Another great entry from Italy. Intricate and complex, melodic and enjoyable. The style is a symphonic rock with arrangements and developments that make the most out of a rich and varied instrumentation. The delicate melodic work, shared by vocals, keyboards, guitars and flute, is supported by dynamic rhythms to create a sound that alternates from acoustic to electric. As good as the best Banco Del Mutuo Soccorso. Fans of lush, complex symphonic progressive rock will adore "Forse Le Lucciole Non Si Amano Più".
Un titolo che è molto di più che un segnale. Perché Gianna Nannini sceglie di fare un disco che faccia La Differenza. E il primo segnale distintivo di questo album sta nella lavorazione, nella produzione: in una stagione in cui spesso la realizzazione di dischi è affidata prevalentemente al digitale e quotidianamente si preannuncia l'imminente sparizione di ogni supporto fisico, Gianna Nannini decide di realizzare La Differenza nei BlackBird Studio di John McBride a Nashville, Tenneesse, regno dell’analogico e sede di grandi produzioni artistiche blues-rock. Il disco germoglia con pianoforte, voce e chitarra a Londra, in uno studio di Gloucester Road, che nel frattempo è anche diventato il titolo di una canzone dell’album. Lì la nannini ha condiviso session improvvisate con Pacifico, Dave Stewart, Fabio Pianigiani, Mauro Paoluzzi e Coez, con il quale ha realizzato Motivo, unico duetto presente dell’album. Questa sera, giovedì 14 novembre, Gianna Nannini sarà ospite di X Factor, il talent show di Sky Unbo in onda ogni giovedì alle ore 21.15 su Sky Uno L'INTERVISTA
Antonio Caldara’s (1670-1736) pastoral fable L’Amor Non Ha Legge (Love has no laws) was a commission by the wealthy Johann Adam Questenberg. Its characters portray shepherds, nymphs, fantasy figures and gods. Although written for a local cast, the music looks forward to the more complex structures and musical technicalities of Mozart. It took Caldara two weeks to compose this extraordinary work. It occupies three CDs and Arta add a bonus All Region DVD with highlights from Caldara’s opera and other recent productions at Questenberg’s Baroque mansion.
Dies Scheibe ist hinsichtlich der künstlerischen Ausführung und der klanglichen Aufzeichung ein absolutes Meisterwerk, das man jedem Klassikfan nur wärmstens empfehlen kann.
4 Non Blondes howled their way onto the charts in 1993 with "What's Up?" and then vanished without a whisper. Formed in 1989 with Linda Perry (vocals), Shaunna Hall (guitar), Christa Hillhouse (bass), and Wanda Day (drums), 4 Non Blondes had no problems attracting major labels based on live shows and local radio support from KUSF, but the labels didn't know how to market them. After Day was replaced by Dawn Richardson, the group was eventually signed to Interscope Records and released Bigger, Better, Faster, More? in 1992. Although Hall contributed guitar tracks and some songs, she left before the album was released (replaced by Roger Rocha for the tour). Dominated by Perry's high-pitched singing, "What's Up?" was slowly added to modern rock stations and then crossed over into the mainstream, peaking at number 11 on the Billboard Top 200…
Like many of even the most prolific and celebrated composers of the sixteenth century, Jacobus Clemens non Papa (‘not the Pope’) has offered the history books little factual material with which to work. In contrast to the paucity of biographical material, however, many sources of Clemens' music survive. Indeed, he is one of the most widely published musicians of the entire century with fifteen Masses, over two hundred motets, many Dutch psalms and French chansons to his name.
San Francisco's 4 Non Blondes burst onto the national scene with their massive, neo-hippie anthem "What's Up" from their debut Bigger, Better, Faster, More? Although they failed to recreate the single's success, the album, as a whole, is a fairly engaging mix of alternative rock, quasi-funk, and blues. The focal point is on lead singer Linda Perry who also plays guitar and was the primary writer of the material. Perry has a powerful set of pipes akin to Johnette Napolitano, but, unfortunately, she tends to cut loose when a little more restraint would benefit the proceedings. However, "Superfly" is a feel good, funky number and "Spaceman"'s yearning lyrics are delivered over a quiet, martial drum rhythm. A solid debut that got lost in the wake of its mammoth hit.
Alessandro Stradella was, along with Henry Purcell and Heinrich von Biber, among the most striking and idiosyncratic composers of the late seventeenth century. He is known principally for his cantatas on sacred subjects such as "La Susanna" and "San Giovanni Battista," which prefigure Handel's oratorios, and from which Handel borrowed freely. Stradella's musical eccentricities were paralleled by his irregular life. A member of the minor nobility, he ran through his inheritance while young, and thereafter supplemented his musical earnings by questionable financial dealings that incurred the anger of influential families.