• Alboreá

 

The most virtuosic bass player to come up in many years, Frenchman Renaud Garcia-Fons has been impressing listeners and musicians alike. German reed player Michael Riessler and Lebanese oud player Rabih Abou-Khalil repeatedly called for his services. An outstanding con-arco player, Renaud is also a member of French Orchestre de Contrebasses and recorded two albums in solo and duet settings that raised enormous attention among connoisseurs.
"Alboreá" (the title refers to Andalusian wedding-music) is the debut disc of Renaud's newly formed quartet. It features Parisian accordion master Jean-Louis Matinier (who recorded with Michael Riessler a.o.), Yves Torchinsky (Renaud's colleague in the Orchestre de Contrebasses), and extraordinary drummer (and singer) Jacques Mahieux (who even recorded with blues legend Champion Jack Dupree). The quartet's music is primarily inspired by the Mediterranean area which is a melting-pot for diverse cultural influences. In Renaud's tunes you can hear traces of flamenco, new musette, Greek, Spanish and African music, but also allusions to Latin America, India and the American Indians. The quartet's approach is light and subtle, yet at the same time highly virtuosic. Rooted in European folk traditions, this thrilling music displays the improvisational depth and swinging vitality of jazz.

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El bajista más virtuoso que ha surgido en muchos años, el francés Renaud Garcia-Fons, ha impresionado a oyentes y músicos por igual. El músico de lengüeta alemán Michael Riessler y el oudista libanés Rabih Abou-Khalil han recurrido a sus servicios en repetidas ocasiones. Destacado intérprete de con-arco, Renaud es también miembro de la Orchestre de Contrebasses francesa y ha grabado dos discos en solitario y a dúo que han suscitado una enorme atención entre los entendidos.
"Alboreá" (el título hace referencia a la música nupcial andaluza) es el disco de debut del recién formado cuarteto de Renaud. Cuenta con el maestro parisino del acordeón Jean-Louis Matinier (que grabó con Michael Riessler entre otros), Yves Torchinsky (colega de Renaud en la Orchestre de Contrebasses) y el extraordinario baterista (y cantante) Jacques Mahieux (que incluso grabó con la leyenda del blues Champion Jack Dupree). La música del cuarteto se inspira principalmente en la zona mediterránea, que es un crisol de diversas influencias culturales. En las melodías de Renaud se pueden escuchar rastros de flamenco, nueva musette, música griega, española y africana, pero también alusiones a América Latina, la India y los indios americanos. El enfoque del cuarteto es ligero y sutil, pero al mismo tiempo muy virtuoso. Enraizada en las tradiciones folclóricas europeas, esta música emocionante muestra la profundidad de la improvisación y la vitalidad del jazz.

www.renaudgarciafons.com ...

Colaborador / Contributor:  Mich58

Adam Baldych • Portraits

 

Description from ACT Music:
In Portraits, Polish violinist and composer Adam Bałdych crafts an extraordinary musical journey, blending lamentation, jubilation and prayer to reflect on the fragility of life and a call for peace. Inspired by historical accounts and today's conflicts, Bałdych's virtuosic violin - both standard and Renaissance - leads his Polish quintet in a seamless interplay of improvisation and precision. This meticulously crafted album transcends words, offering a powerful narrative of hope, beauty, and resilience that resonates deeply.
https://www.actmusic.com/en/portraits/ACT-9062-2

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Descripción de ACT Music:
En Portraits, el violinista y compositor polaco Adam Bałdych crea un extraordinario viaje musical, mezclando lamento, júbilo y oración para reflejar la fragilidad de la vida y un llamado a la paz. Inspirado en relatos históricos y conflictos actuales, el virtuoso violín de Bałdych, tanto estándar como renacentista, lidera su quinteto polaco en una interacción fluida de improvisación y precisión. Este álbum meticulosamente elaborado trasciende las palabras, ofreciendo una poderosa narrativa de esperanza, belleza y resiliencia que resuena profundamente.
https://www.actmusic.com/en/portraits/ACT-9062-2

www.adambaldych.com ...

Sounds of War, Music in the United States during World War II

 

 

This book is the first comprehensive study of classical music in the United States during World War II. Whether as an instrument of propaganda or as a form of entertainment, classical music had a cultural relevance and a ubiquity in the war effort that are hard to imagine today. Exploring an abundance of sources ranging from government archives to the correspondence of musicians, this book traces how musicians in the United States responded and contributed to the war, following individual performers and composers as they faced military duty or sought alternative ways in which they could serve. Declassified materials from the Office of War Information, the State Department, and the Armed Forces speak to the manner in which U.S. government agencies instrumentalized and weaponized classical music and music making. In the interplay of individuals and institutions, as well as military and civilian organizations, musicians created works that left its indelible stamp on American music and musical life. Wartime compositions such as Aaron Copland’s Fanfare for the Common Man, Rodeo, and Appalachian Spring speak as articulately to U.S. wartime culture as does Morton Gould’s American Salute. These meshed with the contributions to American concert life of exiled composers such as Darius Milhaud, Béla Bartók, and Arnold Schoenberg, who, having fled the Nazis, went on to write new music for their new American audiences.

 

Charms that soothe classical music and the narrative film

 

From Chaplin’s brilliant use of Wagner in The Gold Rush to the Bach chorale closing Scorsese’s Casino, classical music has played a fascinating role in movies.

Dean Duncan provides a fresh critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, Duncan examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances. Drawing on film theory, musicology, and cultural criticism, he clarifies the connections between two very different art forms.

