Tracklista:1. Forget Me2. Miss You3. Side Tracked4. Fade to Black5. Love Too Soon6. Spread So Thin7. Tricky8. Ring That Bell9. Working Together
BEETHOVEN PIANO CONCERTO NO 5
Piosenki umieszczone na płycie to przekrój miejskiego folkloru Odessy na przestrzeni wielu lat - najstarsza pochodzi sprzed 1920 roku, najmłodsza ma niespełna 2 lata. Pomysłodawcą i wykonawcą jest doskonały gitarzysta i wokalista pochodzący z Krymu - Alexandr Maceradi. Odessa to miasto wielokulturowe, zamieszkałe przez Ukraińców, Rosjan, Żydów, Greków (greckiego pochodzenia jest właśnie Alexandr), Ormian, Polaków i swój charakterystyczny folklor miejski zawdzięcza właśnie wpływom tych wszystkich narodowości. W efekcie powstała żywiołowa mieszanka stylów, z charakterystycznymi brzmieniami rytmów wczesnego jazzu lat 20 z wyeksponowanymi sekcjami dętymi. wykonawcy: Alexandr Maceradi – śpiew, gitara Dmitrij Miszeniow – fortepian, instrumenty klawiszowe Aleksander Diaczenko – saksofony Wasilij Puszkasz – akordeon Tomasz Pomietło – fortepian Łukasz Pomietło – gitara basowa Alicja Stela – chórki Marcin Woroniuk – saksofon Tomasz Mucha – skrzypce Tracklista: 1. Nad Czarnym Morzem (У чёрного моря) 3:03 2. Ach, Odessa (Ах, Одесса) 4:00 3. Butelka wina (Ехали цыгане) 3:58 4. Miszka Odessit (Мишка - Одессит ) 3.46 5. Rejs Moskwa - Odessa (Москва – Одесса) 4:20 6. Murka (Мурка) 4:19 7. Znudziło się nam (Надоело нам) 3:44 8. Gop-stop (Гоп-стоп) 2:56 9. Szalupy (Шаланды) 3:51 10. Latarenki (Фонарики) 3:04 11. Woźnica (Извозчик) 4:00 12. Dojrzały wiśnie (Поспели вишни ) 3:36 13. Ulica Masojedowska (Мясоедовская) 4:12 14. Spacer po Odessie (Прогулка по Одессе) 5:40
Tracklista: LP 1 1. Stop 2. Go 3. Wailing Wall 4. Thinking Of You 5. Morpheus 6. Whispering 7. Down 8. Nice Work If You Can Get It 9. Maxology LP 2 1. Conception 2. My Old Flame 3. Dig 4. It's Only A Paper Moon LP 3 1. Bluing 2. Blue Room (Take 1) 3. Out Of The Blue LP 4 1. Tasty Pudding 2. Floppy 3. Willie The Wailer 4. For Adults Only LP 5 1. When Lights Are Low 2. Tune Up 3. Miles Ahead 4. Smooch 5. Four 6. Old Devil Moon 7. Blue Haze
Tracklista: CD 1 1. Play Me 2. Canta Libre 3. Morningside 4. Song Sung Blue 5. Cracklin' Rosie 6. Holly Holy 7. I Am. . . I Said 8. Soolaimon/Brother Love's Travelling Salvation Show 9. Bonus Track 10. Red Red Wine 11. Soggy Pretzels 12. And the Grass Won't Pay No Mind 13. Shilo 14. Girl, You'll Be a Woman Soon CD 2 1. Prologue 2. Crunchy Granola Suite 3. Done Too Soon 4. Dialogue 5. Solitary Man 6. Cherry Cherry 7. Sweet Caroline 8. Porcupine Pie 9. You're So Sweet Horseflies Keep Hangin' 'Round Your Face
Tracklista:1. Sex in Der Stadt2. Stromtod3. Married Women4. Kokain Cowboy5. Einheitsfrau6. Liebe Ist Ein Hospital7. Was Ist Im Hirn8. Minimale Katastrophen9. Alpha Rythmen
Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus... Every day, all around the world, in places of worship or in the privacy of the home, in various languages and dialects, millions of people repeat this salutation. Some wind a rosary through their fingers as they repeat it; others are lulled by the sound of their own voice, the rhythm of the verse, the inspiration of the words. Appeasement, strength, juxtaposition of biblical text and Christian prayer, it is not surprising that the Hail Mary, or Ave Maria, was integrated into religious services as early as the 5th century. Two centuries later, the “Angelic Salutation” to the Virgin Mary during the Annunciation (Luke 1:28), to which is appended that of Elisabeth during the Visitation, would become a preferred form of personal prayer. While initially, prelates preferred their flocks to focus more on their Credos and Pater nosters, the Ave Maria would become part of children’s religious education starting with the Council of Béziers in 1246. Its definitive form was promulgated by Pope Pius V in 1568. The Ave Maria appeared in the Gregorian Antiphonary and its melody often formed the reciting tone in Ars antique motets and the unifying theme in 16th century masses. However, composers more frequently treated it as an element of the liturgy, as an antiphon or the offertory. The Ave Maria of Josquin des