Tracklista: 1. Elbow 2. Muckraker 3. Nein 4. 12 Bar Bruise 5. Garage Liddiard 6. Sam Cherry's Last Shot 7. High Hopes Low 8. Cut Throat Boogie 9. Bloody Ripper 10. Uh Oh, I Called Mum 11. Sea Of Trees 12. Footy Footy
Tracklista: 1. Lost Ages2. Unwelcome3. The Secret Fate of All Life4. Loss5. For Nothing
Tracklista:1. I Got Plenty o? Nuttin2. He Loves and She Loves3. A Woman Is a Sometime Thing4. They Can?t Take That Away from Me5. Let?s Call the Whole Thing Off6. Strike Up the Band7. Things Are Looking Up8. They All Laughed9. A Foggy Day10. How Long Has This Been Going On?11. Summertime12. Love Is Here to Stay13. There?s a Boat Dat?s Leavin? Soon for New York14. It's Wonderful15. I Was Doing All Right16. Oh, Lady, Be Good!
Cécile Louise Stéphanie Chaminade was born in Paris in 1857 and died in Monte Carlo in 1944. Although she came from a non-musical family she was something of a prodigy as a pianist and composer – she began writing sacred music at the age of eight. It was Bizet who advised Chaminade’s parents that she deserved a sound musical education: as she was unable to enter the Conservatoire (which did not then admit women) she studied privately with several teachers. These included Le Couppey (for piano) and Savard (for counterpoint, harmony and fugue); she also studied violin with the celebrated Belgian Martin Marsick, a pupil of Joachim, and composition with Benjamin Godard. Furthermore, she attained proficiency as a conductor, made her concert debut at the age of eighteen, toured widely, and became a well-known public figure, eventually receiving the Légion d’Honneur from the French government. In the course of her long life Chaminade produced around 350 works including a comic opera, a ballet, a choral symphony entitled Les amazones, chamber and orchestral music, and about a hundred songs. But the area in which she excelled and was most productive was the short lyric piano piece, and many of these became very popular, bringing her considerable commercial success and fame in France, Britain and the USA. They fed a market of domestic and salon music-making which had little use for profundity or complexity of thought but responded to graceful melody, simple forms, clear textures and dextrous, gratefully written exploitation of the medium: music, with its ‘easy velocity’, often designed to sound harder to play than it really is. As a result, for long decades Chaminade’s reputation has been that of a mere purveyor of pleasant but deeply unimportant salon music: an ephemeral figure, virtually beneath musicological notice. (Eaglefield Hull’s admirably comprehensive Dictionary of Modern Music and Musicians of 1925 ignores her very existence; it is symptomatic of the same attitude that she rates but one passing mention in Martin Cooper’s classic volume on French music from the death of Berlioz to the death of Fauré – as ‘charming’ and ‘fashionable’ – and that The New Grove takes over unaltered and unquestioned the brief and supercilious entry from the previous edition of Grove’s Dictionary.) But with the increasing attention being focussed in recent years upon the distinct achievements of women composers, and with belated respect thus accruing to such signally gifted figures as Fanny Mendelssohn, Clara Schumann, Lili Boulanger, Rebecca Clarke and Ruth Crawford, the reputation of Chaminade almost certainly calls out for upward revision. After all, as Norman Demuth perceptively remarks in his study of French piano music – which, if he cannot quite bring himself to intrude her into his main narrative, at least gives Chaminade a little ‘interlude’ chapter to herself – she was ‘nearly a genius in that she knew exactly what, and how, to write for pianists of moderate ability … we wish every writer for the piano had her innate gifts and could be equally musicianly in their own ways’. Demuth also stresses the fact that Chaminade’s music gracefully complements that of Fauré: while she may lack (or scruple to attempt) the latter’s innate