Counterpoint (1967)

Albert Mangelsdorff and Lee Konitz - Art Of The Duo (1989) {Enja CD 5059-2 rec 1983}
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© 1983, 1989 Enja Records | CD 5059-2
Jazz / Post Bop / Modern Creative / Saxophone / Trombone

No one has worked harder to elevate the art of the jazz duo than Lee Konitz. His 1967 session, The Lee Konitz Duets, was a seminal statement. This much-later duet session with trombone master Albert Mangelsdorff pales in comparison. Konitz has long espoused the belief that horn players can swing without a rhythm section, yet much of the time Mangelsdorff insists on serving as a faux bass – really, tuba – player. And when he uses his patented technique of singing into his horn while creating chords, he functions as a very simple guitar player.

The Australian Haydn Ensemble stands at the forefront of Australia’s historically informed orchestras. Comprised of world-class musicians on period instruments, AHE is deeply dedicated to historical research and authentic interpretation, preserving the legacy of Classical masters while captivating audiences with their artistry and passion. Here they turn their brilliance to the music of Mozart: his beloved Piano Concerto in C Major (known as the ‘Elvira Madigan’ after it was immortalised on the 1967 movie), his sparkling Third Violin Concerto, and the magnificent ‘Prague’ Symphony.

Wiek Hijmans - Classic Electric (2004) {X-OR CD 018}
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© 2003 X-OR Records | CD 018
Classical / Contemporary Classical / Avant-Garde / Electric Guitar

Wiek Hijmans (1967) has played the electric guitar since the age of eleven. His interest in both classical and popular music instilled a lifelong passion in him for integrating the electric guitar in classical music. Hijmans has been featured at the Holland Festivals Night of the electric guitar, and at the Concertgebouw, Amsterdam, as ‘the specialist in contemporary composed music for electric guitar’. Hijmans holds a Performing Musician’s Diploma from the Sweelinck Conservatory of Amsterdam and a Professional Studies Certificate from the Manhattan School of Music in New York City where he studied with David Starobin.

For fans of Sergey Taneyev, the so-called Russian Brahms, the re-issue of the Taneyev Quartets recordings of the nine string quartets of their namesake in 2005 was cause for celebrating. Taped in the late Seventies, their recordings were only intermittently available in what was then called the West, and their re-release restored to the catalogue performances which could well be considered definitive.