It's Compton's Most Wanted

"A Most Wanted Man: Original Motion Picture Soundtrack" (26 tracks; 48 min.) brings the orchestral score of the movie, composed by well-known German musician Herbert Grönemeyer. "Opening Theme" sets the tone for the entire movie: a gentle accordion is interrupted by menacing-sounding violins, with a sense of dread for what is to come. "Annabel Meets Issa" brings a dream-like, dare I say romantic, sound (the tension between Annabel and Issa is one of the main themes of the movie)…

Manifold Music presents Smooth Jazz Lounge: Most Wanted. Chillwalker, Cafe Americaine, Emotional, Deeparture, In Credo and others.

The Cleveland Orchestra will release a new audio recording of Anton Bruckner’s Symphony No. 4 led by Music Director Franz Welser-Möst on August 16 as it prepares to perform the work on tour in Europe later this summer.

The Cleveland Orchestra will release a new audio recording of Anton Bruckner’s Symphony No. 4 led by Music Director Franz Welser-Möst on August 16 as it prepares to perform the work on tour in Europe later this summer.

Here is a natural and effective coupling of spiritual-minimalist pieces from the Baltic and the Balkans; and how good it is to see this music at last on a major label with a top-flight international orchestra.
The benefits are clear in Kancheli’s Third Symphony, with its extreme contrasts of solo vocal keening and tutti Stravinskian outbursts. Here the spaciousness of EMI’s recording, made in Watford Town Hall, and the refinement of the LPO’s playing are clear gains over the rival Georgian performance (which comes with the added drawback of having been transferred a whole tone too high by the original Melodiya team). The mesmeric folk-derived lament which punctuates the structure was sung on the earlier recording by Rustavi choir-member Gamlet Gonashvili, for whose unearthly tenor Kancheli conceived it.

Due to its disastrous Viennese premiere in 1954, Erich Wolfgang Korngold's Symphony in F sharp was quickly dropped from the repertoire. Yet this late masterpiece, along with Korngold's opera Die tote Stadt, found receptive audiences in the 1970s and has become one of his best-known works. The old criticisms against Korngold's traditional tonality, his conservative formal bent, and his professional Hollywood polish no longer matter; nor should his occasionally spicy dissonances, angular melodies, and ambitious orchestration prove an obstacle to appreciation. Korngold's dense and dramatic symphony may be regarded either as a late development of Mahlerian post-Romanticism or as an offshoot of tonal Modernism, as practiced by Shostakovich and Prokofiev.