Rafajlovski Goran

This CD's main attraction for many will be Gil Shaham's velvety violin in gorgeous, largely off-beat music. Others will relish these Schubert works in arrangements that replace the piano with the expert guitar of Göran Söllscher, enhancing the impression of hearing Schubert's music in the intimate domestic setting for which it was written. Most of the works are short, melodically rich dance-based gems on which Shaham and Söllscher lavish a Romantic tonal fullness and freedom rarely heard these days. Sometimes that's a bit too much of a good thing, as works like the Violin Sonata in D veer close to the sentimental.

Unable to tour during the pandemic, Goran seized the opportunity to record an album of five works, written for three solo violins, a symphony orchestra, a sextet of male voices , and, of course, his Wedding and Funeral band. For his latest album, ‘The Belly Button of the World’, Goran has created three lyrical tales based around Christian, Jewish and Muslim liturgies which are performed by soloists Mirjana Nesković (Serbia), Gershon Leiserson (Israel) and Zied Zouari (Tunisia). With this album, Goran Bregović fuses the core of his creativity with his musical journey so far : classical, wild, unique, eclectic, and always unexpected…

First of all, if you haven't seen Emir Kusturica's film Underground yet, do so now. You'll discover a masterful depiction of 20th-century Balkan history through metaphor, by turns comically zany and profoundly heartwrenching (I cried). The soundtrack that Goran Bregovic created for UNDERGROUND is a wonderful stew of Balkan influences: gypsy brass, some old geezer singing in Romani, and great big drums pounding complicated circle-dance rhythms. Showing that today's borders are arbitrary, he also brings in three singers from the Shopsko region of Bulgaria, whose traditional vocal techniques include some striking yelps and leaps of sevenths.

The wedding in 1568 of Renate of Lorraine to Wilhelm V, heir to the throne of the Duke of Bavaria, was a sumptuous, 18-day spectacular designed to rival those of the Italian courts. Orlande de Lassus had been the court’s maestro di cappella since 1556. Using an eye-witness account of the event, Ensemble Origo presents a hypothetical reconstruction of some of his musical contributions – a Te Deum, the moresca (a genre related to the villanella), and an improvised comedy – thereby shedding light on some of the various meanings that the music had for its 16th-century listeners.