FIRST EDITION AS DIGI LATER REGULAR 1. BIRKE IM MOOR 2. FROSTNACHT 3. UNTEN UND IM NORDEN 4. ...BIS DIE SEELE GEFRIERT 5. NACHTFROST 6. DER TRANK DES GEHAENGTEN 7. NEUN NAECHTE 8. AELTER ALS DAS KREUZ 9. DREIFACH DORN 10. DIMIS BRUNNR
Tracklista:1. Touch the Sky2. It'll Be Fine3. Auto Space Praise4. Save Our Waters (Feat. Ja$e El Nino)5. Summer Day6. From Far Away7. I Don't Love You (For J.R.)8. Old Rock Path9. Lady in the Streets10. First Time
Sony Classical ma zaszczyt zaprezentować 2-płytowy album zatytułowany „The Best of Everything” poświęcony jednemu z największych amerykańskich tenorów i gwiazdorów Hollywood Mario Lanza.Urodził się w Filadelfii w stanie Pensylwania jako Alfredo Arnold Cocozza, syn włoskich emigrantów. W wieku 16 lat zadebiutował w Operze w Filadelfii. Później zwrócił na niego uwagę sławny dyrygent Siergiej Kusewicki, dzięki któremu otrzymał stypendium. Młody Cocozza kształcił się w Berkshire Music Center Tanglewood w Massachusetts. Wystąpił w roku 1942 w roli Fentona w operze Otto Nicolaiego „Wesołe Kumoszki z Windsoru” (według dramatu Szekspira) po okresie studiów z Borisem Goldovskym i Leonardem Bernsteinem. To wtedy Cocozza przyjął pseudonim Mario Lanza, które było męską odmianą nazwiska jego matki. Jego karierę przerwała II wojna światowa, kiedy został powołany do armii USA. W czasie wojny występował w wojennych przedstawieniach On the Beam i Winged Victory. Wznowił swoją karierę śpiewaka w październiku 1945 w programie Radio CBS radio Great Moments in Music. W roku 1948 wystąpił w roli Pinkertona w operze Pucciniego Madame Butterfly na scenie Opery w Nowym Orleanie. Jego liryczny tenor był porównywany z Enrico Caruso, którego Lanza grał w roku 1951 w filmie „The Great Caruso”. Śpiewał zarówno arie operowe, jak i piosenki. Wylansował dwa wielkie przeboje: „Be My Love”oraz „Because You' re Mine”. Posiada dwie gwiazdy w Hollywoodzkiej Alei Gwiazd: za nagranie muzyczne i za film kinowy.Tracklista:CD 11. Be My Love* 2. La bohčme/ Act I/ Che gelida manina 3. Some Day 4. Bésame mucho 5. Guardian Angels 6. Rigoletto/ Act I/ Questa o quella 7. Song of India 8. The Lord's Prayer* 9. Drink, Drink, Drink (From "The Student Prince") 10. You and the Night and the Music (From "Revenge With Music") 11. Carmen/ Act II/ Flower Song 12. My Romance (From "Billy Rose's Jumbo") 13. Mattinata 14. Night and Day (From "Gay Divorce") 15. Serenade (From "The Student Prince") 16. Because 17. A vucchella18. Tosca/ Act I/ Recondita armonia 19. Without a Song (From "Great Day") 20. I'll Walk with God (From "The Student Prince") 21. If You Were Mine*22. Silent Night* CD 21. Because You're Mine (From "Because You're Mine")/ Martha 2. M'apparě, tutt' amor 3. Beloved (From "The Student Prince") 4. Danny Boy 5. Serenade* 6. None But The Lonely Heart7. Fedora/ Act II/ Amor ti vieta 8. Granada 9. Thine Alone (From "Eileen") 10. Golden Days (From "The Student Prince")11. Aida/ Act I/ Celeste Aida (1991 Remastered) 12. I'll Be Seeing You (From "The Royal Palm Revue") 13. Core 'ngrato 14. All the Things You Are (From "Very Warm for May")/ 15. Rigoletto Act IV/ La donna č mobile 16. Arrivederci, Roma (featured in "The Seven Hills of Rome")/ I Pagliacci (From "For the First Time") 17. Vesti la giubba (From "For the First Time") 18. Ave Maria 19. Passione 20. One Alone (From "The Desert Song") 21. The Loveliest Night of The Year+ 22. Turandot: Nessun Dorma* 23. Sign off from Mario Lanza *Previously unreleased · +First time on CD
Dorothee Oberlinger studied German and music education at the University of Cologne and the Cologne Music Conservatory. Further studies in recorder followed with Günther Höller in Cologne and Walter van Hauwe in Amsterdam. She received a grant from the North Rhine-Westphalian Cultural Foundation to continue her instrumental studies with Pedro Memelsdorff in Milan. She is presently pursuing a doctorate in musicology at the University of Vienna. In 1996, she was a prizewinner at the ERTA competition for contemporary music in Kassel. Awarded first prize in the international competition "Moeck U.K." held in London in 1997, she gave her debut recital in the Wigmore Hall following the competition. In the same year, she was honored with a grant from the DAAD to study in Lisbon, and was received into the forum for talented young artists by the Society for Contemporary Music. She has performed in numerous concerts and taken part in various radio, television, and CD productions, both as a soloist and as a member of the ensembles Ornamente 99 and Bois de Cologne. In addition to her musicological activities and performances in the field of early music, she is involved in contemporary music, and has, in recent years, premiered many newly-composed pieces. In 2001, she was the first recorder player to receive an award from the state of North Rhine-Westphalia in the category of young instrumentalists. Since 2003 she is teaching recorder at the Mozarteum in Saltzburg.
