The post New Record Album Price Guide is discussed on latest podcast episode appeared first on Goldmine Magazine.
Dutch-Turkish collective Altin Gün are breathing new life into the Turkish pysch rock of the early ’70s, adding modern-day flourishes to classic influences. Their latest record, Gece, was just released on ATO and stands toe to toe with the garage-psych of labelmates King Gizzard & The Lizard Wizard.
To celebrate the album’s release — and the rich tradition of Turkish popular music — Altin Gün is giving us their guide to Turkish music, with some essential album selections and a playlist of chock full of serious jams.
Barış Manço was Turkey’s most famous rockstar and TV presenter. He was one of the pioneers of the Anatolian rock movement in the ’70s. His house in Kadıköy is now a museum, and there’s even a ferry with his name in Istanbul.
2023 is definitely his most spaced-out cosmic adventure. He wrote a lot of his own material but like most Turkish artists, he also did a lot of standards and traditionals.
Zafer Dilek – Oyun Havaları (1976)
Zafer Dilek isn’t as famous as the other artists in this list but was involved as producer/session player and arranger on a lot of Turkish classics; Selda‘s first album for instance. His solo albums are all instrumental versions of Turkish folk classics. This is is his best, grooviest, and most sought after album. A great listen from start to finish and a big inspiration for us as a band.
A lot of people call Erkin Koray the Turkish Jimi Hendrix. Definitely on the heavier side of the Anatolian rock scene. A brilliant musician, but you can ignore his later work. Elektronik Türküler is Erkin Koray at his best. It’s his second album. His first and third albums are also worth checking out, especially for classics like Mesafeler and Estarabim.
This is the only album from this list that I don’t own on vinyl. I really hope someone will reissue this one day. Unlike the other artists in this list Fikret Kızılok was a real singer/songwriter that performed mainly his own material. He’s been recording since the 60s but this 1983 album was only his second. He was more into releasing singles I guess. When I asked the owner of Deform records in Istanbul about the ridiculous prices for this record he said very little copies were made because of some legal issues. That’s also the reason it hasn’t been reissued I think. Luckily it’s on Spotify. Perfect Sunday morning album. Warm sounding mellow folk.
We made a playlist on Spotify with some of our favorite Turkish tracks available there.
The post Altin Gün’s Turkish Delights: A Guide To Turkish Music appeared first on Discogs Blog.
Donald Macleod surveys the life and music of Russian-born composer Igor Stravinsky.
In this week’s episode, Donald explores the composer who is said, in his music, to have ushered in the 20th century: Igor Stravinsky. His name is probably still most associated with the utterly extraordinary, revolutionary evening that prompted that accolade – the premiere of The Rite of Spring in Paris on the 29th of May 1913. We’ll hear about his pivotal relationships with fellow musician Rimsky-Korsakov, his assistant Robert Craft and the impresario Sergei Diaghilev. Plus, Donald delves into some of the most formative periods in Stravinsky’s life: his creative move towards neo-classicism, the death of his wife, his lonely exile to the USA, and his experiments with serialist methods.
Rite of Spring
Scherzo in G minor
Four Etudes, Op 7, Nos 3 and 4
Symphony in E flat major (1st and 2nd movements)
Faun and Shepherdess
The Firebird Suite
Three Movements from Petrushka
Mavra: Russian Song (arr for cello & piano)
Octet (2nd movement)
Symphony of Psalms
Concerto in E flat major ‘Dumbarton Oaks’
Ebony Concerto (1st and 2nd movements)
Scherzo a la Russe
Symphony in Three Movements
Rake’s Progress: Act I Scene 3 (excerpt)
Mass (Kyrie, Gloria)
In Memoriam Dylan Thomas
Movements for Piano and Orchestra
Agon: Act IV
The dove descending breaks the air
Presented by Donald Macleod
Produced by Martin Williams for BBC Wales
For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Igor Stravinsky https://bbc.in/2WD30Vk
And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: https://bbc.in/2vwHS8q
The historical journey of choral music is a fascinating one. It’s journeyed from plainchant, sung in a strict liturgical settings by monks underneath the spires of great churches and cathedrals across Europe; meandered through the 17th, 18th and 19th centuries with newfound polyphonic and harmonic purpose thanks to the pioneering compositions of Byrd, Bach and Beethoven; and evolved further and dissected by early 20th century composers such as Mahler, Schoenberg and Britten.
