Disc: 1 1. Ode 1 2. Ode 3 3. Ode 4 4. Ode 5 5. Ode 6 Disc: 2 1. Kondakion 2. Ikos 3. Ode 7 4. Ode 8 5. Ode 9 6. Prayer After the Canon 7. Kanon Pokajanen, (9 odes, Kontakion-Ikos & Prayer) for chorus: Ode 98. Kanon Pokajanen, (9 odes, Kontakion-Ikos & Prayer) for chorus: Prayer after the Canon
Rob Halford jest wokalistą słynnej grupy Judas Priest. W 1991 opuścił zespół i angażował się w różne projekty – Two, Fight oraz zespół sygnowany własnym nazwiskiem – Halford, w którym współpracuje z gitarzystami: Mike'iem Chlaściakiem i Royem Z oraz perkusistą Bobbym Jarzombkiem. Dwupłytowe wydawnictwo „Live in Anaheim” to zbiór najważniejszych utworów Halforda z czasów działalności w Halford, Fight oraz Judas Priest takich jak “Golgotha,” “The Heretic,” “Sun,” “Into The Pit,” “Light Comes Out Of Black,” “Painkiller,” “Rapid Fire,” “Never Satisfied” oraz wiele innych. Płyta druga zawiera cztery bonusowe utwory zarejestrowane na koncertach w Japonii – polecamy! Lista utworów: Disc 1 1. Painkiller 2. Rapid Fire 3. Heretic 4. Resurrection 5. Made In Hell 6. Golgotha 7. Into The Pit 8. Light Comes Out Of Black 9. White Heat Red Hot 10. Never Satisfied 11. Breaking The Law 12. Hearts Of Darkness13. Handing Out Bullets Disc 2 14. Diamonds And Rust15. Hellion16. Electric Eye17. Riding On The Wind18. Victim Of Changes19. You've Got Another Thing Comin' Bonus tracks: 20. Heretic (Live in Japan)21. Sun (Live in Japan)22. Golgotha (Live in Japan)23. One Will (Live in Japan)
This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.
Tracklista:Disc 11. Act I: Prelude 00:01:11 2. Act I: O coeur ami! O coeur promis!... 00:09:12 3. Act I: Moi, je vous avais remarque... 00:05:21 4. Act I: C'etait mon adoree!... 00:03:48 5. Act I: Bonsoir... La soupe est prete 00:03:44 6. Act I: Ah! Quelle journee! 00:08:02 7. Act I: O mon enfant, ma Louise 00:08:06 8. Act II: Prelude 00:02:54 9. Act II: Dir' qu'en c'moment y a des femmes... 00:04:40 10. Act II: Ah! je le connais, le miserable! 00:03:26 11. Act II: Belle journee! 00:03:10 12. Act II: C'est ici C'est la qu'elle travaille 00:03:36 13. Act II: Elle va paraitre, ma joie 00:03:05 14. Act II: Bonjour! Bonjour! 00:01:21 15. Act II: Pourquoi te retourner... 00:01:38 16. Act II: Laissez - moi... ah! De grace!... 00:04:31 17. Act II: Marchand d'habits! 00:02:25 Disc 21. Interlude 00:01:20 2. Act II: Second Tableau - La la la la la la la la 00:09:17 3. Act II: Second Tableau - Ah! la musique! 00:07:32 4. Act III: Prelude 00:05:34 5. Act III: Depuis le jour ou je me suis donnee... 00:04:23 6. Act III: Louise est heureuse 00:02:25 7. Act III: Tout etre a le droit 00:05:16 8. Act III: Julien! Louise! 00:05:59 9. Act III: Ils sont la... 00:05:10 10. Act III: Par Mercure aux pieds legers 00:04:28 11. Act III: Louise! Acceptes - tu d'etre reine 00:00:49 12. Act III: O jolie! Soeur choisie!... 00:03:38 13. Act III: Je ne viens pas en ennemie... 00:03:53 14. Act III: Un pere cherche sa fille 00:03:07 Disc 31. Act IV: Prelude 00:01:50 2. Act IV: Tu devrais te rapprocher de la fenetre 00:02:46 3. Act IV: Le coffre... Les pauvres gens, peuvent - ils etre heureux 00:03:42 4. Act IV: Louise! Louise! - Quoi - Viens m'aider! 00:04:03 5. Act IV: Bonsoir, pere 00:05:30 6. Act IV: Nous vous reconnaissions 00:02:58 7. Act IV: Tout etre a le droit d'etre libre! 00:06:30 8. Act IV: Ah! miserable! va - t - en! 00:03:15 9. La boheme: Si, mi chiamano Mimi 00:04:43 10. La boheme: Addio... Donde lieta usci 00:03:15 11. Manon: Obeissons, quand leur voix appelle 00:03:33 12. Manon: Adieu, notre petite table 00:04:06 13. Herodiade: Il est doux, il est bon 00:05:12 14. Madama Butterfly, Act II: Un bel di, vedremo 00:03:52 15. Tosca, Act II: Vissi d'arte 00:02:52 16. La boheme, Act III: D'onde lieta usci 00:03:31 17. Les nuits d'ete, Op. 7: L'absence 00:04:20 18. 6 Romances, Op. 57: VI Toi seul (Lish ti od in) 00:02:32 19. Que deviennent les roses 00:02:19 20. Psyche 00:03:00 21. Si mes vers avaient des ailes 00:02:33
