The tears of a clown bring the audience down
Ukelele lessons may be rewarding for those whowant to learn a new skill – but only if they possess some musical talent
Wieder-Atherton's recital with fellow cellists Sarah Lancu and Matthieu Lejeune fashions an elegaic narrative from music by "two geniuses outside their own times": Claudio Monteverdi and Giacinto Scelsi.
Johann Rufinatscha slipped into obscurity a decade before his death.
Written for Rostropovich, Britten's Cello Symphony is a concerto in all but name.
The woody – even Acker Bilk-ish – sound of a clarinet tootling Nino Rota's title-theme from Fellini's Amarcord against the clip-clop rhythm of double bass and plucked cello must be one of the most nostalgic musical experiences imaginable.
The Dunedin Consort's premiere recording of Joshua Rifkin's scholarly edition of Bach's B-minor Mass has many attractive features: the emphatic "k" that launches the first Kyrie (the orchestra sounding on the vowel), closely dovetailed count-erpoint, gorgeous playing from David Watkin (cello), Katy Bircher (flute) and Patrick Beaugirard (oboe), and a calm but purposeful sense of narrative.
The man can even make Gogol Bordello sound great.
Pity poor Mark "E" Everett: beleaguered by a family background pock-marked with mad genius, suicide and cancer, he's no sooner finally come to terms with turbulent desire in last year's Hombre Loco than he's left shattered by break-up, contemplating End Times.
Chopin's anniversary avalanche is already in full swing, with this disc by Sweden's highest-flying young cellist leading the field in that instrument.
It's taken David Gray four years to follow up Life in Slow Motion, and frankly, you have to wonder what's been holding him up, as these 11 pleasant, predictable songs represent no great development or deviation from the course of his previous work.
Widely hailed as one of pop's brighter young things, Dan Black is best known so far for the single "Symphonies", which brings to mind the young Beck.
Pieter Wispelway's recital is a thing of wild beauty. Here is William Walton at his least superficial, in the bold planes of his 1956 Cello Concerto and the bitter "Passacaglia".
The cello and piano piece Patterns in a Chromatic Field dates from the early 1980s, when Feldman's fascination with subtly asymmetric patternings was yielding to the obsession with stasis that would lead to monumental epics.
Peer who fooled the medical world with a letter to the British Medical Journal in 1974 finally comes clean
Given the variety of intriguing approaches, from shanties to waltzes and rumbas to torch-songs, employed on this year's Sunday at Devil Dirt, the second album-length collaboration between Belle & Sebastian's Isobel Campbell and former Screaming Trees frontman Mark Lanegan, "Keep Me in Mind Sweetheart" is not the first track one would expect to lead off a six-track EP of outtakes.