Daniel Vadner

The soundtrack for season four of Dexter (America’s most endearing serial killer) skillfully blends classic pop and rock (David Bowie, Frankie Avalon), sizzling salsa jams (Bobby Matos, Luis Alberto) that reflect the cable series' Miami locale, and composer Daniel Licht's wickedly addictive score into a highly listenable set of tunes that have no reason being on the same collection together, but work nonetheless.

After a season of committing high-risk, high-absurdity murders that contributed to a heart-wrenching conclusion, season five of Dexter finds the lawful evil antihero trying to pick up the pieces of his broken life while continuing to struggle with his inner demons. The soundtrack offers plenty of stylish, sun-soaked Latin and salsa music, from classic artists like Beny More to contemporary acts like the electro and hip hop-tinged Bomba Estereo. Selections from Daniel Licht’s atmospheric score round out the collection, capturing all of the drama and eeriness viewers have come to expect from the cable series.

During his long and exceptionally fruitful creative life, Richard Strauss (18641949) composed only a few works for the cello. Only three have survived and small as that number may seem, those cello works are critical to the composers development. Daniel Müller-Schott sees the early Sonata for cello and piano op. 6 and the late tone poem Don Quixote op. 35 as marking the path that was to lead Strauss within the space of a few years from Romanticism to the Modern era in music. The cellist highlights this watershed in Strausss artistic development with his own transcriptions, expressly made for this CD, of the Lieder Zueignung op. 10/1 and Ich trage meine Minne op. 32/1.