Peter Caydick

The most popular folk group of the 1960s, Peter, Paul and Mary in later decades have also proved themselves to be among the most durable music acts in history. Their longevity dwarfs that of the Weavers, while the fact that the trio continues to be associated with a major record label (Warner Bros.) after decades in the business sets them apart from rivals like the Kingston Trio and the Brothers Four. Then again, perhaps it isn't so surprising – Peter, Paul and Mary's roots run deeper than almost any other folk act one might care to name, while their appeal crosses audience lines that other acts couldn't (and can't) even approach.

The most popular folk group of the 1960s, Peter, Paul and Mary in later decades have also proved themselves to be among the most durable music acts in history. Their longevity dwarfs that of the Weavers, while the fact that the trio continues to be associated with a major record label (Warner Bros.) after decades in the business sets them apart from rivals like the Kingston Trio and the Brothers Four. Then again, perhaps it isn't so surprising – Peter, Paul and Mary's roots run deeper than almost any other folk act one might care to name, while their appeal crosses audience lines that other acts couldn't (and can't) even approach.

For Peter Mulvey’s 17th album, and Righteous Babe Records debut, Are You Listening?, he traveled to New Orleans to record with producer and friend Ani DiFranco and her band. Are You Listening? marks the 25th anniversary of a rich career of approximately 4,000 concerts and over a million miles traveled. Mulvey has shared stages with Emmylou Harris, Richard Thompson, DiFranco, Greg Brown, the Indigo Girls, and many others. NPR’s Robert Siegel wasn’t kidding when he said, “Peter Mulvey is a 21st century troubadour.” Lyrically, the songs from Are You Listening? range from the emotive, stream-of-consciousness flood of “The Other Morning Over Coffee” to the spare, haunting title track, which uses only seventeen words.

Lieder ohne Worte – Songs without Words – seems to be a description invented by Mendelssohn himself for these short, lyrical and descriptive piano pieces which he composed so prolifically. Indeed, it is arguable that these works define his pianistic output in the same way that the Mazurka defines Chopin’s. Publishing them in sets of six, Mendelssohn composed Lieder ohne Worte throughout his career – they proved a type of composition to which he had a lifetime attraction. For the first volume, rather than approaching them chronologically or as complete sets, Peter Donohoe selected pieces to build a satisfying programme.