Canter Bridge

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Andrea Bocelli possesses one of the great romantic personae of our musical generation. His voice is, with apologies to many more capable observers, not that of an operatic tenor. Continue Reading »

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This 1996 Meridian Records (London) celebration and sampler of Georg Philipp Telemann showcases the delightful and über-competent Cambridge trio called Badinage. Paul Carroll, Sally Civval and harpsichordist David Rowland play a restrained, precise Telemann that is honey on the ears. Continue Reading »

Full product information for this item, together with my review, my ranking of the product, and any reader comments, can be found at http://www.amazon.com.

I stumbled upon Florent Pagny’s voice on a drive through France in 1997 and quickly picked up Savoir Aimer, produced in that same year. I still listen with appreciation. Continue Reading »

Full product information for this item, together with my review, my ranking of the product, and any reader comments, can be found at http://www.amazon.com.

The thing that most amazes me about this dark, Goth, extraordinarily bizarre band’s albums is how much (almost joyful) energy penetrates their sound and how sane they all sound in the program notes. Yet there is here also sorrow and a mind dancing with the possibility of losing itself. Continue Reading »

Full product information for this item, together with my review, my ranking of the product, and any reader comments, can be found at http://www.amazon.com.

Though I have owned this two-disc triology for many years, I must confess to embarking on the project of listening through and reviewing it with some reluctance. (The album is called a ‘trilogy’ because it republishes three previously released albums.) It’s not that I have any issues with Michael Card’s intentions or modus operandi. On the contrary, I’ve known and appreciated his music for ages. Continue Reading »

Full product information for this item, together with my review, my ranking of the product, and any reader comments, can be found at http://www.amazon.com.

In the entire repertoire of concerto performance, there may be no more memorable solo entrance than that of the piano approximately 2’20” into Mozart’s Piano Concerto No. 1. It is an exceptional moment in musical history, the piano asserting its melodic personality over against the brooding of the lower strings. Mozart could be forgiven for having penned it and then promptly expiring.

Fortunately, he did not. Continue Reading »