John T. Gast - Excerpts - COMPACT DISCS [CD]

.. 4.3.2.1.. Morte is a 1967 sci-fi movie directed by Primo Zeglio, based on the adventures of the astronaut Perry Rhodan, a character created by Walter Ernsting. All'epoca di questa colonna sonora non fu pubblicato nulla, neppure un 45 giri. Not a single note was released at the time, not even a 45rpm. Starting from the original mono master tapes of the recording session, it has been possible to assemble an album that will delight fans of fantastic cinema and lounge music. 15 tracks have been selected, for an excellent sound experience that will take the listener into space-time dimensions with the sound colours of the late sixties. The crystal voice of Edda Dell'Orso, accompanied by the prestigious choir of Alessandro Alessandroni's Cantori Moderni performs the wild danceable beat track InchSeliInch, written by Marcello Giombini, introduced in the opening (A1) and closing credits (B7), and reprised in three different instrumental versions (A5, B1, B3). To describe the perils of outer space, Antón García Abril and Marcello Giombini wrote musical themes that flirt with experimental music, thanks to organ effects and Cantori Moderni's voices (A2, A6, A8, B2, B5), but also to tribal sounds (A4), exotic-espionage atmospheres (A7), chase music (A3), shake (B4) and a military march shading into noir sensations (B5). Record Store Day 2025 exclusive on clear red vinyl with 30x30cm insert. Liner notes and audio remastered by Claudio Fuiano. Album Tracks 1. Seli (Main Titles) 2 34 2. 4.3.2.1... Morte ! (Seq. 1) 1 17 3. 4.3.2.1... Morte ! (Seq. 7) 3 51 4. 4.3.2.1... Morte ! (Seq. 2) 1 55 5. Seli (Love Theme) 2 31 6. 4.3.2.1... Morte ! (Seq. 3) 2 58 7. 4.3.2.1... Morte ! (Seq. 4) 1 52 8. 4.3.2.1... Morte ! (Seq. 5) 3 28 9. Seli (Instrumental) 4 37 10. 4.3.2.1... Morte ! (Seq. 6) 1 54 11. Seli (Love Theme) 1 56 12. 4.3.2.1... Morte ! (Seq. 9) 2 42 13.

Doyen of Danish Pianists Professor John Damgaard - As a young student I had the pleasure to play Francis Poulenc's Sextet for Nadia Boulanger. Feeling uneasy with some of the more or less banal themes I asked for her help. She said that Poulenc had a strong sense of humor, but always expressed it in an extremely serious way - which made it even more humorous. And you had to treat his music in the same manner. Always serious. Poulenc's musical life was at a time, where the tonal system more or less had outlived itself. The 12-tone music had taken over. At least in the Germanic musical world. But Poulenc detested this form of intellectual way of making music. Music had to be conceived through the ear. In 1943, when he wrote his Intermezzo in A-?at major, he ended the piece with 12 chords in all the keys... probably an ironic greeting to the Germans in Paris! Already in 1928, he showed - in one of his most beautiful pieces - the Pastorale - that it is possible through the ear to make beautiful chords containing almost all the 12 different notes at the same time. Beautiful sonority has always been a major key to French Music. Many years later Pierre Boulez said InchI wish I could compose in major/minor keys. But I can't!Inch Another of his beautiful pieces the Mélancolie is written in August 1940 - 3 months after the Germans went into Paris. Leonard Bernstein suggested in one of his Harvard Lectures that the interval of a downward third is an archetype. In all cultures that means InchmotherInch! Mélancolie ends with a downward third 3 times - a definite cry for help. With these elements in consideration, it is totally wrong to judge Poulenc a light weight French composer - which has often been the case. He is much more an original, serious French composer with a lot of humor. Album Tracks 1. 8 Nocturnes 2. Perpetuum Mobiles (1918) 3. Mélancolie 4. Trois Interm

Franz Schubert's Moments Musicaux was published in 1828 but partly written in previous years. After Beethoven's monumental 32 sonatas there were no longer a desire from publishers' point of view to print InchsonatasInch, and as a result composers tried to find alternative titles to shorter pieces such as Impromptus, Nocturnes etc. Probably the second set of Schubert's Impromptus were intended as a sonata (at least according to Schumann), but after protests from the ended up as 4 Impromptus. In the case of Schubert this was in a way an advantage. For although some of his sonatas are among the best music ever written, they were a result of a big struggle to try to live up mto Beethoven. But for him it was the most natural thing in this world to put anything he experienced into music - water flowing, hunting scenes, galloping horses, thunder and more than anything else the best thing he knew - walking. Actually, it is important for any musician approaching Schubert in terms of tempi to take into consideration that there is almost always an element of InchwalkingInch. This ability is of course the reason for the enorm us number of songs - more than 600! InchGive Schubert a menu card - and he will put it into musicInch!John DamgaardJohn Damgaard - a student of Georg Vasarhelyi, Ilona Kabos and Wilhelm Kempff - was assistant professor at The Royal Danish Academy of Music from 1969-84, and from 1984-2007 professor at the Royal Academy of Music, Aarhus. Since many years he is guest professor at Musashino Academia Musicae in Tokyo, Japan, as well as guest professor at the Australian National Academy of Music in Melbourne. Album Tracks 1. Six Moments Musicaux, D 780~Moderato, C Major 2. Six Moments Musicaux, D 780~Andantino, A flat Major 3. Six Moments Musicaux, D 780~Allegro moderato, F Minor 4. Six Moments Musicaux, D 780~Moderato, C sharp Minor 5. Six Moments