In 1998 an article appeared in The Times claiming the non-existence of talent. Just as the eminent psychologist R.D. Laing explained that ‘schizophrenia’ was a fabricated term for an analysable condition, so the Times writer stressed that talent was a fancy description for hard work. For him the success of a musical star – he took the violinist Anne-Sophie Mutter as his example – had more to do with perspiration than inspiration.

The return of Funk, Inc., one of the most popular soul jazz combos of the Seventies, is a remarkable story. Formed in 1969 by organist Bobby Watley, the Indiana-based group was signed to Prestige Records two years later by producer Bob Porter. The band’s inspired blend of impassioned jazz improvisation and riveting funk grooves was given a highly enthusiastic reception by disc jockeys and record buyers across the country, as well as by critics.

The incredible artistic pathway of Markus Klinko: from studying harp at the Paris Conservatoire with Lily Laskine to photographing the greatest pop stars and models on the planet. Markus has produced iconic shots of David Bowie or Beyoncé, but have you ever listened to the beautiful albums he recorded for EMI? Before his hand injury forced him to redirect his career, he gave two exquisite recitals dedicated to French Romantic and modern music, praised by the critics. The first one includes solo pieces by Fauré, Roussel or Saint-Saëns and transcriptions of piano works by Debussy and Satie.

The two piano quintets, composed seven years before and seven years after 1900, point to two special features in Huber’s development as a composer. If in the earlier quintet he was still endeavoring to find his place in the European music world in keeping with the best of his times, then in the later quintet he self-confidently went his own way as a Swiss composer who did not hesitate even to incorporate native folk songs into his music. The fact that the earlier quintet was first performed some eight years after its composition possibly had to do with Huber’s recognition that during his earlier years he had much too thoughtlessly published compositions that had proven to be not quite finished.

Lahav Shani and the Rotterdam Philharmonic Orchestra bring a superb recording of Bruckner's 5th Symphony.

Michael Haydn predominantly composed these works in three movements; only the F major quartet is comprised of four movements. The four-movement format of the string quartet became most common for the then-emerging “king among genres”, notably in the epochal quartets of his brother Joseph. However, throughout the 18th century, works with three movements (symphonies, chamber music, and concertos) were more prevalent. Michael Haydn consistently incorporates a minuet, which was among the preferred courtly dances, into his compositions. Despite their lighter character, these pieces are creatively crafted, featuring rich melodies, tonal delicacy, and occasional surprising harmonic twists. At times, one can discern contrapuntal finesse, characteristic of Michael Haydn’s style but used more sparingly in these works. Another notable aspect is the individual involvement of all four instruments, although the first violin is given a prominent position, reflecting the taste of the time. This may also suggest that the composer, serving as concertmaster, played this part himself during performances, allowing him to shine a bit.

The musical works of this program were composed during the Seven Years’ War (1756–1763), one of the earliest wars fought across several continents. It involved France as a major European power (backed by the Habsburg Monarchy, the Electorate of Saxony, Russia, and Sweden) against an alliance comprising England and Prussia (supported by the Electorate of Hanover, Hesse-Kassel, Brunswick, Bückeburg, and Saxony-Gotha). The primary focus was on European dominance, with underlying interests in the North American and South Asian colonies of England and France.

The American synthesist Paul Ellis is a fast growing power in electronic music. From the Berlin school-orientated music he created with the band Dweller at the Threshold and on his early solo works, he switched to an impressive mixture between Berlin school, ambient and lots of own inventions.
The Haunted Afternoon is a collection of improvised pieces that were performed live and stitched together to make one album.