| | Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana CD Cavina / De Venosa / Venexiana CDS
Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana Music | List Price | $21.98 (You save $3.63) | | Label | Glossa | | All Time Sales Rank | 6265  | | CD Universe Part number | 6849603 | | Catalog number | 920935 | | Discs | 1 | | Release Date | Apr 26, 2005 | | Mono/Stereo | Stereo | | Recording Time | 1 4 |
Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana Review
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Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana Songs Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana Music Composers on Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana CD : Carlo Gesualdo Conductors on Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana CD : Claudio Cavina Ensembles on Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana CD : La Venexiana Genres on Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana CD : Madrigal, Renaissance Period Performers on Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana CD : Rossana Bertini, Daniele Carnovich, Claudio Cavina, Valentina Coladonato, Giuseppe Maletto, Sandro Naglia
Purchase Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana To buy, Click on price to add to cart | Cavina Gesualdo: Il Quarto Libro Di Madrigali, 1596 / La Venexiana CD (2006)
Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana
$17.75 Il Quarto Libro Di Madrigali, 1596
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Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana
$11.49 Radiohead: Thom Yorke (vocals, guitar, piano, programming); Ed O'Brien (vocals, guitar, sound effects); Jonny Greenwood (guitar, toy piano, glockenspiel, programming, samples); Colin Greenwood (synthesizer, bass, samples); Philip Selway (drums, percussion). Principally recorded at Ocean Way, Hollywood, California. HAIL TO THE THIEF won the 2004 Grammy Award for Best Alternative Music Album and for Best Engineered Album, Non-Classical. "There There" was nominated for Best Rock Performance By A Duo Or Group With Vocal. Radiohead's admittedly assumed dilemma: how to push things forward using just the right amounts of the old and the older in order to please both sides of the divide? Taking advantage of their longest running time to date, enough space is provided to quench the thirsts of resolute Bends devotees without losing the adventurous drive or experimentation that eventually got the group into hot water with many of those same listeners. Guitars churn and chime and sound like guitars more often than not; drums are more likely to be played by a human; and discernible verses are more frequently trailed by discernible choruses. So, whether or not the group is to be considered "back," there is a certain return to relatively traditional songcraft. Had the opening "2 + 2 = 5" and "Sit Down. Stand Up." been made two years before, each song's slowly swelling intensity would have plateaued a couple minutes in, functioning as mood pieces without any release; instead, each boils over into its own cathartic tantrum. The spook-filled "Sail to the Moon," one of several songs featuring prominent piano, rivals "Street Spirit" and hovers compellingly without much sense of force carrying it along. Somewhat ironically, minus a handful of the more conventionally structured songs, the album would be almost as fractured, remote, and challenging as Amnesiac. "Backdrifts" and "The Gloaming" feature nervous electronic backdrops, while the emaciated "We Suck Young Blood" is a lag
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Gesualdo: Qiuinto Libro Di Madrigali / Cavina, La Venexiana
$14.35 Personnel: Philip Glass (piano); Michele A. Eaton, Elizabeth Futral (soprano); Mary Ann Hart (mezzo soprano); Nathaniel Watson, Gregory Purnhagen (baritone); Carol Wincenc (flute); Andrew Sterman (bass clarinet, soprano saxophone); Richard Peck (tenor saxophone); Martin Goldray (keyboards, synthesizer, programming); Miles Green (synthesizer, programming); Frank Cassara, Jim Pugliese (percussion). Audio Mixer: Michael Riesman. Recording information: Looking Glass Studios, New York, NY (1992-1993). A departure for Glass and a new direction for Ginsberg, Hydrogen Jukebox is a great piece of work from two greats in the field of "new art" for the 20th century. The title, borrowed from Ginsberg's poem "Howl," is a dual reference to an American mentality that self-restricts its input -- as well as a body of music that "begins to shake the bones" with the violence of a hydrogen bomb. Glass here becomes more pronounced with his political statements, and Ginsberg orchestrates particularly potent excerpts of his work to comprise an hour-long opera. This is a marked departure from Glass' signature interwoven fabrics of sound. Not that the epic length arpeggios are gone, but they do not signify the total of the music itself. In places, the score approaches rock music in feel. There is beautiful work by the vocal ensemble. A surprising and unexpected element comes in the form of Ginsberg's own voice, whose unique sense of inflection draws the confused listener in; no matter what he is saying, Ginsberg always sounds like he is delivering great news. One of the stronger imperatives here is a call to action for the people of America -- not to sit idly while the world continues to happen around them. There are many strong Buddhist references on this disc (both Glass and Ginsberg are adherents). The only low point is that it may be very off-putting to those familiar with Ginsberg's work to hear many of these oft-repeated passages again -- this time put to music. It would have been most exciting to hear new or unreleased work from Ginsberg for this production. To the initiated it comes off like reheating a soufflé. Barring that, this is a strong piece of work with some of Glass' most exciting musical outings in many years. ~ Mark W. B. Allender
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