Amoco Renegades - Panorama Saga: Tribute to Jit Samaroo - COMPACT DISCS [CD]

Born in Kharkov, USSR, Alexander Meshibovsky has had a substantial performing career. This is an album of live performances of great works. ALEXANDER MESHIBOVSKY has appeared as soloist with orchestras including the Hamburg Philharmonic, the RIAS Symphony of Berlin, the Leipzig Gewandhaus Orchestra, the North German Radio Orchestra in Hanover, the Bavarian State Radio Orchestra in Munich, the Bamberg Symphony and the European Union Youth Symphony. He has been featured on programs with prominent conductors such as Christoph von Dohnanyi, Ricardo Chailly, Edo de Waart, Klaus Tennstedt, Thomas Sanderling, and Vladimir Ashkenazy. Mr. Meshibovsky has served for many years as Professor of Violin at East Tennessee State University and the University of West Virginia, and is currently on the faculty of the Music Department at Lehman College, Columbia University Teachers College, and Long Island University.

Danacord continues it's tribute to the Danish cellist Erling Blöndal Bengtsson with previously unpublished recordings from the archives of the BBC and German radio. There is cello music dedicated to Bengtsson's mentor Piatigorsky and chamber music by Mozart and Offenbach with fellow friends and colleagues. His stylishness, distinctive timbre and subtle colours, as well as his trademark impeccable intonation, may be enjoyed in full. Erling Blöndal Bengtsson performed extensively throughout Europe, the United States, South America and Russia. He has appeared with most of the world´s leading orchestras including the Royal Philharmonic, the St. Petersburg Philharmonic, English Chamber Orchestra, Salzburg´s Mozarteum Orchestra, the Hague´s Residentie Orchestra under the direction of many of the contemporary leading maestros, such as Yuri Temirkanov, Mariss Jansons, David Zinmann, Sixten Ehrling, Herbert Blomstedt, Sergiu Commissiona. His repertoire was all-encompassing and he has championed the works of leading Scandinavian composers, as well as performing the Scandinavian premieres of cello concertos by Britten, Barber, Khatchaturian, Delius, Lutoslawsky and Walton and, indeed, the latter two, themselves, conducted several performances each with Mr. Bengtsson as soloist. A consistent recording artist, with over 50 albums, he has, along with the complete standard repertoire for cello and orchestra, recorded many contemporary concertos, most of which were dedicated to him.

On their eleventh regular studio album, InchEvery Rock, Every Half-Truth under ReasonInch, conceptual and experimental artists Kayo Dot commemorate the 20th anniversary of InchChoirs of the EyeInch by reuniting the original line-up. This bold musical statement from the ever-changing composer and mastermind Toby Driver marks both a return and a progression from the band's seminal debut by revisiting the compositional practices that defined it while pushing forward into uncharted territory. Rejecting traditional rock structures and the more predictable contours of metal, InchEvery Rock, Every Half-Truth under ReasonInch shapes a sound that feels familiar and alien at once, where custom-designed microtonal organs and guitars weave an effort to reconcile the impossible tension between past and future. Moving away from the typical emphasis on low-end frequencies, it floats instead in the upper spectrum, where the textures become more fragile, more intimate, and more abrasive and terrifying. This Kayo Dot album is also haunted by the ghost of a future to come the spectre of AI-generated creativity. The increasing presence of artificial composition, predictive modelling, and algorithmic aesthetics casts a long shadow over all creative work today, which caused Driver to write in ways that resist prediction, to compose music that does not reveal itself to pattern recognition. Much of the album is an effort to move against the grain of legibility, to make something that slips from the grasp of systems designed to anticipate us. After the split of much loved MAUDLIN OF THE WELL, Toby Driver formed the avant-garde music project Kayo Dot as a new outlet for his burgeoning creativity in 2003. In the following 20 years, Kayo Dot released an impressive number of full-lengths, EPs, splits, and live recordings that are all marked by considerable stylistic differences and a wide array