Fast-forward to today and choral music is thriving. Communal singing is more alive than ever in local choirs, choral societies and churches, and new works are being churned out year on year. So to help freshen up your listening sessions and unearth some more hidden gems from the present day, we’ve decided to share six contemporary choral works that deserve your attention.
Judith Bingham – First Light
Written in 2001 by British composer Judith Bingham for the Winchester-based Waynflete singers, First Light is set to a poem by Mark Shaw about the Incarnation – the religious belief that God became man through Jesus Christ. Bingham plunges listeners into atmospheric uncertainty from the offset of this piece, thanks to her macabre harmonic language and dynamic writing for brass ensemble and choir. The singing itself is epic, fluctuating between delicately sung passages and moments of thunder.
John Adams – Harmonium
John Adams’s Harmonium is a wondrous, sonic treat for the ears. Composed between 1980 and 1981, the piece pulses with layers of minimalist textures similar to those heard in the works of other composers of this era including Philip Glass and Steve Reich. Adams uses these layers of sound to drive the music forward in its most epic moments, and provide an ethereal backdrop in others.
Magnus Lindberg – Graffiti
The clash of old and new comes to a head in this 2009 work by Finnish composer Magnus Lindberg. The piece's sung text directly derives from vandalism found in Ancient Roman cities, using the Latin language to bring to life the scribbles in and around Pompeii and Herculaneum. The choral writing itself ventures through dramatic, eerie and chaotic soundworlds, reaching an exhilirating climax when the choir’s complex polyrhythmic patterns unite in force. It’s a distorted ode to a world once dominated by the Roman Empire that feels further away than ever.
Meredith Monk – Panda Chant II
Now for something a little different – a work written by avant-garde composer and vocal improviser Meredith Monk. 'Panda Chant II' is taken from Monk's 1983 science-fiction opera The Games, written for 16 voices, synthesizer, keyboards, Flemish bagpipes, Chinese horn and rauschpfeife. The Games is set in a post-nuclear future, where citizens take part in ritualistic games in order to save themselves and the remainder of civilisation. 'Panda Chant II' highlights the flexibility of the human voice as it morphs into the sound of our furry friends.There’s no denying the barminess on show in this minute-and-a-half musical thrill ride of overlapping rhythms, but it’s an incredibly fun piece of music – especially when you add in body percussion of rhythmic stamps and claps.
Eric Whitacre – Lux Aurumque
A translation of the poem Light and Gold by Edward Esch, Lux Aurumque was originally a piece for wind ensemble before being fully introduced to the world as a choral work by composer Eric Whitacre’s Virtual Choir in 2009. It’s a stunning piece of contemporary choral music, in which Whitacre keeps listeners guessing with every chord, while, at the same time, dazzling with transcendent textures. The final chord is one of pure bliss, and is the cherry on top of an arguably perfect piece of choral music.
The London Contemporary Voices will be performing at the Southbank Centre's Queen Elizabeth Hall on Saturday 18 May in a concert exploring the themes of order, disorder and chaos alongside Elena Tonra from the band Daughter, Faroese artist Eivør, folk musician Rachel Sermanni, Indian singer Deepa Nair Rasiya and more.
Violin Concerto in D minor
Such is the popularity of Mendelssohn’s Violin Concerto in E minor that people tend to overlook that, as a 13 year-old, he also wrote one in D minor – in fact, the music world was almost entirely unaware of it until Yehudi Menuhin reintroduced it to the concert hall in 1951. Scored for violin solo and strings and generally genial throughout, it’s rounded off by a cheekily charming Allegro finale.
Tamsin Waley-Cohen (violin); Orchestra of the Swan/David Curtis
The Six Organ Sonatas were published in England in 1845, over 20 years before César Franck’s Six Pièces, works that many assume kick-started the modern organ revolution. In fact, it was Mendelssohn who first gave the organ a 19th-century lease of life with these half-dozen gems, each requiring technical and musical mastery. If only British organs had been up to the task of playing them (most suitable instruments had heavy actions and lacked pedalboards), Mendelssohn’s Sonatas would have gained momentum much sooner.
William Whitehead (organ)
Chandos CHAN 10532
Six Duets, Op. 63
If the superlative lyrical talents of Schubert and Schumann tend to cast Mendelssohn’s solo lieder in shadow, his vocal duets deserve the limelight. In the sublime Six Duets, Op. 63 (1845) for two voices and piano, Mendelssohn sets texts by poets including Heine and Burns. His melodic gift takes wing in the bittersweet Abschiedslied der Zugvögel and in the heartfelt Volkslied, while in the dancing Herbstlied Mendelssohn sets words by his friend Carl Klingemann.
