Tracklista: LP 1 1. Telegram Sam 2. Metal Guru LP 2 1. Children Of The Revolution 2. Solid Gold Easy Action LP 3 1. 20th Century Boy 2. The Groover LP 4 1. Truck On (Tyke) 2. Teenage Dream LP 5 1. New York City 2. I Love To Boogie
Tracklista:1. Baby What You Want Me to Do?2. Cherry Street3. On a Saturday Night4. Itch and Scratch5. Don't Go No Further6. You Left the Water Running7. Don't Forget About James Brown8. Sex Machine9. Your Feet's Too Big10. 21st Century Baby11. Blues in My Feet12. Qualified13. I Got My Mojo Working14. The Last Shade of Blue Before Black
Tracklista: 1. Cosmic Pandemia 2. Kingdom Of Fire 3. Radiated 4. Solar Vacuum 5. The Proselygeist 6. Maelstrom 7. Eyes Upon The Abyss 8. Dark Matter Invocation 9. The Hive 10. Eternal Void 11. Century 12. Slaves To The Evermore
1. School2. Bloody Well Right3. Hide in Your Shell4. Asylum5. Dreamer6. Rudy7. If Everyone Was Listening8. Crime of the Century
Century Media i MARDUK z dumą kontynuują serię reedycji obejmujących wcześniejsze albumy nagrane z obecnym wokalistą Mortuusem! Po raz pierwszy od premiery bardzo poszukiwane wydawnictwa szwedzkiego black metalowego zespołu powracają na zremasterowanych przez Patricka W. Engela winylach i płytach CD. Nowa edycja płyty Rom 5:12 – dziesiątego studyjnego albumu grupy Marduk, Tytuł wydanego w 2007 roku albumu nawiązuje do wersetu Biblii z Listu do Rzymian (pol. Rz 5,12): Tracklista: 1. The Levelling Dust (5:12) 2. Cold Mouth Prayer (3:28) 3. Imago Mortis (8:36) 4. Through The Belly Of Damnation (4:20) 5. 1651 (4:54) 6. Limbs Of Worship (4:26) 7. Accuser/Opposer (8:43) 8. Vanity Of Vanities (3:42) 9. Womb Of Perishableness (7:01) 10. Voices From Avignon (5:08)
At the beginning of the seventeenth century the violin set out on its march of conquest as a solo instrument. Before then the violin was not thought highly of, but the French theorist Martin Mersenne (1588-1648) called it the king of instruments and praised it for its versatility. It lasted almost a half century before the expressive potential of the (violon)cello, the lyrical tenor and sonorous bass of the same Family of instruments, was discovered.Not without justification, the significance of Antonio Vivaldi (1678-1741) for the concerto has been compared to that of Haydn for the symphony. Also under the influence of virtuoso violin music, which was developing fast, composers of the 17th century were inspired to write solo music for this ‘bass violin’, too. In turn, this required ‘adjustments’ to the instrument, which was unsuit-able for virtuoso solo play, we see therefore that violin builders in the second half of the 17th century started experimenting. In almost all cases this concerned a scaling down of the instruments. Their tuning also varied. These variants were known by varying names. In 1665 we find the term of ‘violoncello’ for the first time (with G.C. Arresti).Of Antonio Vivaldi, the most influential, original and prolific composer of instrumental music for cello of the first half of the 18th century, we know nine cello sonatas. Then came Luigi Boccherini, a cellist but above all a visionary composer. He introduced the thumb position and thereby established a new historical record with b’’ flat as the highest note. Luigi Boccherini (19 February 1743 - 28 May 1805) was already a celebrity during his lifetime. This contemporary of Mozart made his début as a cellist at the age of 13 in his native town of Lucca and soon became a respected virtuoso in local musical circles.Boccherini was an extraordinarily fertile composer, especially of chamber music. He wrote 32 Sonatas for cello. In this CD box we can listen to four of them. Vivaldi wrote some very special pieces, but as far as Lucia Swarts is concerned Boccherini leaves him far behind. That cantilena, that Italian singing style, Boccherini could bring it out with greater prominence than any other composer. In the past the cello functioned as a bass instrument. With Vivaldi it acquired something of a tenor voice, but in the end it was Boccherini who knew how to use it as a perfect alto instrument. According to Lucia Swarts to cellists Boccherini is supremely important. Also in this CD box are Italian 18th century cello pieces by Platti, Jacchini, Leo and Porpora.
