...STEPPED IN... 1. BEHIND THE MUSIC 2. SORRY, MOM & DAD 3. GO 4. THE NEW YOU 5. FLOWERS ARE PRETTY 6. JACKASS 7. WHAT ABOUT ME? 8. YOU'RE NOT THE BOSS OF ME (KICK IT) 9. I'M THE BOSS OF ME 10. THAT'S MY GIRL 11. GET A ROOM 12. SAN BERDU 13
CD 11. Love Meeting Love2. (Flying On The) Wings Of Love3. Love Games4. Turn It On5. Starchild6. Are You Hearing (What I Hear)?7. Weave Your Spell8. The Chinese Way9. Out Of Sight Out Of Mind10. The Sun Goes Down (Living It Up)11. Micro-Kid12. Hot Water13. The Chant Has Begun14. Something About You15. Leaving Me NowCD 21. Lessons In Love2. Running In The Family3. To Be With You Again4. It's Over5. Children Say6. Heaven In My Hands7. Take A Look8. Tracie9. Take Care Of Yourself10. Guaranteed11. Overtime12. Forever Now13. I Feel Free14. Bitter Moon
Znakomity amerykański gitarzysta Lindsey Buckingham zdobył nieśmiertelną sławę jako muzyk grupy Fleetwood Mac, będący autorem lub współautorem wielu jej hitów. Ma również pokaźny dorobek solowy. Wybór jego solowej twórczości został zebrany na płycie wymownie zatytułowanej "Solo Anthology - The Best of Lindsey Buckingham". Zestaw, który ukazuje się w postaci 6LP, zawiera zarówno nagrania studyjne, koncertowe, jak i inne wersje znanych kompozycji Amerykanina. Piosenki Lindseya pochodzą z płyt "Law And Order", "Go Insane", "Out Of The Cradle", "Under The Skin", "Gift Of Screws", "Seeds We Sow", a także ze wspólnego albumu z koleżanką z Fleetwood Mac Christine McVie, wydanego w 2017 roku. Są też piosenki z filmów – "Holiday Road", "Dancin Across The USA" (obydwie z soundtracku do "W krzywym zwierciadle: Wakacje" z 1983 roku), a także "Time Bomb Town" (z "Powrotu do przyszłości"). Klasyki Fleetwood Mac "Tusk" i "Go Your Own Way" zamieszczono w wersjach koncertowych. Najwspanialszym prezentem dla fanów są jednak dwie wcześniej niepublikowane piosenki – "Hunger" oraz "Ride This Road". Lindsey Buckingham uznawany jest za jednego z najwspanialszych gitarzystów i kompozytorów na świecie. Jest członkiem Rock And Roll Hall Of Fame i trzykrotnym laureatem Grammy. Tracklista: LP 1 Side A 1.Don't Look Down 2. Go Insane 3. Surrender The Rain 4. Rock Away Blind 5. Holiday Road 6. Doing What I Can Side B 1. Trouble 2. I Must Go 3. Street Of Dreams 4. Soul Drifter 5. Show You How LP 2 Side C 1. Shut Us Down (Live) 2. Slow Dancing 3. Countdown 4. Someone's Gotta Change Your Mind 5. In Our Own Time Side D 1. Illumination 2. Gift Of Screws 3. Did You Miss Me 4. Down On Rodeo 5. Treason LP 3 Side E 1. Hunger 2. Not Too Late 3. Sleeping Around The Corner 4. I Want You 5. Time Precious Time Side F 1. Stars Are Crazy 2. Love Runs Deeper 3. You Do Or You Don't 4. I Am Waiting LP 4 Side G 1. Time Bomb Town 2. Turn It On 3. Seeds We Sow 4. Underground 5. Dancin' Across The Usa 6. Gone Too Far Side H 1. End Of Time 2. D.w. Suite 3. Ride This Road 4. Say We'll Meet Again LP 5 Side I 1. Trouble (Live) 2. Go Insane (Live) 3. Bleed To Love Her (Live) Side J 1. Stephanie (Live) 2. Never Going Back Again (Live) 3. Big Love (Live) 4. Under The Skin (Live) LP 6 Side K 1. All My Sorrows (Live) 2. Cast Away Dreams (Live) 3. Holiday Road (Live) 4. Tusk (Live) Side L 1. I'm So Afraid (Live)