Lucy Crowe (soprano), William Berger (baritone), Iain Burnside (piano)
St Paul (oratorio)
Mendelssohn points to his inspiration pretty clearly at the outset of this 1836 oratorio as he launches us into an overture based on Bach’s ‘Wachet auf’. After that, we follow the life of St Paul from his conversion to Christianity through to his martyrdom. It’s a work that has much of the dramatic flair of Mendelssohn’s hero’s own oratorios, and is capped off by sublime arias such as the baritone’s ‘Gott sei mir gnädig’.
Maria Cristina Kiehr, Werner Gura etc; Kammerchor Stuttgart, Deutsche Kammerphilharmonie Bremen/Frieder Bernius
Cello Sonata No. 2
Even those usually driven to distraction by Mendelssohn’s penchant for Bachian chorales can’t fail to be struck by a sense of reverence as spread chords in the piano introduce the Adagio third movement of his Second Cello Sonata from 1843. The cello then takes over with an achingly beautiful melody before – and here’s the masterstroke – the chorale returns to the piano, but this time in accompaniment to the cello. An inspired moment, worthy of JS Bach himself.
Paul Watkins (cello), Huw Watkins (piano)
This article originally appeared in the June 2016 issue of BBC Music Magazine.
In this edition of Crate Minds, we’d like to introduce Peter from Mixed Up Records in Glasgow. Peter has been selling on Discogs as mxdup98 since 2007 and was present at our first Crate Diggers in the UK a few years back. He’ll be traveling to Brighton this weekend to join us at Crate Diggers. Ahead of the fair we asked Peter a few questions!
What is your role, and can you give us a bit of background on yourself?
I run Mixed Up Records in Glasgow, which I’ve been doing since I was 19. I used to play music in bands with my friends, I played guitar.
That is pretty young! What was it like running a shop at 19?
It was a bit crazy really, as I didn’t have a clue and record shops were in steep decline. I just liked picking up records and would be excited about what I’d find next. Back then people were literally chucking records out and into skips and things, so there were a lot of cheap (or free) records about. Charity shops and car boots were great, too.
Can you tell us a bit about Mixed Up Records and its history?
The shop started in 1997. We specialise in secondhand records and cover all types of music. We believe good music comes in all forms across all the genres, so don’t like to count anything out!
What was your inspiration for opening the shop?
I liked a lot of indie guitar bands of the ’80s and ’90s, but as a teenager I got into dance music, hip-hop, and sampling. I remember DJ Shadow’s Entroducing album coming out when I was 18. I was fascinated by the way an entire album could be made up of samples from old largely forgotten records. Discovering music on vinyl is like nothing else. Music can sit forgotten for decades then can be rediscovered and brought to a new audience. A new generation can come along and reinterpret old records and make it sound fresh and up to date. With the record sleeve and artwork you get a feel for the time and place the music was created.
Do you have a specialty? What sets your shop apart from others?
We specialise in good quality, secondhand records of all types really. You’re as likely to find jazz and funk next to psychedelic ’60s LPs, northern soul, and even classical records. We do some brand new stuff too; new music we like or reissues of hard to find records.
What do you enjoy most about your work?
I enjoy meeting the customers and people who are passionate about the music they love.
Do you have any favorite or memorable moments in the shop (or fairs) thus far?
Having Jurassic 5 in the shop was a buzz. Cut Chemist listening to jazz records on his portable record player was a memorable moment. Jimmy Page was cutting about at the last record fair I did in London.
What does your personal collection look like?
I don’t hoard records as much as I used to. These days I’m happy to enjoy them for a little while, then move them on. Some things are hard to let go of, as you know you won’t see them again.
What can we expect to find at your table at Crate Diggers?
A bit of everything really. We have a lot of the classic stuff plus some more unusual things. It’s always worth looking through our stall, as there are usually a few surprises tucked away in the racks.
Is there anything you’ll be digging for at Crate Diggers yourself?
Not sure, maybe some disco, world music.
Check out Peter’s selection at Crate Diggers Brighton! We’re looking forward to seeing you at The Brighton Center on May 11. Free entry to the record fair all day, starting at 10 a.m.!
Can’t make it to Crate Diggers? Browse mxdup98’s shop on Discogs!
The post Crate Minds: Meet Peter from Mixed Up Records Glasgow! appeared first on Discogs Blog.