2 płytowa składanka jednego z najbardziej znanych i ekscentrycznych skrzypków naszych czasów. Wszystkie utwory został nagrane przy udziale The English Chamber Orchestra.
Not a great deal is known about the life of John Taverner. He is thought to have been born around 1490 in Lincolnshire, and is first documented in 1525 as a lay clerk at the collegiate church of Tattershall, a musical establishment of some importance. Later that year he was recommended by Bishop Longland of Lincoln for the new post of Informator (choirmaster) at Cardinal College (now Christ Church), Oxford, founded by Cardinal Wolsey and lavishly endowed with a choir of sixteen choristers and twelve ‘clerkes skilled in polyphony’. After overcoming an initial reluctance to leave the security of Tattershall, he accepted this prestigious invitation in time for the formal opening of the College in October 1526. Its glory proved to be short-lived, however, and after Wolsey’s fall from power in 1529 its fortunes and finances soon began to decline. Taverner resigned the post in 1530. For the next seven years his whereabouts are unknown. Possibly he worked as a freelance musician in London, or perhaps he returned directly to Lincolnshire. From 1537 Taverner was in Boston, maybe employed as an agent for Thomas Cromwell, who had been commissioned by Henry VIII to carry out a survey and valuation of the lesser monasteries and friaries prior to their dissolution. There is no truth in the persistent claim that Taverner was a fanatical persecutor in carrying out these duties. The significance of the often-quoted note in the 1583 edition of Foxe’s Acts and Monuments that Taverner came ‘to repent him very much that he had made songs to popish ditties in the time of his blindness’ may well have been exaggerated; Foxe, an ardent Protestant, was writing some forty years after the composer’s death, and the term ‘popish ditties’ remains open to interpretation. On the contrary, there is documentary evidence that Taverner had genuine concern for the welfare of the monks and friars. The assumption that he ceased to compose after leaving Oxford is based on speculation, since a proportion of his output has probably been lost and what has survived is not always easy to date.Taverner died in 1545 and was buried beneath the famous ‘stump’ of Boston church.As the undisputed master of his generation, Taverner witnessed and greatly contributed to the final phase in the development of the florid style that had dominated English sacred music since the death of John Dunstable in 1453. If the works of Taverner’s immediate precursor, William Cornysh (died 1523), represent the peak of sheer virtuosity, those of Taverner himself seem to proceed along a rather more serene path regulated as much by harmonic considerations as purely melodic ones.The music of the generation before Taverner—for instance the unequivocally medieval florid writing of the Eton Choirbook—is the glorious culmination of a predominantly insular culture, developed and sustained in those great choral institutions which had been founded or substantially expanded in the fifteenth century. Some of Taverner’s music remains firmly in this late-medieval tradition as regards form and aesthetic, even if the style is stripped of some of its florid detail. But in other works (presumably the later ones) there is evidence of a growing awareness of contemporary continental features, particularly in the systematic use of imitation, and a tendency towards clarity of texture and simplification of rhythm and line.The music of Taverner, taken as a whole, represents the final development of the florid late-medieval English style, coupled with the assimilation of new aesthetic and technical features which indicate the growing influence of continental thought and practice. Individual works embody these two facets of Taverner’s music in varying degrees, depending mainly on liturgical form and function, but also, to a certain extent, on their chronological position within the composer’s output.Taverner’s three festal Masses (Gloria