Tracklista: 1. Black/White White/Black 2. Wheatland Wyoming 3. Talking Winks 4. Criminal Girlfriend 5. Cavalcade Of Stars 6. Plumbing 7. Ghost Of Owls 8. You Fly In My Brain Like An Airplane 9. Noise Circus 10. Air Or Wind 11. Chris The Nasty Boy 12. Big Buddy 13. Postal Nexus 14. Man In The Trunk 15. Tiffany Lounge 16. No Title Available
Tracklista:1. Time of Awakening - Part 12. Time of Awakening - Part 23. Time of Awakening - Part 34. Angel Dust5. Elea - Part 16. Elea - Part 2
"Where The River Goes" kontynuuje historię dobrze przyjętego "Rising Grace", nagrania Wolfganga Muthspiela z 2016 roku. Austriacki gitarzysta ponownie łączy tutaj siły z Bradem Mehldau, Ambrosem Akinmusirem i Larrym Grenadierem, uzupełniając skład o wybitnego perkusistę Erica Harlanda. Grupa jest czymś o wiele więcej, niż tylko zbieraniną gwiazd. Gra jako zespół o wyraźnej własnej odrębnej tożsamości. Nagrany w Studio La Buissonne w lutym 2018 roku i wyprodukowany przez Manfreda Eichera album zawiera sześć kompozycji Wolfganga Muthspiela i jedną Brada Mehldau oraz improwizację grupową. Wydany na formatach CD i winylowych. Tracklista: Side A 1. Where The River Goes 2. For Django 3. Panorama 4. Descendants Side B 1. Clearing 2. One Day My Prince Was Gone 3. Blueshead 4. Buenos Aires
Tracklista:1. The Others in Their World2. Space Mates3. Lights On a Satellite4. Distant Stars5. Kingdom of Thunder6. Fate in a Pleasant Mood7. Ankhnaton
Tracklista: CD 1 1. Piano Concerto No. 1 in C Minor, Op. 35 2. Andante 3. Allegro 4. Piano Concerto No. 1 in C Minor, Op. 35 5. Andante 6. Menuetto 7. Piano Concerto No. 1 in C Minor, Op. 35 8. Allegro Ma Non Troppo 9. Andante 10. Scherzo (Allegretto) 11. Allegro Giusto CD 2 1. Moderato 2. Andante Un Poco Mosso 3. Scherzo (Allegro Vivace) 4. Rondo (Allegro Vivace) 5. Allegro 6. Con Moto 7. Scherzo (Allegro Vivace) 8. Rondo (Allegro Moderato) CD 3 1. Molto Moderato E Cantabile 2. Andante 3. Menuetto (Allegro Moderato) 4. Allegretto 5. Allegro Giusto 6. Andante 7. Allegro Vivace CD 4 1. Allegro 2. Adagio 3. Menuetto (Allegro) 4. Allegro 5. Molto Moderato 6. Andante Sostenuto 7. Scherzo (Allegro Vivaco Con Delicatezza) 8. Allegro Ma Non Troppo CD 5 1. Allegro 2. Andantino 3. Scherzo (Allegro Vivace) 4. Rondo (Allegretto) 5. Allegro Ma Non Troppo 6. Allegretto Quasi Andantino 7. Allegro Vivace
Johann Sebastian Bach’s six suites for solo cello are well-known and beloved works that are central to the repertoire of any cellist or violist. However, they are also works fraught with uncertainties, ranging from the circumstances of their composition to performance practices. It is not known when, why or for whom the suites were composed, or even for exactly which instrument they were intended. Further questions bedevil performance choices. What did Bach intend in the way of bowings and articulation? Did he have French or Italian bowing practices in mind?The first surviving copy of the suites, by Johann Peter Kellner, was made in 1726, so the suites must have been composed before then. It seems reasonable to assume that Bach wrote them around 1720 in Cöthen, at about the same time as the six sonatas and partitas for solo violin, but there is no hard evidence to support this. Anner Byslma speculates that the suites might have been composed earlier, and there is no compelling reason to assume that all of the suites were composed at the same time. Even the seemingly straightforward designation of suites as being for “violoncello” is problematic. The word “violoncello” could refer to instruments of different sizes and playing techniques in the early 18th century. The cello as we now know it emerged in Italy around the 1660s, with its size standardized by Stradivarius at the beginning of the 18th century. In Bach’s day, “violoncello” could refer to the older, larger instruments or to the smaller instruments