Skerryvore - Tempus - COMPACT DISCS [CD]

2012 five CD anthology from the German Electronic pioneers, the follow-up to the box set the Virgin Years 1974-1978. Starting with the live album Encore (1977), this box set contains some of their biggest selling albums joined by rare non-album tracks. Apart from Encore, this set also includes the albums Force Majeure, Tangram, Exit, White Eagle, Logos (1982) and Hyperborea (1983). EMI.

Æternum marks the impressive debut recording of the Tempus Trio, presenting four contemporary works written expressly for the ensemble by leading composers Helena Cánovas, Marc Migó, Miquel Oliu, and Albert Guinovart. The album offers a uniquely coherent yet stylistically diverse journey through today's chamber music, unified by a central exploration of musical time-it's suspension, fragmentation, and expressive expansion. The programme opens with Helena Cánovas's tanta llunyania no ha estat un error (2025), a single-movement work built from contrasting sonic Inchstates,Inch where fragile harmonies, atmospheric textures, and sudden transformations create a poetic sense of distance and expectation. Marc Migó's GEM(S)TONE (2022) continues the journey with a vivid triptych inspired by three gemstones-Onyx, Ruby, and Diamond-each transformed into symbolic sound worlds that highlight the ensemble's dynamic range and technical finesse. Miquel Oliu's Un simple aleteig... (2023) offers a delicate, introspective reflection inspired by the proverb of the butterfly effect. Through natural harmonics, oscillating tremolos, and transparent textures, Oliu crafts a meditative work that pays subtle tribute to Kaija Saariaho. The album concludes with Albert Guinovart's expansive Trio Celebration (2025), a four-movement composition that draws from the great Romantic trio tradition while incorporating personal gestures and a final homage to Purcell's The Cold Song. Recorded at the Auditorio Manuel de Falla in Granada, Æternum showcases the refined musicianship of Maria Tió (violin), Ferran Bardolet (cello), and Ricard Rovirosa (piano), establishing the Tempus Trio as a compelling new voice in contemporary chamber music.

The Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long andintensive artistic collaboration, which came to an abrupt end with Haitink's death in October 2021. BRKLASSIK now presents outstanding and previously unreleased live recordings of their concerts from pastyears. This recording of Dvorak's Seventh Symphony documents a concert given in March 1981 in theHerkulessaal of the Munich Residenz. The InchScherzo capricciosoInch is a studio recording, also from March1981.Following the success of Antonin Dvorak's first visit to London in 1884, the London Philharmonic Societyasked him to return the following year and to compose a new symphony for the occasion. It was anhonourable request - after all, the London Philharmonic Society had commissioned Beethoven's NinthSymphony six decades earlier! When Dvorak began sketching out the symphony on December 13, 1884, hewas well aware of the high expectations involved - both his own and those of others. Most music criticsand Dvorak biographers, however, have struggled with the interpretation of this exceptional piece. Forexample, it has been interpreted InchpoliticallyInch against the background of the growing German-Czechtensions of those years. But the existential power of the D minor Symphony - it's anger, it's expansivepessimism, i.e. it's confessional character - may also derive from the biography and personality of it'scomposer, which were probably far more complex, painful and problematic than any InchBohemian idyllInch wemight assume. Even in Dvorak's Eighth Symphony, which is considered to be more cheerful, and in his lastsymphony, InchFrom the New WorldInch, one can still detect a more or less latent tendency towards tragiclonging. The world premiere of the Seventh Symphony took place on April 22, 1885 in London, with thecomposer conducting. It became one of Dvorak's greatest successes