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  Redemption Through Love!

  Redemption Through Love! - An Irreverent Guide to Wagnerian Opera Thrills Without Being a Nut: ab 5.94 €

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  • Price: 5.94 EUR excl. shipping
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  Redemption Through Love!

  Redemption Through Love! - An Irreverent Guide to Getting Wagnerian Opera Thrills Without Being a Nut: ab 14.49 €

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  • Price: 14.49 EUR excl. shipping
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  Curtain Gong Steam

  Curtain Gong Steam - Wagnerian Technologies of Nineteenth-Century Opera: ab 71.49 €

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  • Price: 71.49 EUR excl. shipping
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  Beliebte Orchesterstücke

  If you want a spectacular modern digital recording of Wagnerian orchestral excerpts, this is hard to beat! - Penguin Guide

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  • Price: 12.34 EUR excl. shipping
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  Music for the Stage/Die Wallfahrt nach Kevlaar

  Dario Salvi (Dir) // Engelbert Humperdinck won a worldwide reputation through his application of Wagnerian techniques to folk music in Hänsel und Gretel. But he wrote far more widely for the stage than is acknowledged, and this selection focuses on long overlooked works that reveal Humperdinck's flair for romance, comedy and innovation.

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  • Price: 12.43 EUR excl. shipping
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  Dante/Cantos Populares/+

  Nancy Fabiola Herrera (Mezzosopran) - Orquesta Filarmónica de Gran Canaria - Adrian Leaper (Dir) // "A simmering first recording of Granados' luscious Dante and strong performances of Goyescas and Piezas, all vividly recorded. Dante is a find, a two-part symphonic poem, the first section not quite Tchaikovskian, using luscious post-Wagnerian chromaticism which even brings voluptuous hints of Scriabin and early Schoenberg ..." (Gramophone)

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  • Price: 8.47 EUR excl. shipping
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  Four Famous Wagnerian Baritone

  Aufnahmen von 1929 bis 1946 // Rudolf Bockelmann (1892-1958), Hans Hermann Nissen (1893-1980), Josef Herrmann (1903-1955), Joel Berglund (1903-1985)

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  • Price: 17.49 EUR excl. shipping
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  Songs of Mountains and Wetlands

  Before the advent of mass communication technology - you know, stuff like television, radio, internet, wireless, youtube, bluetooth, metro, etcetcetc, music played a much more important role in the life of your average yeoman. Not to bring up statistics, or risk any sort of regression to Music History 101 or anything, but there was indeed a time when sheet music was a hot commodity and musical literacy was more than just an after-school special aimed at increasing your adolescent statistics at being accepted into a 'good' college as some sort of stab at a page torn from the Horatio Alger copybook. In short, music was not just a hot topic, it was THE hot topic - it was what you did. I mean, imagine coming home and gathering around the piano to play the latest programmatic score hot off your Schubert subscription and then packing up to head out for choir rehearsal for the local cantata - neat! And then... well, folks like Edison and Tesla had to come around and provide the grease for the slippery slope that lead us to our current manifestation of musical culture, dominated by iPhones and ring tones, where music is a commodity at best, shuffled around as bits and bytes like sampler spoons in a sea of infinite pseudo-memes - where spectacle and explosions aren't just a garnish, they're a norm, partially produced by Bruckheimer's and Bay's, with remixes by Diddy and that guy from the Postal Service. I could go on, but hey, we're all here now so one can only hope that you get my drift. However, what if we were able to take a step back for a second and reset the clock to about 1897 or so - with the proviso that we can take our technology with us? What if programmatic song cycles were still a cultural fixation reserved for the population at large, and not just regulated to individuals concerned with the 'preservation' of culture in music libraries nested in suburban New Jersey, hoping their next cultural discovery will secure them a speaking slot at the next musicology conference, taking place just outside some other suburban music library? And what if these programmatic art-songs were presented with the same respectable grandeur as a contemporary cinematic blockbuster, equip with all the explosions, glass shattering and gruff-voiced pituitary-cases rasping 'freedom isn't free,' while suspended by one hand from an Apache helicopter above a pit of molten lava... ...or something to that extent. If you're still with me after that particular rant, then Songs of Mountains and Wetlands might right up your alley. Imagine songs inspired by nature and transitory environs, composed on custom software and analog electronics tuned to seven-limit just intonation - hyper-compressed and oversaturated to the point where all aspects of delicacy have been smoothed away into a wash of fuzzed-out static - where the smallest sound is grandiose in a post-Bruckheimerian, digital neo-Wagnerian spectacle. Where even the mundane deserves it's own twenty-minute explosion-sequence... Still hooked? Place an order for this disc! Limited to the Thinktank standard of 25 hand-assembled CD's, and priced commensurate to the current economic slump, what do you have to lose? So uh, yeah, let's be in touch!

