Out of print and hard to get 2009 UK Domino label 14CD box set comprising singlular and prominent English exp- and artrock musician and radical political singer/singwriters 9 studio albums and including the 5-disc EP's box illuminating various periods in Wyatt's long solo career - singles, odd B-sides, live cuts, alternate versions, and remixes. It begins with "Rock Bottom" (1974) which was made after Wyatt had been permanently confined to a wheelchair following a fall from a high window the previous year. Following "Ruth Is Stranger Than Richard" (1975), Wyatt took an extended break, returning reinvigorated in 1980 with a series of excellent singles on the Rough Trade label, with some B-sides generously given over to other artists. All are collected together on "Nothing Can Stop Us" (1982).
Jennifer Higdon is a masterful colorist whose music is immediately appealing, full of energy and dash, but also with lyrical movements that grab you and hold your interest with their variety and melodic freshness. She can be brassy and bold like William Schuman and lushly Romantic like Samuel Barber, to mention just two American predecessors her music calls to mind. She also has a strong profile of her own, as we hear in City Scapes, a musical portrait of Atlanta that captures the bustle of a metropolis on the move. It's centerpiece, "river sings a song to trees," is wonderfully paced and engrossing. Concerto for Orchestra is a grand workout for a virtuoso band, teeming with solo turns that can tax all but the best musicians, and passages that spotlight sections of the orchestra with opportunities to strut their stuff. It's a brilliant piece brilliantly played by the Atlantans. Add Telarc's usual terrific sound and this disc becomes a must for fans of accessible modern music.
Among all his remarkable and varied compositional talents, Purcell was the supreme craftsman when it came to setting his native language to music. Addison wrote of Purcell’s ‘Tunes so wonderfully adapted to his Words’ and Playford, in his introduction to the first volume of Orpheus Britannicus (1706) commented that ‘The Author’s extraordinary Tallent in all sorts of music, is sufficiently known; but he was particularly admir’d for his Vocal, having a peculiar Genius to express the Energy of English Words, whereby he mov’d the Passions as well as caused Admiration in all his Auditors’. Purcell combined an innate sense of the natural rhythms of speech and a wonderful melodic flair with a richness of harmonic language that few composers have ever matched.