Rathkes gate 12:21:58 er et nytt album fra musikerne i trioen, Paolo Vinaccia (trommer) Jacob Young (gitar) og Bendik Hofseth (saxofon). Det er den andre utgivelsen til plateselskapet Oslo Session Recordings, som debuterte med albumet "The Maze" tidligere i sommer.
Composer Anthony Cheung releases All Roads, a follow up to FCR215 Cycles and Arrows. Featuring performances by the Escher Quartet, violinist Miranda Cuckson, soprano Paulina Swierczek, and pianists Jacob Greenberg, Gilles Vonsattel, and Cheung himself, All Roads encapsulates Cheung's penchant for drawing on broad sources of inspiration and filtering them through an incisive and discriminating compositional process to produce substantial, structurally airtight works.
A leading vihuela specialist, the Argentinian virtuoso Ariel Abramovich has already devoted two albums to the favourite instrument of the Iberian Renaissance, the first on Arcana (Esteban Daça, El Parnasso, A316, 2002) and the second on Carpe Diem (Diego Pisador, Si me llaman, 2009). For this third instalment he is joined by one of the world’s most respected and innovative solo lutenists, Jacob Heringman, for a vihuela duo project which is the result of years of research and performing. While there is a significant number of publications for two lutes from the sixteenth century, only one of the seven collections for vihuela de mano includes duets, and it is precisely that collection that was the main source of inspiration for this project. The performers, both highly experienced with intabulations of sixteenth-century music, decided to recreate an ‘imaginary’ book of vihuela duets, following the taste and practice of the ancient masters, who through a notation system of ‘numbers’ used to arrange works by the composers they listened to and played. Cifras Imaginarias is the poetic name they have given to an imaginary music collection of vihuela duos of the kind that might have been published in the mid-sixteenth century.
Der heute leider weitgehend unbekannte flämische Komponist Jacob Clement alias Clemens non Papa (circa 1510 bis 1515 - 1555) war neben Palästrina und Orlando di Lasso einer der führenden Vertreter der Renaissance. Einerseits wurde er für seine geistlichen Werke bei seinen Auftraggebern und Kollegen sehr hoch geschätzt, andererseits eilte ihm der Ruf des Lebemannes voraus, der weltlichen Freuden und Genüssen nicht gerade abgeneigt war. Vielleicht ist es diese Lebenserfahrung und Inspiration, die ihn auch zu einem hervorragenden Komponisten von Chansons und weltlichen Liedern gemacht hat. Seine auffällig virtuose Beherrschung des Kontrapunktes steht in jedem Fall außer Frage.
Beautifully melancholic: musical expeditions, graceful, flowing and deeply emotionally moving, are bundled by Jacob Karlzon on his new album "Wanderlust". The beauties of his piano melodies and harmonies are like psalms, like vocal lines that draw from rich compositional history, yet turn entirely to the now. "Wanderlust" breathes hope and adventure, the music opens spaces for love and discourse, for spontaneity and structure - contemporary and timeless at the same time.
The music of the Renaissance appears to reflect little of the dangers, horrors and violent conflicts of its time. Music written during the Hundred Years War or the French invasion of Italy gives hardly any impression to todays ears of the precariousness of existence of which its composers, singers and listeners must have continually been aware. Nor do the two masses by Jacob Obrecht (1457/8 1505) on this recording betray anything of the restless spirit of the age, despite them both being based on models referring to suffering and misery. Founded by Markus Muntean and Bernhard Trebuch- out of passion for vocal polyphony and a kind of despair about the break in the interpretation of this music which took place in the 1980s- beauty farm gathers young singers, leaving traditions behind, willing to experiment and exploring new musical territory.
In its complexity and individuality, Johann Jacob Froberger's oeuvre represents one of the greatest treasures of 17th century harpsichord repertoire. His travels and friendships with musicians and intellectuals throughout Europe - including, for example, Frescobaldi, Kircher, Kerll, Weckmann, Louis Couperin, Gaultier, Fleury alias Blancrocher, Huygens and many others - are reflected in his stylistic versatillity. What is notable about all these contacts is that the fascination was invariably mutual - Froberger was inspired and also provided strong inspiration to his friends.