tibi Trinitas, Corona Spinea and O Michael) represent a high point in the development of that uniquely English genre. Each is scored for six-part choir with the high trebles so characteristic of English music of this period, and is constructed over a cantus firmus. The occasion for which Corona Spinea was written cannot be identified with certainty, for while its title suggests a connection with the Feast of the Crown of Thorns, such an event is not known to have been widely considered of major importance in the Sarum calendar. The origin of the cantus firmus that provides its structural framework remains obscure, as does its date of composition; unlike Gloria tibi Trinitas, it does not form part of the original layer of part-books compiled for use at Cardinal College in the late 1520s, but was added somewhat later by a subsequent owner, William Forrest, a petty canon at the College. As the longest of Taverner’s settings, it was clearly conceived for an elaborate ceremony involving a large choir with boys of exceptional skill; the treble part is consistently more florid than the others.Corona Spinea conforms with the established English tradition in that it comprises only four movements, a result of the Sarum rite’s custom of performing the Kyrie troped (that is, with the addition of extra words, according to season) to plainchant. Each movement is laid out to approximately the same length, the Sanctus and Agnus Dei containing more extensive melismatic writing than the Gloria and Credo (part of whose text is omitted, again following local convention). The cantus firmus is deployed in the tenor, where it provides the foundation both for a web of constantly shifting vocal colours in the full sections and also for some of the more delicately scored reduced-voice passages. As it invariably moves in longer note values, the cantus firmus often acts as a pedal point for the other voices to decorate with motivic material. While imitative writing plays a role of some significance especially in the more syllabic full sections, many of the intervening duets and trios are characterised by abstract figuration, sequential ostinato patterns that are sustained and unfolded over lengthy spans with a compelling logic unsurpassed by Taverner himself, and rarely to be found outside the works of Josquin.Though the overall compass of Corona Spinea extends over the usual twenty-two notes, the disposition of the six voices differs from that of Taverner’s other two festal Masses. Instead of two countertenors, it has two bass parts of slightly different tessitura whose function is more often to support the cantus firmus than to participate fully in the imitative texture. Taverner was able to exploit the contrast between the top and bottom parts to spectacular effect at moments such as ‘Et expecto’ (Credo) and at the opening of the Agnus Dei I. The division of the trebles into two equal parts (a device known as gimel, after the Latin gemellus, twin) in the Benedictus creates an exquisite sonority, only surpassed by the double gimel (divided trebles and means) of Agnus Dei II, which, as in Gloria tibi Trinitas, seems to encapsulate the heart of the work.The function of Marian antiphons such as Gaude plurimum was devotional rather than liturgical; their performance after the end of the office of Compline was written into the statutes of various educational foundations such as Eton College, King’s College, Cambridge, and, in 1525, Cardinal College, Oxford, where antiphons to the Trinity and to St William of York were specified in addition to the customary Marian ones. Judging by the number of sources in which it is preserved, Gaude plurimum was held in especially high regard in the sixteenth century. Drawing on traditions established some decades earlier, Taverner generated a musical structure out of the contrast between passages scored for two or three voices and those for sonorous five-part choir, and thereby lent a sense of direction to this extended and effusive text. Much of the writing is imitative in style and concentrated in manner, with melismas generally being reserved for the conclusion of each section.Taverner’s setting of the Lenten respond for Compline, In pace, is scored for mean, two countertenors and bass: in the copyist’s words, ‘three men and a child’. It is based on the plainchant, which appears in the polyphonic sections as a cantus firmus in the top part.Sally Dunkley © 2000