profundity, she often matches him in elegance, melodic beauty and lyrical cantabile. It is hardly a criticism that she is usually easier to play. What any substantial sampling of her pieces makes clear, however, is that she spanned a wider range than the conventional picture of a ‘salon composer’ leads us to expect. Romantic attitudes and keyboard delicacy, yes – but also a wit that occasionally approaches irony, a robust rhythmic energy, and a melancholic vein that sometimes turns dark indeed. Maybe it does her most justice to appraise Chaminade as a direct forerunner of Poulenc, a composer who mates the elegant and the naive with a very sophisticated technique, and conducts a quintessentially French exploration of that area where sentiment shades over into profound emotion. Certainly the present selection opens with the salon composer to the fore in Arlequine, a crisp and scintillating exercise in the almost obligatory ‘Pierrot piece’ of Chaminade’s day – tuneful and inventive, with plenty of twinkly, dextrous work for the right hand. But a female Harlequin? Perhaps ‘feminine caprice’ (Chaminade inhabited an age with no horror of sexual stereotyping) is suggested by the abrupt, flouncing cadences. Fauré’s Romances sans paroles were probably her model in the early, lyrical Pièce romantique, where the elegant melody is mainly carried by the left hand against lapping off-beat quavers in the right. But in the much later Chanson bretonne, which actually belongs to the set of Romances sans paroles, Op 76, the technique is bolder and starker, with a crowing, folk-like tune (of the type that, a generation later, might have interested Koechlin or Emmanuel) made the basis of a vigorous dance-like piece: through-composed, with no separate middle-section apart from a suggestion of ‘exotic’ chromaticism, and rising to a resounding conclusion. The deliciously lilting Divertissement of 1901 is again the salon composer at her best, polish and elegance creating sheer enjoyment from the merest wisp of an idea, embellishing a bright D major tonality. By contrast the B major Consolation, the fifth of the set of Op 87 Pièces humoristiques, is something more serious, testifying to this composer’s intelligent absorption of the manners, and something of the matter, of great elder contemporaries. The undulating left-hand pattern and the lapping right-hand notes hint at a barcarolle rhythm which is intensified in the gorgeously Fauréan middle section, recalled in the piece’s closing bars. Liszt, rather than Fauré is, however, the presiding spirit here, nowhere more so than in the glittering little transition back to the main idea. The E major Passacaille, as Op 130 a comparatively late work, makes an interesting comparison with the very early Chaconne included in volume 1 of this series. In fact even less than that piece is this a strict study in ground-bass variations, as its title might imply – though the presence of a ground is occasionally hinted at. Instead it is a sophisticated exercise in neo-Baroque evocation, recalling the virtuosity of the great clavecinistes of the age of Rameau and Couperin, and going back to the origins of the passacaille, which was a vigorous triple-time dance before it ever became a showcase for contrapuntal learning. Even later is the Op 165 Nocturne, published in 1925, and it bespeaks a composer who has attained a serene maturity without relinquishing one whit of her elegance. The poised and limpid outer sections perhaps inevitably awake echoes of Fauré. But now Chaminade is able to approach the profundity of the older composer’s last nocturnes, finding real depth of emotion in the più animato middle section. Clarity and calm are restored in the reprise, and the piece expires in a rippling coda. The Scherzo-valse is an altogether lighter affair, capricious in its moods but merely meant to entertain; while Sous bois is another of the Op 87 Pièces humoristiques that proves more lyrical than humorous. No French composer