Borderline Christian Kuria

Renaissance polyphony and contemporary sound clouds orbit around vocal late Romanticist like satellites. The Zurich Chamber Singers, conducted by Christian Erny, unearth a special narrative drama. Starting with Anton Bruckner, they turn their attention to Palestrina as a point of reference. At the same time, they cast a spotlight back on the work of the Austrian vocal innovator through three contemporary works. A comprehensive selection of Bruckner&'s Latin motets combined with chosen works by Palestrina and three world premiere recordings of the Stuttgart composer Burkhard Kinzler’s commissioned works.

Charlie Christian's career was all too brief, lasting a mere five years. After catching the attention of John Hammond, who recommended him to Benny Goodman, he appeared on fewer than 100 sessions between 1939 and 1941, mostly broadcasts, plus a few privately recorded sessions issued on various labels over the years, in addition to his well-known studio recordings and with Goodman. While the music in this compilation has been previously available, this collection has to much recommend it. First of all, new digital transfers have been made from original acetates from the Jerry Newhouse collection, rather than relying on later generation sources. Frank Driggs' detailed liner notes provide a wealth of historical background and there are also lots of photographs. But the most important factor is the music itself.

The Beethoven cycle of the 21st century! Christian Thielemanns and Wiener Philharmonikers recording of BEETHOVEN 9 had been their first recording in HD of all nine Beethoven symphonies, accompanied by nine hour-long documentaries, one on each symphony, featuring Thielemann and Prof. Joachim Kaiser. From insights into Beethovens musical thinking to interpretational comparisons, including excerpts from performances by Karajan, Böhm, Bernstein, Järvi etc., to historical perspectives no aspect of Beethovens symphonic oeuvre will remain untreated! Thielemanns recordings of the Beethoven symphonies stand head and shoulders above the countless and mostly undistinguishable versions on offer. (Die Presse) The Vienna Philharmonic literally grew beyond itself that evening in the Konzerthaus. (Neue Züricher Zeitung) Missa Solemnis: Thielemann conjured up the gigantic cosmos of the Missa with such lightness and grace that its mystery seemed to reveal itself.

‘The Bach violin concertos are not only one of the Baroque period highlights, but are one of the foundations of the entire history of music’ writes Swedish violinist Christian Svarfvar on his new album of Bach Re Composed by fellow Swede Johan Ullén. ‘It’s a whole world of beauty in 60 minutes. Then you may ask yourself: why recompose something that is already so perfect?’ The result is this brilliant album of re-composed Bach concertos, with a fearless and technically challenging stratospheric solo violin part contrasting with enriched cellos and basses. For those who loved Max Richter’s Four Seasons Re Composed, Infinite Bach will be a wonderful discovery for them. Bach was forward looking and his influence has travelled the centuries, influencing jazz, rock and pop musicians as well as every classical composer who came after him.

The German musician Christian Zimmermann, on two historical copies of Renaissance instruments, is delivering to us this interesting anthology dedicated to the lute works by the Galilei family: Vincenzo and Michelangelo, respectively father and brother of the famous Galileo. Vincenzo, also harpsichordist, gamba violist and theorist, introduced both his sons to the art of music and, although we have news that Galileo himself was an excellent lutist, no traces of his compositions remains, while his father and brother were authors of various collections printed from 1563 to 1620. Michelangelo even became lutist at the court of Maximilian i, elector and duke of Munich. The music proposed by Zimmermann consists of a varied overview of the musical forms dedicated to the lute in the Renaissance era: fantasias, ricercars, galiardes, counterpoints, currents, saltarelli, toccatas, in addition to the inevitable “aria di ruggiero", the famous instrumental bass coming from the lyrics of the Orlando Furioso by Ludovico Ariosto.

Charlie Christian's tragic death at the age of 23 is a firmly entrenched fact of jazz mythology. On The Genius of the Electric Guitar, which consists of various tracks recorded with the Benny Goodman Sextet and Orchestra, Christian's revolutionary guitar playing is clearly displayed. In keeping with the era, each of these 16 songs is relatively short, with each soloist allowed only a chorus or two to make their statements. Paucity of time troubles Christian and his compatriots not a whit, however, and they let loose with concise, swinging lines. Of the other soloists on display here, Lionel Hampton and Goodman himself play admirably, but Christian is in a different league altogether, his sophistication remarkable. Exhibit A: his solo in "Rose Room." Logically constructed and rhythmically varied, it is nevertheless eminently singable…