David Goggins Niente Può Fermarti. Cant Hurt Me (2023)

In 1594 Carlo Gesualdo, Prince of Venosa, arrived in Ferrara for his marriage to Donna Eleonora d’Este. His meeting with the musical circles of Ferrara, and in particular with Luzzasco Luzzaschi, was to make an important impact on the musical development of the young Girolamo Frescobaldi. In his maturity Frescobaldi arrived at a deeply personal fusion between the musical forms of North Italian (and more specifically Venetian) derivation and the musical experimentation of the southern school.

David Buskin (born December 13, 1943 in New York City) is a singer, songwriter, performer, author, playwright, jingle composer and girls' basketball coach.

In 1594 Carlo Gesualdo, Prince of Venosa, arrived in Ferrara for his marriage to Donna Eleonora d’Este. His meeting with the musical circles of Ferrara, and in particular with Luzzasco Luzzaschi, was to make an important impact on the musical development of the young Girolamo Frescobaldi. In his maturity Fre scobaldi arrived at a deeply personal fusion between the musical forms of North Italian (and more specifically Venetian) derivation and the musical experimentation of the southern school. The aim of this recording project is to explore the reciprocal influ ences between great keyboard master from Ferrara and his colleagues from the Kingdom of Naples. Represented here in a dialogue with Frescobaldi’s works are not only the great experimental figures from the years bridging the 16th and 17th centuries (J. De M acque, Rodio, Stella), but also the composers from the following generation who absorbed and built on Frescobaldi’s example (Storace, Salvatore, L. Rossi), as well as contemporaries who adopted a parallel course (M. Rossi). This fertile musical exchange, w hich culminated in the profoundly distinctive innovations of Frescobaldi himself, fully exemplifies the spirit of experimentation and musical innovation typical of the early 17th century, a period that, like few others, sought out and celebrated aesthetic renewal.

L'un des plus grands violonistes du XXe siècle, né à Odessa le 20 septembre 1908 et décédé à Amsterdam le 24 octobre 1974, David Oïstrakh connaît une renommée internationale après avoir remporté le prestigieux Concours Eugène Ysaÿe, futur Concours Reine-Élisabeth de Belgique, en 1937. Connu en Union soviétique où il est formé dès son jeune âge par Piotr Stoliarski, il suscite une attention grandissante pour son aisance à aborder tous les répertoires, de Bach à Bartok ou Glazounov. En 1939 et 1940, Miaskovski et Khatchatourian lui dédient des oeuvres, comme le feront son ami Chostakovitch puis Prokofiev.

Boireann features two compositions specifically crafted for this release. “Five Études for Two Flutes” reimagines earlier pieces for two violins, demonstrating Buckley’s ability to transpose musical ideas across different instrumental settings. “In Memoriam Doris Keogh,” a three-movement piece for flute and piano, reflects the broad musical interests of Buckley’s flute teacher, Doris Keogh, offering a touching tribute to her influence.

Let the Moon Be a Planet marks the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl., and documents an inspired exchange between guitarist and songwriter Steve Gunn and pianist and composer David Moore of Bing & Ruth. Conjured by a mutual curiosity, and appreciation, for the respective musician’s work, Let the Moon Be a Planet initially took form over a progression of remote sessions and ultimately harmonized when Gunn and Moore completed the album together in the bucolic surroundings of Hudson, New York. Let the Moon Be a Planet is an invitation to relive the intimate moments shared between two artists finding their way along a single path, and into a world where the most subtle of gestures can ripple for an eternity.

Away from the planned career paths, in areas where the love of music does not have to mix with necessities, real talents sometimes turn into mature musicians through many detours. Who else but jazz singer and cultural manager Herb Stangl could passionately keep the venerable tradition of the American Songbook alive for over 30 years? Who else could consistently develop over many years with different formations the oversized stage personality of a Hansi Caruso, now Herb Caruso, which is completely modeled on the way of life of this American era.