1. By The Way 2. Universally Speaking3. This Is The Place4. Dosed5. Don't Forget Me6. The Zephyr Song7. Can't Stop8. I Could Die For You9. Midnight10. Throw Away Your Television11. Cabron12. Tear13. On Mercury14. Minor Thing15. Warm Tape16. Venice Queen
Tracklista:1. Venice With the Girls2. Black Door3. Dedication Not Medication4. First One Today5. Junger Cloth6. Stout Man7. Auto Chip 14-158. Pledge9. Snazzy10. Facebook Troll11. Quit Iphone
Following Ensemble Caprice’s first recording of Vivaldi’s sacred music ( Gloria! Vivaldi and his Angels) we return to Vivaldi’s Venice and find ourselves yet again within the confines of the Ospedale della Pietà orphanage where, beginning in 1703, Vivaldi, the Red Priest, not only taught the orphan girls violin and singing (!), but also composed many of his most dazzling concertos as well as a substantial part of his highly inspired corpus of sacred music. To this day, it seems almost unbelievable that these very demanding scores could be successfully performed by young women. However, their concerts must have been of a very high standard, judging from the celebrity status they enjoyed throughout Europe. Of course the picturesque scenario of young women performing in church undoubtedly fired the imagination of countless listeners who would come from far and wide to hear the orphans perform musical miracles in Venice. In 1720 an English traveler, Edward Wright, gives us the following account of those events: Every Sunday and holiday there is a performance of music in the chapels of these hospitals, vocal and instrumental, performed by the young women of the place, who are set in a gallery above and, though not professed, are hid from any distinct view of those below by a lattice of ironwork. The organ parts, as well as those of other instruments, are all performed by the young women. They have a eunuch for their master, and he composes their music. Their performance is surprisingly good, and many excellent voices are among them. And this is all the more amusing since their persons are concealed from view. It was both absurd and comical for Wright to assume that the composer was a eunuch, but it shows how the imagination of the male listeners got carried away when hearing those celestial angelic sounds produced by an invisible female orchestra and choir. After having met Vivaldi in Venice in 1739, a French jurist, Charles de Brosse, reports that …about forty girls take part in every concert. I vow to you that there is nothing so diverting as the sight of a young and pretty nun in white habit, with a bunch of pomegranate blossoms over her ear, conducting the orchestra and beating time with all the grace and precision imaginable. Further proof of the incredible quality (and attraction) of these concerts is provided by no less a celebrity than the sophisticated French philosopher (and part-time composer) Jean-Jacques Rousseau, who in 1743 had nothing but praise for the achievements of the young girls: Every Sunday, vocal music for a large chorus with a large orchestra, which is composed and directed by the greatest masters in Italy, is performed in barred-off galleries solely by girls, of whom the oldest is not twenty years of age. One can conceive of nothing as voluptuous, as moving, as this music. Knowing for instance that J.S. Bach only heard his own sacred music sung publicly in church by boys and men and never by women, we can only assume how much the titillation of these exciting rumours about the female choir and orchestra in Venice must have stirred the imagination of music lovers north of the Alps. During the course of the present recording, we move from Vivaldi’s description of war to his musical depiction of the joys of peace. Juditha triumphans Juditha triumphans from 1716 is the best known of the Vivaldi oratorios (of which only four have survived). Subtitled Sacrum Militare Oratorium, it relates the gruesome Old Testament story of Judith, a beautiful widow chosen by God to put an end to the life of the Assyrian general Holofernes – who was out to destroy her hometown – by decapitating him. At the time the oratorio was composed, the Republic of Venice was engaged in its 6th war against the Ottoman Empire and despite its ultimate triumph in 1718, the situation looked rather bleak two years earlier after two successive crushing defeats by the strong Ottoman army. In a typical baroque crossover mingling religious and worldly matters on the same battlefield, the oratorio Juditha triumphans was obviously aimed at strengthening the war efforts of the Venetian Republic. We know that this oratorio was performed at the Ospedale della Pietà, with an all-(young)-woman cast on both vocal and instrumental parts. It could only have added to the already wide range of exotic sensations when the overwhelmed listener heard these young women in nun’s habits engaging in musical warfare. Gloria, RV 588 However, let us not forget that Vivaldi’s talent also radiated its light upon the depiction of peace. The intense plea Et in terra pax (from Gloria RV 588), with its gripping harmonic tensions, serves as a worthy final statement for this recording, where war is gradually replaced by the hope for peace. Psalms, Concertos, Motet On the road towards peace we encounter brilliant psalm settings with powerful rhythms in choir and orchestra (In exitu Israel RV 604, Laudate Dominum RV 606), two virtuoso concertos for multiple soloists (RV 566 and RV 563) and a beautiful solo motet O qui coeli terraeque serenitas RV 631, praising serenity in heaven and on earth. Vivaldi entertained a close relationship with Dresden, the Florence of the Elbe, both as a performing artist and as a composer; indeed, his pieces were frequently performed at court. One of his illustrious colleagues in Dresden, Jan Dismas Zelenka, was obviously inspired by Vivaldi’s sacred music when he composed the heart-rending lament Misera Madre in which Mary’s suffering at the foot of the cross is set for high-voice choir. It becomes quite obvious from the striking dissonances in this piece that the transition from war to peace is not always an easy one… And just as our plea for peace is here put forward with music from the past, we fervently hope that peace will reign in our present time and the future: Et in terra pax! © Matthias Maute, Montreal, 2011
Wznowienie drugiego, słynnego albumu z muzyką barokową Giuliano Carmignoli. Płyta zawiera 6 koncertów skrzypcowych A. Vivaldiego (RV177, RV222, RV273, RV295, RV375, RV191). Artyście towarzyszy Venice Baroque Orchestra pod dyrekcją Andrei Marcon. Nagranie pochodzi z 2000 roku.
