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After an acclaimed disc of Johann Ludwig Bach, Hans-Christoph Rademann continues his fascinating exploration of the most famous musical dynasty. Born in 1735, the ‘London Bach’ was the youngest of Johann Sebastian’s sons. He seems to have remained in his father’s shadow until the age of 19, when he had the chance to travel to Italy, very likely to receive guidance from the celebrated Padre Martini, as his (future) friend Mozart was to do some years later. It was in Milan that he wrote the two works recorded here, including an incredible Requiem with a completely unexpected formal design; in matters of style, however, the 22-year-old composer had already laid the foundations of all his later output.

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L’univers de Joseph Farrel n’est pas un monde cruel. C’est le monde quotidien. Avec des gens comme vous et moi, qui évoluent dans des lieux que vous fréquentez tous les jours. Deux particularités toutefois : la cruauté quotidienne est ici exprimée sous une seule forme, celle d’un jeu excitant et pervers ; et la victime est toujours une fime.
Joseph Farrel va jusqu'au bout. Et s'il choque, c'est à la manière dont Sade choquait ses contemporains lorsqu'ils se reconnaissaient dans ses écrits. Le parti pris de ce livre ne manque pas d'humour. D'humour noir.

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Of the album and recording, the Levellers say 'It was truly a fun record to make, under the rigorous guidance of Sean. Sean's a musician himself, always bringing ideas and get out of jail free suggestions when we got stuck. It's a stripped back, raw iteration of the collective with deep folk leanings. As energetic as the first one but definitely different'.

Suddenly, and not before time, the Sixth Symphony of Bruckner is riding high. And deservedly so since it is the tersest of his mature symphonies and the most openly exultant. Unlike the superficially more alluring Fourth, it needs a real musician to direct it, no mere master of orchestral ceremonies. What's more, it needs a Brucknerian with a passion for musical logic, a musical realist rather than a musical romantic. As such it is a work better suited to a Rosbaud, a Klemperer, or a Wand rather than someone like Jochum or Furtwangler however inspirational they may be at certain critical moments in the score.