Coherence (2013)

For this 2013 release from Ondine, violinist Christian Tetzlaff, conductor Daniel Harding, and the Swedish Radio Symphony Orchestra present three exciting works by Jörg Widmann, a German composer who possesses an impressive talent for orchestration. The Violin Concerto is the most imposing piece on the program, at nearly a half hour in duration and of an exceptionally wide range of techniques and sonorities, and it serves as a powerfully expressive vehicle for Tetzlaff. Long lines predominate, and the tonal inflections of the chromatic writing make it quite accessible to listeners who don't normally listen to contemporary works.

In the late 1940s, the pioneering Decca recording engineers perfected a new set of microphone techniques that allowed the full range of frequencies to be fully heard by listeners for the first time, and the term ‘full frequency range recording’ was launched. It was a major revolution in sound quality, and the beginnings of high fidelity.

In the famous Preface to Alceste (1767), Christoph Willibald Gluck and his librettist Ranieri de' Calzabigi posited a new direction for opera. They spoke of moving beyond Baroque forms, of striving for a new naturalism in opera. They wanted, in Calzabigi's lovely phrase, to liberate the language of the heart. Taken from the height of this Reform period, the arias on this disc reveal composers exploring and experimenting, at struggle and at play, as they create the new forms that bring to opera the noble simplicity of the Classical era.

In addition to being a world-class violinist, pianist, conductor, and teacher, George Enescu was a well-renowned composer. In fact, his most celebrated violin pupil, Yehudi Menuhin, made the prediction that Enescu’s compositions would become ‘one of the great discoveries of the twenty-first century’, and, indeed, in recent years Enescu’s works have become more widely performed.

Cream teamed up with producer Felix Pappalardi for their second album, Disraeli Gears, a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Cream get further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio. The blues still courses throughout Disraeli Gears – the swirling kaleidoscopic "Strange Brew" is built upon a riff lifted from Albert King – but it's filtered into saturated colors, as it is on "Sunshine of Your Love," or it's slowed down and blurred out, as it is on the ominous murk of "Tales of Brave Ulysses."