Dport 15

Schumann‘s compositions are above all, mystical to me. This mystical musicality is combined with an unparalleled realism, which altogether gives this unique and special musical experience. It is precisely this double effect that is the strongest and most special feature of Schumann’s music for me. I would say that both elements are present with extreme realism.

Dead & Company recently revealed that their final tour will be in 2023, and now they've announced the dates for it.

"Die schöne Magelone" (The Fair Magelone) is the name of a wonderful lied cycle by Johannes Brahms, which the duo Tomas Kildišius (baritone) and Ani Ter-Martirosyan (piano) is releasing as a debut CD on GENUIN. Fortunately, they have linked the 15 Romances on texts by Ludwig Tieck with the poet's original prose fragments so listeners can experience Brahms' music in the context of the entire romantic and exotic story. With her young voice, actress Jannike Liebwerth provides the setting for the Brahms interpretations of the Armenian- Lithuanian duo, whose work has been characterized from the beginning by a shared love of lieder. This can be heard in the subtle soundscapes that bring to life the adventures of Count Peter of Provence and the fair Magelone.

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Kinderszenen (original spelling Kinderscenen, "Scenes from Childhood"), Opus 15, by Robert Schumann (1810-56), is a set of thirteen pieces of music for piano written in 1838. Schumann wrote 30 movements for this work, but chose 13 for the final version. The unused movements were published years later in Bunte Blätter, Opus 99, and Albumblätter, Opus 124.

Live report or music-theatre production? In the piece 'Im Bau' Michel Roth plays with studio sounds and live recordings and cannot be tied down to a certain genre. Swiss composer Michel Roth adapted the text for the stage and composed the ca. one-hour monodrama 'Im Bau' (In the Burrow: Fifteen Sound Spaces after Franz Kafka) as a commission from the ensemble æquatuor, the Lucerne Festival, and the Theater Basel. The work was produced in 2017 as a music-theatrical obstacle course. The fifteen composed sound spaces interacted with a total of fifty-three real space situations, on the one hand in public partial performances, on the other under studio conditions. Likewise explored were the boundaries to reportage with participants moving through the rooms.

BACK TO THE GARDEN is intended to let people hear the festival as it really happened. Producer Andy Zax says he, sound producer Brian Kehew and mastering engineer Dave Schultz avoided interfering with the tapes as much as possible in order to preserve their authenticity. “It’s not surprising that other producers’ first reaction to these tapes over the years has been ‘uh-oh,’ immediately followed by ‘we’ve gotta find a way to fix this.’ I'm not unsympathetic to that approach, but if there's a single overriding lesson that Brian Kehew and I have learned since we began working with the Woodstock tapes in 2005, it’s this: you can't fix them… That’s less grim than it seems, because once you’ve accepted the idea that there is no way to make these recordings sound slick, you realize that these tapes are the sonic equivalent of heirloom tomatoes — slightly imperfect, but delicious.”