Paxlab Same Music For Same People (2021)

In the harp world, few figures are better known than Carlos Salzedo; however, in the larger musical world, and even among classical music enthusiast, his biography and personality are not sufficiently discussed and appreciated. For this reason, this Da Vinci Classics album is a very welcome addition to the existing discography, and will enhance the fame of this great musician and pedagogue.

In May 2020, with much of the world in lockdown and reeling from the consequences of the Covid-19 pandemic, Robert Fripp began uploading the first of 52 individual Soundscapes on his YouTube channel, streaming platforms, and DGMLive. 

EntitledMusic For Quiet Moments and appearing once a week, these pieces created a space for reflection, offering a means of pausing from the day-to-day concerns and to provide a point of calm and perhaps, a sense of hope, in such troubled times.

In Denmark, at the beginning of the nineteenth century, there was a decline in musical activity. Certainly, the social and economic changes of the end of the previous century had given rise to new sectors (domestic music for amateurs, recitals in the salons of the rich bourgeoisie and aristocracy, public concerts with Beethoven’s symphonies). However, the Napoleonic wars and the ensuing State bankruptcy in 1813 dealt a severe blow to the progress of the concert world; only towards the middle of the century was there a revival of both symphonic music (which developed elements of nationalism) and chamber music, now practiced in concert halls. Furthermore, cantatas and secular oratorios became a feature of Danish musical life, and romanticism manifested itself in compositions similar to the Lieder from other parts of Europe. Music education expanded during the century: singing and music lessons became compulsory subjects in schools after 1814; the Copenhagen Conservatory (later Kongelige Danske Musikkonservatorium) opened in 1867 and musicology established itself as an academic discipline at the University.

The initial impetus of the ‘Australian Thais’ project came from David Howie’s Thai family connections and the shared interest to explore the connections between the music and people of both countries. This led to collaborations with some of Thailand and Australia’s premiere composers to commission, workshop and produce new music for a cross-cultural exchange aimed at enhancing and strengthening links between the two countries, greatly increasing cultural awareness and understanding through music. This project was made possible by a Sydney University, Conservatorium of Music internal research grant.

Over the past 5 years, The Future Sound of London have released three A6 booklets, filled with stories of FSOL's past, images and accompanied by 20 mins of music. For the first time, these have now been put these together to form a 1 hour seamless journey.