Tracklista: 1. Chapter 2 2. Faceless Aggressor 3. Counterparts 4. Divided Multitude 5. Uninvited 6. Prosperity Divine (The Machine Of Mammon) 7. False Prophecy 8. Evolve 9. Out Of The Ashes 10. Psalm Of A Soldier (Feat. Gary Wehrkamp (Shadow Gallery), Ida Haukland (Triosphere) & Terja Harøy)
Tracklista: 1. Vertigo 2. She Killed And Smiled 3. Destination Day 4. Take My Blood 5. No Sign Of Life 6. Submission 7. The Unknown 8. Dangerous Heritage 9. Prayers Of Steel 10. The Blow In A Row
„Nothing New” to album, który przynosi nowe, kameralne wersje utworów z dorobku Gila Scotta-Herona, zaprezentowane wyłącznie na głos i fortepian. Te wersje były nagrywane w Nowym Jorku na przestrzeni lat 2005-2009, a za ich produkcję odpowiedzialny był Richard Russell. Album oryginalnie ukazał się w ograniczonym nakładzie na winylu, z okazji Record Store Day w 2014 roku. Teraz, świętując jubileusz 66 urodzin Gila, materiał ten po raz pierwszy dostępny jest również w wersji cyfrowej.Geneza płyty „Nothing New” sięga 2005 roku, kiedy to Richard Russell wyszedł z propozycją przygotowania nowej płyty Gila. Jednym z wczesnych pomysłów było nagranie spartańskich wersji kilku starych kompozycji artysty, co obu wydało się interesujące. I chociaż praca nad płytą zaczęła się w ten sposób, ostatecznie przekształciła się w coś innego.
Tracklista: LP 1 Side A 1. Defiant 2. Houdini 3. Stronger 4. Tell It To The Bees Side B 1. Monster Truck 2. Pyramids Of Mars 3. Emotions In Motion 4. Highwire LP 2 Side C 1. Making Contact 2. Goth The Girl 3. The Time Machine Side D Etched
Tracklista: 1. Ouverture 2. Air En Rondeau 3. Air 4. Menuet 1 And 2 5. Rejouissance 6. Uccellino Chiuso 7. Air Alla Polonese 8. Menuet 9. Es Begab Sich, Dass Jesus Ein Eine Stadt Mit Name Nain Ging 10. Mein Herz, Was Siehest Du? 11. Ein Juengling Liegt, Ach, Auf Der Bahre 12. O Mensch, Nimm Deiner Wahr 13. Schicke Dich, Mein Herz, Zum Sterben 14. Amen, Mein Lieber, Frommer Gott 15. Ouverture 16. Rondeau 17. Polonaise 18. La Costanza 19. Menuet 1 And 2 20. Il Sospetto 21. La Noia 22. Villanella 23. Menuet 1 And 2
Trzeci, ale drugi nagrany dla prestiżowej oficyny Warp album Stevena Ellisona, siostrzeńca Alice Coltrane, który nagrywa pod kryptonimem Flying Lotus, a który nazwany został „Hendrixem swojego pokolenia". Dostępne na podwójnym LP. Flying Lotus rozpoczął karierę solową płytą „1983" (2006), która usytuowała go w gronie czołowych hiphopowych producentów, takich jak Madlib, J Dilla czy Ammoncontact. Rozgłos przyniósł mu - już po podpisaniu kontraktu z Warp - porywający album koncepcyjny „Los Angeles" (2008). Jeśli nie liczyć poświęconego twórczości Lotusa kolejnego tomu z cyklu „DJ Kicks" (!K7; 2009), „Cosmogramma" to kolejna ciekawa próba stworzenia albumu koncepcyjnego - tym razem futurystycznego, wprowadzającego zupełnie nowe dźwięki i efekty, tak aby uzyskać wrażenie, iż jest on formą dziennika z międzygwiezdnej podróży. Przy tworzeniu tej „kosmicznej opery" dużą rolę odegrały koligacje rodzinne Lotusa.