on the Stradivarius model, as well as to the so-called violoncello da spalla (or viola da spalla), an instrument slung over the shoulder and played with something closer to violin technique than to cello technique. Furthermore, not all of the suites are intended for the same instrument. The Sixth Suite requires a five string instrument, which could either be a five-string cello held between the legs (perhaps a violoncello piccolo), or a five-string violoncello da spalla. Bach included prominent parts for a “violoncello piccolo” in a number of his cantatas written in Leipzig between 1724 and 1725. For some of these cantatas, the violoncello piccolo lines are either written in treble clef, or contained in the first violin part, suggesting that they were played by a violinist, on a cello slung from the shoulder. As Mark M. Smith argues, it seems quite possible that the Sixth Suite was written at the same time (possibly for the same player and instrument), and also intended be played on a shoulder-slung instrument.Any attempt to guess the circumstances under which the suites were composed is contingent upon the above uncertainties. If Bach did compose the suites around 1720, and if he did intended them (or at least the first five of them) for a cello held between the legs, then, as David Ledbetter suggests, he might very well have composed them for Christian Bernhard Linike, an excellent cellist who arrived in Cöthen shortly before Bach did. If they were intended for a shoulder cello, then perhaps Bach, who played violin and viola, played them himself.In addition to these problems, no doubt the most troubling circumstance for the performer is that we have no manuscript for the suites in Bach’s own hand. All published editions are based on some combination of 18th century copies. The sources differ significantly in terms of bowings and articulations, and occasionally even disagree about pitches. The copy with the most biographical authority is that made by Anna Magdalena Bach, sometime between 1727 and 1731, but she was not a string player, and a comparison between her copy of the solo violin sonatas and partitas and Bach’s own manuscript shows her to have been neither precise nor unambiguous in her labors.These are suites for some sort of cello, but, as Bylsma points out, it is entirely possible that Bach played them for himself on the viola. Bylsma even finds some chords and string-crossings that fit the hand of a violist better than that of a cellist. The cello suites have been part of the viola repertoire since the beginning of the 20th century. In 1916 G. Schirmer published a viola transcription edited by Louis Svecenski (principal violist of the Boston Symphony Orchestra, and violist of the Kneisel Quartet), following it with another edition by Samuel Lifschey (principal violist of the Philadelphia Orchestra for thirty years) in 1936. Although she did not publish an edition of the Bach Suites, Lillian Fuchs was instrumental in making the suites part of the standard concert and pedagogical repertoire for violists through her advocacy as a performer and as a teacher, much as Pablo Casals had done for cellists. A number of other transcriptions followed after the Second World War, including one by Milton Katims who had worked with Casals at the Prades Festival. Until fairly recently, viola editions were heavily edited, with bowings and dynamics added liberally to facilitate expressive performances in the Casals and Fuchs manner.Helen Callus plays from the critical edition prepared for Peters by Simon Rowland-Jones, but has made her own decisions about articulations, dynamics and ornamentation based on the original sources. She plays the Fifth Suite with the scordatura tuning requested by Bach, tuning her top string down from A to G (this suite can be played with a normally-tuned instrument, but at the expense of leaving some notes out of Bach’s chords and of different timbres for some notes). Callus plays the Sixth Suite in G major, rather than Bach’s D major. Although this involves changing Bach’s key, it also means that the viola version is closer in tessitura to Bach’s original than it would be in D major (a fourth higher rather than an octave), and it allows for more of Bach’s effects with open strings to be preserved.Recorded on September 19, 21 and 23, 2010 at: Salle Francoys-Bernier, Domaine Forget
