Passion 2012

Les Voix Baroques and Arion Baroque Orchestra combine their outstanding talents for this new ATMA recording of Bach’s St. John Passion under the direction of organist and conductor Alexander Weimann. This recording was made in the chapel of the Grand Séminaire in Montreal, following performances in the 2010 Bach Festival.

Gary Graden and the St. Jacobs Chamber Choir have performed the St. John Passion in the St. Jacobs Church regularly since 1990, the last 13 years together with Maria Lindal and her REbaroque ensemble. Though the St. John Passion has become something of a staple in Sweden's churches at Easter, there have been very few recordings with Swedish performers. This release documents not only the long collaboration between the St. Jacobs Chamber Choir and REbaroque, but is also the first recording of a tradition that has existed in the St. Jacobs Church for almost seven decades.

During Bach’s lifetime there were four different performances, each time with new modifications, some in response to the circumstances at the time, others influenced by which musicians and instruments he then had at his disposal. However Bach experimented to the greatest degree with the second version, dating from 1725: for instance, he used a different opening chorus (which was later to become the closing chorus of the first part of the St Matthew Passion, a work yet to be composed at this stage) and a couple of other arias near the end of the work. For the later performances he reverted to his first version from 1724, albeit with some differences in instrumentation.

Bernardo Pasquini (1637–1710) was born in the province of Pistoia, Italy. Drawn to Rome like many promising young musicians, his first of many posts was as organist at the Chiesa Nouva church, and in 1667 he obtained a good position in the service of Prince Giovanni Battista Borghese, where he composed ceremonial music at the Borghese Palace and spent the rest of his days. Along with Corelli and Scarlatti, Pasquini played a major part in the musical life of Rome, and was famous for his skill as both a harpsichordist and organist.

This 2007 recording of J.S. Bach's Johannes Passion, featuring Concerto d'Amsterdam and the Flemish vocal ensemble La Furia, uses the 1725 version of the piece, which substitutes some movements (most noticeably the opening chorus) more staid than those of the 1724 version. That decision to go for restraint rather than passion carries over to the performance style, as well, which tends to be reserved and tastefully correct rather than stirringly dramatic. It couldn't be characterized as flaccid because there is certainly a high energy level when appropriate, but even in these sections the performers seem more concerned with brisk precision than with stirring the blood.

2012 three CD set, the seventh volume in the So80s series, this time with an Ibiza theme. Blank & Jones searched for the biggest anthems of this magic island during the 1980s. Long time before mass clubbing started on Ibiza in the 1990s, there was a true musical melting pot creating it's very own soundtrack. The legendary KU (now known as Privilege), the Amnesia or Pacha were all hot spots for the Jet Set of the beautiful, the rich and the famous. Here comes the soundtrack for this special time with the whole range from Wham!, Sandy Marton, Bandolero and Lime, but also with the secret anthems of Ibiza like Flash & the Pan, Tullio de Piscopo, Art of Noise, Carly Simon an Tony Esposito. Celebrate the Sound of Ibiza in the 80s with Blank & Jones!

On her 19th album, Cassandra Wilson, ever the musical chameleon, changes directions once more. She is arguably the greatest living female jazz singer. Well known for her blues, soul, pop covers, and jazz standards, her smoky alto bends almost everything to its will. Wilson's phrasing is utterly unique, as original as any horn player's or pianist's music. Another Country, co-produced by Wilson and guitarist Fabrizio Sotti, was recorded in three different studios in Florence, New Orleans, and New York. She wrote all but three selections here: there are two instrumentals by Sotti and a reading of "O Sole Mio." Other players include bassist Nicola Sorato, Julien Labro on accordion, and percussionists Mino Cinelu and Lekan Babalola…