The Age of Melancholy

This recording combines three of the most significant musicians belonging to the generation of the empfindsame or “sentimental” style. As a reaction to the late baroque of J.S. Bach and Handel, they systematically explored contrast and extreme juxtapositions in their compositions. This avant-garde style remained in fashion for only a short period but anticipated many pre-eminent aspects of early romanticism. In this recording a harpsichord concerto by W.F. Bach (J.S. Bach’s eldest son) is combined with two concertos by Bohemian composer G. Benda.

This recording combines three of the most significant musicians belonging to the generation of the empfindsame or “sentimental” style. As reaction to the late baroque of J.S. Bach and Handel, they systematically explore contrast and extreme juxtapositions in their compositions. This avant-garde style remained in fashion only for a short period but anticipated many pre-eminent aspects of the early romanticism. In this recording a harpsichord concerto by W.F. Bach (J.S. Bach’s eldest son) is combined with two concertos by Bohemian composer G. Benda. They perfectly illustrate the empfindsame style, quickly oscillating between excitement and melancholy, furious frenzy and serene calm. The program concludes with major solo harpsichord pieces by C.P.E. Bach and a beautiful Adagio and Fugue for orchestra by W.F. Bach – showcasing the composer’s ability in the stile antico.

This recording combines three of the most significant musicians belonging to the generation of the empfindsame or “sentimental” style. As reaction to the late baroque of J.S. Bach and Handel, they systematically explore contrast and extreme juxtapositions in their compositions. This avant-garde style remained in fashion only for a short period but anticipated many pre-eminent aspects of the early romanticism. In this recording a harpsichord concerto by W.F. Bach (J.S. Bach’s eldest son) is combined with two concertos by Bohemian composer G. Benda. They perfectly illustrate the empfindsame style, quickly oscillating between excitement and melancholy, furious frenzy and serene calm. The program concludes with major solo harpsichord pieces by C.P.E. Bach and a beautiful Adagio and Fugue for orchestra by W.F. Bach – showcasing the composer’s ability in the stile antico.

This is a book that celebrates the most neglected but valuable emotion we can feel: melancholy. Melancholy isn't depression, rage, or bitterness, it's a serene, wise, and kindly response to the difficulties of being alive. It steers a mid-way course between despair on the one hand and naïve optimism on the other. But melancholy is a well-kept secret. Those who feel the pull of melancholy moods tend to stay quiet. We don't often hear melancholy being celebrated or accorded the respect that it deserves. It languishes unexplored in a hyper-competitive, noisy, frantic age.

The Music of Cosmos presents the soundtrack to Carl Sagan's groundbreaking PBS series, and features pieces by classical and contemporary composers such as Shostakovich, Vivaldi, and Vangelis. As with the series, the soundtrack is comprised of six parts. "Space/Time Continuum" describes the intricate relationship between space and time with pieces like Vangelis' "Heaven and Hell, Part 1" and "Alpha"; Pachelbel's "Canon a 3 on a Ground in D" and "Spring" from Vivaldi's "The Four Seasons" accompany Sagan's explanation of genetics, DNA, evolution, and consciousness in "Life." The precision of Bach's "Partita No. 3" mirrors the elegantly mathematical laws of physics and "The Harmony of Nature," while facts about space phenomena such as pulsars and black holes are scored by Hovanhess' "Symphony No. 19" and Toru Takemitsu's "Inside the Heart of the Universe." "Cataclysm," Sagan's depiction of cosmic disasters and evolutionary processes such as supernovas, features Vangelis' "Beauborg" and Stravinsky's "The Rite of Spring." Finally, the triumphant conclusion of "Affirmation" includes Vangelis' "Ignacio" and the traditional composition "Bulgarian Shepherdess Song." Every bit as integral to Cosmos as Sagan's narration, this collection is a literate, intelligent soundtrack to science fact.

The Music of Cosmos presents the soundtrack to Carl Sagan's groundbreaking PBS series, and features pieces by classical and contemporary composers such as Shostakovich, Vivaldi, and Vangelis. As with the series, the soundtrack is comprised of six parts. "Space/Time Continuum" describes the intricate relationship between space and time with pieces like Vangelis' "Heaven and Hell, Part 1" and "Alpha"; Pachelbel's "Canon a 3 on a Ground in D" and "Spring" from Vivaldi's "The Four Seasons" accompany Sagan's explanation of genetics, DNA, evolution, and consciousness in "Life." The precision of Bach's "Partita No. 3" mirrors the elegantly mathematical laws of physics and "The Harmony of Nature," while facts about space phenomena such as pulsars and black holes are scored by Hovanhess' "Symphony No. 19" and Toru Takemitsu's "Inside the Heart of the Universe." "Cataclysm," Sagan's depiction of cosmic disasters and evolutionary processes such as supernovas, features Vangelis' "Beauborg" and Stravinsky's "The Rite of Spring." Finally, the triumphant conclusion of "Affirmation" includes Vangelis' "Ignacio" and the traditional composition "Bulgarian Shepherdess Song." Every bit as integral to Cosmos as Sagan's narration, this collection is a literate, intelligent soundtrack to science fact.

Genius may not be the right word, but "brilliance" certainly fits. At the age of 51 in 1957, Hawkins had already been on records for 35 years and had been one of the leading tenors for nearly that long. This date matches him with the Oscar Peterson Trio (plus drummer Alvin Stoller) for a fine run-through on standards. Hawk plays quite well, although the excitement level does not reach the heights of his sessions with trumpeter Roy Eldridge.