Wydanie świąteczne - edycja limitowana. Zawiera dwa winyle 180 g - srebrny i bezbarwny Zawiera utwory takich wykonawców jak: Queen, Coldplay, U2, José Feliciano, Paul Mccartney, Elton John, The Pretenders, Chris Rea, Band Aid, Mud, Kylie Minogue, Justin Bieber & Mariah Carey, John & Yoko, Spice Girls, Rod Stewart, Elvis Presley, Slade Tracklista: LP 1 Side A 1. Queen - Thank God It's Christmas 2. Coldplay - Christmas Lights 3. U2 - I Believe In Father Christmas 4. Daryl Hall & John Oates - Jingle Bell Rock 5. Fay Lovsky - Christmas Was A Friend Of Mine 6. The Pointer Sisters - Santa Claus Is Coming To Town 7. José Feliciano - Feliz Navidad Side B 1. Paul Mccartney - Wonderful Christmastime 2. Bryan Adams - Christmas Time 3. Dana - It's Gonna Be A Cold, Cold Christmas 4. Elton John - Step Into Christmas 5. The Pretenders - 2000 Miles 6. Frankie Goes To Hollywood - The Power Of Love LP 2 Side C 1. Chris Rea - Driving Home For Christmas 2. Band Aid - Do They Know It's Christmas? 3. Mud - Lonely This Christmas 4. Kylie Minogue - Santa Baby 5. The Beach Boys - Little Saint Nick 6. Brook Benton & Caro Emerald - You're All I Want For Christmas 7. Justin Bieber & Mariah Carey - All I Want For Christmas Is You Side D 1. John & Yoko Ono - Happy Xmas (War Is Over) 2. Spice Girls - Sleigh Ride 3. Rod Stewart - The Christmas Song (Chestnuts Roasting On An Open Fire) 4. Elvis Presley - Blue Christmas 5. The Common Linnets - Christmas Around Me 6. Jona Lewie - Stop The Cavalry 7. Slade - Merry Xmas Everybody
Tracklista:1. Ballade No. 1 in G Minor, Op. 23 00:09:55 2. Ballade No. 2 in F Major, Op. 38 00:07:35 3. Ballade No. 3 in A - Flat Major, Op. 47 00:07:38 4. Ballade No. 4 in F Minor, Op. 52 00:12:10 5. Berceuse in D - Flat Major, Op. 57 00:04:37 6. I. Etude No. 25 in F Minor 00:02:02 7. II. Etude No. 26 in A - Flat Major 00:02:31 8. III. Etude No. 27 in D - Flat Major 00:01:58 9. Fantasie in F Minor, Op. 49 00:13:28 10. Galop Marquis in A - Flat Major 00:00:56 11. Largo in E - Flat Major, BI 109 00:02:21 12. Marche Funebre in C Minor, Op. 72, No. 2 00:05:28 13. Cantabile in B - Flat Major 00:01:08
Tracklista:1. Bad Blood2. Suburban Heights
Tracklista: 1. Agony Of Doubt 2. To You 3. No Way Back 4. Losing Control 5. Mirror 6. His Heart Is Metal 7. Cradle The Dead 8. Living Dead Strangers 9. Crimson Rain 10. The Key
Krótko po pobiciu własnego rekordu sprzedaży w Wielkiej Brytanii (koncert z Maastricht) André Rieu wraz ze swoją Johann Strauss Orchestra powraca albumem "Amore", który zawiera interpretacje pogodnych, poprawiających samopoczucie przebojów światowej muzyki – przygotowanych i wykonanych tak, jak potrafią to tylko André i jego wyjątkowa orkiestra. "Amore" to następca bestsellerowego albumu z 2016 roku: "Falling in Love" (ponad 250 tysięcy sprzedanych egzemplarzy). Album zawiera wielkie przeboje, takie jak "What A Wonderful World", "The Impossible Dream", "Think Of Me", "Love Me Tender", "Highland Cathedral", "Only Love" oraz "Ballade Pour Adeline". W 2017 roku André i jego orkiestra obchodzą jubileusz 30-lecia pracy twórczej. W tym roku również doczekali się swojej 500 Platyny – co jest rekordem w historii muzyki klasycznej.
