After the successful Beyond Berlin album "Totem" and Rene de Bakker his 6th solo album "Our Gift" (his 1st Groove album) Rene ended up in a new solo project. New equipment arrived in the studio and new inspiration drove him to new music. You will recognize his predilection for the early KS and TD era, but new synthesizers have bridged the gap to a full-fledged 2020 sound. It became mainly sequencer based music with smooth melody lines and daring sounds and effects. Most tracks are based on the Berlin School style, but with a very personal twist. It has become a product where only hardware synths were used, such as analog synths and modular systems, but also digital equipment. a must for those who want to dream away with a long floating track, and want to be on the edge of their seat with some rougher tracks.
Rene de Bakker is an electronic artist, also known from Beyond Berlin. At age of 15, he became interested in symphonic rock bands and synthesizers used by them. But it was Timewind by Klaus Schulze that made him wanting to play a synthesizer. Beside Schulze, Rene was influenced by all great electronic music of that time like Tangerine Dream, Tomita, Synergy and Vangelis. With this heavy Berlin School influenced release the sequences rule. Rene's first release on Groove is an solid mature release that will be liked by any who love the big Berlin Sound!
Parmi l'oeuvre de Saint-Saëns, les concertos pour piano sont d'une importance indéniable. D'abord parce que leur composition accompagne Saint- Saëns entre 1848 et 1896, ensuite parce qu'ils sont symboliques d'un style fait de légèreté, d'intelligence et de finesse. Populaires, ces concertos le deviennent rapidement grâce à la clarté de leurs thèmes musicaux et à leur grande richesse harmonique. Le compositeur français n'oublie pas de truffer ses partitions de quelques notes d'humour que François-René Duchâble sait nous rappeler mieux que quiconque.
For two consecutive years listeners to Classic FM have voted Max Bruch’s First Violin Concerto their favourite among 300 classical works. His melodies have instant appeal and it is good to see three comparative rarities on this disc. Bruch loved alto-register instruments such as the clarinet and viola, and he wrote these works in 1911 when giant leaps were taking place in the development of music, all of which he eschewed in favour of mid-19th-century Romanticism. While the clarinet rides orchestral accompaniment with no difficulty, the viola sits right in the middle and can be drowned (a hazard in performing the Double Concerto but avoided in the recording studio). The viola Romance is a gem, while the Eight Pieces are colourful and varied. All the performers do ample justice to this beautiful and unashamedly Romantic music.
The oratorio as a musical form emerged toward the end of the seventeenth century as a kind of "spiritual exercise" encouraged by the Congregazione dell'Oratorio in Rome. The performances took place in oratories (prayer halls) constructed above church naves and were intended to be attractive but edifying entertainments. Then as later, oratorios generally reflected the popular forms and styles of secular music – and in late Renaissance and Baroque Italy, this meant opera, though based on religious rather than mythological and heroic themes. The most prolific composer in this genre was Antonio Caldara (c1670-1736); New Grove lists 43 oratorios (in addition to many operas) and there are probably more that have been lost, written for patrons in his native Venice, Rome, Florence, Mantua, and Vienna.