Walt Mundkowsky was born 1944 in San Antonio, TX. As a teenager, he had a dachshund named after Hugo Wolf. Extensive writings on film (cf. his “Cinema Obscura” column in Home Theater, 1995-2001). He favors the mine-shaft approach to music listening — in-depth exploration of tiny, unrelated areas. A resident of Beverly Hills, he has lived in basements in Denver, London and Stockholm, and may very well do so again.
This 1998 CD (available here as Elektra / Asylum 22109) takes a wilder swing at updating John Dowland than ECM’s subsequent In Darkness Let Me Dwell would, so its “fixes” are more fun for the Dowland admirer.
Hard on the instrument and on the players, Beethoven’s piano-four hands transcription of his Grosse Fuge is also hard to find.
Noise rockers Einstürzende Neubauten got the chance to record Die Hamletmaschine for East German radio in 1990.
“Caminantes, no hay caminos, hay que caminar.” — Travelers, there are no roads, but we must go on.
Bob van Asperen stood out in Gustav Leonhardt’s first wave of gifted pupils (Alan Curtis and Ton Koopman among them).
Utrecht’s Rosa Ensemble is another of the category-crossing bands that renders the New Music scene in Holland so vital.
The opening cut, Bley’s solo rendition of “Touching,” distills the pianist’s art — pedaling that turns notes into sculpture, leaping figures suddenly dropped, looming spaces.