The Angels of Sodom  - Then the Lord rained down burning sulfur on Sodom and Gomorrah—from the Lord out of the heavens. 25 Thus he overthrew those cities and the entire plain, destroying all those living in the cities —and also the vegetation in the land. 
God‘s little plan - Study based on "The Distributor" for two pianos. With happy ending.  
  Per omnem vitam -   A deeply personal and   exhausting piece,   begun on a profoundly   dismal winter’s day and   completed in July with a   fast and furious guitar solo.         
Der Mond ist aufgegangen - It was a deeply felt desire of mine to create my own instrumental version of this moving old song. My humbleness towards the work is equally deep.  -  The poem by Matthias Claudius was set to music around 230 years ago by Johann Abraham Peter Schulz.  
The Distributor - The Distributor is the start of the Apocalypse. If records only had a few more grooves,  "The Distributor" would also be on the LP.
Florence Coleman - was playing in the street one week before her twelfth birthday when she was run over by a horse and carriage. She died a few days later.  
The fable of the Little Chicken Thus follows the thoroughly thought-provoking fable of the Little Chicken or An Sicín Beag, as a tale eminently suited to the encouragement of moral edification of                                   the highest order, the fowl in question being possessed of boundless love, which – contrary to lofty                               expectations circumstantially soaring in the cerebral facility of those in cognisance – remained                               unreciprocated, and his pleas, after no little illusory indecisiveness accompanied by lascivious                             glances and reckless promises, ultimately went unheeded as pleas are wont to go; being of the world,                         however, the Little Chicken proved singularly unimpressed and legged his way, affording, as one                                  increasingly notes today in affairs of such immense delicacy, personages to vocalise their opinion that the Chicken        was of impeccable lineage, and leaving globally excellent impressions.
Leaving Debussy’s aristocratic and patrician setting behind and expanding the idea of festivals and processions to span thoughts of rock festivals, beer and carnival.   Incidentally, anyone seeking the origins of Ravel’s Bolero will find them in the second part of “Fêtes”. 
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Translation of this website - Alison Moffat
The fine art of mixing, and listening. The possibility of changing seat during a concert, whatever the music, of finding the “right” position for listening, perhaps swapping places with the conductor and from there craning towards the oboes or the first violins; hearing the stage mix of a rock concert, moving a little left or right, towards the keyboards or the guitars. Going with the music. That would be fantastic – but, unfortunately, it’s impossible. And wouldn’t it be nice to listen to a CD or LP from somewhere other than the middle of Row 8? To be closer to the sound, to hear what the conductor or the singer is hearing. To explore the dynamics instead of succumbing to the delirium of sheer loudness, yet without needing to adjust the volume continuously. The mix of “Fine Art” has striven to recreate this ideal. Reverb and unnatural basses are used sparingly and discreetly. Guitars, flutes and other solo instruments move around the stage; there are no architectural acoustics to disturb or confuse. The best listening position is decided by the music itself; on the conductor’s rostrum, right in front of the guitar amp, or in the heart of the string section. Our tip for home listening: when the quietest parts are clearly audible, the loudest parts are good and loud. This listening rule also applies to a stationary car; once the car is moving, the quiet sections are drowned by the sound of the engine.
LongBow Records    Thomas Neuroth Nachtigallenweg 4 48167 Münster 0251-9619340 info@longbowrecords.de
Wehmut, stark wie Banyuls  - Camille Saint-Saens composed his Sonata for Bassoon and Piano, op. 168, at the age of 86. Among his last works, it brims with sentiment and beauty. My first thought upon first hearing the piece: That simply has to be played by the guitar. Performing of the original Sonata for Bassoon and Piano opus 168 
(Original Cover: Honoré Daumier)  
“Fêtes“  -  Festivals  - Premiere in 1900. Claude Debussy, the composer, commented, “Fêtes’ gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm.“   Fêtes“ Nocturnes 2  - Pierre Boulez and Berliner Symphoniker performing the original.
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