JASMINE COMPILATION 1. YOU MADE ME LOVE YOU 2. I'VE HEARD THAT SONG BEFORE 3. BACK BEAT BOOGIE 4. THE CARNIVAL OF VENICE 5. STRICTLY INSTRUMENTAL 6. I'LL BUY THAT DREAM 7. STOMPIN' AT THE SAVOY 8. THE FLIGHT OF THE BUMBLE BEE 9. CRAZY RHYTHM 1
Po sukcesie "Sub Lingual Tablet" The Fall z dumą przedstawiają album "Wise Ol`Man EP" - mieszankę starych i nowych materiałów legenarnej grupy z Manchester. Tracklista: 1. Wise Ol' Man (Edit) 2. All Leave Cancelled 3. Dedication (Remix) 4. Wise Ol' Man (Inst) 5. Venice With Girls 6. Face Book Troll / No Xmas For John Quay 7. All Leave Cancelled (X)
Tracklista: CD 1 1. Holiday for Strings 2. Love Is a Many Splendored Thing 3. Holiday for Trombones 4. Calypso Melody 5. Swingin' Shepherd Blues 6. Like Young 7. September Song 8. Autumn Leaves 9. The Autumn Waltz 10. September in the Rain 11. Indian Summer 12. Blue Autumn 13. Shine On Harvest Moon 14. 'Tis Autumn 15. Autumn Serenade 16. Autumn Nocturne 17. October Mist 18. Autumn in New York 19. Autumn Holiday 20. The Syncopated Clock 21. Misirlou 22. On a Little Country Road in Switzerland 23. Fiddlin' for Fun 24. Waukegan Concerto 25. Waltz of the Bubbles 26. Parade of the Clowns CD 2 1. Portrait of a Flirt 2. Paris Oui Oui 3. The Flying Horse 4. Vanessa 5. Zing-zing Zoom-zoom 6. Theme from 'Wings of Eagles' 7. Young Man's Lament 8. Take My Love 9. Stars Shine in Your Eyes 10. Love Is Eternal 11. Summertime in Venice 12. Bordeaux 13. Pam Pam 14. Roman Holiday 15. Cool Tango 16. Banjo and Fiddle 17. Loveable Clown 18. Satan and the Polar Bear 19. A Frenchman in New York 20. The Dancing Cane 21. Dance of Fury 22. No Other Love 23. Falling in Love With Love 24. Return to Paradise 25. Serenade 26. Theme from 'The Swan' 27. All the Things You Are 28. Nostalgia 29. Holiday for Strings
Deutsche Harmonia Mundi zaprasza do wysłuchania albumu „Discovery of Passion” w wykonaniu niemieckiej gwiazdy fletu prostego Dorothee Oberlinger. Artystka należy aktualnie do najbardziej znanych przedstawicieli swego instrumentu. Zadebiutowała w 1997 roku zdobywając pierwsze miejsce w międzynarodowym konkursie SRP/Moeck UK w Londynie w Wigmore Hall. Pociągnęło to za sobą liczne zaproszenia na koncerty i festiwale w całej Europie, Ameryce i Azji. Nadeszły zaproszenia do takich sal koncertowych jak Grand Théatre Bordeaux, Teatro Colón Buenos Aires, Grand Théâtre de Genčve, Laeiszhalle Hamburg, KKL Luzern, Tonhalle Zürich, itd., jak również na festiwale jak Resonanzen w Wiedniu, Festiwal Yehudi Menuhina Festival Gstaad, Festiwal Muzyczny Schleswig Holstein, Festiwal London Lufthansa, Festiwal Muzyczny w Rheingau, Festiwal Beethovena w Warszawie, czy Festiwal Beethovena w Bonn. W nagraniach do prezentowanego Państwu albumu towarzyszyli jej: skrzypek i kontratenor Dmitry Sinkovsky oraz członkowie Ensamble 1700. Usłyszymy wybór dzieł kompozytorów włoskich przepojonych uczuciami miłości, nienawiści , radości i rozpaczy. Tracklista: Salomone Rossi 1. Sinfonia 11 ›in Eco‹ from »Sinfonie et gagliarde«, Il primo libro, Venice 1607 Dario Castello 2. Sonata Prima ŕ due Soprani from »Sonate concertate in stil moderno per sonar nel organo overo spineta con diversi Instrumenti a 2 & 3 voci«, Libro primo, Venice 1621 Giovanni Bassano 3. Ricercata terza, from »Ricercate passaggi et cadentie, per potersi essercitar nel diminuir terminatamento con ogni sorte d'istrumento: et anco diversi passaggi per la semplice voce«, Venice 1585 solo recorder Tarquinio Merula 