Tracklista: 1. It's Raining Today2. Copenhagen3. Rosemary4. Big Louise5. We Came Through6. Butterfly7. Two Ragged Soldiers8. 30 Century Man9. Winter Night10. Two Weeks Since You've Gone11. Sons Of12. Funeral Tango13. If You Go Away
Tracklista: CD 1 1. The Invitation 2. Runaway Train 3. Ruskin's Farthing 4. Jackie Lee 5. Leaving It All Behind 6. Out Of The Wild 7. The Knot Of Aurelius Augustine 8. Lost In Time 9. Couldn't Let Go CD 2 1. O.K. Pilgrim 2. 21st Century Paranoid Blues 3. Spare A Thought For Katie Bell 4. Reality Dance 5. The Road To Evermore 6. Caught Up In The Hard Times/Only One/The Wedding
Raga wybrana przez Shankara w „Prabhati” na skrzypce solo i table (bębny ) przypomina skalę japońską. Pozostałe utwory są oparte o skale będące odpowiednikami naszych skal durowych i molowych harmonicznych, a także greckich oraz astosowanych w muzyce cygańskiej i muzyce flamenco. Artysta czerpał także z setek utworów zakorzenionych w tradycji bliskiego i dalekiego Wschodu. Muzykę zachodnią w tym albumie reprezentuje „Sonata in the Popular Romanian Style” Georga Enescu. Chociaż jest to zachodnia kompozycja w najczystszej formie sonatowej, utwór emanuje rapsodyczną i improwizatorską atmosferą, charakterystyczną dla rumuńskiego cygańskiego skrzypka, będąc rzadkim i autentycznym przykładem wpływów improwizowanej muzyki ludowej w muzyce poważnej. Album wydano dla uczczenia 100 rocznicy urodzin Yehudiego Menuhina, która przypada w 2016 r. podobnie jak niezwykłą kolekcję „The Menuhin Century”. O „The Menuhin Century”Jako muzyk, jako człowiek podążający za ideałami i prawdziwy obywatel świata, Yehudi Menuhin zapisał się w historii na zawsze. „The Menuhin Century” uświetnia setną rocznicę urodzin tego niezwykłego artysty, które przypadają 22 kwietnia 1916 r. Obejmujące w sumie 80 płyt CD, podzielonych na pięć boxów tematycznych, 11 albumów DVD i bogatą książeczkę w trwardej oprawie introligatorskiej wydawnictwo „The Menuhin Century” jest odbiciem 70-letniej współpracy pomiędzy skrzypkiem i wytwórnią HMV/EMI. Na przestrzeni lat powstało aż 300 płyt, które są teraz częścią niezrównanego katalogu Warner Classics. Kolekcja „The Menuhin Century” jest imponująco rozległa, obejmuje 53 lata od 1929 do 1998. Jednakże głównym założeniem albumu nie jest prezentacja kompletnych nagrań mistrza. Twórcy kolekcji skupili się przede wszystkim na przedstawieniu przełomowych interpretacji Menuhina oraz tych nagrań, które jeszcze nigdy wcześniej nie były wydane lub po raz pierwszy ukazują się na CD. Około 1/3 płyt CD w „The Menuhin Century” zawiera rzadkie lub niewydane wcześniej nagrania, więc album stanowi niezwykłą i nieporównywalną z żadnym innym wydawnictwem odkrywczą podróż zarówno dla znawców sztuki Menuhina, jak i tych z nas, którzy dotąd znali tylko jego najważniejsze interpretacje.Kolekcja „The Menuhin Century” powstała w bliskiej współpracy z Bruno Monsaingenonem, twórcą filmowym, który był również profesjonalnym skrzypkiem i przez lata bardzo dobrze znał Menuhina i poświęcił mu wiele swych filmów dokumentalnych. Filmy te również znalazły się na DVD w tym wydawnictwie. Monsaingeon jest także autorem tekstu książeczki, dając nam szczególny wgląd w świat życia i muzyki Yehudiego Menuhina. Książka w twardej oprawie introligatorskiej zawiera ponad 250 stron, które uzupełniają wyjątkowe nagrania CD i DVD.Tracklista:Side A1. Prabhati (based on Raga Gunkali) - Yehudi Menuhin/Alla Rakha2. Raga Puriya Kalyan - Ravi Shankar3. Swara-Kakali (based on Raga Tilang) - Ravi Shankar/Yehudi MenuhinSide BGeorge Enescu: Sonata No. 3 in A minor, Op. 251. Moderato malinconico2. Andante sostenuto e misterioso3. Allegro con brio, ma non troppo mosso
Lista utworów: Going for the One Turn of the Century Parallels Wonderous Stories Awaken Montreux's Theme - Bonus Track Vevey (Revisited) - Bonus Track Amazing Grace - Bonus Track Going for the One (Rehearsal) - Bonus Track Parallels (Rehearsal) - Bonus Track Turn of the Century (Rehearsal) - Bonus Track Eastern Numbers (Early Version of “Awaken”) - Bonus Track
