Elizabeth Watts - Telemann: Ino Cantata and Double Concertos - COMPACT DISCS [CD]

Mel (Melanie Helène) Bonis was born in Paris in 1858, and showed a prodigious talent for music from an early age, attending the Paris Conservatoire from the age of sixteen, studying alongside Debussy and Pierne under Cesar Franck. Her passionate relationship with the singer Amedee-Louis Hettich was frowned upon by her parents, who pressured her to marry edouard Domange, a twice-widowed industrialist with five children. Bonis threw herself into her role as wife and stepmother, until a reunion with Hettich in the 1890s reignited her serious interest in composition. She composed more than 300 works, including pieces for solo piano, chamber music, and over forty melodies for voice and piano. As Bonis was too modest for self-promotion, and a victim of gender-bias, her music fell into obscurity after the First World War, and she became bedridden from arthritis. She continued to compose until her death, in 1937. Her orchestral output dates from two decades, between 1891 and 1912, and is well represented on this album.

Groove is in the house girls and boys and what better way to get things started than with The Party Cats! Kids Dance Party is perfect for birthdays, sleepovers and more.

As we reflect on Johann Sebastian Bach and his sons, we are all too likely to overlook the fact that there were six sons from two marriages who Inchinclined towards MusicInch. True, Maria Barbara's third son Johann Gottfried Bernhard, born in Weimar in 1715, more or less disappeared from view in 1737, and it is plain that Anna Magdalena's first son Gottfried Heinrich, born in 1724, was mentally handicapped InchA great Genius, which however was never developed,Inch wrote his half-brother Carl Philipp Emanuel in the family chronicle. For thirty years, making and writing music, he had been the musical front-runner in Saxony and Thuringia the vanguard was located wherever he was, in his hands and at his writing-desk. Increasingly, twenty-year-olds and a few late starters in their thirties were coming on to the market and showing Bach a new way forward the galant style, spreading north from Naples ever since 1715, and the flamboyant, ever more richly ornamented music of the late Baroque, constantly threatening to break down under the weight of emblematic connotation and religious symbolism, in contrast to that simpler form, written by mortals for mortals, distinguished by it's slow, easily comprehensible harmony and it's truly singable melodies in what was at most an expanded two-part structure.