I Vitelina

Passionné par toutes les musiques, spécialement le tango et le jazz, le jeune pianiste allemand Martin Klett propose un couplage très intéressant en juxtaposant le Premier Livre des Préludes de Debussy à celui de Makrokosmos de George Crumb, deux compositeurs qui ont radicalement changé le langage de leur époque.

In the two years since her meteoric rise to International superstardom, Tones and I has simultaneously experienced the highest of highs and the lowest of lows. Welcome to the Madhouse documents all of this in a record that was entirely written and co-produced by the Mornington Peninsula artist.

In the two years since her meteoric rise to International superstardom, Tones and I has simultaneously experienced the highest of highs and the lowest of lows. Welcome to the Madhouse documents all of this in a record that was entirely written and co-produced by the Mornington Peninsula artist.

This stellar production features a pair of operatic superstars, namely GRAMMY®-nominated tenor Lawrence Brownlee and soprano supreme Sarah Coburn, who continually appear in the lead roles in top houses worldwide. The remaining characters are beautifully portrayed by distinguished singers from Lithuania and Kazakhstan.

Which "Clavier" did Bach have in mind? Apart from a "grand clavessin" by Michael Mietke, which he probably had at his disposal at the court in Cöthen, there is evidence that he knew instruments by Gottfried Silbermann. A harpsichord with a 16’ stop by Johann Heinrich Harrass (today in the Berlin Musikinstrumenten-Museum) is also assumed to have been in Bach’s possession. A large instrument similar to this supposed "Bach harpsichord" was built by Zacharias Hildebrandt, who was closely associated with the composer during his Leipzig years.Since Bach travelled to Hamburg on various occasions, it can be assumed that he was familiar with the famous harpsichord building tradition of that city, represented by the workshops of Zell, Fleischer and Hass. Since he was known for using rich and unusual registrations on the organ, we can assume that he used equally flamboyant registrations on the harpsichord. Cristiano Holtz has therefore chosen a large instrument by Matthias Kramer after Christian Zell (Hamburg 1728).

Which ‘Clavier’ did Bach have in mind? Apart from a ‘grand clavessin’ by Michael Mietke, which he probably had at his disposal at the court in Cöthen, there is evidence that he knew instruments by Gottfried Silbermann. A harpsichord with a 16’ stop by Johann Heinrich Harrass (today in the Berlin Musikinstrumenten-Museum) is also assumed to have been in Bach’s possession.

Hayden Pedigo: man, myth, master of disguise; un-picker, finger-picker, absurdist, perfectionist. The unorthodox contender for Amarillo City Council, subject of the film Kid Candidate, and creator of the acclaimed Letting Go (2021) and The Happiest Times I Ever Ignored (2023) now embarks upon the release of his new album I’ll Be Waving as You Drive Away. An innovator of the instrumental genre, challenger of the stereotypical, son of a truck-stop preacher, he backs up a cherry red Silverado under his own smiling, Brylcreemed and Nudie-Suited billboard. His foot hesitates above the gas pedal as a cloud of dust rises. Where between beaming advert and disillusioned entertainer might his truest self lie? On this intentionally maximalist, genre-resistant work of warped instrumental Americana — an exclamation point at the end of an accidental trilogy of records — we, and Hayden, might just be about to find out.