Although well known and highly regarded in his lifetime and in the years following his death in 1596, the music of Philippe Rogier is largely known (especially to English audiences) through one motet alone, Laboravi in gemitu meo. But there is much to explore in this genuinely underrated composer. Philippe Rogier was one of a long line of Flemish composers who worked at the Spanish court. The high regard that the musically astute Philip II held for Rogier was not misplaced, because he is one of the most fascinating and rewarding composers of the late sixteenth century: extraordinarily versatile, capable of plumbing the emotional depths in his penitential works (of which there are many) as well as exalting the heights in his festive music. The main work on this disc includes the parody mass Missa Ego sum qui sum, based on a motet by Gombert. It must rank as one of the finest settings of the Mass ordinary of the late sixteenth century, dazzling in its invention and sheer beauty. Gombert had been one of the most influential composers of the post-Josquin period, developing a style of composition based on continuous imitation and almost relentless expressivity with an extraordinarily high level of dissonance. Rogier’s Mass seems to be a tribute to this style. Two twelve-part accompanied motets are recorded here, pointing to a well-developed polychoral tradition at the Spanish court. The remaining motets on this recording represent different facets of the composer: desperate cries in the pentitential works and sheer exuberance in Cantantibus organis, a motet in honour of St Cecilia. The much admired choir of King’s College London and their director David Trendell appear in their Hyperion debut.
“The ideal sound of Isaac Albéniz’s music is indissolubly tied to the sound of the Torres guitar.” (Carles Trepat). Playing on two original Torres guitars, Wulfin Lieske and Fabian Spindler have for the first time enabled the historical versions to be experienced in all their dimensions.It must be said that the guitar was by no means established as a classical instrument in the second half of the 19th century, not even in Spain. Though Felipe Pedrell and Isaac Albéniz created the intellectual breeding ground, we owe the rebirth of Spanish music and the guitar as a concert instrument after its heyday in the 15th century to such musicians as Francisco Tárrega (1852-1909) and his pupils Miguel Llobet (1878-1938) and Emilio Pujol (1886-1980). Above all Tárrega, a trained pianist and composer as well as achieving epochal improvements in guitar technique, was thoroughly familiar with the real sound of his friend’s original works. Hence through his genius he was able – like Llobet and Pujol later – to regenerate Albéniz’s vision out of the spirit of the new, romantic Spanish guitar.Albéniz never wrote for the guitar, but actually admitted that some of his compositions appealed to him more when played on the guitar. As if he had sensed this, his piano works first became world-famous as transcriptions. Very few listeners know the originals today and think the guitar versions are the authentic ones. Hence Albéniz is ranked far higher in the repertoire of guitarists than in literature for the piano.“The ideal sound of Isaac Albéniz’s music is indissolubly tied to the sound of the Torres guitar.” (Carles Trepat). Ever since 1869 Tárrega had been playing on an instrument made by the Spanish luthier Antonio de Torres (1817-1892). Its design and the extended scale length endowed the new model exceptional volume, giving it outstanding depth, majesty in the bass, inner potency, clarity of registers, warmth and carrying power. These characteristics therefore form a crucial component of the interpretation, along with the appropriate version and the corresponding fingering. Playing two original Torres guitars, Wulfin Lieske and Fabian Spindler have for the first time enabled the historical versions to be experienced in all their dimensions.