Tracklista:1. Bleeding Eyes2. Vimanas3. Trampoline4. Invisible Kings5. Speed Dagger6. English Breakfast7. You Are the Movie8. Freak
Tracklista:1. Slates, Slags, Etc.2. The Container Drivers3. Jawbone and the Air Rifle4. Totally Weird5. New Face in Hell6. Printhead7. An Older Lover8. City Hobgoblins9. Leave the Capitol10. Pay Your Rates11. The N.W.R.A.12. English Scheme13. Underground Medicine
Ulrika Spacek wydaje swój drugi album, „Modern English Decoration”. Podobnie jak ich debiutancki album wydany na początku 2016 roku, zespół zdecydował się nagrać, wyprodukować i zmiksować całość płyty we wspólnym domu - dawnej galerii sztuki o nazwie „Ken”, nazwanej tak z powodu tajemniczego napisu znajdującego się nad drzwiami wejściowymi . Nie tylko studio i dom, KEN jest w zasadzie centrum zespołu, przestrzenią, w której tworzą się ulotne filmy, dzieła sztuki, a nawet zdjęcia zespołu. Tracklista: 1. Mimi Pretend 2. Silvertonic 3. Dead Museum 4. Ziggy 5. Everything, All The Time 6. Modern English Decoration 7. Full Of Men 8. Saw A Habit Forming 9. Victorian Acid 10. Protestant Work Slump
Language: English (Dolby Digital 5.1)Region: All RegionsAspect Ratio: 1.33:1
Of the works performed here by the Royal Scottish National Orchestra under the prominent Delius interpreter Sir Andrew Davis, the first three (Paris, the Piano Concerto, and Idylle de printemps) offer a fascinating insight into the early years of the development of Delius as a composer, when he was slowly and painstakingly honing his craft, and assuming the characteristic personal voice that is evident in more mature works such as Brigg Fair.Paris, sub-titled ‘The Song of a Great City’, is strongly inspired by the composer’s many years of living and working in Paris. With large-scale orchestral forces, Delius paints opulent pictures of a city that he obviously loved. The slow opening portrays the still darkness falling over Paris; then the music changes pace and takes us through the teeming and intoxicating nightlife of the city, with impressions of exuberant dance music coming from the many cafés and music-halls. The opening material returns, culminating in the sounds of the awakening streets.Until recently Delius’s Piano Concerto has been know exclusively in its final, one-movement form, which was first performed in London in 1907. The version recorded here, however, represents the composer’s earlier thoughts, from 1897. Performed by Howard Shelley, the work is brimming with full-bodied romanticism while showing the influences of Grieg and Liszt throughout.The airy mood of Idylle de printemps points to later depictions of nature in Delius’s music, as in Brigg Fair, which Delius categorised as ‘An English Rhapsody’. Cecil Gray, the Scottish music critic and composer, described the opening of Brigg Fair as ‘evoking the atmosphere of an early summer morning in the English countryside’. The work is based on a folk-tune which came to light in a competition instigated by Percy Grainger in 1905 to find ‘the best unpublished old Lincolnshire folk song or plough song’. Grainger was immediately taken with the folk-tune, and having arranged it himself for solo tenor and chorus, he approached Delius to write orchestral variations on it – urging him on as the only composer worthy of the task. Delius was soon persuaded, and Brigg Fair became one of his bestloved works.
Tracklista:1. The Cat in the P.T. Cruiser2. Don't You Remember3. One More Saturday Night4. Tokyo Bop5. Blue6. Tell Me Something I Don't Know7. Lovin' Ain't So Hard to Find8. Sandy9. Good Rockin' Tonite10. Hold On (Wait a Minute)11. Don't Ask Don't Tell12. Rock 'N' Roll Hall of Fame13. Maybe14. Love Can Hurt15. Tokyo Bop (Japanese & English Duet)16. Blue 2 (Feat. Pat Boone)
