With the release of "Tapestry," Michael Hoppe has once again bestowed upon the world a recording of stunning beauty and incredible emotional depth. Hoppe has been one of my very favorite artists since I first discovered his music in 1998, and he seems to just keep getting better with each new release. Hoppe has created a trademark of sorts by including photos taken by his grandfather, E.O. Hoppe, to illustrate the music. This time, in addition to the photos in the twenty-page booklet, there are poems written for each piece by Therese Tappouni AND a video short film, Nous Deux Encore, which Hoppe scored. The British-born and Grammy-nominated Hoppe has released at least seventeen other albums over the past twenty or so years and is one of the most well-respected artists recording today. Several of his earlier albums were recorded with other artists including Tim Wheater (flute), Martin Tillman (cello), and Joe Powers (harmonica), and he has also collaborated on spoken-word albums with artists such as Michael York and Tim Wheater. Over the past several years, Hoppe has realized a life-long dream by recording several of his compositions with The Prague Symphony. While Hoppe's music is very calming and soothing, it is much too nuanced and evocative to relegate to background music. Although I have listened to "Tapestry" at least ten times, I keep pausing while writing about it to drink in the beauty of the music.
"Tapestry" begins with the sweeping "Prairie Moon," a piece we were given a sneak-preview to on last year's Nostalgie. This time it is fully realized by The Prague Symphony, painting landscapes of gently blowing grasses, endless skies, and nostalgia for a simpler life. Violinist Alyssa Park appears on three tracks, the first of which is "Sanctuary." With Hoppe's ethereal keyboard washes behind the soulful violin, peaceful warmth envelops the listener. "Maxie's Theme from Nous Deux Encore" features Mitsuki Dazai on koto. Oboe and guitar create an unusual but spellbinding trio. Strings are added, but the koto carries the enchanting melody from start to finish. "Moonflower," for piano and keyboard, is simply gorgeous in its elegant simplicity. "In Paradisum" is the only vocal piece, and features contralto AnDee Sanchez, whose graceful voice reaches right into your soul. "Impromptu" is the first of three piano solos, all of which are perfect in their simplest form. I love all twelve tracks on this album, but I think "Tears and Roses" is my favorite. It also appeared on Nostaglie, but this time it's a soulful duet for violin (Alyssa Park) and guitar. Joe Powers makes another appearance on "Embers," again demonstrating that the harmonica can be so much more than a campfire instrument. "Pastoral" is a shimmering symphonic masterpiece presented (this time!) on keyboards. Reflective and oh so peaceful, it makes me wonder why Michael Hoppe isn't a household name. "Tapestry" closes with the solo piano "Grace" - tender, honest, and gently embracing.

Stephan Micus1953年生于德国，16岁时第一次出游东方，其后遍游亚非欧美各国，在我国新疆地区也留下过他的足迹。每到一处他都追随当地的音乐大师学习许许多多的传统乐器，但Micus并非只是以传统的方式去演奏这些乐器，而是充分发掘出这些乐器音色和表现力上更大的可能性。他在许多作品中使用的乐器组合是前所未有的，而所有乐器都由他一个人演奏。

这张唱片用了日本的尺八(shakuhachi)和笙(sho)，阿富汗Rabab，泰国笛(Thai Flute)，巴伐利亚的齐特琴(zither)，印度的西塔琴(sitar)，但事实上Stephan Micus的声音就已经足够让人诧异了。

请标记的各位注意，主奏乐器是爱尔兰 哨笛（Irish Whistle），不是苏格兰风笛（Scottish Bagpipes），两者音质在本质上有很大的不同，请自行科普！！
哨笛的声音，还有钢琴和吉他的声音，纯净得像水滴一样。
每个人的心里都会有个故乡，爱尔兰哨笛会勾起他们的乡愁，因为那不是俗世的声音。哨笛的声音远远地从那个阔别已久的地方传来，那里有红色的树，绿色的河流，洁白的雪，温暖的土壤，还有安详的牛羊。
这张唱片是以短小轻巧的哨笛为主 轴，而竖琴则伴随着笛音，传递轻柔的背景，而长笛和风笛也偶尔穿梭其中，让原本就具有小男孩高音域的特色，呈现出一种音质清澈的魅力。收录的每一首曲子正是爱尔兰充满神话的人文风貌。其中以Women of Ireland最具有风的悠远，让我们更能感受到这首曲子所传达的爱尔兰女性神秘坚忍的特质。透过哨笛诠释的曲子，总让人想起童年的美好回忆，有时更会激动地落泪。聆听后将会钟爱一生的一张不可错过的专辑。

我们准备了满天星光及蔚蓝海岸，所有美妙旋律正在画布上尽情跳舞，为您谱出动人的每一刻！11首曝光率最高广告歌曲，贴心加值赠送5首全新卡农版本。听Vincent（梵谷）无尘素净的吉他旋律和娓娓歌声，或是San Francisco（旧金山之歌）的轻松惬意，如果您只想静静沉思，竖琴、二胡、水晶钢琴、弦乐四重奏……如繁花般缤纷的卡农旋律就要盛开了！嘘，仔细听，所有美丽的音乐都在《卡农的广告花园》里！