Jul I'm Sorry

A little-known ‘Well-Tempered Clavier’ for the 19th century in a superbly engineered new version.
Long known as Beethoven’s pupil, Liszt’s teacher and the bane of countless piano students ever since as the prolific author of exercises and studies which have won foundational status in their importance for piano technique, Carl Czerny (1791-1858) is finally gaining recognition as a composer in his own right. During the 19th century, while his pupils were still alive to play them, his concertos still enjoyed a measure of familiarity and success, but Czerny’s sheer industry obscured his creative achievements: where should a listener start with a catalogue of opus numbers into the four figures?

Zwei Jahre ist es her, dass die Toten Hosen ihr gefeiertes Doppelalbum »Laune der Natur« inklusive »Learning English Lesson 2« veröffentlichten.

'Wut Im Bauch, Trauer Im Herzen' erschien im November 2010 bei dem kleinen antifaschistischen D.I.Y.-Label DIFFIDATI (2008-2012) und wurde nie im Handel veröffentlicht. Nachdem ein beispielloser Siegeszug das Punkrock- Sextett weit über die Grenzen Mecklenburg-Vorpommerns, der Punkrock- und Antifa-Szene und sogar in der großen bürgerlichen Öffentlichkeit bekannt machte, stieg die Nachfrage nach dem zweiten Album der Band enorm an. Jetzt gibt AUDIOLITH dem Druck der Straße nach und präsentiert das Album erneut und erstmals ganz offi ziell.

Live report or music-theatre production? In the piece 'Im Bau' Michel Roth plays with studio sounds and live recordings and cannot be tied down to a certain genre. Swiss composer Michel Roth adapted the text for the stage and composed the ca. one-hour monodrama 'Im Bau' (In the Burrow: Fifteen Sound Spaces after Franz Kafka) as a commission from the ensemble æquatuor, the Lucerne Festival, and the Theater Basel. The work was produced in 2017 as a music-theatrical obstacle course. The fifteen composed sound spaces interacted with a total of fifty-three real space situations, on the one hand in public partial performances, on the other under studio conditions. Likewise explored were the boundaries to reportage with participants moving through the rooms.

Ebia's 7th album is by far the best one he did in his career, a mature composition that invites to follow the album track by track and develop different soundscapes in a smooth mastering and well balanced modulation.

There was a time when Georg Philipp Telemann was the most difficult cataloging problem in music – so many compositions but no thematic catalog. The discographer in me shied away. But in 1983 Werner Menke compiled a two-volume Telemann Vocal Works Catalog (TVWV), quickly followed by Martin Ruhnke’s three-volume Telemann Works Catalog (TWV) in 1984, 1992, and 1999, which lists only the instrumental works. Brian Robins in another review (30:3) cited TVWV numbers under the other siglum. The TVWV numbers are included in the headnote mainly to suggest how vast the list is. Oddly, considering that most of these works have never been recorded, cpo has already issued another recording of the last cantata (30:3). A late work published in 1759, this Ascension cantata is the setting of an ode by Daniel Schiebeler, employing three trumpets and tympani as well as three flutes. Four soloists each have a movement. This work alone was recorded in 1997.

Frustration, Aggression, Depression, Resignation. In dieser Reihenfolge. Aber was kommt danach? Zynismus, Nihilismus, Radikalismus? Oder die Erkenntnis, dass das Leben manchmal eben einfach scheiße ist und das dazu gehört? Und dann?

Sigiswald Kuijken's Bach cantata recordings, and in particular his complete series for Accent which culminated almost a decade ago now, haven't enjoyed quite the degree of international attention garnered by those of John Eliot Gardiner and Masaaki Suzuki with their own respective series, and this perhaps isn't completely surprising when Kuijken has consistently championed the one-voice-to-a-part approach. After all, even if one can get on board with one-to-a-part from a historical accuracy perspective, many find it a little harder to get on board with from a pleasure-listening angle, when the casualty of all that authenticity is textural variety – and indeed there's evidence that Bach himself was often frustrated by the slim vocal forces at his disposal.