Tracklista: 1. The Smell 2. Panties In A Jumble 3. Diamonds 4. The Aura 5. Dalai Lama Slang 6. Tiger Bone 7. Duffles 8. Avant Garde 9. Deep In The Casket 10. Fire 11. Speak Volumes 12. Pain 13. Get Back 14. Nine Steamin' 15. You Love Me
Półwiecze od premiery debiutanckiej, imiennej płyty legendarnej formacji The Doors, wypada w 2017 roku. Dla uczczenia tego jubileuszu ukazuje się w zremasterowanej formie na dwóch płytach kompaktowych wspaniały zestaw singli, jakie ukazały się na rynku amerykańskim. "The Singles" zawiera w sumie 44 piosenki, w tym również wersje mono oraz nagrania koncertowe. Na kompilacji znajdują się utwory z wszystkich sześciu studyjnych płyt The Doors, w tym wszystkie evergreeny zespołu, z "People Are Strange", "Love Her Madly", "Riders On The Storm, "Hello, I Love You", "Touch Me", "Light My Fire". Składanka zawiera też parę singlowych kompozycji, wydanych już po śmierci charyzmatycznego frontmana The Doors, Jima Morrisona. (np. "Tightrope Ride"). Tracklista: CD 1 1. Break On Through (To The Other Side) 2. End Of The Night 3. Light My Fire 4. The Crystal Ship 5. People Are Strange 6. Unhappy Girl 7. Love Me Two Times 8. Moonlight Drive 9. The Unknown Soldier 10. We Could Be So Good Together 11. Hello, I Love You 12. Love Street 13. Touch Me 14. Wild Child 15. Wishful Sinful 16. Who Scared You 17. Tell All The People 18. Easy Ride 19. Runnin’ Blue 20. Do It 21. You Make Me Real 22. Roadhouse Blues 23. Love Her Madly 24. (You Need Meat) Don’t Go No Further 25. Riders On The Storm 26. The Changeling CD 2 1. Tightrope Ride 2. Variety Is The Spice Of Life 3. Ships W/ Sails 4. In The Eye Of The Sun 5. Get Up And Dance 6. Treetrunk 7. The Mosquito 8. It Slipped My Mind 9. The Piano Bird 10. Good Rockin’ 11. Roadhouse Blues (Live) 12. Albinoni: Adagio 13. Gloria (Live) 14. Moonlight Drive (Live) 15. Hello, I Love You (Mono Radio Version) 16. Touch Me” (Mono Radio Version) 17. Wishful Sinful (Mono Radio Version) 18. Tell All The People (Mono Radio Version)
Tracklista: 1. Santa Muerte 2. God's Animal 3. Qliphotic Alpha 4. Consciousness.exe 5. Low Entropy Narcosis 6. Damocles Falls 7. Fleshworld 8. Hole
Compact Disc 1 (1876–79)Biryul’ki (Spillikins) Op.2 (1876)1 Presto 0’522 Allegro 0’303 Allegretto 1’054 Allegro con fuoco 1’165 Vivace 1’006 Allegro 0’387 Moderato 0’368 Allegro moderato 0’509 Allegretto tranquillo 1’5610 Allegro 0’5111 Tempo di valse 0’5812 Prestissimo 0’3913 Vivace 0’3514 Zaklyuchenie (Coda): Presto 1’243 Pieces Op.3a (1876)15 Prelude in D 1’2316 Gigue in F 2’0517 Fugue in G minor 3’053 Mazurkas Op.3b (1877)18 No.1 in G 2’3619 No.2 in B 2’4820 No.3 in C 1’46Arabesques Op.4 (1878)21 No.1 in C sharp minor 1’2522 No.2 in A 5’0423 No.3 in B flat 2’4924 No.4 in E 3’1725. 24 Variations and Finale on a Simple Theme for piano 4 hands 6’49 (in collaboration with Cui and Rimsky–Korsakov) (1878)*°4 Paraphrases on a Simple Theme, for piano 4 hands (1878–79)26 Valse 1’5327 Galop 1’0328 Gigue 0’4729 Cortège triomphal 2’29Total time: 52’37Compact Disc 2 (1881–89)1 Etude in A flat Op.5 (1881) 2’522 Impromptu in D Op.6 (1881) 1’322 Intermezzi Op.7 (1881)3 No.1 in D 2’534 No.2 in F 2’292 Intermezzi Op.8 (1883)5 No.1 in B flat 2’206 No.2 in B flat 3’062 Pieces Op.9 (1883)7 Valse in F sharp 1’488 Mazurka in A flat 3’063 Pieces Op.10 (1884)9 Prelude in D flat 1’2910 Mazurka in