Ni D'ève, ni D'adam Neither Eve Nor Adam (1996)

Compositions from both East and West here bring together the powerful voices of six women composers from contrasting cultures. Their music ranges from the Romantic period via Impressionism and Neoclassicism to the present. Vivid impressions alternate with absolute music, strict sonata forms with free forms full of delicate musical poetry.

There are two different short operas (from 1754 and 1757) by Rameau with the title Anacréon. Both are one-act actes de ballet; this one was actually used as the third entrée of Rameau's opéra-ballet Les surprises de l'Amour when it was revived the same year. Both works have as their subject the Greek poet, Anacreon. The 1757 one - which was first performed at the Paris Opéra in May of that year and has a libretto by Pierre-Joseph Justin Bernard - has an only marginally less slight ‘plot’ than the earlier Anacréon. It follows an argument as to the relative merits of love and wine. That’s resolved in Anacreon’s favour by L’Amour; in fact, he believes the two are not incompatible.

Richter brings a solid, disciplined richness to Handel. The big choruses are supported by the organ, and the harpsichord is exuberantly present just about everywhere. The Munich Bach Choir sometimes sings with a German accent but doesn't muff an eighth note. The soloists are all native English speakers, and paramount among them is Alexander Young, the best Handel tenor of his time. He combines agility with persuasive heroic strength, and he is a superb actor. His unparalleled flamboyance of declamation brings every word to life (listen to the confrontation with Dalila); you remember both the character and the music. Arroyo sounds both voluptuous and repentant as Dalila, Procter is a composed, stately Micah with an absolutely steady contralto, and Flagello thunders imposingly as Harapha. Stewart's handsome baritone limns a suave, solicitous Manoa.

Dweller at the Threshold in its original incarnation, was a synthesizer trio. The members were Dave Fulton, Paul Ellis, and Jeff Vasey. No Boundary Condition is their debut CD, and it has a firm foothold in the Berlin school of electronic music. The trio surrounds micro-atmospheres with heavy sequences and waves of synthesizer riffs. While this CD has all the elements of early electronica, it has enough experimental textures to lift it a notch or two. Indeed, this disc could be the logical follow-up to The Forbidden Planet by Bebe and Louis Barron from 1956. (That album is often recognized as the first all electronic album. It won an Oscar for best soundtrack that year as well.) But DATT is neither primitive nor primal. They are immersed - totally - in the technology of the new millennium.

Released in 1996, Narcissus Goes to the Moon remains Quebec progressive rock band Visible Wind's finest hour. This fourth opus saw them in full control of their musicianship. Creativity was at its peak and, now owning its own studio, the band had a chance to develop its musical ideas further, resulting in a musically cohesive album, where every song segued into, or at least related to, the next. If it had not been for the unexpected demise of the Kozak label, this CD could have introduced them to a more international prog audience. Stylistic references on Narcissus can be summed up with two names: early Camel and the Flower Kings. Bubbling synthesizers, solid guitars, and angular rhythm patterns balanced out by infectious melodies are the essence of highlights like "Fuzzy Concept," "Xenophobia," and the 20-minute epic "The Awakening," all tracks that will appeal to any fan of the aforementioned artists…