Jacob Lateiner - Lost Art of Jacob Lateiner - COMPACT DISCS [CD]

Volume One was warmly received by critics and pianophiles alike. Jacob Lateiner's reputation was massive in his lifetime but he did not make very many studio recordings. This and it's previous volume correct that anomaly with great distinction. Noted as a Beethoven interpreter, this album combines the Greatest of his Beethoven interpretations with the most famous of works by Schumann, Ravel and Liszt.

Emerald Sea, the third album from New York-based audiovisual project Sound of Ceres, tells the story of how the universe comes to know itself. Rendered in dynamic, ambitious orchestral passages, it forms the basis of future stage performances intended to draw it's half-submerged narrative into the visual sphere. In it's dreamlike impressions, it could also be the soundtrack to a long-forgotten early musical film - an experience that delighted and transported audiences and then vanished from record, surviving only in the imprint of memory. Written in three acts, Emerald Sea follows two deities who trail each other through the furthest reaches of experience. There is the Universe, all that exists, voiced by performance artist Marina Abramovic. And there is Venus, transformer of matter and avatar of love, sung by the group's lead vocalist Karen Hover (who goes by k). Through a dazzling suite of songs inspired by Les Baxter's midcentury exotica, Maurice Ravel's ballet Daphnis et Chloé, and Gustav Holst's The Planets, Emerald Sea studies intimacy on both an interpersonal scale and a cosmological one. Connection and severance, joy and grief, wonder and bewilderment all tumble through it's scope. In the widest frame, the universe begins, meets itself, and ends. In the closest frame, two people encounter each other, grow close, and then separate. These stories are two views of the same fractal. In every intimacy human beings cultivate, every rush of connection, no matter how fleeting, we reenact the universe for ourselves. InchI envisioned myself journeying through these different realms - space, the land, the sea, the heavens - and following Marina's character,Inch says k. InchI always saw her as a shadow figure that I couldn't quite figure out.Inch Ryan says, InchThe album's story is an allegory for the emergence of mind and meaning from the matter of the universe, and it's

Seven musical character images - each one immensely sensual and expressive, and standing on it's own like a monument. The British composer Gustav Holst, fascinated by (esoteric) astrology, chose the planets of our solar system and the characteristics attributed to them as the basis for what he referred to as musical Inchmood picturesInch or InchembodimentsInch. Ultimately, the seven movements of his orchestral suite InchThe PlanetsInch, op. 32, composed between 1914 and 1916, can also be understood as general explorations of human traits. The work had not been performed by the Bavarian Radio Symphony Orchestra for almost three decades when, on February 25, 2022, the British conductor Daniel Harding brought it back to Munich's concert audience in the Herkulessaal of the Residenz, and with great success. During a trip to Mallorca in the summer of 1913, Holst's friend Clifford Bax introduced him to astrology for the first time and the composer immediately began to draw up horoscopes for himself and his acquaintances. The extent to which he actually believed in the influence of celestial bodies on personality formation played only a subordinate role here; it was the notion of a holistic system that could encompass both man and the world that fascinated him the most. His interest in astrology also offered him a welcome break from the monotony of his life as a teacher - at St. Paul's School for Girls and at Morley College, where he taught working-class adults. A first (private) performance of the orchestral suite took place on September 29, 1918 at the Queen's Hall in London, with Adrian Boult conducting. Public performances of individual movements followed. A few months before the first public performance of the complete work, presented by Albert Coates and the London Symphony Orchestra on November 15, 1920, Holst revealed it's cosmic subject. Before then, only the initiat