The Choir Invisible - Town of Two Faces - COMPACT DISCS [CD]

The Choir Invisible, presents a highly anticipated debut album on Intakt Records. With Charlotte Greve, Vinnie Sperrazza and Chris Tordini, this trio, oscillating between improvisation and composition, brings together three significant voices from Brooklyn's creative music scene. InchThe Choir Invisible not only does everyone have equal rights, they also have equal responsibilities, as accompanists and soloists. All three are both melody and sound. The trio began playing without discussing anything at first. Over time all three then brought compositions along, which allowed them to strike varying paths and led to some highly distinctive tracks. No endless, boundless improvisations; instead a symbiosis of spontaneous currents and the urge for structure. The Choir Invisible might nicely describe the potential of a band which, with three instruments, manages to envisage enormous diversity, and much that is not spoken or played can be imagined or heard in our inner ear. In the far dimensions of the trio shines the polyphony of a choir. Euphoric yet rooted in daily life,Inch writes Bert Noglik in the liner notes.

Although Liszt's 13 symphonic poems exist in 2 piano transcriptions prepared by the composer himself, it was his Czech student Stradal (1860-1930) who transcribed them for solo piano versions which demand almost superhuman virtuosity. As MacDonald writes, Stradal's versions transform these orchestral compositions into viable and effective piano works.

Pianist Antonio Oyarzabal continues to show us in this album that a multitude of female composers who deserve to be known and recognised still remain forgotten. On this occasion, he offers us a selection of pieces by 18 unique authors, most of them pianists, from different periods and geographical origins. In all cases, their professional development was hindered by their status as women and by the social pressure of the historical period in which they lived. Oyarzabal finds intense and authentic artistic stimulation in the process of researching their career paths and in the enthusiastic interpretation of their music. This second part of InchLa Muse OublieeInch does not intend to bring any sort of closure. On the contrary, it represents the continuation of a project as large as the number of female composers who have yet to be included