Coronado's Children

They should be simple and beautiful – that’s what Chick Corea wrote about his 20 Children’s Songs; the reason being that just this very simplicity and beauty of children‘s minds was what he wanted to express in his musical miniatures.

Since their formation in 1993, Finland's Children of Bodom wove various strains of heavy and extreme metal, melodic hooks, a flashy presentation, a healthy – some would say excessive – sense of humor, and the guitar pyrotechnics of lead guitarist Alexi Laiho into an instantly recognizable sound at once expansive yet difficult to pigeonhole. Beginning with their independently issued debut, Something Wild, on Spinefarm in 1997 (re-released by Nuclear Blast a year later) and underscored by an electrifying, wildly energetic, entertaining stage presence showcased on regional tours opening for acts such as Dimmu Borgir, word of mouth won the band a cult-like fan base that grew exponentially in the ensuing years, making them a global attraction.

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Romantic and late-Romantic musicological literature tended to conceive the history of music in terms of a succession of Great Men (women were normally ignored), frequently neglecting the relationship between a genius composer and his or her cultural context, as well as the aesthetics of the era in dialogue with that of the preceding generations. In the case of P. I. Tchaikovsky, this approach is even more flawed than in that of other composers. Undeniably, the great Russian musician was a genius in his own right. Equally undeniably, his music can hardly be understood in isolation from its cultural framework, and, in particular, from the composer’s interest in the music of earlier musicians of the Classical and Romantic era.

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