Fitrework Musik

Akademie für Alte Musik Berlin returns to Pentatone together with soprano Christina Landshamer, presenting La Passione, a collection of dazzling concert arias on love, longing and loss by Mozart, Beethoven and Haydn, paired with the latter’s “La Passione” Symphony. Ranging from pastoral simplicity to exuberant outrage, the programme offers some of the finest vocal writing around 1800, including some of Beethoven’s rare and little-known excursions to Italian bravura opera, as well as one of the most dramatic and expressive symphonies of the eighteenth-century.

Johann Sebastian Bach and the Akademie für Alte Musik Berlin go back a long way together! This recording, made with the welcome participation of Isabelle Faust and Antoine Tamestit, follows the complete violin concertos (2019), which left a lasting impression. Returning regularly to the inexhaustible source of the Brandenburgs ever since a memorable first recording in the late 1990s, the Berlin musicians have achieved a sovereign mastery of what is not a single work, but six, which, under their fingers, are successive episodes of a piece of musical theatre in love with dance, transparent sound and freedom. An exhilarating experience!

New Musik's near-total lack of commercial acceptance is one of the great mysteries of early-'80s pop. Their music, rooted in classic pop songwriting but with a forward-looking interest in shiny electronics, is both instantly accessible and coolly forbidding. This dichotomy is most clearly expressed in the split between group leader Tony Mansfield's melodies, which are hummable, welcoming, and often quite bouncy, and his lyrics, which even Joy Division's Ian Curtis might have sometimes found a little too alienated.
Having released their debut album in 1980 and seeing modest success with the single 'Straight Lines', New Musik's sophomore album, released in early March of 1981, marked a maturing in the band's sound; one where the synthesizer would play a more predominant role in creating an atmosphere which lasts the duration of the album…

In 1727, having just become a naturalised British subject, Handel was commissioned to write a set of anthems for the coronation of George II. Since he could hardly have expected ever to see a more majestic occasion, the composer took full advantage of it to put on a musical firework display of unprecedented splendour. The RIAS Kammerchor and the Akademie für Alte Musik Berlin give thrilling accounts of these flamboyant works – some of which are still used today at each new coronation!

This new album rounds off the complete recording of the symphonies of Carl Philipp Emanuel Bach that the musicians of the Akademie für Alte Musik Berlin began over two decades ago. The final batch offers the quintessence of his art, revealing the full originality of Johann Sebastian’s inspired son, whose freedom and inventiveness paved the way for Haydn and Mozart.

New Musik's debut album, From A to B, is one of the best - and most influential - electronic LPs of the '80s. Its keyboards may sound dated, but there's a freshness to these charming, unpretentious songs that hasn't been spoiled by technological advances in computerized instrumentation. Many new wave revivalists have attempted to capture the nerdy vocals and quirky synthesized bleeps of From A to B and failed. This record is a product of its time, recorded when keyboards were viewed as eventually replacing guitar and bass as rock & roll tools. While many synth pop groups became mired in existential woe to show that they had emotions underneath the layers of Casio hiccups, New Musik is having a blast on From A to B. "With robot precision/We're gonna be doin' just fine," sings Tony Mansfield (guitars, keyboards, vocals) with geek sincerity on the exhilarating "Straight Lines"…

New Musik's near-total lack of commercial acceptance is one of the great mysteries of early-'80s pop. Their music, rooted in classic pop songwriting but with a forward-looking interest in shiny electronics, is both instantly accessible and coolly forbidding. This dichotomy is most clearly expressed in the split between group leader Tony Mansfield's melodies, which are hummable, welcoming, and often quite bouncy, and his lyrics, which even Joy Division's Ian Curtis might have sometimes found a little too alienated.
Having released their debut album in 1980 and seeing modest success with the single 'Straight Lines', New Musik's sophomore album, released in early March of 1981, marked a maturing in the band's sound; one where the synthesizer would play a more predominant role in creating an atmosphere which lasts the duration of the album…