Tracklista:1. Weightless Now Pt. I2. Weightless Now Pt. II3. The Tower Bell4. Steeple and Spire5. Spoil the Child6. In Halves7. Walls8. Teething9. Sum of Every I
Tracklista:1. Vamonos Lejos2. Borderline3. Oh Mama (Solo Quiero Pecar)4. Todo Lo Que Quiero5. Qué Bien6. Rubyouwrongtime7. Puma, Party, Cero Prisa8. Media Naranja9. Tu Quieres10. Quiero Infierno11. Se Dé Ti
This disc, originally made in 1989 and led by early music pioneer Konrad Junghänel, stands up well and was a strong candidate for reissue. The Symphonia Angelica of the title was a printed madrigal collection issued by Hubert Waelrant, who was also a composer and included his own effort, Tra romor tamburi. That piece, and all the others, are Italian madrigals, and the disc provides a fair cross-section of Italian madrigals as they became famous across Europe and in England, where they stimulated the creation of the works still taken up every year by high school choirs and glee clubs. The madrigals are mostly in four or five parts, and Junghänel varies his forces nicely; some are accompanied with viols or his own lute, while others are sung unaccompanied, and the group slightly shifts with each new work -- an eminently reasonable solution. The singers involved aren't virtuosi but blend nicely, with accurate intonation. The repertoire is the most attractive feature of the performance. Centered on romantic and even sexy poetry, the disc features composers -- Giovanni de Macque, Luca Marenzio, Philippe de Monte -- whose chromatic experiments are enshrined in music history books that assumed modernism as a virtue. But these composers wrote all kinds of music, and the lighter pieces heard here would be the ones that became popular -- the more experimental pieces were more in the nature of things to be shared with connoisseurs. One of those is indeed included: the composite Mentre ti fui, with four composers each setting a single verse of the same poem. Texts are given in Italian and English; the last line of Macque's delightful Bacciami vita mia (Kiss me, life of mine) unfortunately comes out as "and then I shall leave my soul between your beautiful ips." The booklet also includes commentary in French and German (but not Italian); beyond the dry observation that "King Philip II of Spain was not exactly in Flanders for the cultural development of the country" it contains mostly specialist information. The average buyer, however, will get what the average buyer of the original book got in 1585 -- a pleasing collection of Italian madrigals. ~ James Manheim, All Music Guide
Following Ensemble Caprice’s first recording of Vivaldi’s sacred music ( Gloria! Vivaldi and his Angels) we return to Vivaldi’s Venice and find ourselves yet again within the confines of the Ospedale della Pietà orphanage where, beginning in 1703, Vivaldi, the Red Priest, not only taught the orphan girls violin and singing (!), but also composed many of his most dazzling concertos as well as a substantial part of his highly inspired corpus of sacred music. To this day, it seems almost unbelievable that these very demanding scores could be successfully performed by young women. However, their concerts must have been of a very high standard, judging from the celebrity status they enjoyed throughout Europe. Of course the picturesque scenario of young women performing in church undoubtedly fired the imagination of countless listeners who would come from far and wide to hear the orphans perform musical miracles in Venice. In 1720 an English traveler, Edward Wright, gives us the following account of those events: Every Sunday and holiday there is a performance of music in the chapels of these hospitals, vocal and instrumental, performed by the young women of the place, who are set in a gallery above and, though not professed, are hid from any distinct view of those below by a lattice of ironwork. The organ parts, as well as those of other instruments, are all performed by the young women. They have a eunuch for their master, and he composes their music. Their performance is surprisingly good, and many excellent voices are among them. And this is all the more amusing since their persons are concealed from view. It was both absurd and comical for Wright to assume that the composer was a eunuch, but it shows how the imagination of the male listeners got carried away when hearing those celestial angelic sounds produced by an invisible female orchestra and choir. After having met Vivaldi in Venice in 1739, a French jurist, Charles de Brosse, reports that …about forty girls take part in every concert. I vow to you that there is nothing so diverting as the sight of a young and pretty nun in white habit, with a bunch of pomegranate blossoms over her ear, conducting the orchestra and beating time with all the grace and precision imaginable. Further proof of the incredible quality (and attraction) of these concerts is provided by no less a celebrity than the sophisticated French philosopher (and part-time composer) Jean-Jacques Rousseau, who in 1743 had nothing but praise for the achievements of the young girls: Every Sunday, vocal music for a large chorus with a large orchestra, which is composed and directed by the greatest masters in Italy, is performed in barred-off galleries solely by girls, of whom the oldest is not twenty years of age. One can conceive of nothing as voluptuous, as moving, as this music. Knowing for instance that J.S. Bach only heard his own sacred music sung publicly in church by boys and men and never by women, we can only assume how much the titillation of these exciting rumours about the female choir and orchestra in Venice must have stirred the imagination of music lovers north of the Alps. During the course of the present recording, we move from Vivaldi’s description of war to his musical depiction of the joys of peace. Juditha triumphans Juditha triumphans from 1716 is the best known of the Vivaldi oratorios (of which only four have survived). Subtitled Sacrum Militare Oratorium, it relates the gruesome Old Testament story of Judith, a beautiful widow chosen by God to put an end to the life of the Assyrian general Holofernes – who was out to destroy her hometown – by decapitating him. At the time the oratorio was composed, the Republic of Venice was engaged in its 6th war against the Ottoman Empire and despite its ultimate triumph in 1718, the situation looked rather bleak two years earlier after two successive crushing defeats by the strong Ottoman army. In a typical baroque crossover mingling religious and worldly matters on the same battlefield, the oratorio Juditha triumphans was obviously aimed at strengthening the war efforts of the Venetian Republic. We know that this oratorio was performed at the Ospedale della Pietà, with an all-(young)-woman cast on both vocal and instrumental parts. It could only have added to the already wide range of exotic sensations when the overwhelmed listener heard these young women in nun’s habits engaging in musical warfare. Gloria, RV 588 However, let us not forget that Vivaldi’s talent also radiated its light upon the depiction of peace. The intense plea Et in terra pax (from Gloria RV 588), with its gripping harmonic tensions, serves as a worthy final statement for this recording, where war is gradually replaced by the hope for peace. Psalms, Concertos, Motet On the road towards peace we encounter brilliant psalm settings with powerful rhythms in choir and orchestra (In exitu Israel RV 604, Laudate Dominum RV 606), two virtuoso concertos for multiple soloists (RV 566 and RV 563) and a beautiful solo motet O qui coeli terraeque serenitas RV 631, praising serenity in heaven and on earth. Vivaldi entertained a close relationship with Dresden, the Florence of the Elbe, both as a performing artist and as a composer; indeed, his pieces were frequently performed at court. One of his illustrious colleagues in Dresden, Jan Dismas Zelenka, was obviously inspired by Vivaldi’s sacred music when he composed the heart-rending lament Misera Madre in which Mary’s suffering at the foot of the cross is set for high-voice choir. It becomes quite obvious from the striking dissonances in this piece that the transition from war to peace is not always an easy one… And just as our plea for peace is here put forward with music from the past, we fervently hope that peace will reign in our present time and the future: Et in terra pax! © Matthias Maute, Montreal, 2011