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This is one of three dif­fer­ent ver­sions that Haydn pre­pared of a work meant to dra­ma­tize read­ings of “Die sieben let­zten Worte unseres Erlösers am Kreuze” (“The Sev­en Last Words of Our Sav­iour on the Cross”), known more com­mon­ly in Eng­lish by the more suc­cinct “The Sev­en Last Words of Christ”. The first ver­sion was for full orches­tra, meant to be pre­sent­ed in the Cathe­dral of Cádiz. Haydn him­self wrote: “The walls, win­dows, and pil­lars of the church were hung with black cloth, and only one large lamp hang­ing from the cen­ter of the roof broke the solemn dark­ness. At mid­day, the doors were closed and the cer­e­mo­ny began. After a short ser­vice the bish­op ascend­ed the pul­pit, pro­nounced the first of the sev­en words (or sen­tences) and deliv­ered a dis­course there­on. This end­ed, he left the pul­pit and fell to his knees before the altar. The inter­val was filled by music. The bish­op then in like man­ner pro­nounced the sec­ond word, then the third, and so on, the orches­tra fol­low­ing on the con­clu­sion of each dis­course.”  Read more »

20085. (Lud­wig van Beethoven) Piano Sonata #16 in G, Op.32 #1
20086. (Lud­wig van Beethoven) Piano Sonata #18 in E‑flat, Op.32 #3 “The Hunt”
20087. (Polarkreis 18) The Colour of Snow
20088. (Frédéric Chopin) Polon­aise-Fan­taisie in A‑flat, Op.61
20089. (Sergei Prokofiev) Piano Sonata #6, Op.82 Read more »

This band (the name is a ref­er­ence to Greek myth) is pri­mar­i­ly Swedish singer/songwriter/lead gui­tarist Erik Mat­ti­as­son. Mat­ti­as­son works out his own per­son­al ago­nies. He had a rough child­hood in Kiruna, a small city in Swe­den’s north­ern­most boonies. He suf­fers from schiz­o­phre­nia. The title cut, with its eerie, whis­pered lyrics about holes in his head, explores this mal­a­dy from an insid­er’s view. The musi­cian­ship is fine, my only qualm is that all the songs have the same tone, so per­haps they are more effec­tive when heard one at a time. There’s a new album out, Bring the Lions In, which I haven’t been able to get a hold of. As with most Swedish rock, it’s sung in Eng­lish. Does­n’t any­body record songs in Swedish? It’s nice to be acces­si­ble to the world mar­ket, but sure­ly there’s some­thing lost when an inter­na­tion­al lan­guage so thor­ough­ly dom­i­nates a coun­try’s music scene.

While pok­ing around, I came across this epony­mous album of Cana­di­an folk stan­dards by Bon­nie Dob­son. Now for­got­ten, she was promi­nent in the folk scene of the 1960’s, and one song of hers, “Morn­ing Dew”, was cov­ered by Robert Plant, Jeff Beck, Clan­nad, Nazareth, the All­man Broth­ers, and the Grate­ful Dead. I was already famil­iar with “Morn­ing Dew”, which appears on the enter­tain­ing com­pi­la­tion The Music Nev­er Stopped: Roots of the Grate­ful Dead. Dob­son’s sopra­no voice is in a class with Sandy Den­ny, Mad­dy Pri­or, and Rachelle Paiement for that “strong and sweet” com­bi­na­tion that best suits folk tunes. Her inter­pre­ta­tions of Cana­di­an stan­dards are a bit quirky, but very mov­ing. Her ver­sions of “Four Strong Winds” and “Un Cana­di­en errant” are par­tic­u­lar­ly mov­ing. Her gui­tar-play­ing is restrained, always sup­port­ive of the vocals, but very skilled. This is not her most famous album, so I have a feel­ing I have some pleas­ant sur­pris­es ahead if I can find oth­ers. Despite obvi­ous tal­ent, she nev­er made it big, but I have a feel­ing that more suc­cess­ful singers in the folk scene must have respect­ed her work. Now 68, Dob­son long ago retired from the music busi­ness, moved to the U.K., and became the admin­is­tra­tor of the Phi­los­o­phy Depart­ment of the Uni­ver­si­ty of London.