Hyperion’s previous recordings with Winchester Cathedral Choir are among the jewels in its choral collection. Now the label begins a new relationship with this ancient foundation and its latest director of music, Andrew Lumsden. Their new disc features a composer who was at the centre of the English twentieth-century choral tradition.

An extremely promising debut which successfully melds modern progressive metal with traditional progressive rock.

Previously unreleased vintage studio tracks spanning 1976 to 1978. Shotgun had a successful career during the mid to late 70s in and around Dallas playing the club circuit, local radio broadcasts such as Homegrown show on KZEW, and recording at the cities best studios. All of that culminated in the band having a large and loyal following in Dallas, but sadly nothing ever came of the recording sessions and Shotgun eventually morphed into VIZION which did release an album in 1980 that featured the vocals of Jan Houston. Finally after more than 38 years, those long lost studio sessions recorded between 1974 and 1976 are presented for the first time ever on LP as they were meant to be heard, and a companion CD which includes 11 additional bonus tracks.

Dmitri Borisovich Kabelevsky (1904-1987) is long remembered mostly as an innovative pedagogue and the one who sought to upgrade the curriculum so as to enhance music education for the youth. And like Kodaly of Hungary, Kabalevsky was something of a musical, cultural ambassador. As a composer, he wrote many pieces for children (for examples, the First Cello Concerto, Third Piano Concerto, a Violin Concerto and a song cycle "School Years"). His operas in particular were well known in Soviet Russia while about a few of his orchestral works had some currency in the West, including the Comedians, overture to Colas Breugnon, and to a lesser extent, the Second Symphony.

Although they had two fairly sizable U.K. hits in 1970 ("I Will Survive" and a cover of Terry Reid's "Friends"), this 2012 compilation, remarkably, marks the first time any of their material has been available on CD. The two-disc set includes both of their albums (each of which, in an unwise career, was self-titled, one appearing on Decca in 1970 and the other on CBS in 1972), as well as their non-LP singles ("I Will Survive" among them) and three previously unreleased tracks…

Subsonic Park is a project of Gabriel Le Mar and Alex Azary and oscillates between the repetitive sound patterns of urban club culture, the deepness of dub as well as modern technology. The origins of Subsonic Park date back about 10 years ago. "Inner City Codes" is not just a very special bridging between the past, the present and the future of electronic music. It also brings about a synergy between experimental electronic music and current club sounds never heard before.

Nonesuch Records releases City Noir, comprising the title piece by composer John Adams and the debut recording of his Saxophone Concerto. Both pieces are performed by the St. Louis Symphony led by Music Director David Robertson. Saxophonist Timothy McAllister is featured on both pieces.

In 2004 Bernarda Fink released a recording of Dvorák songs that was awarded critical plaudits internationally. Now, eight years later, she returns to the composer, in the company of young soprano Genia Kühmeier, to sing 13 of the Moravian Duets which brought the young musician fame far beyond his homeland. The other two cycles, for solo voice, round out the portrait of a Dvorák still attached to musical traditions, whether sacred (Biblical Songs) or secular (Gypsy Melodies).

Heinrich Marschner (1795-1851) - Lieder und Balladen / Love Songs & Ballads
Steven Kimbrough, Baritone / Dalton Baldwin, Piano
EAC+LOG+CUE | FLAC: 244 MB | Full Artwork: 65 MB | 5% Recovery Info
Label/Cat#: Koch-Schwann # 3-6742-2 | Country/Year: Germany 2000
Genre: Classical | Style: Romantic, Vocal, Lieder

Heinrich August Marschner was the most important composer of German opera between Weber and Wagner. To the extent that he is still remembered, it is largely for his operas Hans Heiling (1833), Der Vampyr (1828), and Der Templer und die Jüdin (1829), extremely popular in his lifetime. Marschner’s ability to depict supernatural horror by musical means is especially evident in the first two operas as well as in some of his ballads, such as "Die Monduhr". Next to his operas, Marschner's most significant musical contribution is to the Lied. The best of his works in this form are comparable with those by Carl Loewe.