Romantic Pattern Style

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The UK R&B trio Vondelpark mix indie-pop vulnerability with sonic luxuriance. Arriving after a couple of EPs, their debut LP is the fullest realization of the project's immersive smoothness.

Claude Debussy (1862-1918) was the first composer to radically break with the Romantic tradition, giving rise to the explorations of sound and form that dominated the twentieth century. In sharp contrast to the Wagnerian attention to leitmotif and development, Debussy's music deals with light, color and mood. Startling dissonances alternate with Eastern-influenced pentatonic harmonies and rich chordal textures that later influenced jazz. His non-linear structures move mysteriously from one sound-image to the next, leaving the listener on his own to find an overall unity or pattern. Scholars have found in his pieces the Golden Ratio, a common pattern in nature which gives Debussy's music its natural, organic quality. Critics dubbed Debussy's style Impressionism after the mysterious, sensuous landscapes of Monet and Cezanne. Debussy believed his music captured the essence of French culture, emphasizing clarity, natural beauty and elegance over the solemnity and over-ripe developments of the Romantic composers.

Since Oscar Straus began his career in the cabaret, it was only natural for him to bet on comedy in his first operetta, Die lustigen Nibelungen (1904), a parody of the Nibelungenlied, Wagner, and Wilhelminism. In this way, Straus, more than any of his Viennese contemporaries, became the heir to Jacques Offenbach, the founder of the genre, whose last period of flourishing influenced Straus (who was born in 1870) as well as Franz Lehár, Leo Fall, and Emmerich Kálmán. Straus’s Serenade for String Orchestra is written in an always-radiant classical style. Especially the last two movements, “Walzer” and “Alla marcia,” have an elegant structure already anticipating the later operettas.

The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. His compositions, which frequently pushed the boundaries of tradition and startled audiences with their originality and power, are considered by many to be the foundation of 19th century musical principals. Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians.

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This is a fascinating collaboration between lyrical Italian jazz improvisers Paolo Fresu and Daniele di Bonaventura and the transfixing voices of A Filetta from Corsica. A Filetta, prize-winning vocal ensemble, internationally renowned as the standard-bearers of Corsican polyphony, make their ECM debut here. The appealing combination of sound-colours and idioms adds up to `Sketches of Corsica'. As the improvisers approach this regional music of universal appeal, Fresu's pensive, romantic trumpet inevitably brings Milesian associations to mind, and the ingenious bandoneon of di Bonaventura implies `chamber music' and `folk music' in every breath of the bellows.