Brutalismus 3000

Die Symphonien zeigen einen unverwechselbaren und lebendigen Einfallsreichtum, reizvoll wie bei seinem Bruder Joseph, jedoch in ganz anderer Weise. Vergleiche sind unvermeidlich. Michaels zehn erste Symphonien (c. 1761-c. 1765) sind konzentrierter in der Sprache und zeigen eine größere Formvielfalt als die Josephs (1757-60) und sind weit interessanter als Mozarts von 1764-68. Die erste Symphonie ist ein glanzvolles Stück mit Oboen, Trompeten, Hörnern & Schlagzeug. Der treibende erste Satz zeigt unerwartete harmonische Wendungen, während das Andante wunderbar melodisch ist über einem rhythmischem Puls, was geradezu ein Markenzeichen der Musik Michael Haydns ist. Das Menuett kommt kraftvoll und lebhaft, das Finale hat wunderbaren Schwung.

David Oistrakh is considered the premiere violinist of mid-20th century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. Oistrakh's violin studies began in 1913 with famed teacher Pyotr Stolyarsky. Later he officially joined Stolyarsky's class at the Odessa Conservatory, graduating in 1926 by playing Prokofiev's First Violin Concerto.

Tasty is the third studio album by American singer Kelis, released on December 5, 2003 by Star Trak Entertainment and Arista Records. As executive producer, Kelis enlisted previous collaborators The Neptunes to produce the album, as well as new collaborators such as Raphael Saadiq, Dallas Austin, André 3000, Rockwilder, and Dame Blackmon "Grease". It also features guest vocals from Saadiq, André 3000, and then-boyfriend Nas.

Leftism is the first studio album by English electronica duo Leftfield, released in 1995 on Columbia Records. It contained a mixture of new tracks along with reworked versions of previous Leftfield singles. The album contains guest spots from musicians not associated with dance music at the time such as John Lydon from Public Image Ltd. (and formerly of Sex Pistols) and Toni Halliday from Curve. The album was described as progressive house, although some journalists found that label too limiting, suggesting the album incorporated many genres. After completing the album, the duo initially were not pleased with it. On its release, the album was well received from the British press with positive reviews from the NME and Q. The album was nominated for the Mercury Prize in 1995 but lost to Portishead. Leftism sold well and was released months later in the United States. Critics have praised the album as one of the major album-length works of dance music, with Q referring to it as "the first truly complete album experience to be created by house musicians and the first quintessentially British one".

I doubt if many of us have found our ideal set of Brandenburgs, but most, I suspect, have settled on a favourite collection. The field is enormous, reflecting a wide range of performing styles as well as smaller discrepancies where some of the instruments themselves are concerned. These reissued recordings of the Brandenburgs are style-conscious, period-instrument performances. For sheer refinement of thought and elegance of phrase Parrott’s set has few rivals, though some of the intellectual and artistic excitement that must have gone into its preparation seems a little chastened in the finished product. Parrott never lets us down in his lightly articulated performances and stylistically consistent concept of the music.