Das Geheimlabor

Like Greatest Hits of the Kali Yuga, The Best of Krishna Das samples the singer's earlier devotional works, here drawing upon his albums One Track Heart, Pilgrim Heart, Breath of the Heart, Live on Earth, and Door of Faith. A devotee of Maharaj Ji Neem Karoli Baba, Krishna Das has spent much of his adult life making good on his vow to use his singing voice to alleviate suffering in the world. Krishna Das is that most wonderful blend of Eastern and Western cultures; originally a resident of Long Island, N.Y., he studied in northern India as a young man and has since spent decades reinterpreting the sacred music of that land in ways that are pleasant and often surprising. As a man who sounds at times like Waylon Jennings and who is obviously enamored of the "lila" or divine playfulness, Krishna Das seems to enjoy deliberately toying with the unusual and even humorous aspects of the East/West dichotomy, as when on the album One Track Heart he sang a "Krishna Waltz" that sounded more than a little like the old cowboy tune "Get Along Little Dogies." As an encapsulation of his life's work, this Krishna Das best-of collection is entirely devoted to Sri Neem Karoli Baba and through him to the One Deity with a thousand names and as many aspects as there are atoms in the universe.

Johann Nepomuk Hummel (1778–1837) der als Wunderkind von sieben Jahren Meisterschüler Mozarts, 1804 noch unter Haydn Konzertmeister im Schloß Eszterhazy wurde und sein Leben als Kapellmeister in Weimar beendete, ist heute vor allem durch sein berühmtes Trompetenkonzert bekannt. Sein umfangreiches Schaffen ist leider fast völlig vergessen, auch wenn insbesondere seine damals regelrecht avantgardistischen Klavierkonzerte und Teile seiner Kammermusik seit einiger Zeit wieder vermehrt auf das Interesse von Musikern stoßen. Die Opern und Chorwerke harren noch ihrer Wiederbelebung.

Außerordent- lich lebendige, dramatisch gespannte Wieder- gabe durch ein kleines, stimmlich tüchtiges Ensemble. Gute Solisten sowohl im vokalen wie instrumentalen Bereich.

The Happy Prince is a studio album by the New Zealand rock band The La De Das, released in June 1969. It was the third album from the group and is often cited as the first Australian and New Zealand concept album…

The works of Franz Danzi did not achieve especially widespread appeal during his lifetime, nor have they been particularly popular in modern times despite the trend of resurrecting lost or unknown compositions. In addition to being a prolific composer, Danzi was quite active as an educator, though his pedagogical achievements are equally unrecognized. While not all of his compositions are necessarily worthy of a second look, his chamber works are of interest. In particular, his wind chamber music finds the composer hard at work advancing his ideals of wind performance and the advocacy of the "new," modernized versions of wind instruments. This set of three piano quintets (for fortepiano plus winds) is an ideal setting. The fortepiano, played by Christine Schornsheim, is clearly the dominant force throughout the three quintets, the winds are given several opportunities to stand alone. Danzi sought a more equal treatment of the wind instruments, even bringing the bassoon out of its more traditional role as a mere bass accompaniment instrument.

The La De Da's were a leading New Zealand rock band of the 1960s and early 1970s. Formed in New Zealand in 1963 as The Mergers, they enjoyed considerable success in both New Zealand and Australia until their split in 1975…

Andreas Romberg numbers among music history’s forgotten composers. He was celebrated as a violin virtuoso and a composer, but this did not keep him from falling through the safety net into historiographical obscurity with its often-unjust judgments. We are recording his symphonies over time in the hope that he will receive more attention as a composer. Bonn, Hamburg, and Gotha were his career stations. In 1793, while still in Bonn, he wrote his Messiah, and in 1800 he also performed it in Hamburg, his new place of work. He without doubt regarded it as his favorite and main work, and over the years he repeatedly revised it. klassik-heute. com in April 2008: »Some marvelously atmospheric delights that do not fade away after a single hearing – of which I have been happy to convince myself in what so far have been three complete ‘sessions.’«