Inky Fuchs

Dana Fuchs is proud to announce the release of eighth album, Borrowed Time on April 29th. It’s her fourth release for German indie Ruf Records.

Deutsche Grammophon has announced the release of Julie Fuchs’ second album. The new album, set for release on Feb. 15, 2019, will be titled “Mademoiselle” and will feature of a collection of Bel canto arias personally chosen by the soprano. Enrique Mazzola conducts the Orchestre National d’ile de France. The soprano’s first album for the company was entitled “Yes!” and featured a collection of French works. She also released a Debussy album and an album with Poulenc’s complete songs for soprano.

Hans-Jürgen Fuchs, a multi-instrumentalist and producer from Stuttgart, Germany, has been involved in many different musical projects. In 2012 he recorded "Leaving Home", a concept album containing a lot of musical styles of the seventies (Peter Gabriel), the eighties (Simple Minds, U2, Martin Ansell) and the nineties (the late Kevin Gilbert). "The Unity Of Two", the 2014 album by Fuchs, is again a progressive rock concept album, this time telling the story of Aaron and Ray. Just like the book Narziss Und Goldmund, two characters from a book by the German author Herman Hesse, this story pulls at your heartstrings. It's dealing with friendship, devotion, the many layers of the human soul and different ways of life. In musical terms Fuchs has created his second album in a definitely more open and more varied style than on his debut album "Leaving Home"…

It’s tempting to think that the Internet destroyed the music business, but music has always been driven by economics, to a certain extent. When touring became too expensive, the big bands became smaller bands. It had less to do with choice than with salary. But there’s still a place for that large, lush sound. Even in this streaming age. Dana Fuchs shows that with Love Lives On…

Dana Fuchs is a throwback to another time: the late '60s and early '70s, when blues-based shouters like Janis Joplin and Robert Plant (in a somewhat different style) were capturing the attention of a generation. Her debt to Joplin is unapologetic – she starred in the off-Broadway musical Love, Janis – and at times maybe a bit too slavish. That's not to say that she brings no other elements to her interpretation of blues and soul-rock styles, only that there are moments on Love to Beg when one might be forgiven for wondering why one would listen to Fuchs when Joplin recordings are still so easily available.

The music of Austrian composer Robert Fuchs attracted faint praise from Brahms, who supported Fuchs but remarked that he was "never really profound." Brahms was notoriously stingy with praise for other composers, however, and the comment is not quite fair. Yes, the Fuchs Clarinet Quintet in E flat major, Op. 102, recorded here is clearly modeled on the Brahms Clarinet Quintet in B minor, Op. 115, that accompanies it on the album, right down to the episodic series of variations that makes the finale.

In that unthinkable Age of Grace enjoyed by all mankind before the dawning of the twentieth century before atonality and the H-Bomb few composers thought of writing for the clarinet in the upper part of its register, and the high piccolo clarinet (in E flat) was practically unknown outside the military band. Stridency was uncivilized. Mozart, Weber, Brahms, Reger—and lesser (but not undistinguished) luminaries like Romberg, Fuchs and Stanford—all favoured the clarinet for its lyrical, euphonious quality, its rich warmth of expression, and its deep broad range of tone colours.