Dutilleux / Seattle Symphony / Morlot / Hadelich - Metaboles - Violin Concerto L'arbre Des Songes - COMPACT DISCS [CD]

A fiercely independent composer, Henri Dutilleux wrote music that is refined, colorful and scrupulously crafted. Symphony No 1, his first purely orchestral score, established his international reputation. Structurally unconventional- it opens, unusually, with a passacaglia- it illustrates his principle of 'progressive growth' through it's sustained lyricism and towering, chorale-like statements. Metaboles was inspired by the virtuosity of the woodwind section of George Szell's Cleveland Orchestra. Distinctive instrumentation for each movement allows for deep expression, jazzy rhythms and moments of irony. The enigmatic diptych Les Citations quotes from fellow composers Benjamin Britten and Jehan Alain. After over 40 years at the head of the Orchestre National de Lille (ONL), of which he was the founder, Jean-Claude Casadesus enjoys an international career that has brought seasons in Germany, Russia, Japan, Latvia, and in Lille. His 30 albums with the orchestra have won critical and public acclaim and as a guest conductor he has appeared in Moscow, Singapore, Montreal, Baltimore, Seoul, St. Petersburg and Berlin. He is an enthusiastic champion of contemporary music and set up residences for composers with the Lille orchestra.

Dero Goi is back with a bang! The former OOMPH! Frontman delivers a massive statement of intent regarding his future direction as an artist - both musically and lyrically - in the shape of the double album Inch1984Inch, which is packed to the brim with synth hits. Inch1984Inch is a fascinating fusion of beloved retro-synth sounds, synth-wave, and EBM with contemporary electronic elements, and even a dose of his former life as a rock and metal musician. Dero Goi, who has always been recognised as an outstanding songwriter, has honed his craft to an even sharper edge. This massive collection of songs will make people dance and sing along, and it will fix catchy tunes into their minds that are bound to last for years to come. Dero Goi remains true to his unbending will of carrying on as a nonconformist artist. Always outspoken and never shy to share his views, his coming out as a Born Again Christian who is still critical towards organised religion and his declared libertarian political leaning have provoked a wide range of reactions. Those include massive obstacles to overcome in finding a tag, a booking agent, and he even had to go through already confirmed shows being cancelled. This poses the question how tolerant is a scene that prides itself of greatest openness to any social class and lifestyle when those values are being put to the test? Are freedom of the arts and freedom of thought only for those, who conform to currently popular ideals? Of course, even words have consequences and there are limits to any freedom, but should those apply to an artist who stands firmly on the ground of his country's constitution and is not breaking any laws? What is freedom worth, if it does not entail the right to dissent? Dero Goi begs to differ and that is not a crime. Before Dero Goi, who was born as Stephan Musiol on April 16, 1970 in the German city of Wolfsburg, founded OO

Shakara is one of a clutch of early 1970's albums, on which Fela's Afrobeat transitioned from stage to something approaching full-grown form. Shakara (1971) includes three of mature Afrobeat's signature ingredients. There are two guitarists, rhythm guitarist Tutu Shoronmu and tenor guitarist Segun Edo. The pair's repetitive, interlocking riffs - part melody, part rhythm - play a similar role to the rhythm and mi-solo guitars used in contemporary Congolese rumba. Fela's Broken English lyrics extend his music's audience beyond Yoruba speakers and make his words understandable across Anglophone Africa. And female backing vocalists echo Fela's lead vocals in what was to become Afrobeat's trademark call-and-response pattern. In InchLady,Inch Fela highlights the adoption of European social habits to the detriment of African culture. InchShakaraInch is a mainly instrumental track, with a brief lyric, sung in Yoruba, warning against boasters and braggarts. Up-tempo, with a suitably turbulent horn arrangement, it includes strong solos from Fela on keyboards and the fearsome Igo Chico on tenor saxophone.