for the piano could be unaware, in using this title, of the seductive Sous bois of Chabrier in his epoch-making Pièces pittoresques (the same set of course, contains the ‘Scherzo-valse’ of French piano literature). But Chaminade’s piece relates more to her own characteristic procedures. Compare the opening with that of the early Pièce romantique. Gesture and texture are almost the same, but a much more extended movement develops from these very similar premises: a melodious intermezzo whose central span is enriched by what seems like the distant pealing of bells. With the Étude symphonique in B flat we are apparently on altogether more serious ground – as befits a piece dedicated to Paderewski, no less. But though the music, unfolding at first as a calm andante, gathers force through the elaborate motion of its inner parts, and then plunges into an allegro appassionato which intermingles a measure of motivic development along with turbulent bravura display, there is no real symphonic drama here, and the cat-like contentment of the final bars suggests it was really all a game. We are nearer to reality in the short Élégie in D flat, third in a set of Feuillets d’album published in 1910. On one level this is yet another example of the ‘song without words’ genre. But the harmony tends to wander into shadowed areas, discreet canonic imitation intensifies feeling, and some of the later developments engender an unexpected measure of passion. The superb D major Gigue, Op 43, dedicated to the composer and conductor Camille Chevillard is one of Chaminade’s frequent studies in semi-archaic dance rhythm, and one of the more brilliant. Though the general impression is ‘mock baroque’, carried through with joyful velocity, the piece is remarkable for its inventive and enlivening use of cross-rhythms, and for a keyboard style whose solidity and energy suggest Brahms in his bravura moods. When she required it, Chaminade could certainly summon up the grand manner, and nowhere to greater effect than in the most extended work on this disc, Au pays dévasté. Here there is no thought of entertainment. Published in 1919, this ‘devastated landscape’ is unmistakably a war elegy such as we find in some of Debussy’s last piano music, though its bleak and deeply felt G minor lamentation is couched in an idiom more Romantic than Impressionist. Superbly constructed, and lingering long in the memory, this powerful work deserves to be much better known. Landscape of a very different kind features in the delicate F major Pastorale, published ten years before the Great War. This is really another clavecin-style piece, but one of such formal polish that – not only in the blithe and lyrically decorate
Album został wydany przez wytwórnię Signum Classics (SIGCD 569). Tracklista: CD 1 Elgar 1. Coronation March 2. Pomp And Circumstance March No.1 3. O Hearken Thou Howells 4. The King’s Herald Wood 5. O Most Merciful Tallis 6. Litany Parry 7. Chorale Fantasia On O God, Our Help 8. I Was Glad Purcell 9. Hear My Prayer Vaughan Williams 10. Mass In G Minor Handel 11. Zadok The Priest 12. Hymns - Rejoice Today With One Accord, O God, Our Help In Ages Past, Come, Holy Ghost 13. Entrance Fanfare 14. The Presentation, Fanfares And Acclamations 15. The Administration And Signing Of The Oath 16. The Collect 17. The Prayer Over The Ampulla 18. The Anointing And Blessing CD 2 Parratt 1. Confortare - Be Strong And Play The Man Byrd 2. I Will Not Leave You Comfortless Gibbons 3. O Clap Your Hands Together 4. Threefold Amen Wesley 5. Thou Wilt Keep Him In Perfect Peace Vaughan Williams 6. O Taste And See 7. The Old Hundredth Psalm Tune 8. Mass In G Minor Merbecke 9. The Lord’s Prayer Stanford 10. Coronation’ Gloria In B Flat Walton 11. Coronation Te Deum 12. Coronation March - Crown Imperial David Matthews 13. Recessional And National Anthem 14. Prayers, Acclamations And Crowning Fanfare 15. The King Receives The Holy Bible 16. The Blessing Of The King And People 17. The Exhortation 18. Rejoice In The Lord Alway 19. Homage Fanfare And Acclamations 20. The Offertory Prayer And Prayer For The Church Militant 21. The Exhortation, General Confession And Absolution 22. The Preface 23. The Prayer Of Humble Access And Prayer Of Consecration 24. The Post-Communion Prayer 25. The Blessing