The performing team of Piers Lane and the Goldner String Quartet has won many plaudits for their enlightening interpretations of the obscurer piano quintet repertoire. Now they turn to a composer who triumphed in the genre. Dvorvák’s two piano quintets were written at different stages of the composer’s career: the first during a period of poverty and uncertainty, the second when the composer was approaching the zenith of his international fame. The two quintets make a fascinating pairing here. Dvorvák originally tore up his manuscript of the first; luckily the pianist at the premiere kept a copy. It is clearly a youthful work, showing something of the discursiveness of the early string quartets, a point noted by a critic at the premiere, but there is no doubting the confidence with which Dvorvák handles the combination of piano and strings (doubly impressive since he did not possess a piano at this time), which in many places anticipates the instrumentation in the famous second piano quintet. Dvorvák’s second Piano Quintet was an immediate popular success at its first performance and has remained one of the best-loved examples of the genre. The premiere was given by four of the finest Czech string players of the day and the promising conductor and composer Karel Kovarovic at the piano. The celebrated ‘Dumka’ movement, the lyrical heart of the work, demonstrates the extraordinary command of melody that characterizes the composer’s symphonies. Performances of technical polish and expressive power, sensitively recorded, combine to make this a chamber disc to treasure.
Tracklista:1. The Cruel Brother2. Love Henry3. Bareback To Bullhassocks4. Here's Adieu Sweet Lovely Nancy5. Adieu, Adieu6. Creeping Jane7. The Flying Cloud8. House Carpenter9. A Blacksmith Courted Me10. When I First Came To Caledonia11. Peggy & The Soldier12. Clerk Sanders
Tracklista:1. Mama Said2. What a Sweet Thing That Was3. It's Mine4. I Saw a Tear5. I Don't Want to Cry6. Rainbow Valley7. My Willow Tree8. The First One9. What's Mine Is Yours10. Without a Word of Complaint11. I'll Do the Same Thing Too12. Blue Holiday
Vaughan Williams completed the Five Mystical Songs, together with the Sea Symphony, in 1911. He was by then almost forty years of age and had but a few years earlier (1908) studied with Maurice Ravel in Paris. Despite their disparate personalities the two musicians became firm friends and, although Vaughan Williams was later to make characteristically flippant remarks about catching ‘French fever’, in truth he learned much of value from the elegant Frenchman, a fact that he was only too ready to acknowledge. That he chose to study with a French master rather than follow the Teutonic studies favoured in his day shows a remarkable degree of discernment on the part of the evolving composer. He was rewarded with much good Gallic advice: to be ‘complex but not complicated’ apropos contrapuntal textures; he was taught to orchestrate in points of colour rather than in lines; also that formal development should be undertaken only to arrive at something better, never just for its own sake. Ravel was revealingly horrified to hear that Vaughan Williams had no access to a piano in the modest Paris hotel in which he stayed. Only with a piano, the French master explained, could one invent new harmonies. Such advice Vaughan Williams accepted with gratitude and he summed up his three months in Paris as a ‘new and invigorating experience’. Two of the English composer’s most loved and enduring masterpieces, On Wenlock Edge and the Fantasia on a theme of Thomas Tallis, followed his sojourn in Paris, and it was in particular the success of the latter which earned Vaughan Williams a new commission to write a work for the Worcester Festival. To fulfil this request the composer decided to complete the settings of five poems by George Herbert upon which he had been working for some