Music For The English Court Recorder Consort Although the recorder is probably known primarily as a baroque instrument amongst the general public, it is rather the 16th century, which should actually be considered the golden age of its history. At that time, single recorders were certainly used in mixed ensembles of instruments, but from numerous sources there is clear evidence, that it was especially the homogeneous recorder consort, or "a whoall noyse of recorders", as some English sources would call it, which enjoyed an unprecedented popularity with both amateurs and professionals. The English Court however, constitutes a special case, since it is the only known establishment, where over a period of no less than ninety years, a group of specialized instrumentalists was officially enrolled as recorder players and members of a standing recorder consort: the Royal Recorders. It is a sad fact that none of the royal instruments seem to have survived. Mezzaluna plays on copies of the most complete group of surviving Renaissance recorders which today are to be found in the Vienna Kunsthistorisches Museum. The individual sizes of the instruments reach from the great bass measuring just under 2 metres to the tiny sopranino at 21 centimetres, representing the great diversity of musical idioms offered by the recorder consort at the beginning of the 16th century.
“This curious conglomeration of concertos is a celebration of contrasts”. Thus begins Kah-Ming Ng's introduction to this collection of works from the 18th century. Although none of the composers featured may be familiar, each work has been picked for it's fine technical skill and illuminating sound, taking inspiration from the 18th century definition of curious as being rare, excellent and fine. Includes works by Paradis, Reichenauer, Berlin, Pepusch, Hertel, Croft and Baldassari.Charivari Agréable have established themselves as one of the UKs leading early music ensembles – in 2010 they collaborated with The King's Singers on an album of Pachelbel's Vespers, currently their best-selling album on Signum, after it featured heavily on BBC Radio 3.“For those who know Pachelbel only through the Canon, this disc will be revelatory ... Each piece is beautifully served by the ensemble.”"The title of the ensemble and their new disc are both pertinent, it’s an agreeable collection full of curiosities … Ng’s notes do a decent job of describing the impact of Vivaldi and his fellow Italians on the music scene in England"Andrew McGregor – BBC Radio 3, CD Review, April 2011 "The highlight is Pietro Domenico Paradies' aptly-titled "A Favourite Concerto", a delightful harpsichord piece that affords the ensemble's director Kah-Ming Ng full rein to display his keyboard prowess."The Independent "This is a disc for adventurous music-lovers who like to extend their horizon and are not satisfied with listening to the same masterpieces over and over again. Charivari Agréable deserve our congratulations with this 20th volume in their impressive discography. May many more follow."MusicWeb International
More so than the violin, the cello had to Wright to achieve its independence as a great soloist. Its timbre is said to be, of all instruments, the one that is the closest to the human voice. From the 16th century onwards, it was used to support the latter, and at the same time provide a solid bass foundation for whole of the violin family. Towards the end of the 17th century, however, Italian composers, concerned with developing instrumental music, discerned the capacities that were peculiar to the cello. One of them, Giovanni Battista Degli Antoni (about wham we know very little apart form the fact that , like his bother Pietro, he was born in Bologna round about 1660, and spent his life there as and organist), published, in 1687, a set of Ricercare sopra il violoncello o caviecemballo, which are among the first texts devoted expressly to the cello.
Tracklista:1. Nerve Attack2. Paranoid Core3. Please Mr. Gunman4. Kill Yourself Live5. Night and Fog6. 21st Century Pharisees7. Hey Neanderfuck8. Prosperity Gospel9. Messiah's Lament10. Next Mass Extinction11. Oh Yeah