Strip IV

This new album of ensemble works by Stephen McNeff was composed primarily for Kokoro, the Bournemouth Symphony Orchestra's new music ensemble, conducted by its Principal Conductor and Artistic Adviser, Mark Forkgen, during McNeff's tenure as resident composer to the BSO from 2005 - 2008.

Previously Unreleased Concert Includes The Hit "Precious To Me!" Phil Seymour Archive Series Volume 7: Live On The Sunset Strip. Recorded At The Height Of His Career At The World Famous Whisky A Go Go. Cover Design By The Flamin' Groovies Cyril Jordan. Featuring songs by Dwight Twilley, John Prine, Bill Pitcock IV (Dwight Twilley Band), Eddy Grant, Kathy Valentine and more. Includes the following songs: "Love You Too Much”, "If You Don't Want My Love”, "Then We Go Up”, "Precious To Me”, "Won't Finish Here”, "Don't Blow Your Life Away”, "Trying To Get To You”, "You're So Square”, "Let Here Dance”, "We Don't Get Along”, "Baby, Come Back”, "Bony Maronie”, "Danger Heartbreak, Dead Ahead”, "Only One."

Composed between 1963 and 2005 these four works form a spectrum that demonstrates a tendency among composers of American concert music to draw from a wide range of musical streams; classical, popular, folk and jazz in order to reach out to their listeners.

Composed between 1963 and 2005 these four works form a spectrum that demonstrates a tendency among composers of American concert music to draw from a wide range of musical streams; classical, popular, folk and jazz in order to reach out to their listeners.

Philip Glass’ Concerto Fantasy for Two Timpanists and Orchestra, composed in 2000 and transcribed for wind ensemble by Mark Lortz in 2004, is a significant addition to the repertoire of large-scale works for timpani. The work is rhythmically galvanizing, sonically alluring, and features virtuoso cadenzas for both soloists. Symphony No 4 ‘In the Shadow of No Towers’ is Mohammed Fairouz’s first major work for wind ensemble, and its inspiration is the provocative comic book by Art Spiegelman, written shortly after the terrorist attacks on September 11, 2001. Spiegelman himself has commented: “I’m moved by [this] scary, somber, and seriously silly symphony…I’m honored that the composer found an echo in my work that allowed him to strike a responsive chord and express his own complex responses to post 9/11 America. He emerges from the rubble with a very tony piece of high-brow cartoon music.”

Après son récital de janvier avec Cédric Tiberghien, Stéphane Degout revient graver un disque dans le cadre des Lundis musicaux à l'Athénée. Le programme est cette fois en partie germanique. Comme en janvier, Stéphane Degout commence en chanteur d'opéra et termine en mélodiste. On regrette avant l'entracte l'étroitesse de la palette vocale et le timbre monochrome, cravaté et nasal, presque sourd et gris à la Goerne. Cette émission semble issue d'une habitude de surtimbrage sécurisant destiné à assurer ses prestations scéniques. Le formant du chanteur, indispensable pour passer la fosse d'orchestre, est ici trop appuyé, sur une base trop sombre. Mais après l'entracte, une confiance plus grande ou une affinité plus sensible avec Schumann lui fait oser de superbes mezza voce dans le haut-médium. Enfin fragile, il peut nous toucher.

We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.

We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.

We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.