Tracklista:1. Overture, Op. 21 00:12:16 2. Scherzo, Op. 61, No. 1 00:04:51 3. Intermezzo, Op. 61, No. 2 00:03:33 4. Notturno, Op. 61, No. 3 00:06:26 5. Wedding March, Op. 61, No. 4 00:05:19 6. Meeresstille und gluckliche Fahrt (Calm Sea and Prosperous Voyage), Op. 27 00:13:36 7. Ruy Blas, Op. 95 00:08:02 8. The Hebrides, Op. 26, "Fingal's Cave" 00:10:52
Koncerty skrzypcowe XX wiecznego kompozytora włoskiego Mario Castelnuovo-Tedesco. Wykonawcy to Tianwa Yang - skrzypce i SWR Sinfonieorchester Baden Baden und Freiburg pod dyrekcją Pietera-Jelle de Boer.
Tracklista:1. I. Allegro (Tema) 00:02:26 2. II. Allegro vivace (Gigue) 00:03:09 3. III. Andante tranquillo 00:05:56 4. IV. Andante con brio (Recapitulation) 00:03:12 5. V. Maestoso 00:01:22 6. VI. Tranquillo (Coda) 00:02:08 7. I. Overture 00:02:24 8. II. The Street 00:02:42 9. III. The Girl Suicide 00:02:32 10. IV. The Young Lovers 00:02:06 11. V. The Prostitute and the Boy 00:01:21 12. VI. The Official 00:00:58 13. VII. Discovery of the Suicide's Body 00:01:24 14. VIII. The Suicide's Body is Brought In 00:02:28 15. IX. The Stranger (Variations) 00:03:23 16. X. Dance of Deliverance 00:03:44 17. XI. The Official and the Prostitute 00:02:09 18. XII. The Mother's Lullaby 00:02:08 19. XIII. Two 'Jolly' Couples 00:00:53 20. XIV. Official Leaves the Prostitute 00:01:38 21. XV. The Whispering Campaign 00:02:01 22. XVI. The Official and the Prostitute 00:01:29 23. XVII. The Killing of the Stranger 00:02:36 24. XVIII. Coda (Molto sostenuto) 00:01:21 25. I. Prologue 00:02:55 26. II. Interlude: The World in Ruins 00:02:37 27. III. The Building of the New World 00:01:55 28. IV. Attack on the Moon Gun 00:01:31 29. V. Epilogue 00:02:36
Tracklista: Henryk Wieniawski I Koncert skrzypcowy fis-moll op. 14 1. I. Allegro moderato 2. II. Preghiera. Larghetto 3. III. Rondo. Allegro giocoso Henryk Wieniawski Fantazja op. 20 (na motywach z opery Faust Charlesa Gounoda) 4. Fantazja na motywach z opery „Faust“ Charlesa Gounoda op. 20 Fantaisie brillante sur „Faust“ opéra de Charles Gounod Op. 20 (instrumentacja/ instrumentation: Vadim Brodski) Henryk Wieniawski II Koncert skrzypcowy d-moll op. 22 5. I. Allegro moderato 6. II. Romans. Andante ma non troppo 7. III. Finale. Allegro moderato (a la zingara) Henryk Wieniawski Kujawiak a-moll Op.3 Nr 2 8. Kujawiak a-moll / Kujawiak in A minor (instrumentacja / instrumentation: Włodzimierz Romanowski) Henryk Wieniawski Obertas in G-dur Op.19 Nr 1 9. Obertas nr 1 op. 19 / Obertas No. 1 op. 19 (instrumentacja / instrumentation: Stefan Rachoń)
Documentary on the influential American artist, Bruce Springstreen. The programme takes an in-depth look at Springsteen's work during the 1975-1978 period and features performance clips and interviews with 'The Boss' himself.
U2 „iNNOCENCE + eXPERIENCE Live in Paris” to video zrealizowane 07 grudnia 2015 w paryskiej hali Accors Hotel Arena. Koncert ten kończył wielomiesięczną trasę koncertową, która rozpoczęła się 14.05.2015 w kanadyjskim Vancouver.