Though only one cantata gets to bear the nickname, Bach actually wrote many works that could be described as wedding cantatas. Some of them are lost, others are of debatable authorship, but of those that remain, four are collected on this 2008 disc. The performances by Ton Koopman leading the Amsterdam Baroque Orchestra & Choir are taken from their set of the complete extant cantatas with the four works here recorded in 1994, 1996, and 2002. Though Koopman has shown himself to be a master Bach conductor, one sometimes got the sense in listening to his sacred cantatas that the composer's Lutheran ethos sat less well with his naturally ebullient personality than did the far more cheerful secular cantatas. This disc substantiates that hunch: these are four of the most joyful performances in the entire collection with brilliant playing, shinning singing, bright colors, and vigorous rhythms. The soloists are consistently excellent, though soprano Barbara Schlick is particularly radiant in Der Herr denkt an uns, BWV 196, and soprano Lisa Larsson is especially emotional in Weichet nur, betrübte Schatten, BWV 202. With skimpy notes and no texts, this disc may not appeal to Bach devotees. But with crisp sound and festive performances, it may well appeal to more casual fans of the German Baroque master. ~ James Leonard, All Music Guide
Disc 1 Introduction (keine Angaben) Prelude - Glou! Glou! Glou! (1. Akt) Offenbach, Jacques La vérité, dit- on, sortait d'un puits Le conseiller Londorf, morbleu! Dans les rôles d'amoureux langoureux L'entreacte commence Vive Dieu! Mes amis Il était une fois à la cour d'Eisenach A la bonne heure au moins 9:40 Entracte - Là!. . . Dors en paix (2. Akt) Une poupé aux yeux d'émail Non aucun hôte vraiment Les oiseaux dans la charmille Il se sont éloignés! Enfin! Ah! Vivre deux! Tu me fuis? Oui, pauvre fous Disc 2 Elle la fui, la tourterelle (3. Akt) Jour et nuit je me mets en quatre Enfin je vais savoir pourquoi Bois sous l'archet frémissant C'est und chanson d'amour Pour conjure le danger Tu ne chanteras plus? Belle nuit, ô nuit d'amour (4. Akt) Ais, l'amour tendre et rêveur Tourne, tourne, miroir Vénus dit à Fortune Viens tenter ta chance # Dieu, de quelle ivresse In flagranti - Hélas, mon coeur s'égare Entracte - Voilà quelle fur histoire (5. Akt) Tout se décide Pour le coeur de Phrygné Oublie ton rêve Des cendres de ton coeur
Tracklista:Disc 11. Act One: Prelude 00:11:22 2. Act One: Scene One - Westwarts schweift der Blick (Isolde) 00:05:36 3. Act One: Scene Two - Frisch weht der Wind der Heimath zu (Isolde, Tristan) 00:09:21 4. Act One: Scene Three - Weh! Ach wehe! Dies zu dulden! 00:18:24 5. Act One: Scene Four - Auf! Auf! IIhr Frauen! 00:07:57 6. Act One: Scene Four - Herr Tristan trete nah'! 00:19:19 7. Act One: Scene Five - Tristan! - Isolde! - Treueloser Holder! 00:06:22 Disc 21. Act Two: Prelude 00:01:51 2. Act Two: Scene One - Horst du sie noch 00:11:34 3. Act Two: Scene Two - Isolde! - Geliebte 00:07:20 4. Act Two: Scene Two - O sink' hernieder, Nacht der Liebe 00:05:29 5. Act Two: Scene Two - Einsam wachend in der Nacht 00:02:54 6. Act Two: Scene Two - Lausch, Geliebter! - Lass mich sterben! 00:04:16 7. Act Two: Scene Three - Doch unsre Liebe, heisst sie nicht Tristan und Isolde 00:09:22 8. Act Two: Scene Three - Rette dich, Tristan! 00:01:35 9. Act Two: Scene Three - Tatest du's wirklich 00:11:14 10. Act Two: Scene Three - O Konig, das kann ich dir nicht sagen 00:08:17 Disc 31. Act Three: Prelude 00:04:27 2. Act Three: Scene One - (The Shepard's pipe is heard) 00:02:56 3. Act Three: Scene One - Kurwenal! He! Sag', Kurwenal! 00:07:36 4. Act Three: Scene One - Hei nun! Wie du kamst 00:06:23 5. Act Three: Scene Two - Noch losch das Licht nicht aus 00:04:34 6. Act Two: Scene One - Noch ist kein Schiff zu sehn 00:11:11 7. Act Two: Scene One - O Wonne! Nein! Er regt sich, er lebt! 00:08:10 8. Act Three: Scene Two - O, die Sonne! Ha, dieser Tag! 00:03:04 9. Act Three: Scene Two - Ha! Ich bin's, sussester Freund! 00:05:26 10. Act Three: Scene Two - Kurwenal! Hor! Ein zweites Schiff! 00:07:05 11. Act Three: Scene Three - Mild und leise wie er lachelt 00:07:09
Disc 1 of 1 :1 - Suffocate2 - Desensitized3 - You Lied4 - Outsider5 - Don't Wanna Fall In Love6 - Espionage7 - I Want To Be On T.V.8 - Scumbag9 - Tired Of Waiting For You10 - Sick Of Me11 - Rotting12 - Do Da Da13 - On The Wagon14 - Ha Ha Your Dead
Angela Hewitt’s legion of fans will be delighted at this eagerly awaited third volume of Beethoven sonatas. Her first two releases in this series were praised for their ‘clarity, intelligence and elegance’ … ‘fusing poetry and passion’, and all these trademark qualities of her playing are fully present in this third disc. Four contrasting sonatas are presented here, including Op 27 No 2 ‘Moonlight’, which needs no introduction. Utwory: Piano Sonatas Vol 3: Piano Sonata in A flat major Op 26Piano Sonata in F major Op 10 No 2Piano Sonata in E minor Op 90Piano Sonata in C sharp minor ‘Moonlight’ Op 27 No 2
Disc: 11. The Coral SeaDisc: 21. The Coral Sea