Tracklista:1. Pourvarov Tapor (Censer procession)2. Baghdasar Tbir (1683-1768): Zartir Nazeli (Arise, Graceful One)3. Anonymous (medieval): Khngi Dzarin (Frankincense Tree)4. Ara Bartevian (1902-1986): Mayr Yev Gouys (Immaculate Mother)5. Hampartsoum Limondjian (1768-1839): Hamemad Kez (Incomparable One)6. Anonymous (medieval): Varaneem (Burdened with Sins)7. Anonymous (medieval): Avedis Kez Mariyam (Good Tidings to You, Mary)8. St. Gregory of Nareg (951- 1003): Aghers ar Diramayr (Plea to Mother of God)9. St. Gregory of Nareg: Diramayrn (Mother of the Lord)10. Anonymous (medieval): Badjar yev Sgizpn (Cause and Origin)11. Movses Khorenatsi (410-490): Zandjareli Looso Mayr (Mother of Light)12. Movses Khorenatsi: Sharaganner (Sharagans from Holy Week)13. Gomidas Vartabed (1869-1935): Asdvadzadzin Yergnayin (Divine Mother of God)14. Anonymous (medieval): Zgousoutyount Ko (O Pure God Bearer)15. St. Nerses Shnorhali (1102-1173): Aysor Joghovyal (The Saints Are Gathered)16. Vartan Areveltsi (1198-1271): Antaram Dzaghig (Eternal Flower)17. Anonymous (18th-19th century): Panin Hor (Word of the Father)18. Anonymous (18th-19th century): Oor es Mayr Im (Where Are You, My Mother?)
La Golferamma. Due Cornetti da Chiesa e da Camera. Musica Italiana 1600 - 1650. Performed by Le Concert Brisé [William Dongois, cornets and recorder; Yoshimichi Hamada, cornets and recorder; Carsten Lohff, Spanish and Italian organs and harpsichord; Pierre-Alain Clerc, Italian organ and regal]. Recorded at the Church of St. Laurent in Lausanne, Switzerland, and at the Museum of Art and History in Neuchatel, Switzerland, in October 1998. Published in 2002 as Carpe Diem 16258 (digipack). Total playing time: approx. 73 minutes.Even by today's standards, this is an unusual recording: a recital of late 16th and early 17th century music played on muted and non-muted cornets and accompanied by ancient historical organs, an original 17th century harpsichord and, occasionally, recorder(s) and regal. From about the 15th century to the mid-17th century, the cornett (it's the wind instrument that is built with a curve in the end and looks a little like the letter "J") played a major role in musical life, and virtuoso players on it were highly respected. There is, however, little surviving music expressly written for the cornett because instrumentalists in those days were expected to be able to improvise or to transcribe, as occasion demanded. At the beginning of the 17th century, when instrumental music began to come into its own, the first sonatas were written with a variety of instruments in mind and can often be played on the violin, the recorder or the cornett. The selection of sonatas and other pieces collected here have all been adapted in some way so that they can be attractively played on one or two cornetts with accompanying organ(s) or harpsichord, but this is perfectly legitimate and in accord with 17th century practice. The composers are: Corradini, Rognoni, Salomone Rossi, Scarani, de Rore (adapted by Bovicelli). Riccio, Giovanni Gabrieli, Palestrina (adapted by Bassano) and Castello - most of which names will ring a bell with enthusiasts of early 17th century Italian music, but only few of which are generally well-known. It is, I suppose, a moot point whether anyone except such enthusiasts will want to listen to a whole hour's recital of music in this combination, but it is, after all, possible to enjoy "chunks" rather than the whole at one sitting.The musicians offer virtuoso playing on strictly historical instruments. The recording was made largely in the St. Laurent Church in Lausanne, Switzerland, with its collection of historical organs. The cornetto players Dongois and Hamada are graduates of the Schola Cantorum in Basle and belong to a fairly elite group of virtuoso cornett players in Europe at the moment. Their use, in particular, of muted cornetts (German: "stiller Zink") for some of the pieces was a brilliant idea, the softer, warmer tone offering not only contrast to the brassier normal cornetts but ideally suiting the pieces chosen for performance.The tiny Berlin specialist label Carpe Diem is responsible for the excellent "Direct Stereo" recording with absolutely no compression or manipulation - an audiophile experience, although I should add that the historical Spanish and Italian organs are hand-supplied with wind by a leather bellows, which means that there is a certain amount of creaking and puffing to be heard. William Dongois justifies this decision in the informative booklet.This is not a CD that everyone will want to have - but if you are a fan of the cornetto, of early period instruments or of Italian early-baroque sonatas and canzonas, you might want to give it a try.
The CD under the title „in fall of Byzantium” presents music from Italy, France and Byzantium during the first half of the century. Furthermore, provides works by Gaullaume du Fay and composers of his period, related to historical events between the Byzantium and the West.
Tracklista: 1. Vivid 2. Century of the narcissist? 4. This ship has sailed 5. Weavers of woe 6. Cracks of light 7. Golden cufflinks 8. The moon's been gone for hours 9. Riddles of humanity 10. No wishbones 11. Ride the illusion 12. When it rains