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March 19, 2019

Goldmine1 Indie Spotlight: Deer Tick, Nick Waterhouse, Vicky Emerson and more

From the latest release of indie rockers Deer Tick to the singer-songwriter talent of Amelia White, Indie Spotlight has its latest picks.

The post Indie Spotlight: Deer Tick, Nick Waterhouse, Vicky Emerson and more appeared first on Goldmine Magazine.

from Goldmine Magazine
via IFTTT (Mike Flynn)

The Irish jazz world has been shaken by the sudden departure of Sinéad Dunphy (pictured), director of Cork’s Guinness Jazz Festival. Barely into the second year of what was announced as a three-year rolling contract, Dunphy was dismissed for reasons unexplained. An unsigned press release from Diageo, the company that owns Guinness (sponsors of the festival for nearly 40 years), thanks her for her contribution and says: “We wish to maintain the momentum achieved over the past number of years to deliver another great event this October”, without giving any details.

Dunphy received enthusiastic reviews (including from this magazine) for her 2018 festival, and noted that she not only succeeded artistically but delivered a profit. Her response now is, “I have been left with no option but to place the circumstances of my termination in the hands of my solicitors”, declining any public comment. Events company Verve Live Agency (no connection with the record label), which administers all of Diageo’s sponsorship contracts, merely stands behind the bland press release. The response of concerned musicians, including some who were in discussions about appearing in 2019, tends to assume that it’s all allegedly about money and, in this case, it seems they may well be right.

– Brian Priestley
– Photo by Miki Barlok

from News

Final release for The Caretaker project after 20 years

via The Wire: Home

The Great Reading List

via The Wire: Home

Goldmine1 Cheap Trick book re-released for a short time as limited edition

After years of being out of print (and in demand), the book ‘Reputation is a Fragile Thing: The Story of Cheap Trick’ is now available for a short time on an extremely limited reprint run.

The post Cheap Trick book re-released for a short time as limited edition appeared first on Goldmine Magazine.

from Goldmine Magazine

“I’m not always looking at people through an old prism, I’m seeing them as I sense them…

via The Real Mick Rock

Black Atlantic scholar Paul Gilroy wins Holberg Prize

via The Wire: Home

CAS Jacaranda Records – Phase One in Liverpool (Behind The Counter Episode 9/12)

“I think people are getting back into vinyl, just because its nice to have something in your hands, with vinyl you have a nice big canvas, big artwork that you can look at and its just great to see your collection growing.” Mina Koroma store manager at Jacaranda Records – Phase One.

This is the 9th part of our ‘Behind The Counter’ video series which tells the stories behind the wonderful world of the independent record shops presented by Classic Album Sundays, Record Store Day UK and Bowers & Wilkins.

A new episode will drop every Tuesday in the run-up to Record Store Day 2019 which will share unique stories from around the UK featuring the shops who have stood the test of time to the newbies on the block. Get to know your local shops.

Watch: Transmission Records in Margate (Behind The Counter Episode 1)
Watch: Action Records in Preston (Behind The Counter Episode 2)
Watch: Eastern Bloc Records in Manchester (Behind The Counter Episode 3)
Watch: Pure Vinyl in Brixton (Behind The Counter Episode 4)
Watch: Specialist Subject Records in Bristol (Behind The Counter Episode 5)
Watch: Love Music in Glasgow (Behind The Counter Episode 6)
Watch: VOD Music in Mold (Behind The Counter Episode 7)
Watch: Banquet Records in Kingston (Behind The Counter Episode 8)

The post Jacaranda Records – Phase One in Liverpool (Behind The Counter Episode 9/12) appeared first on Classic Album Sundays.

from Classic Album Sundays

Freya Parr A guide to Beethoven’s Symphony No. 2


Theater an der Wien, Vienna, 5 April 1803

On 6 October 1802 in the village of Heiligenstadt on the outskirts of Vienna, Beethoven wrote an impassioned letter to his brothers Carl and Johann. Including instructions that it should be read after his death, the ‘Heiligenstadt Testament’ describes in bleak terms the composer’s despair at the onset of deafness.

‘How could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection?’ he wrote. ‘…What a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing.’



It was also while staying at Heiligenstadt over the summer months of that year that Beethoven composed the bulk of his Second Symphony. Does the composer reflect in this work the frustrations expressed in his letter? In fact, cast in a sunny D major, the overall mood of the Second is largely upbeat.

Here and there, though, there are moments that point towards the growling and fist-thumping composer of Beethoven’s later years. The score is scattered with brutal sforzandos and sudden, and dramatic, changes of dynamic markings. And listen out, too, for the moment at the end of the exposition in the long first movement when the key unexpectedly shifts from A major to an unusual and ever-so-slightly disconcerting D minor.



Beethoven's Second Symphony, performed by the West-Eastern Divan Orchestra
under Daniel Barenboim at the 2012 BBC Proms



Taken as a whole, Beethoven’s Second is by no means a game-changer in the course of classical music – that would come with the Eroica two years later. There are, though, already plenty of signs here that he was itching to go his own way. Take for instance, the third movement, where he ventures a step further along the path he’d already began to tread in the First Symphony – where tradition would normally place a courtly and graceful minuet and trio, here Beethoven presents us with a decidedly rustic scherzo.

And then there is the finale’s coda. Why follow convention by finishing with a charming little endpiece, when there’s the opportunity to go out in a blaze of timpani- and trumpet-adorned triumph? Here was a precedent that he would continue in the symphonies to follow.




And the Second Symphony’s reception? Not great, with the descriptions of some critics almost matching the colour and inventiveness of the work itself. Complaining about its ‘barbaric chords’, Paris’s Tablettes de Polymnie reckoned that it sounded ‘as if doves and crocodiles were locked up together’. Vienna’s Zeitung für die elegante Welt, meanwhile, described it as ‘a hideously wounded, writhing dragon that refuses to die’. Posterity has treated it more kindly.


Recommended recording:

Skrowaczewski and his Saarbrucken players bring a rare fire and fury to the first movement. And few can match their bonhomie in the following two movements – as the music bounces from orchestral section to section, masterfully paced by the conductor, one gets the impression of players thoroughly enjoying each others’, and Beethoven’s, company.

Saarbrucken Radio Symphony Orchestra/Stanisław Skrowaczewski


Words by Jeremy Pound. This article first appeared in the December 2015 issue of BBC Music Magazine. 


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