„Przeboje Muzyki Klasycznej vol. 2” - to kolejna odsłona bestsellerowej serii Mój Empik Moja Muzyka z najsłynniejszymi dziełami muzyki klasycznej. Starannie ułożony zestaw najpiękniejszych utworów w interpretacjach najwybitniejszych światowych artystów! Tracklista: CD 1 1. Johann Sebastian Bach (Guillermo Figueroa Work Arranger) “Herz und Mund und Tat und Leben”, Cantata BWV 147 Jesu, Joy Of Man's Desiring (Arr. Guillermo Figueroa) Orpheus Chamber Orchestra 2. George Frideric Handel Water Music Suite No. 2, HWV 349 Alla Hornpipe (Arr. Wilfried Helm) The English Concert, Trevor Pinnock 3. Antonio Vivaldi Violin Concerto in G Minor, Op. 8, No. 2, RV 315 "L'estate" III. Presto (Tempo impetuoso d'estate) Alan Loveday, Academy of St. Martin in the Fields, Neville Marriner 4. Jeremiah Clarke (Peter Hurford, Work Arranger) Trumpet Voluntary (Arr. Peter Hurford) The Michael Laird Brass Ensemble, Peter Hurford 5. Alexander Borodin Prince Igor (Mariinsky Theatre Edition) Act 1, No. 12 Polovtsian Dances and Chorus: "Uletaj na kryl'jach vetra" Bulat Minjelkiev, Kirov Chorus, St Petersburg, Kirov Orchestra, St Petersburg, Valery Gergiev 6. Felix Mendelssohn A Midsummer Night's Dream, Incidental Music, Op.61, No. 9 Wedding March Philharmonia Orchestra, Neville Marriner 7. Dmitri Shostakovich Eight Waltzes from Film Music, Suite for Orchestra Waltz from "The Gadfly" Op. 97 Russian Philharmonic Orchestra, Thomas Sanderling 8. Frédéric Chopin Waltz No. 7 in C Sharp Minor, Op. 64 No. 2 Zoltán Kocsis 9. Sergey Rachmaninov Piano Concerto No. 3 in D Minor, Op. 30 I. Allegro ma non tanto Zoltán Kocsis, San Francisco Symphony Orchestra, Edo de Waart 10. Johannes Brahms Hungarian Dance No.5 in G Minor Orchestrated by Iván Fischer Budapest Festival Orchestra, Iván Fischer 11. Pietro Mascagni Cavalleria rusticana Intermezzo The National Philharmonic Orchestra, Gianandrea Gavazzeni (P) Universal International Music B.V. 1978 12. Wolfgang Amadeus Mozart Piano Concerto No. 21 in C Major, K. 467 II. Andante Vladimir Ashkenazy, London Symphony Orchestra 13. Frédéric Chopin 24 Préludes, Op. 28 15. Sostenuto in D-Flat Major, "Raindrop" Rafal Blechacz 14. Erik Satie 3 Gymnopédies No. 1 Lent et douloureux Jean-Yves Thibaudet CD 2 1. Antonio Vivaldi Violin Concerto in F Minor, Op. 8, No. 4, RV 297 "L'inverno" I. Allegro non molto Alan Loveday, Academy of St. Martin in the Fields, Neville Marriner 2. Wolfgang Amadeus Mozart Symphony No. 40 in G Minor, K. 550 I. Molto allegro Orchestra Of The 18th Century, Frans Brüggen 3. Johann Sebastian Bach Suite for Cello Solo No. 1 in G Major, BWV 1007 I. Prélude Artists: János Starker 4. Edvard Grieg Holberg Suite, Op. 40 I. Preludium (Allegro vivace) English Chamber Orchestra, Raymond Leppard 5. George Frideric Handel Zadok the Priest (Coronation Anthem No. 1, HWV 258) Trevor Pinnock, The English Concert, Simon Preston The Choir Of Westminster Abbey 6. Johann Sebastian Bach The Well-Tempered Clavier: Book 1, BWV 846-869 Prelude in C Major, BWV 846 András Schiff 7. Johannes Brahms Six Pieces for Piano, Op. 118 II. Intermezzo in A Major Radu Lupu 8. Giacomo Puccini Gianni Schicchi "Oh! mio babbino caro" Renata Tebaldi, Orchestra del Maggio Musicale Fiorentino Lamberto Gardelli 9. Bedrich Smetana Má Vlast II. Vltava Artists: The Cleveland Orchestra, Christoph von Dohnányi 10. Giacomo Puccini Manon Lescaut Act 1 "Donna non vidi mai" José Carreras, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly 11. Pyotr Ilyich Tchaikovsky Nutcracker Suite, Op.71a, TH.35 III. Waltz Of The Flowers Berliner Philharmoniker, Mstislav Rostropovich 12. Johannes Brahms Hungarian Dance No.1 in G Minor Orchestrated by Brahms Budapest Festival Orchestra, Iván Fischer 13. Dmitri Shostakovich Jazz Suite No.1 I. Waltz Artists: Royal Concertgebouw Orchestra, Riccardo Chailly 14. Franz Schubert 4 Impromptus, Op. 90, D. 899 No. 1 in C Minor (Allegro molto moderato) Wilhelm Kempff
DIGIPAK 1. ENGLISH MORNING 2. SANGA 3. TOO MANY HEROES 4. SOLDIER SONG 5. MWENGA SKETCH 6. HOLY ROLLER 7. HOUSE OF DREAMS