Albert Von Deyen

Adelbert von Deyen is a relatively obscure electronic artist whose style is very similar to the famed Klaus Schulze, even down to the album covers! Rightfully so, he claims Schulze as his main influence. His career lasted from the late Seventies to the early to mid-Eighties. "Atmosphere", Adelbert von Deyen's third release, is the first album on which he starts to show his own musical style and direction rather than sounding like a clone of Klaus Schulze. The title track still has a strong Schulze influence but there are now unique touches and differences that distinguish this as Von Deyen's work. The result is a much more satisfying release than either "Sternzeit" or "Nordborg"…

En 1929, Paul Jacquemin, rescapé d'une expédition polaire partie en 1914, échoue à Harlem aux Pays-Bas et découvre que le monde a basculé dans une guerre totale qui se déroule dans les airs, sur terre et en mer, utilisant des armes chimiques et microbiennes inventées par le savant von Satanas. Publié en 1919, un roman d'anticipation militaire illustré des dessins de l'auteur. …

Albert Lortzings Opern werden leider heute nur noch selten gespielt. Das ist schade, denn zum einen lassen sie sich mit relativ geringem Aufwand sehr effektvoll auf die Bühne bringen - Lortzing war selber Schauspieler und Spieltenor, wusste also, was er sich und seinen Kollegen zumuten durfte.

orn in Lucerne in 1911, Albert Ferber studied with a pupil of Alfred Cortot and often played for Rachmaninov in Switzerland. International critics visiting the 1939 Lucerne Festival were impressed by an exceptional Swiss pianist who also showed in works of Schubert and Schumann some uncommon pianistic gifts. Such sympathy of idiom is readily apparent in Ferbers postwar Decca recordings, made in London. His pedigree in Schumann was unimpeachable: in 1951 he partnered Clara Schumanns pupil Adelina de Lara in a performance of Schumanns Andante and Variations, Op. 46 for two pianos at her Wigmore farewell recital.

Here is a superb recital following Piers Lane’s earlier Hyperion release of d’Albert piano concertos (4/96) and, once again, provoking astonishment that music of such quality could have lain neglected for so long. Variety is, indeed, the spice of d’Albert (1864-1932), the legendary, six times married pianist so greatly admired by Liszt. Tending to leave his wives as soon as they bore him children (one for the Freudians), his occasional sense of confusion – including an outburst to Teresa Carreno, his second conquest, “Come quickly, my child and your child are fighting with our child” – hardly detracted from a dazzling career and a series of compositions of a special richness.

Compared to Frozen Alive!, Live in Japan is a little more drawn-out and funky, featuring extended jamming on several songs. That isn't necessarily a bad thing - Collins and his bandmates can work a groove pretty damn well. Of course, the main reason to listen to an Albert Collins album is to hear the man play. And play he does throughout Live in Japan, spitting out piercing leads with glee. On the whole, it's not quite as consistent as Frozen Alive!, but that's only by a slight margin.