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The English pop-rock singer/songwriter's first hits compilation, +-=%x Tour Collection gathers two dozen of Ed Sheeran's biggest tracks in one easy package. Reaching all the way back to his 2011 debut single, "The A Team," from his first album, +, the set (also known as The Mathematics Tour Collection) continues chronologically through his career and each hit-filled studio album (including his non-arithmetically titled No. 6 Collaborations Project). Non-album tracks such as "I See Fire" (from The Hobbit: The Desolation of Smaug soundtrack) and "Lay It All on Me" (from British electronic group Rudimental's 2015 LP We the Generation) make this a solid grab for those listeners who only have his main catalog. Viewed as a single entity, +-=%x Tour Collection is an indisputable example of Sheeran's hit-making prowess and impact on 2010s mainstream music, so much so that this collection doesn't even include all of his platinum hits.
The Akademie für Alte Musik Berlin continue their Handel trilogy with this recording of the last six concerti grossi of the composer’s Op. 6. Originally designed as attractive interludes to English oratorio performances, Handel’s concerti grossi soon gained fame as some of the most appealing orchestral music of the baroque era. With these pieces, written in London towards the end of his career, Handel paid tribute to the immensely popular concerti grossi of Corelli while simultaneously proving his mastery, incorporating all musical styles of his times into his work.
Bach's gamba sonatas, not as famous as his solo-cello suites, receive an audaciously imaginative presentation on an 18th-century violoncello piccolo that captures the extraordinary beauties of the music as few others have done. The resulting flow of music, as if the sonatas and their curious companions (arrangements of other Bach) were one continuous reflection, is hypnotic in its appeal. The lighter, more agile tones of the violoncello piccolo, meanwhile, make what often sounds dense on the modern cello fantastic and poetical by turns.
Actually, Jochen Kowalski wanted to become a heroic tenor. However, his mentor Marianne Kupfer, wife of stage director Harry Kupfer, made it clear to him during his audition at the Komische Oper Berlin – his principal stage until today – that: “Handel is your Wagner”. This was the beginning of the artist’s one-of- a-kind career, whose entire life had always been defined by the power of music, even in early childhood. Although he was initially apostrophised as Countertenor, he unperturbed emancipated himself as Altus, characterised by a higher level of vibrato. Therefore, Jochen Kowalski’s singing technique provides us with a realistic picture of what once enthused half of Europe: castrato chant.
Behind the Mask is the fifteenth studio album by British-American rock band Fleetwood Mac, released on 9 April 1990. It was the first album released by the band after the departure of guitarist Lindsey Buckingham (although he did play acoustic guitar on the album's title track). He was replaced by Billy Burnette and Rick Vito, both guitar players, singers and songwriters. Fleetwood Mac thus became a six-piece band with four singer/songwriters. The album was not as successful as its predecessor, Tango in the Night, nor did it spawn any big hit singles, although "Save Me" made both American and Canadian Top 40, while "Love Is Dangerous" and "Skies the Limit" enjoyed some airplay.