1. Chodź, pomaluj mój świat – Janusz Kruk, Marek Dutkiewicz 3'02"2. Wstawaj szkoda dnia – Janusz Kruk, Marek Dutkiewicz 2'57"3. Po jedwabnej stronie życia – Katarzyna Gaertner, Ernest Bryll 3'45"4. Jasny biały dzień – Janusz Kruk, Marek Grechuta 3'09"5. W kamień zaklęci – Andrzej Korzyński, Marek Dutkiewicz 2'57"6. Gwiazdo wód – Janusz Kruk, Ernest Bryll 2'57"7. Pani moich godzin – Katarzyna Gaertner, Marek Dutkiewicz 3'17"8. A my jak dzieci – Janusz Kruk, Jonasz Kofta 3'27"9. Windą do nieba – Janusz Kruk, Marek Dutkiewicz 4'27"10. Zieloną drogą – Katarzyna Gaertner, Ernest Bryll 3'04"11. Czerwone słoneczko – Jerzy Mart, Stanisław Werner / Mirosław Łebkowski 2'47"12. Ballada łomżyńska – Czesław Niemen, Ernest Bryll 3'53"Elżbieta Dmoch flet, śpiewJanusz Kruk fortepian, gitara, śpiewAndrzej Krzysztofik gitara basowa, gitara, harmonijka ustna, śpiewAdam Pilawa skrzypce, fortepian, akordeon, mellotronCezary Szlązak saksofon, klarnet, śpiewAndrzej Wójcik perkusjaCzesław Niemen synti EMS, moog, śpiew (12)
Tracklista:
Tracklista: 1. Darkness Swallowing the Air2. Ballad of Conquest3. Towers4. Desert and Failure5. Great Lakes
Nowa płyta ikony R&B! "My Life II…The Journey Continues (Act 1)," to dziesiąty studyjny album w dyskografii Mary J. Blige. Za brzmienie materiału tym razem odpowiedzialna jest pierwsza liga nowojorskich producentów - Danja, Stargate, Swizz Beatz, The Underdogs oraz Kanye West. Płytę zwiastuje singiel “25/8”, który nie tylko ujawnia doskonałą formę wokalną artystki, ale po raz kolejny potwierdza jej niebywały talent do pisania ponadczasowych hitów.Od czasu swojej debiutanckiej, wydanej w 1992r. pyty „What's The 411?” Mary J. Blige niezmiennie pozostaje najważniejszą artystką sceny R&B/hip-hop/soul. Na swoim koncie ma ponad 50 milionów sprzedanych albumów na całym świecie, a także 9 nagród Grammy. Mary J. Blige z powodzeniem próbuje również swoich sił jako aktorka. W przyszłym roku pojawi się aż w dwóch filmach – w musicalu „Rock of Age”, w którym wystąpi obok Toma Cruisa, a także w głównej roli w filmie Nina –historii o życiu Niny Simone.
Kompilacja pełna najświeższych utworów, które już wkrótce zagoszczą na wszystkich nadchodzących imprezach. Utwory, które znacie i kochacie oraz te, które wkrótce staną się wielkimi hitami. Tracklista: CD 1 1. Kazka - Cry / Płakała 2. Sarsa – Carmen 3. Billie Eilish – Bury A Friend 4. Ellie Goulding, Diplo, Swae Lee - Close To Me 5. Mabel - Don't Call Me Up 6. Cleo - Wrrra 7. Don Diablo - Survive Feat. Emeli Sandé & Gucci Mane 8. Post Malone – Wow 9. Imagine Dragons - Bad Liar 10. Dean Lewis – 7 Minutes 11. Marcin Sójka - Zaskakuj mnie 12. Walking On Cars - Monster 13. Lewis Capaldi - Someone You Loved 14. Luis Fonsi – Sola 15. Michał Szczygieł - Będzie, co ma być 16. Jax Jones, Years & Years – Play 17. Patryk Kumór - Hooligan 18. Welshly Arms - Learn To Let Go 19. Jacek Stachursky – Kim jestem – Jestem sobie 20. Nastalia Zastępa - Za późno CD 2 1. Jonas Blue, Liam Payne, Lennon Stella – Polaroid 2. Roksana Węgiel – Anyone I Want To Be 3. Sigrid – Don’t Feel Like Crying 4. Westlife - Hello My Love 5. 5 Seconds Of Summer - Lie To Me (Audio) Ft. Julia Michaels 6. Bob Sinclar Feat. Robbie Williams – Electrico Romantico 7. Lanberry - Nie Ma Mnie 8. Grace Carter - Heal Me 9. Antonia Feat. Erik Frank - Matame 10. Marta Gałuszewska - Show Me 11. Alexandra Stan – Mami 12. Filatov & Karas - Au Au 13. Vanotek - Love Is Gone 14. Adrienne Valerie - Lucky, Lucky, Lucky Me (Klaas Remix) 15. Akcent - Rita 16. Kush Kush – Slomo 17. Anca Pop - Split The Bill 18. Nick Martin & Lovra - Always On My Mind 19. Mark F. Angelo Feat. Shaya - Far From Everything 20. Hadash Cort X Alp3r X Iossa - I'm Only Human