4. Ciaconna from »Canzoni overo sonate concertate per chiesa e camera« op. 12, Venice 1637 recorder, violin & basso continuo Giovanni Battista Vitali 5. Passa Galli from »Partite diverse sopra diverse Sonate per il Violone«, Bologna cello & basso continuo Giovanni Paolo Cima 6. Sonata ŕ 4 recorder, violin, cello & basso continuo Pietro Paolo Melli 7. Capriccio cromatico from »Libro V per il liuto« solo lute Claudio Monteverdi 8. SiĚ dolce eĚ’l tormento from »Quarto scherzo delle ariose vaghezze«, Venice 1624 Francesco Rognoni 9.»Io son ferito« (Diminutions of Palestrina's secular motet (1561)) from »Selva de varii passagi secondo l’uso moderno per cantare e suonare con ogni sorte di strumenti«, Milan 1620 recorder & basso continuo Tarquinio Merula 10. La Cattarina from »Canzoni overo sonate concertate per chiesa e camera« op. 12, Venice 1637 recorder, violin & basso continuo Giovanni Battista Fontana 11. Sonata seconda per Violine o Cornetto, Fagott, Chitarone, Violoncello und simile altro Istromento, from »Sonate a 1.2.3«, Venice 1641 violin & basso continuo Claudio Monteverdi 12. E pur’io torno, aria by Ottone (Act I, Scene I) from »L’incoronazione di Poppea«, Venice 1642 13. Hor che’l ciel from »Il ottavo libro de Madrigali-Canti guerrieri et amorosi«, Venice 1638 recorder & basso continuo Giovanni Spadi 14. Anchor che col partire solo lute Girolamo Frescobaldi 15. Canzona detta la Bernardinia recorder & harpsichord Michelangelo Rossi 16. Toccata Settima from »Toccate e Corenti d'intavolatura d'organo e cimbalo«, Rome 1657 solo harpsichord Tarquinio Merula 17. Folle č ben che si crede from »Cutrio precipitato et altri capricii«, Book 2, Op. 13 Marco Uccellini 18. Aria Quinta sopra »La Bergamasca« from »Sonate, arie et correnti a 2. e. 3. per sonare con diversi instromenti«, op. 3, Venice 1646
Tracklista:Disc: 11. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: Overture2. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'Wenn com Lido sacht'3. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'Frutti di mare'4. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'S ist wahr, ich bin nacht allzu klug'5. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'Evviva Caramello'6. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'Annina! Carmello!'7. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'Alle Maskiert'8. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 1: 'Hier ward es still'Disc: 21. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 2: Entr'acte2. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 2: 'Treu sein, das liegt mir nicht'3. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 2: 'Sie sagten meinem Liebesfleh'n'4. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 2: 'Solch ein Wirthaus lob' ich mir'5. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 2: 'Ninana, Ninana, hier will ich singen'6. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 2: 'Lasses die andern tanzen da'7. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 3: 'Carneval ruft euch zum Ball'8. Eine Nacht in Venedig (A Night in Venice), operetta (RV 510): Act 3: 'Ach, wie so herrlich zu schau'n'
Ex członek grupy "Police" - Andy Summers, zaprosił do swojego projektu między innymi genialnego perkusistę grupy Cream - Ginger Bakera. Materiał zarejestrowano w Chilean Sea-Bass Studios, Venice, California oraz Kingsound Studios, North Hollywood, California między 9 lutego a 3 marca 1995 roku.