Tracklista: Concerto for Two Pianos & Orchestra op. 45 1. Allegro 2. Marche. Trio. Marche 3. Intermezzo. Andante - Rondo Vivace assai Sonata for Piano Four Hands op. 7 No. 1 4. Adagio - Allegro 5. Andantino 6. Rondo Vivace Sonata for Piano Four Hands op. 7 No. 2 7. Allegro 8. Andante 9. Rondo. Vivace
5 razy więcej punktów Payback za zakup płyty Sade!!! Najlepiej sprzedający się w Polsce zagraniczny zespół ostatnich lat (Diamentowa Płyta za 'Soldier of Love', Poczwórna Platyna za 'The Ultimate Collection') przygotował najważniejsze koncertowe DVD roku 2012 - i nie ma w tym absolutnie cienia przesady. Kto miał okazje widzieć Sade w akcji pół roku temu w łódzkiej Arenie - tego nie trzeba długo przekonywać. Koncert brytyjskiej formacji stał się wydarzeniem niezwykłym nie tylko dlatego, że odbył się w Polsce po raz pierwszy. Jego magia polegała na połączeniu głosu Sade Adu z przepiękną oprawą graficzną i specjalnymi wizualizacjami - innymi dla każdego śpiewanego hitu (gigantyczna kula dyskotekowa, czerwone kotary, wyświetlane na ogromnych ekranach pejzaże, specjalnie nakręcone na tę okazję klipy, podnośniki, itd.). Wszyscy, którzy na wyprzedany koncert nie mieli okazji się dostać - mają okazję przeżyć te magiczne 2 godziny w zaciszu domowym za sprawą Blu-Raya i DVD "Bring Me Home - Live 2011". Trafiły tu 22 utwory koncertowe (od najstarszych – ‘Smooth Operator’, ‘Your Love Is King’ – po najnowsze, w tym ‘Soldier of Love’ i ubiegłoroczny hit ‘Love is Found’) – sfilmowane przez Sophie Muller, światowej sławy artystkę odpowiedzialną za wizualną stronę zarówno koncertu, jak i większości teledysków Sade. Warto dodać, że reżyserka za swoje dzieło otrzymała 2 nominacje do przyznawanych przez branżę koncertową nagród Pollstar Awards – w kategorii „Najbardziej Kreatywna Produkcja Sceniczna” i „Najlepsza Trasa Koncertowa 2011”. Wśród dodatków do Blu-Raya i DVD znajdziemy także 20-minutowym film z przygotowań do koncertu (polskie napisy!) autorstwa Sophie oraz krótkie materiały filmowe nakręcone przez muzyka Sade – Stuarta Matthewmana i członków ekipy technicznej. Do koncertu na DVD dołączono również krążek CD audio z 13 wersjami koncertowymi wybranych utworów (CD+DVD ukaże się zarówno w opakowaniu CD, jak i DVD).1. Soldier Of Love2. Your Love Is King3. Skin4. Kiss Of Life5. Love Is Found6. In Another Time7. Smooth Operator8. Jezebel9. Bring Me Home10. Is It A Crime11. Love Is Stronger Than Pride12. All About Our Love13. Paradise14. Nothing Can Come Between Us15. Morning Bird16. King Of Sorrow17. The Sweetest Taboo18. The Moon And The Sky19. Pearls20. No Ordinary Love21. By Your Side22. Cherish the Daydodatki:1. How Do You Say Thank You?2. In The Trenches3. 3 Seconds
Tracklista:1. E5150 After All2. Mob Rules3. Children Of The Sea4. Lady Evil5. I6. Sign Of The Southern Cross7. Voodoo8. The Devil Cried Vinny Drum Solo9. Computer God10. Fallin Off The Edge Of the World11. Shadow Of The Wind12. Die Young13. Heaven And Hell14. Lonely Is The Word15. Neon Knights
In the first place, Beethoven conquered the music metropolis of Vienna as a pianist. As his pupil Czerny reports: "His improvisation was exceedingly brilliant and amazing". Although as a free-lance pianist and composer Beethoven‘s circumstances were highly modest, he was able to realise his visions of innovative music without being dependent on clients or employers. And thus he created the majority of his masterpieces for piano in his chosen country of adoption: his piano sonatas, his Diabelli Variations, and also his five great piano concertos.Contrary to what the opus numbers lead us to believe, Beethoven already began work on the composition of his Piano Concerto No. 2 in B flat, Op. 19 in 1787/88, before his Piano Concerto No. 1 in C, Op. 15, i.e. during his time in Bonn. Only after years of rewriting, and no less than four different versions, did he publish the work in its final form, as we know it today. Beethoven‘s passion for rewriting went so far that he totally replaced the Rondo in B flat, WoO 6 dating from 1793, which functioned originally as the finale of the first version. The work, which teeters on the brink between the traditions of the past and the innovations of the future, is mainly geared towards its traditional forebears, primarily the concertos by Mozart; however, in some aspects it already goes its own way. The traditional elements consist mainly of the relatively meagre instrumentation (lacking in clarinets, trumpets and timpani), the by and large lyrical character of the music, the themes which are somewhat lacking in innovation, the conventional structure and, last but not least, the isolated parallel treatment of soloist and orchestra. The stylistic novelties include the power of expression, the deeply moving middle movement, the double developments of thematic material and also the syncopated rhythm. The first movement (Allegro con brio) follows the traditional form of the double exposition. On the other hand, the harmonic return in a "distant" key, which Beethoven introduces between the first and the second theme, is new and original. The pianistic passage and figure work of the pensively hymnal middle movement (Adagio) is most captivating and has – this, too, in a totally non-traditional manner – a strongly dialogue-type structure. The Finale, a cheerful and endearing Rondo, forms a humorous farewell. However, Beethoven‘s Piano Concerto No. 4 in G, Op. 58, dating from 1804-06, is of a totally different musical calibre. Although Beethoven had already carved out new paths in the genre with his only minor concerto (No. 3 in C minor), without a doubt, his Piano Concerto No. 4 in G must be considered the pinnacle of his piano concertos. All the more as his virtuoso and emotional Piano Concerto No. 5 in E flat adheres more to the symphonic principle. In the G major Concerto, both virtuoso piano-playing and the desire for innovative composition are reflected with absolute clarity. The expansion of the orchestra undertaken here is anything but superficial; rather, it signifies an increase in the intensity of expression. The show of virtuosity, which so far had been openly exposed, is included here within the possibilities of the motive and thematic processes! The symphonic and concertante principle are fused together: both sides – soloist and orchestra – are no longer opposing each other, but have become partners, who represent the social principles of the individual and the collective.The first movement of the G major Concerto already sets the lyrical undertone of the entire work. The opening by the piano (!) is inward looking and balanced, the contrast between solo and tutti has been abolished. The Andante, however, takes another tack: here, in what is normally the refuge of the lyrical, suspense and tension – which so far had been lacking – are picked out as a central theme: a cantabile melody in the piano encounters brittle and meagre answers in the strings. The tension which has now built up is resolved only in the Finale, which immediately follows a fortissimo trill: this is a Rondo, which fades away in a partly restrained, partly cheerful manner.