Michaela Koudelkova - Corelli & Handel: Sonatas - Michaela Koudelkova - COMPACT DISCS [CD]

Michaela Fukacova - Complete Cello & Piano Works [COMPACT DISCS] date 09/16/1993

GAUNTLET RULE WAS FORMED IN 2019 BY GUITARIST ROGGA JOHANSSON (PAGANIZER, MASSACRE) AND BASSIST PETER SVENSSON (ASSASSIN'S BLADE, VOID MOON) WITH THE INTENT OF CREATING TIMELESS HEAVY METAL. THE LINE UP WAS COMPLETED BY VOCALIST TEDDY MÖLLER (LOCH VOSTOK). Despite of, or maybe because of, the style of Gauntlet Rule being a huge departure from the styles of Johansson's and Möller's main bands, the band manages to create an original sounding record yet maintain all the trademarks of classic metal. The songs range from speed metal to almost doom metal, but the focus on fist-pumping heavy metal is never let go. The foundation of the songs is the unrelenting riffing of the riffmaster Johansson, backed by the tight and sometimes adventurous rhythm section of Svensson and guest drummer Lars Demoké. The massive vocals of Möller set the tone for the journey through the landscapes of InchThe Plague CourtInch. Lyrical themes include horror stories, war, internal struggles, and supernatural concepts;sometimes several of the themes in one song. The album also features the excellent vocal talents of two guest vocalists. Blaze Bayley (ex-Iron Maiden) lends his world class pipes to the track InchDying for My DreamsInch, to which he also contributed additional vocal arrangements and lyrical adjustments. Blaze comments InchI really enjoyed working on this song, a great time working on the guest vocal. I wish the guys every success with the Inch. The other guest vocalist in the album is is Lorraine Gill from cult US Metal band Taist Of Iron. She adds her haunting yet powerful vocals to the track InchA Choir of AngelsInch. InchIt was an absolute pleasure to work on this project, and I felt honored to be asked to do soInch, she declares. InchThe music and lyrics are absolutely top notch and I was blown away by the whole collection! The music stands alone. Not like anything I've heard re

As the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli's style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes - most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa - was a significant part of what his followers considered the 'Corellian' manner. But Corelli's actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli's hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli's style throughout all his surviving works and would establish the InchRoman SchoolInch as the supreme measure of musical taste for generations. For this exploration of the 18th century's Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman's influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio's Bach recording InchWhile the tonal and expressive ra nge of the recorder, viol and harpsichord may appear constrained in comparison to, say, f