C 2’2211 Mazurka in D 2’553 Pieces Op.11 (1885)12 Prelude in B minor 2’5713 Mazurka in the Dorian Mode 2’0714 Mazurka in F sharp minor 3’2215 Etude in E Op.12 (1886)° 2’0116 Velichaniye (Song of Praise) for piano 4 hands (1887)*° 3’494 Preludes Op.13 (1887)17 No.1 in G 2’0118 No.2 in B flat 1’0119 No.3 in A 1’4520 No.4 in F sharp minor 1’302 Mazurkas Op.15 (1887)21 No.1 in A 1’0822 No.2 in D minor 1’222 Nabroska (Sketches) Op.17 (1887)°23 Stradaniye (Suffering) 1’5524 Pastorale 1’4525 Novinka (Novellette) Op.20 (1882–89)° 2’54Total time: 56’30Compact Disc 3 (1889–1893)1 Shestviye (Procession) (1889)° 1’242 Pro starinu (About Olden 4’09Times) Op.21, Ballade (1889)3 Bagatelle in D flat Op.30 2’07(1889)3 Pieces Op.33 (1889)4 Prelude (on a Russian Theme) 1’065 Grotesque (on a Cheremissian 1’08Theme)6 Pastorale 2’397 Na luzhayke, nabrosok 4’01(In the Glade, Sketch) Op.23(1890)°2 Pieces Op.24 (1890)8 Prelude in E 2’209 Kolïbel’naya (Berceuse) in G flat 4’19Shutka–Kadril’ (Quadrille–Joke)for piano 4 hands (1890)*°10 Pantalon (Artsibushev) 1’2211 Été (Vitols) 1’1312 Poule (Lyadov) 1’1513 Trénis (Sokolov) 0’3514 Pastourelle (Glazunov) 0’5915 Finale (Rimsky–Korsakov) 1’2616 Idylle Op.25 (1891) 6’1017 Malenkiy Val’s (Little Waltz) 2’27Op.26 (1891)3 Preludes Op.27 (1891)18 No.1 in E flat 1’3219 No.2 in B 1’3120 No.3 in G flat 1’2321 Kukolki (Marionettes) Op.29 5’39(1892)2 Pieces Op.31 (1893)22 Derevenskaya mazurka 4’43(Rustic Mazurka) in G23 Prelude in B flat minor 2’0424 Muzïkal’naya tabakerka 2’10(A Musical Snuffbox) Op.32(1893)Total time: 57’44Compact Disc 4 (1893–1898)1 Slavleniya (Celebration) 1’10for piano 4 hands* (1893)°3 Canons Op.34 (1894)°2 No.1 in G 0’333 No.2 in C minor 1’104 No.3 in F 1’345 Variations on a Theme by 15’22Glinka Op.35 (1894)6 Prelude-Pastorale in A (1894)° 2’083 Preludes Op.36 (1895)7 No.1 in F sharp 0’458 No.2 in B flat minor 1’039 No.3 in G 0’5810 Etude in F Op.37 (1895) 1’3611 Mazurka in F Op.38 (1895)° 3’244 Preludes Op.39 (1895)12 No.1 in A flat 1’1313 No.2 in C minor 1’4014 No.3 in B 1’3015 No.4 in F sharp minor 1’4216 Sarabande in G minor (1895)° 3’15(ornamented repeats byMarco Rapetti)2 Fugues Op.41 (1896)°17 No.1 in F sharp minor 2’5518 No.2 in D minor 1’5219 Prelude in F Op.posth. (1897)° 0’3920 Etude in C sharp minor 2’01Op.40a (1897)3 Preludes Op.40b (1897)21 No.1 in C 1’1722 No.2 in D minor 1’2523 No.3 in D flat 1’272 Preludes Op.42a (1898)24 No.1 in B flat 0’5825 No.2 in B 0’4826 Mazurka on Polish themes 2’15in A Op.42b (1898)27 Barcarolle in F sharp Op.44 4’22(1898)Total time: 59’08Compact Disc 5 (1899–1913)Variations on a Russian Folk Theme (1899)°1 Theme (Lyadov) 0’322 Var. I (Rimsky–Korsakov) 0’323 Var. II (Winkler) 0’434 Var. III (Blumenfeld) 1’005 Var. IV (Sokolov) 2’166 Var. V (Vitols) 0’427 Var. VI (Lyadov) 1’298 Var. VII (Lyadov) 0’249 Var. VIII Finale alla polacca (Glazunov) 2’514 Preludes Op.46 (1899)10 No.1 in B flat 0’5511 No.2 in G minor 0’4612 No.3 in G 0’2913 No.4 in E minor 1’5914 Slava (Glory) Op.47 for 2 pianos 8 hands (1899)**° 2’0515 Etude in A Op.48a (1899)° 2’2316 Canzonetta in B flat Op.48b (1899)° 2’2117 Prelude in D flat Op.57 No.1 (1900) 2’2018 Variations on a Polish Folk Theme Op.51 (1901) 12’063 Baletnikh nomera (Ballet Numbers) Op.52 (1901)°19 No.1 in E flat 2’2120 No.2 in C 1’1721 No.3 in A 2’313 Bagatelles Op.53 (1903)22 No.1 in B 0’2923 No.2 in G 0’4124 No.3 in A flat 1’0225 Valse in E Op.57 No.2 (1905) 1’5326 Mazurka in F minor Op.57 No.3 (1905) 1’214 Pieces Op.64 (1909)27 Grimasa (Grimace) 0’3628 Sumrak (Gloom) 1’5129 Iskusheniye (Temptation) 1’5830 Vospominaniye (Reminiscence) 1’0531 Tanets Komara (Mosquito’s Dance), Russian folksong (1911)° 0’4932 10 Detskikh pesen (Children’s Songs) Op.posth. for piano 4 and 2 hands*° 3’2133 Scherzo (Chorus) in B minor Op.posth.° 0’4634 Fuga on LA–DO–FA (1913) Op.posth.° 0’44Total time: 58’42