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  • Price: 16.77 EUR excl. shipping
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  Libera Me

  Libera Me: [latin, líberá mé] 1. deliver me, free me Rhinóceri: the most ponderous and terrifying beast of the primeval forest. Libera Me is the adventurous debut album of the Rhinoceri Trio, who take their name from a ponderous and terrifying beast. Firmly rooted in the jazz tradition, the group's repertoire spans and blends a wide tapestry of influences including Ellington's jungle jazz, Eastern European folk music, Bach, Wagner and minimalism. In a world of musical formulas, honed to marketable perfection, why have the Rhinoceri Trio chosen the path of the ponderous/terrifying/beautiful? Perhaps Glenn Gould provides an answer when he writes, "The purpose of art is not the release of momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity." Certainly there is much about their debut album "Libera Me" which speaks to the patient unfolding of a serene concept. Sophisticated through-composed pieces unfold over long arcs. Jungly-latin grooves open seamlessly into minimalist vamps, inverted Serbian grooves morph into Turkish rhythms, free-form improvisation erupts in the midst of disciplined counter-point. In fact, few albums combine such a wide variety of compositional structures. But Mr. Gould would be wrong if he were to imply that Libera Me was void of adrenaline rushes. After all, the Rhino is a wild beast living in the wilds of West Philly. After all "Libera Me", latin for "deliver me" or "liberate me", is the timeless spiritual/political cry of desperation/rage/resistance. This album percolates from start to finish with a constantly shifting terrain of emotional potency. Take drummer Gregg Mervine for instance. A seasoned player, leader of Philly's famous Balkan project the West Philadelphia Orchestra, Gregg came up in Philly admiring local jazz drumming legends such as Edgar Bateman and Mickey Roker. His playing is fiery, innovative and nurtures a deep sense of groove. At the same time there is a constant attention to compositional detail and a responsibility to the long arc of a composition. In his playing we hear endless experiments in Serbian 7/8 grooves, Macedonian 11/8, Turkish and Latin grooves as well as the bristling free-playing of his hero Ed Blackwell. His is not a typical approach to the modern jazz drumming. Or consider the contributions of pianist and composer Brendan Cooney. Many may recognize him as a baritone player in the West Philadelphia Orchestra, but the piano has always been his great love. Crippled by tendonitis at the age of 23 Brendan took a long hiatus from playing jazz as he relearned to play the piano from scratch under the tutelage of Bob Durso, local guru of the Taubman Approach to Coordinate Technique. (The Taubman work boasts such luminous students at Tom Lawton and Danilo Perez.) After years of careful, brutally-slow, reconstruction he has emerged with a virtuosic command of the keyboard matched by few. We hear in his playing the sound of patience reminiscent of Mr. Gould's "gradual, lifelong construction". At the same time it vibrates constantly with restless energy. Perhaps this is why we hear Bach's famous Fugue in Cminor erupt in to a moody afro-Cuban groove, or why a Debussy children's piece becomes a percolating 7/8 study in intensity. Maybe this is why a dark foreboding version of Ornette Coleman's Lonely Woman erupts into a frightening explosion that pushes at the boundaries of piano texture or why the delicate unfolding of a Wagner melody concludes with catastrophic bomastic-ality! Certainly Brendan's approach to the textural possibilities of the piano is a unique contribution to the ever-expanding frontiers of the instrument. Bassist Chris Coyle is the youngster of the group, a recent Temple graduate with a giant musical appetite and driving bass sound. He has studied with the best of the Philly jazz and classical bass worlds under the tutelage of the likes of Philly jazz legend Mike Boone and Philadelphia Orchestra verteran John Hood. He handily doubles Brendan on virtousic bass runs, bows his way beautifully through lyrical Wagnerian passage, delivers up tasty, soulful grooves over Duke Ellington's "I Like the Sunrise", and generally "lays it down" throughout the album. Together the three have created quite the musical adventure in this, their debut trio record. Where some trio albums can become monotonous under the limited timbre of the piano, this album remains vibrant, a constantly shifting array of textures, compositional devices and improvisatory schemes. All the while, the album remains thoroughly accessible to it's audience, unhindered by abstractions. It is a forward-leaning exploration in the creative life.

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  • Price: 21.99 EUR excl. shipping
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  Luxury Liner

  Perky Jane Powell (Seven Brides for Seven Brothers) plays the golden-voiced teen daughter of an ocean liner captain (George Brent) who stows away on dad's ship in hopes of showcasing her singing skills to a voyaging opera star (played by real-life Wagnerian Lauritz Melchior). Many more musical talents set sail too: Xavier Cugat swings with Con Maracas, the Pied Pipers add silken harmonies and operatic soprano Marina Koshetz trills and spoofs the Cole Porter standard I've Got You Under My Skin. Bon voyage!

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  • Price: 20.67 EUR excl. shipping

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