Edmond Halleys Reconstruction of The Lost Book of Apolloniuss Conics Translation And Commentary

By the time this third album came out, little was left of the original spirit of East Of Eden and only violinist Dave Arbus of the original line-up. They had changed from one progressive label Deram to another Harvest, but also lost their experimental edge in the process. As a matter of fact, aside from more conventional song structures, this album has a slight country music feel. This album is quite far removed from the experimental forays of their first two albums, but the album has many charms and holds some interest for progheads.

ATA Records are proud to announce the new album I Too Am A Stranger from The Sorcerers, following previous album successes The Sorcerers and In Search of The Lost City of The Monkey God, which garnered high praise from Mulatu Astatke Who's this? The Sorcerers? It's cool! This is great. Give me the CD man!" and recent Radio 6-listed 7" single Exit Athens, of which Giles Peterson said, "Great Stuff as always".

The superbly consistent quality of the Third Book of songs by John Dowland suggests that the earlier issues, First Book and Second Book also recorded by Anthony Rooley and the Consort of Musicke, were no mere flashes in the pan, but set the tone for the whole series.

Alexander Balus brings to completion The King's Consort's series of Handel's four 'military' oratorios (the other three being Judas Maccabaeus, The Occasional Oratorio, and Joshua).
The story is a somewhat embellished retelling of chapters 10 and 11 from the first book of the Apocryphal Maccabees and involves complicated intrigues between the Jews, Syrians and Egyptians in the second century BC. To cut a long story short, Alexander Balus, King of Syria, is eventually defeated in battle by Ptolomee of Egypt and then killed by an Arab; but Ptolomee himself dies just three days later allowing Jonathan, the Chief of the Jews, to remind us of the fate of those who do not believe in the One God.

For twenty-first century ears accustomed to every type of music imaginable, it can be hard to hear Gesualdo's later madrigals as the shocking and revolutionary pieces they are or imagine the reaction of their original audiences, but sometimes the music is so supremely odd that it inevitably elicits a double-take. This is sometimes the result of Gesualdo's brilliant/cavalier disregard for the late Renaissance conventions of harmony, tonality, and voice leading, but just as often it's the intensity of emotional affect in his response to the texts, which can create music that seems alarmingly disjunct, even schizophrenic, in its mood swings. In any case, Gesualdo is a composer who's most appealing to listeners who like wild rides and lots of aural surprises.