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The world premiere recording of Francesco Zappa's 6 Duets for Violin and Cello. Little is known about Francesco Zappa, Milanese composer and cellist of the mid-eighteenth century. This recording allows us, for the first time in modern times, to appreciate the qualities of a musician who, in his lifetime, was welcomed with general, broad esteem. His six Duets for violin and cello, published in Paris and presented here, sound like a polite parlour conversation. If Zappa chooses a classical gallant style, his music is never superficial, and he clearly proves a first-rate composer whose unmistakable trait is his Italian melodiousness.
"Fantastic studio recording, caught by Taylor Hales at Chicago's legendary Electrical Audio, documenting the first full meeting of all the players on this album. Mako Sica, at this point in time revolve around the core duo of Przemyslaw Krys Drazek (electric trumpet, mandolin, electric guitar) and Brent Fuscaldo (vocals, electric bass, harmonica, thumb piano, gong, percussion). For this session, these two are joined once again by Chicago's always-revelatory percussionist, Hamid Drake, with whom they have previously recorded Ronda (FTR 409LP) and Balancing Tear (FTR 513LP). In addition, Ourania features the upright bass and shamisen of Tasu Aoki (Drake's longtime partner in Fred Anderson's trio).
A collection of rare and unreleased recordings from the archives of electronic music pioneer Mort Garson, composer of Mother Earth's Plantasia. The compilation plays like an ultimate Mort Garson playlist, and includes alternate takes of Plantasia tracks, music for never-aired radio advertisements, themes for science fiction films, erotic oddities, and much more from the prolific composer's '60s and '70s synthesizer oeuvre. This deluxe edition includes art by Robert Beatty and new liner notes by Andy Beta
Danish String Quartet present the first of their Prism recordings, demonstrating the influence of J.S. Bach through Beethoven and beyond—his music developed, transformed, and scattered into colors as if through a prism. The Quartet begin their voyage with Mozart’s arrangement of a Bach fugue before diving headlong into Shostakovich’s 1974 String Quartet No. 15—a bleak, often dissonant meditation on mortality that draws on Bachian fugue and counterpoint. And in his remarkable 1825 Op. 127 String Quartet, performed here with a beautifully judged sense of narrative, Beethoven holds Bach in the palm of his hand as the music meanders and unfolds toward its radiant final bars.