Prez is based on a sequence (chant sung after the alleluia during certain feasts) and develops one trope in particular. (This unofficial amplification of liturgical texts aimed to give them a more solemn character; one of the most well known is the Ave verum, which emerges from the Sanctus. This recording features a version by William Byrd.) The version falsely attributed to Jacques Arcadelt was in fact composed in the 19th century by Pierre-Louis Dietsch, chapel master at La Madeleine in Paris, who freely adapted the 16th-century composer’s three-voice madrigal “Nous voyons que les hommes.” Anton Bruckner revisited the Ave Maria three times during his career. The second, a seven-voice a capella version and the most widely sung today, was premiered in 1861, after his five years of formal study in Vienna, to commemorate the founding of the Liedertagel Frohsinn choir, which he conducted at the time. The three most famous Ave Marias are undoubtedly those attributed to Schubert, Gounod, and Caccini. Franz Schubert’s version was originally a setting of “Ellen’s Third Song” in the German translation of Walter Scott’s epic poem The Lady of the Lake. It was only later that the Latin text replaced the German. When Charles Gounod improvised a countermelody to the first prelude of Bach’s Well-tempered Clavier, his father-in-law, Pierre Zimmermann, transcribed it. Here, too, the familiar Latin text only later replaced the original, Alphonse de Lamartine’s poem “Le Livre de la vie.” The Ave Maria attributed to Giulio Caccini was in fact composed by Vladimir Vavilov about 40 years ago (he first recorded it on the Melodiya label in 1970). After Vavilov’s death, organist Mark Shakhin sent the “newly discovered” work to other musicians to ensure its renown. According to the Gospel of St. Luke, when the Angel informed Mary that she would give birth to the Saviour, her first words were in praise of God: Magnificat anima mea Dominum (My soul doth magnify the Lord). This song, or canticle, transposed into the liturgy of the Vespers, and becoming an integral part of it, would also engender many musical settings. Claudio Monteverdi wrote two versions, published in 1610 in his Vespers for the Blessed Virgin, dedicated to Pope Paul V. The first, in seven voices supported by six instruments and basso continuo, is more grandiose in nature. The second, heard here, is a six-part work with continuo that plays the intimacy card but remains one of the most inspired works of the choral repertoire from any period. Few works have so masterfully united the austerity of Gregorian chant with the virtuosity of festal choral style. In 1989, Arvo Pärt set the same text in a work for solo soprano and a capella choir, divided into verses (the solo voice anchored to one note over a lower melodic line) and tutti sections (in three, four or six voices). Pärt’s Magnificat is a remarkable example of “tintinnabulation,” a style developed by the Estonian composer in which the notes of a root-position chord are treated like three bells, with repetitive musical gestures creating a sensation of timelessness or a continuous present. © Lucie RenaudTranslation: Peter Christensen
Czarowna i fascynująca muzyka do wierszy perskich mistyków Sufi - Mowlana Rumi, Hafiza i Saadi. Muzyka jest mieszanką klasycznej, perskiej muzyki i tradycyjnych rytmów ze współczesnym kolorytem i brzmieniami. Książeczka zawiera informacje o poetach Sufi, oraz oryginalne, perskie wiersze z angielskimi tłumaczeniami. Również informacje o tradycyjnych instrumentach.
Zremasterowana winylowa wersja albumu z roku 2001r. Tracklista: LP 1 1. Mein Herz Brennt 2. Links 2 3 4 3. Sonne 4. Ich Will 5. Feuer Frei! 6. Mutter LP 2 1. Spieluhr 2. Zwitter 3. Rein Raus 4. Adios 5. Nebel
Tracklista:1. Hello Walls2. Take These Chains3. I'm Gonna Love You Forever4. The City Put the Country in Me5. Life Here On the Farm (The Honeybee Song)6. Someone Must Feel Like a Fool7. Country Down to My Soul8. Let's Have a Party Tonight9. Old School Bop10. Hole in the Wall11. Why I Don't Know12. Somewhere Under the Rainbow13. Move Across the River14. This Is My Country, This Is My Flag