BACH CPE HAMBURGISCHE FESTMUS
Without a doubt, Locatelli’s L’Arte del Violino (‘The Art of the Violin’), printed in Amsterdam in 1733, was one of the most influential musical publications of the early eighteenth century. It is a collection of twelve concertos for solo violin, strings and basso continuo, with a ‘capriccio’ for unaccompanied violin inserted into the first and last movements of each concerto as a sort of cadenza.Pietro Antonio Locatelli was born in 1695 in the small North Italian town of Bergamo, and was probably taught locally. Following brief employment at the Basilica of Santa Maria Maggiore in his home town, he travelled in the Autumn of 1711 to Rome, presumably in the hope of continuing his studies with the great Arcangelo Corelli. It is doubtful whether Locatelli ever actually took lessons from the master, who was already very ill in 1712 and died in January 1713. It is more likely that the young Locatelli was taught by the violinist and composer Giuseppe Valentini, of whose leaning to virtuosity there is documentary evidence. Locatelli worked with him for some time as a chamber musician in the household of a Roman aristocratic family, the Caetani. He seems to have left Rome in 1723, but reappeared in the Autumn of 1729 as a permanent resident of Amsterdam where he lived comfortably without any employment until his death on 30 March 1764. All his works were published in Holland.The years between his departure from Rome in 1723 and his settling in Amsterdam in 1729 were years of travel when the virtuoso journeyed from court to court and town to town. We find him at courts including those of Mantua, Munich, Dresden, Berlin and Kassel, where he was greatly admired on account of his consummate skill on the violin. His impressive artistry even enabled him to take liberties with crowned heads which bordered on impudence.Apparently Locatelli was in Venice some time between 1723 and 1729, as he recalled in 1733 when he dedicated the edition of his L’Arte del Violino to the Venetian patrician Gerolamo Michiel Lini. In the dedicatory preface Locatelli thanks the dedicatee because he ‘was so gracious as to come to listen to and praise [the concertos] when they were performed by that distinguished and incomparably large orchestra in those famous church services’. A performance of L’Arte del Violino in a liturgical context may well be assumed from the occasional direction ‘organo’ in the basso continuo part. ‘Famous church services’ are primarily associated with the Basilica of Saint Mark; there is evidence that in the seventeenth and eighteenth centuries extensive use was made of instrumental music during the Mass, namely after the Epistle (gradual), during the Elevation and during Communion. During the 1720s Locatelli, with his experience of conditions in Rome, cannot seriously have considered a permanent orchestra of some twenty string players ‘incomparably large’, but it was not uncommon to bring in additional players for particularly important occasions. There are, however, no traces of any such performance by Locatelli in the surviving documents of the Basilica.L’Arte del Violino is one of the so-called ‘art books’ (as was, for instance, Bach’s Art of Fugue) which proliferated in the seventeenth and eighteenth centuries. This is no textbook, nor a volume of musical pieces systematically arranged according to ‘problems’ in the manner of studies, but a collection of twelve independent musical works which together present the panoply of technical possibilities of the violin. Obviously this means first and foremost what was technically possible for Locatelli—and at that time probably for no one else!On closer inspection Locatelli’s ‘Art of the Violin’ is seen even today to extend to the utmost limits of technique. Most striking are the high positions required (up to the 16th position) which caused a revolution in violin playing. (In Opus VI Locatelli actually rises to the 22nd position.) Hardly perceptible to the listener (if all goes well!), but all the more difficult for the soloist, are the many occasions on which the left hand is overstretched; the difficulties in intonation are obvious. Mention must also be made of the frequent double-stopping (for instance in the second Capriccio of the Second Concerto), the polyphonic writing (the second Capriccio of the Ninth Concerto), the trills (the second Capriccio of the Third Concerto), and the difficult bowing (the slurred staccato in the second Capriccio of the First Concerto). A complicating factor in all these problems is the generally fast tempo.In L’Arte del Violino we encounter the virtuoso par excellence—the type of musician who concentrates on making the maximum impression, who wants to be seen and admired, the performer and his outstanding technical prowess being the centre of attention. Surviving documents confirm this. At the Berlin Court, Locatelli appeared before the King of Prussia in a blue velvet coat embroidered with silver thread, with precious diamond rings and bearing a sword; he was not prepared to accept small fees. According to some English aristocrats who encountered Locatelli in Amsterdam in 1741, he was a ‘terremoto’ (an earthquake). He played the most difficult pieces with exceptional composure, never removing his coat—although he always performed standing up, sometimes for three hours at a time, with so much passion that he wore out a dozen bows a year. Apparently he never played out of tune; he used a short bow because he believed that no violinist need play with a long bow anything that he could play with a short one. According to a contemporary report he so dazed a canary by his playing of an Adagio by Corelli that it fell from its perch. Other sources describe Locatelli’s tone as coarse.L’Arte del Violino and the documents concerning Locatelli’s life paint in every particular the picture of a virtuoso which did not become familiar until the beginning of the nineteenth century. After the publication of L’Arte del Violino in 1733 it became the task of the international brotherhood of violinists to bridge the gap between the technique of the average player and the standards set by Locatelli. He had a great influence on French music, in which the first great technical developments occurred. It cannot be proved that Paganini knew Locatelli’s Capriccios, but certain resemblances (perhaps even the number 24) between the two sets make it very likely. Without Locatelli’s contribution many developments in violin technique would hardly have been conceivable. L’Arte del Violino was a significant catalyst in the musico-historical developments which led to the first half of the nineteenth century becoming the age of the virtuoso concerto.But beyond that, L’Arte del Violino also has attractive music to offer, in spite of the uneven quality of the Capriccios. The Concertos normally have three movements arranged fast–slow–fast. The fast movements frequently adopt the Vivaldian form of alternating soli and tutti. The Capriccio for unaccompanied violin always appears before the last ritornello, indicating a relationship with the cadenza. After the Capriccio Locatelli prescribes another cadenza, to be improvised by the soloist, as a transition to the final ritornello. The Fondazione Pietro Antonio Locatelli, which is preparing a complete edition of Locatelli’s works, made available for this recording photocopies of recently discovered manuscript cadenzas, written in 1743 by the Mainz-based violinist Gottfried Dominicus Reber. With these cadenzas from Locatelli’s own time, the maximum amount of historical information was made available for this recording.Albert Dunning © 1994English: Gery Bramall