 

 

 

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Gregorian Chant pdf

 

Willi Apel's classic study of Gregorian chant is now in paperback. This extensive survey describes the evolutionary processes of its long history as well as its definition and terminology, the structure of the liturgy, the texts, the notation, the rhythm, the tonality, and the methods and forms of psalmody.

 

Willi Apel (Author)  

 

Music in the Nineteenth Century: The Oxford History of Western Music

 

 

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music.

In Music in the Nineteenth Century , Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

 

Renaud Garcia-Fons • Beyond The Double Bass

 

The CD BEYOND THE DOUBLE BASS gives great insight into the phenomenon Renaud García-Fons focussing on essential tracks of his ten CD releases, personally selected and commented by the artist. A welcome surprise is his daughter Soleá s contribution Camino de Felicidad. Her wonderful, warmly expressive Flamenco tinged voice is a highlight in this instrumental album and provides a yet unheard side of the great bass player s soundscape. The DVD of this CD+DVD package documents the creative process of García-Fons. Film maker Nicolas Dattilesi has followed Renaud for many years and won the ECHO-Award (something like the German Grammy) for his Marcevol DVD (ENJ-9581). On the new DVD many partners of the bassist give their views and interpretations on his music, musicians like Nguyên Lê, Barre Phillips, David Peña Dorantes, Derya Türkan, Jean Auray who custom-builds his instruments, journalists like Alex Dutilh, Jonathan Glusman and long time producer Matthias Winckelmann. Extensive interviews and smashing concert excerpts between Paris and Istanbul point out the unique concept of this artist and his grasp on Mediterranean music developed out of Flamenco, the jazz tradition and classical music. It s a highest quality DVD filmed by 5 HD cameras and expert cameramen, subtitles of the French language original in English, Spanish and German. Renaud García-Fons career has developed in great leaps in recent years covering all Europe, the Middle East, North Africa, the US and Canada, Australia and very soon he will be on his first tour in Korea and China.

An incredible journey through a 20 years and 10 albums artistic huge success, with an unreleased movie about Renaud Garcia-Fons

www.renaudgarciafons.com ...

Colaborador / Contributor:  Mich58

The Cambridge Companion to the String Quartet

 

This Companion offers a concise and authoritative survey of the string quartet by eleven chamber music specialists. Its fifteen carefully structured chapters provide coverage of a stimulating range of perspectives previously unavailable in one volume. It focuses on four main areas: the social and musical background to the quartet's development; the most celebrated ensembles; string quartet playing, including aspects of contemporary and historical performing practice; and the mainstream repertory, including significant 'mixed ensemble' compositions involving string quartet. Various musical and pictorial illustrations and informative appendixes, including a chronology of the most significant works, complete this indispensable guide. Written for all string quartet enthusiasts, this Companion will enrich readers' understanding of the history of the genre, the context and significance of quartets as cultural phenomena, and the musical, technical and interpretative problems of chamber music performance. It will also enhance their experience of listening to quartets in performance and on recordings.

 

Robin Stowell (Editor)  

 

Music in the Seventeenth and Eighteenth Centuries: The Oxford History of Western Music

 

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music.

Music in the Seventeenth and Eighteenth Centuries , the second volume Richard Taruskin's monumental history, illuminates the explosion of musical creativity that occurred in the seventeenth and eighteenth centuries. Examining a wealth of topics, Taruskin looks at the elegant masques and consort music of Jacobean England, the Italian concerto style of Corelli and Vivaldi, and the progression from Baroque to Rococo to romantic style. Perhaps most important, he offers a fascinating account of the giants of this period: Bach, Handel, Mozart, Haydn, and Beethoven. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

 

Petrucciani-Legrand-Loussier • Jazz Piano French Touch

 

Bach A Musical Biography

 

J. S. Bach composed some of the best-loved and most moving music in Western culture. Surviving mostly in manuscript collections, his music also exists in special and unique publications that reveal much about his life and thoughts as a composer. In this book, Peter Williams, author of the acclaimed J. S. Bach: A Life in Music, revisits Bach's biography through the lens of his music. Reviewing all of Bach's music chronologically, Williams discusses the music collection by collection to reveal the development of Bach's interests and priorities. While a great deal has been written about the composer's vocal works, Williams gives the keyboard music its proper emphasis, revealing it as crucial to Bach's biography, as a young organist and a mature composer, as a performer in public and teacher in private, and as a profound thinker in the language of music.

 

Sounds and Sweet Airs: The Forgotten Women of Classical Music

 

Since the birth of classical music, women who dared compose have faced a bitter struggle to be heard. In spite of this, female composers continued to create, inspire and challenge. Yet even today so much of their work languishes unheard.

Anna Beer reveals the highs and lows experienced by eight composers across the centuries, from Renaissance Florence to twentieth-century London, restoring to their rightful place exceptional women whom history has forgotten.

Mendelssohn: A Life in Music

 

An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing."
Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the
composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time.
Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discover many new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

 

The Complete Classical Music Guide

Lose yourself in the fascinating story of classical music in The Complete Classical Music Guide. Full of beautiful colour photographs, over 300 inspiring composer biographies, analyses of major classical works and information on every genre, style and form, instrument and ensemble, this is essential reading for every lover of classical music.

Be inspired by the composers who have shaped the musical landscape over a millennia from the earliest music, through the Baroque and Romantic eras and right up to the modern classical music of today.

Presented in a beautiful glossy slipcase in the shape of a grand piano, The Complete Classical Music Guide will hit the right note with any classical music fan.

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