Music

Producers Sonia Friedman and Colin Callender are proud to announce that The Music of Harry Potter and the Cursed Child, an album of music from the internationally acclaimed stage production, will be released on November 2, 2018! The Music of Harry Potter and the Cursed Child is written, composed, performed and recorded by Grammy and Ivor Novello Award-winner Imogen Heap. It is presented as four contemporary musical suites, each showcasing one of the play’s theatrical acts. This unique new album format from Imogen Heap chronologically features the music heard in the stage production, further reworked to transport listeners on a sonic journey through the world of Harry Potter and the Cursed Child.

The first compilation to attempt an all-encompassing overview of Bryan Ferry and Roxy Music's career, Street Life was originally released in 1986, four years on from the band's break-up. And, across four sides of vinyl, it represented one of the most lovingly compiled tombstones any band could receive. Subsequent compilations have, of course, undermined it a little, but still it's difficult to criticize a collection that wraps up every significant hit single that the two parties enjoyed, from "Virginia Plain" and the oft-overlooked "Pyjamarama" through to "Jealous Guy" and "Avalon," via "A Hard Rain's A-Gonna Fall" and "Slave to Love."

The music of the Ukrainian-born Thomas de Hartmann (1885–1956) has been obscured by his association with the Russian mystic George Gurdjieff, but by the time they met in 1916, de Hartmann was already a hugely accomplished composer. The four works receiving their first recordings here reveal a major late-Romantic voice, downstream from Tchaikovsky, a student of Taneyev, contemporary of Rachmaninov, and alert to the discoveries of Stravinsky and Prokofiev.

Rising star from the young composer’s generation, Camille Pépin chose to record her first album with the artists who have been accompanying her since her debut. She is taken by numerous extra-musical influences: from English literature to Japanese etchings, mythology to astronomy. These disparate elements all converge on travel as their common theme, wanderlust and dreams of elsewhere. A fusion of all these ingredients, Camille Pépin's music sets itself apart above all through its rhythmic aspect, at once dancing and almost incantatory, presided over by lyricism.

Talivaldis Kenins - Anthology of Canadian Music (1989) {4CD Set, Radio Canada International ACM-33}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.28 Gb | MP3 @320 -> 661 Mb
Full Artwork @ 300 dpi (png) -> 50 Mb | 5% repair rar
© 1989 Radio Canada International | ACM-33
Classical / Contemporary Classical / 20th Century

Anthology of Canadian Music/Anthologie de la musique canadienne(ACM). Collection of recorded music created by RCI devoted to prominent Canadian composers of serious music and to their most significant works. Tālivaldis Ķeniņš was born on 22 April, 1919, in Liepāja. He died on 21 January, 2008, in Toronto. He began to study music with Lūcija Garūta, then, having moved to France with his parents, he studied in Grenoble with Henri Miller. He studied composition at the Latvian State Conservatory with Jāzeps Vītols. After World War II, Ķeniņš once again travelled to France and in 1945 enrolled at the Conservatoire National Superieur de Paris, where his professors were Tony Aubin and Olivier Messiaen.

No one can accuse Flying Steps of resting on their laurels. Hot off the heels of ‘Flying Bach’ and ‘Flying Illusion’, the Berlin-based troupe are back with their most ambitious project to date. ‘Pictures at an Exhibition’ is seemingly a hundred things in one, a magical amalgamation of dance, music, live performance, art, history and all the rest, highlighted by the instantly recognisable visible art of Brazilian brothers OSGEMEOS. This is an exhibition come to life, a spiritual successor to Modest Mussorgsky’s 1874 work of the same name. As exciting for adults as it is invigorating for children, we can’t wait to see what Flying Steps come up with next.

As a Chilean-born composer and pianist living in Australia, I have nurtured a penchant for bringing Latin American vernacular music into the classical concert hall. Both of these musical traditions are widespread and possess an immense canon fashioned by many an inspired composer. Just as significant, both have been greatly impacted by a myriad of interactions with vernacular music over several centuries. A brief survey of the Western tradition may identify composers such as Mozart and Beethoven engaging with Turkish music, Bartók with Eastern European folk music, or Bizet and Debussy with Spain.