One L

In the Biblioteca Nazionale in Naples there is a fifteenth-century manuscript containing six masses all based on the cantus firmus of the popular tune L'homme Armé. The front pages of these masses are neatly razored out owing to some miniature harvesting in antiquity, depriving us not only of key parts from within the musical texts but also of any composer attribution that may have appeared on those pages. This has produced one of the most hotly debated issues in renaissance music; Judith Cohen – who has edited the masses for their first publication in 1981 – Richard Taruskin and most others have adduced in favor of Franco-Flemish composer Antoine Busnois.

The Decca performance of the Donizetti comic masterpiece L'Elisir d'amore is simply the best ever put on record. With the incomparable trio of Sutherland/Pavarotti/Bonynge at the peak of their careers, this performance of L'Elisir is one that you will turn to again and again – sheer delight from the first moments of the overture to the grand finale. One has to admit that some of Pavarotti's later performances can be difficult to listen to because of the strain in the voice, but not a hint of strain mars his performance here…

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
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© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."

In the early years of Los Angeles punk, one of the premiere hardcore bands was T.S.O.L., which stood for True Sounds of Liberty. Offering poppier music than many of their contemporaries and featuring an image that appealed to punks who wanted to dive deeper into the gothic subgenre already being offered by many British punk bands, T.S.O.L. became hugely popular on the local scene but never translated that success to national exposure because of their ever-shifting lineup and sound.