Autofx Suites

Frank Zappa - 200 Motels - The Suites - Los Angeles Philharmonic (2015) {2CD Zappa Records ZR0019}
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© 1971, 2015 Zappa Records / The Zappa Family Trust / Universal | ZR 20019 / 00824302001929
Classical / Rock / Experimental / Suite

Official Release #101. On the evening of October 23, 2013, Walt Disney Concert Hall was the place to be in Los Angeles, as Esa-Pekka Salonen conducted the Los Angeles Philharmonic and the Los Angeles Master Chorale in a spectacular, sold-out orchestral performance of Frank Zappa's 200 Motels (The Suites). Recorded for posterity, the acclaimed, one-night-only 13-suite performance of Zappa's 1971 masterwork will be released worldwide on November 20 by Zappa Records/UMe. This 2CD release's expertly recorded audio brings the listener back to Walt Disney Concert Hall to experience the exciting 200 Motels (The Suites) spectacle, complemented by photos from the evening and essays by the show and recording's producers, Gail Zappa and Frank Filipetti, the evening's director James Darrah, 'Scoremeister' Kurt Morgan, and performers including Diva Zappa, Michael Des Barres, special guest 'Rock' rhythm section drummer Joe Travers, and former Zappa band member Scott Thunes. Essays by some notable members of the audience, including Steve Vai and Peter Asher, are also included.

Composer Pino Donaggio teamed with filmmaker Brian DePalma to forge one of the most memorable collaborations in cinema history, writing a series of suspenseful, hauntingly atmospheric scores evoking Bernard Herrmann's landmark work for Alfred Hitchcock.

Telemann - La Chasse, Tragikomische Suites - Akademie für Alte Musik Berlin (1999) {Harmonia Mundi, HMC 901654}
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© 1999 Harmonia Mundi | HMC 901654
Classical / Baroque / Orchestral

Telemann: Suites for Orchestra: La Chasse / Tragikomische Suite is 1999 Harmonia Mundi recording played by the Akademie fur Alte Musik Berlin. Roman Hinke has written the music and Derek Yeld has translated them into English. Also included is a short biography of Akademie fur Alte Musik Berlin. Highly recommended. 5/5.

Raaf Hekkema: Since I started teaching at the Royal Conservatory in The Hague, I have become more conscious of my self-chosen mission: to create a place for the saxophone within the classical music tradition. One way to do this is to forge a stronger bond between the players and the classical tradition, in the knowledge that the saxophone repertoire too is indebted to the great composers of the past. The most influential of them all is, without a doubt, Johann Sebastian Bach.

After the album Bach, Little Books , harpsichordist Francesco Corti continues his collaboration with Arcana with a 2-CD recording entirely dedicated to George Frideric Handel. At the center of the project are the eight “Great” suites. These masterpieces were the composer’s first published set, and are a clear testimony to his virtuosity at the keyboard. Their characteristically diversified styles reflect not only the mélange of national traditions assimilated by the young composer, but also his phenomenal improvisatory talent. Moreover, the attraction of these pieces lies in their melodic and rhythmic affinity to the world of singing and orchestral writing, Händel’s strongest interests.

In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.

Following the success across Europe of his eight ‘Grand Suites’ for harpsichord in 1720, albeit in a doctored and pirated edition, Handel resolved to make good on his promise of a sequel, ‘reckoning it my duty with my small talent to serve a Nation from which I have received so generous a protection.’