Emi Meyer

Seine Bekanntheit im heutigen Musikleben verdankt Carl Stamitz hauptsächlich auch seinen Klarinettenkonzerten, die sowohl ästhetisch als auch gattungs- und musikhistorisch von nicht zu unterschätzender Bedeutung sind. Obwohl die genaue Anzahl seiner Klarinettenkonzerte nach derzeitigem Forschungsstand nicht zweifelsohne gesichert ist, werden ihm insgesamt 11 Klarinettenkonzerte zugeordnet, die vermutlich zwischen 1770 und 1790 entstanden sind. In der kompositorischen Behandlung der Klarinette bei Carl Stamitz zeigt sich, dass er versuchte die virtuose Seite der Klarinette auszuschöpfen, sie aber vornehmlich als Gesangsinstrument erkannte.

No timbral difference separates this midprice reissue of one of the best-loved concertos by Mozart from its previous, full-priced equivalent. There's a bit more ambience and warmth and less stridency on top. If you own the original CD, there's no need to replace it, but first-time buyers should snap up these sensitive, stylish performances in their Great Recordings of the Century guise. One of the main attractions is the extended compass and deliciously "woody" tone of Sabine Meyer's basset clarinet. The clarinetist's fleet, effortless dispatch of the Clarinet Concerto's outer movements is a delight to the ear, and her improvised (or so they seem!) flourishes fit into their environment as if Mozart had written them himself.

Soft and cantabile, with sparkling virtuosity: we owe it to the internationally celebrated soloistSabine Meyer that the clarinet has conquered the world's concert stages as a solo instrument. She has been rediscovering forgotten repertoire for decades now, presenting to a delighted public not only the famous clarinet concertos by Mozart, Weber and Rossini, but also gems by lesser known composers.

From around the end of the 90's he worked vigorously as a DJ / producer / remixer / musician in club scenes, and since around 2000 he was not caught up in the club / scene framework, from the popular music of the main stream piano · solo works Ryota Nozaki who is working on a wide range. An album released by JAZZTRONIK in 2008, which is acting as a free project by unspecified members around him.

Under the theme of "Coexistence of music and life", DJ OKAWARI expresses the things he feels in life through sound. The tranquility that comes right before falling asleep, the dignified feeling when opening a book… He creates sounds that underscore the connection between settings and emotions. The name DJ OKAWARI comes from the Japanese word "okawari", or "seconds", because he is never satisfied with just one helping. He is always seeking something new to challenge. Besides his work on his own albums, DJ OKAWARI has also participated in many works within Japan and outside of it. His warm and gentle hiphop tracks have a worldwide appeal.

Recorded over two days in spring, polished over a month this autumn but in preparation for over a year: it all started on the road, on the tours that took the trio to the four corners of the earth. One can still feel this first live layer in the deep organic vibrations. The tracks had been developed in a live setting and then worked on again and again. And thus the clear outlines and highly melodic approach never prevent harmonic detours and rhythmic eruptions. Your work can be devoted to serving the voice without neglecting the dynamics of the trio. It’s all in the subtle proportions. Production, a key factor in this, was taken on by Eric, as a great admirer of Danger Mouse, Grizzly Bear and Daniel Lanois, not to mention one of John Barry’s most faithful followers.

The Virgin Years 1977-1983 is the follow-up to last year's The Virgin Years 1974-1978 (see review) by Tangerine Dream (TD). The latter album was a 3CD-box set comprising the five remastered albums TD recorded for Virgin Records between 1974 and 1978: Phaedra (1974), Rubycon (1975), Ricochet (1975), Stratosfear (1976) and Cyclone (1978) plus a selection of rare single releases, 7-inch edits as well as two rarely heard radio adverts. However, it didn't contain Encore, originally released in 1977. The follow-up to this previous release contains seven albums plus two singles all packed on a 5CD-album set.

Franz Krommer was Czech by birth but spent the major part of his career in Vienna; he was the last official court composer in the Habsburg court. A violinist, Krommer wrote mostly orchestral and chamber music, including at least six dozen string quartets. Born less than four years after Mozart, he outlived Beethoven, but his style is firmly based in the 18th century. The Clarinet Concerto, op. 36, was composed almost exactly midway between those of Mozart and Weber; a fairly ambitious work, it features a large orchestra including trumpets and timpani. It is certainly a virtuoso showpiece, but well written for the instrument; everything fits well under the fingers.

Ms Hendricks has allied herself with one of the truly great pianists of the last thirty years, and a masterly Schubertian at that: Radu Lupu. His Schubert impromptus on Decca are to my mind only challenged by Brendel. I can’t remember hearing him as accompanist anywhere else, which makes his partnership with Barbara Hendricks special indeed. He doesn’t dominate the proceedings as some other soloists have tended to do but neither is he too reticent. It seems that they have found a good balance. Once or twice I reacted to his approach. Der Wanderer an den Mond seems too jolting but otherwise there are no eccentricities.