A shape shifter (Burke) comes from the desert in search of victims, a spirit the locals call "The Dust Devil". He prays on the lonely and the unloved, those who have already lost everything but life itself. Wendy (Field) has broken up with her husband and wanders aimlessly in her car. She picks up a stranger and begins having misgivings about picking him up when strange things begin to occur. Meanwhile a local police officer (Mokae) tracks the killer. Aided by a shaman's admonishments about witchcraft he sets off to try and stop the beast before it can complete its grisly task.
McGegan's recording is of considerable documentary interest in that a separate section at the conclusion of each of the three parts of Messiah - there are three discs accordingly - is reserved for the many alternative versions of arias, accompanied recitatives and choruses which Handel himself used or at least approved in performances during the 1740s and 1750s. In this way, the booklet explains, the listener can select which version of the work he/she wants to listen to at any given time. About six versions are possible from the 18 alternative tracks provided on the three CDs. By following a table printed in the back of the booklet (a few minutes' mental gymnastics are initially required) you can programme your CD player to replace particular arias with others.
Winter Morning Walks is the first partnership between Schneider and Upshaw, bringing together two preeminent figures in jazz and classical music. Schneider has been commissioned to compose for jazz orchestras and artists all over the world, has won two GRAMMY Awards and has been nominated for several more. Writing for TIME Magazine, Terry Teachout said, "To call Schneider the most important woman in jazz is missing the point two ways. She's a major composer-period." Upshaw was also deemed "one of the most consequential performers of our time" by the LA TIMES, is a multiple GRAMMY winner and MacArthur Fellow, and has performed at the Metropolitan Opera over 300 times. In 2004 Schneider pioneered the fan-funding model by becoming the first artist to sign with ArtistShare® to release 'Concert In The Garden,' the first web-exclusive recording to win a GRAMMY.
Roger Waters was Pink Floyd's grand conceptualist, the driving force behind such albums as Dark Side of the Moon, Wish You Were Here, and The Wall. In the wake of Syd Barrett's departure, Waters emerged as a formidable songwriter, but it's this stretch of '70s albums – each one nearly symphonic in its reach – that established him as a distinctive, idiosyncratic voice within rock and, following his departure from Floyd in 1985, he continued to create new works in this vein (notably, 1992's Amused to Death) and capitalized on the enduring popularity of his old band by staging live revivals of Dark Side of the Moon and The Wall in their entireties…
Anne-Sophie Mutter obviously had fun making this disc. In the quiet pieces (Massenet, Ysaÿe, Fauré) which serve as interludes, she plays with her usual exquisite taste. In the showpieces, though, she goes to town, sliding, scooping, exaggerating, & letting all the stops out. The gypsy inflection she uses in Ravel’s Tzigane & Sarasate’s Zigeunerweisen is delicious. Even a ridiculous orchestral arrangement of Tartini’s Devil’s Trill Sonata is more amusing than offensive. With James Levine & the Berlin Philharmonic providing uncommonly alert & powerful support, & Deutsche Grammophon’s realistic sound, this disc is a real treat for violin lovers.