Mendelssohn / Vida Guitar Quartet - Bachianas - COMPACT DISCS [CD]

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism Inchthe stage is home and home is a stage.Inch By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal InchmysticalInch period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band-Don and Moki Cherry, Christer Bothén, Gérard InchDoudouInch Gouirand, and Naná Vasconcelos- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Ann

Mendelssohn / Guarneri Quartet - String [COMPACT DISCS] date 09/01/2015

From the Merel Quartet's inception, the music of Felix Mendelssohn-Bartholdy has played an important role in ou repertoire. We find it fascinating how he achieves his own musical language in his string quartet writing, even in his earliest works in that genre. Clearly he is influenced by Haydn, Mozart and Beethoven, nevertheless, from the very first measures of his quartet Op 12 it is his own voice, his own unique sound which we hear. You simply have to love this music the freshness, the intelligence, the enthusiasm which is especially infectious in these works; the high virtuosity of the Scherzi - witty, light, mysterious elfin, similar to his music for A Midsummer Night's DreamInch; the lyricism - often we have the feeling that even in his chamber music he has written songs without words; and finally the codas - I don't know of anything more intoxicating than the end of the octet's first movement, or when, in the Finale of Op 12, he returns to material from the first movement, closing the circle and coming to rest - wonderful! The Octet Op 20 is unique in it's genre. Mendelssohn, just 16 years old, draws on all the possibilities of the eight instruments with unsurpassed mastery. As an example his brilliant command of counterpoint especially in the Finale, beginning with an eight-voice fugato and leading to a theme quoted from the Halleluja Choir from Händel's InchMessiahInch InchAnd He shall reign forever and everInch. We feel extremely fortunate to have met the young English foursome with whom we recorded Mendelssohn's octet the Castalian String Quartet. It is very rare indeed to find such a close musical affinity between two ensembles and working with them was extremely rewarding. The idea for this recording was born during our performance of the octet at the chamber music festival InchZwischentöneInch in Engelberg in October 2017.Inch (Merel Quartet)