Autogenic Training Channel Healing Activation Chakras Music (2021)

The chamber music on this recording was likely composed during the time Jenkins was living in the homes of the Dereham and L’Estrange families. Where Lawes 'music is often edgy and bizarre in character, Jenkins' compositions from this period are clearly intended to counterbalance the uncertain and risky circumstances that prevailed during the turbulent years of the Civil War. It's not for nothing that Andrew Ashbee, the great English Jenkins connoisseur, titled his book “The Harmonious Musick of John Jenkins”.

In the programming of this CD production, the artist specifically pays attention to finding the way to the musical language of the composers. For years, Seung-Yeun Huh has dedicated herself to the music of Mozart, Liszt and Schubert in order to connect the human beings and the lives of the composers with their existence and to internalise them. A great challenge! The artist has the highest respect for German Romanticism. She ventured into Schumann's work very cautiously and with many open questions. His music held her captive in the special Corona period. With much doubt and admiration, the artist immersed herself in this world. The three works which are brought together on this CD are strongly contrasting compo-sitions and yet they have something in common, being at the same time both complex and simple, caught up in individual emotions.

The name of Vasily Pavlovich Kalafati (1869–1942), born to Greek parents in the Crimea, has a toe-hold in the history books as one of Stravinsky’s teachers, but he was an accomplished composer in his own right. The early piano works recorded here show the influence of Rimsky Korsakov (his teacher and friend) and other Russian-nationalist composers, but they also owe something to the examples of Chopin and Brahms, not least in their blend of passion and textural clarity. The vigour of these pieces stands in stark contrast to the ultimate fate of their composer: he starved to death during the Siege of Leningrad.

The organist and harpsichordist John Worgan (1724–90) was one of the most highly respected musicians in the London of his day: Handel admired his playing, and Burney described him as ‘very masterly and learned’. All that survives of his harpsichord music are a ‘New Concerto’, an independent Allegro non tanto and two collections, one of six sonatas and the other of thirteen teaching pieces, but they encompass an eclectic variety of styles and a surprising range of emotions – proud, spirited, witty, impulsive, touching, vivacious – making Worgan sound something like an English Domenico Scarlatti.

On More Music, master organist Joey DeFrancesco, who has long supplemented his keyboard virtuoso with his skilled trumpet playing, here brings out his full arsenal: organ, keyboard, piano, trumpet and, for the first time on record, tenor saxophone. More Music offers up ten new DeFrancesco originals, brought to life by a scintillating new trio with fellow Philadelphia organist and guitarist Lucas Brown and gifted drummer Michael Ode.