Grasshopper

Paradoxically, among these traumas that Mariaelena remembers, there is more trace in the subsequent "The Soul Cages" than in this album, which also contains several rhythmic and cheerful tracks. Excellent record nonetheless, still far from certain rather bland works of the late '90s. Beautiful review, as usual very attentive to the human aspect of the artist, now an honorary citizen of Figline Valdarno, where Villa Il Palagio is located (in Ponte agli Stolli, along the road between Figline and Greve in Chianti, for those who might want to take a quick trip there).

Besides being the father of minimalist piano music, for some Satie is also a precursor of what will be vaguely termed "ambient music," encompassing a bit of everything, from Brian Eno to new age meditation. For this reason, his fame is still infinitely smaller than his merits. I vote for the Gymnopedies, but also for the Gnossiennes and other series of small precious pieces for piano. A good review, which could easily fit in the left column.

Not to play the devil's advocate for JoP, who doesn't need it, but certain authors and a specific genre of music invite one to speak in erudite language. Many of those who review classical music here (including yours truly) have been labeled as snobs or pretentious for this very reason and consequently have been mercilessly torn apart, albeit always from some isolated voice, far beyond their demerits. While respecting Sabatino's judgment, it's hard not to notice how excessively harsh it is for a review rich in insights and which reads very well regardless of the scholarly language (let's remember we're talking about Bach, not Al Bano).

If you've read it all, the only thing that struck you was "inglicina"? Strange, very strange.

As a know-it-all. Since you were at it, you could have talked about the rest of The Nutcracker too. It's true that this is the most sublime piece, but also the Arab Dance, the Waltz of the Flowers, and the Miniature Overture—just toss them aside...

There are people who instead of reading a review and evaluating it as a whole, fixate on a single word and based on that pass a judgment. For example, I got a 1 for the word "orecchi," which according to a certain Duane was incorrect, even though any dictionary lists it as a correct alternative to "orecchie." "Inglicina" may be a term that's a bit too grand and poetic, but who cares in the context of a focused and well-written review? Is it possible that Sabatino didn't read the rest? Yes, it's possible: in my opinion, he stopped at "inglicina" and then gave a nice 2 to stand out from the crowd with minimal effort. Good for him...

Absolute music, indeed. Unfinished but absolute, timeless (who would find any trace of Baroque? Yet chronologically, we are right in the middle of it). A splendid review (to be placed among the recommended ones) that fully captures its magical aspect and at the same time perfectly symmetrical, mathematical (the learned play on the letters B-A-C-H), in addition to the privileged relationship that Bach managed to maintain with what is called supernatural, metaphysical, God, Allah, or whatever else. Chapeau.

I know little or nothing about Nice (I confess). ELP, apart from "Pictures of an Exhibition," which is practically the rock version of Mussorgsky's "Pictures at an Exhibition" (which I have also reviewed), mainly draw from modern composers, that is, from the 20th century: The Barbarian is by Béla Bartók, Knife-edge is taken from Janáček's Sinfonietta, Hoe Down from Aaron Copland's Rodeo (which I have also reviewed). They are somewhat challenging composers to start with, but always interesting.

With these songs, one of the soundtracks of my twenties and thereabouts, I have especially an emotional connection. With my current tastes, their somewhat excessive sweetness would probably be a bit cloying, except for "Sailing," which has such an inspired theme that it avoids any risk of being overly sentimental. Back then, they seemed beautiful to me, so thank you for reminding me of them with such a heartfelt review.

DaveJG's question falls into the category of "Brief notes on the Universe." I can respond based on my personal experience. I started with Beethoven's symphonies (Saputello points out the Sixth, which indeed was my first classical CD out of the 1050 I currently own), and then moving through Mozart, I arrived at Bach (to mention just the composers I listen to the most: of course, there are hundreds more. Saputello's suggestions are excellent: I would add Brahms' Symphonies No. 3 and 4, Dvorak's Symphony No. 9 "From the New World," any piano concerto by Mozart after No. 20 (inclusive), Bach's Brandenburg Concertos and orchestral suites, as well as any of his compositions for organ, some symphonies by Mahler (I recommend the 2nd, 5th, and 6th), orchestral music from Wagner's operas, Schubert's Symphony No. 8 "Unfinished" and No. 9 "Great," Nocturnes and Études by Chopin... as you can see, it's easy to get lost.