time. The poet was himself a musician who associated music with a ‘divine voice’, a view totally in sympathy with the visionary aspects of Vaughan Williams’s art. Herbert died from tuberculosis in 1633 at the age of forty, his early demise the more sad since some of his poems are among the finest of the early seventeenth century. They are to some degree reminiscent of those of his great contemporary John Donne, even if they are less vivid and more intimate, a factor which, together with their ‘musicality’, tends to make a successful musical setting more attainable. The orchestration of the first two of the Mystical Songs owes something to the example of Elgar, and the opening song ‘Easter’ establishes the nature of the whole cycle, its ardent religiosity being combined with a wholly acceptable romantic inclination. The second song, ‘I got me flowers’, is a fine example of Vaughan Williams’s ability to express emotion with the simplest arrangement of notes, whilst the third, ‘Love bade me welcome’, has a muted string accompaniment that creates a perfect foil for the words. The use of the Corpus Christi chant, ‘O sacrum convivium’ as a wordless chorus set against the baritone soloist’s words ‘You must sit down … ’ is simply masterful. ‘The Call’, the fourth song in the set, uses a tune that might have come from the distant past but was in fact a typical invention of Vaughan Williams. Its modal treatment lends credence to its apparent antiquity and it provides a remarkable contrast to the ‘Antiphon’ that concludes the set. ‘Let all the world in every corner sing’ rings out with unequivocal conviction and, after its first performance, The Times reported that ‘the spirit of the words is reproduced with extraordinary sympathy, and the words themselves declaimed in a way which indicates a true musical descendant of Lawes and Purcell’. The first performance of Vaughan Williams’s Five Tudor Portraits was given at the Norwich Festival in 1936. ‘I think they thought they’d get “O Praise the Lord”,’ the composer noted, ‘but I sent them the Five Tudor Portraits.’ It was clearly a shock to many since the poems set were by John Skelton, a Tudor poet whose vigorous realistic and earthy verses may be said to have caused consternation among certain members of the audience. Skelton, a one-time tutor to Henry VIII (when Duke of York), used what became known as a ‘Skeltonic line’, a short erratic rhyming verse which may descend from Medieval Latin rhyming prose. The ribald ‘Tunning of Elinor Rumming’ is an excellent example of this and such verses were well-known to Elgar who described the Skelton metre as often being pure jazz. The first performance of the Five Tudor Portraits under the baton of the composer earned wide praise from the critics of the day. Astra Desmond gave ‘the most delicate picture of a drunken hag at the famous brewing’, noted The Times; ‘everyone concerned caught the spirit of the thing, and the composer conducted a brilliant first performance’. Edwin Evans in The Musical Times reported that he had rarely seen an English audience ‘so relieved of concert-room inhibitions’. Despite the enormous initial success of the Five Tudor Portraits, however, the work has not subsequently enjoyed the frequency of performance its musical merits may be said to have earned. The reason for this may well lie in the difficulty of the work, especially in respect of the characterization required, and also because the earthiness of the archaic humour contained in many of the verses is not universally appreciated. As the eminent writer Michael Kennedy has pointed out in his quite excellent The Works of Ralph Vaughan Williams, to some extent the design of the work may be to blame. Three fine short movements appear to be outweighed by the two long ones of which ‘Jane Scroop’ is so good that it tends to overshadow the whole work. The uninhibited setting of ‘Elinor Rumming’ with which Vaughan Williams begins the suite shows the composer’s undoubted delight in the racy Skelton verses. Eventually, the varying rhythms are slowed to accommodate ‘drunken Alice’, whose revelations are tellingly accompanied by piccolo, trumpet and horn. ‘Pretty Bess’ follows, an Intermezzo of great charm in which the soloist’s protestations are echoed by the male chorus. It is also the male chorus that sings the ‘Epitaph on John Jayberd of Diss’ the eponymous subject of which Skelton had known—and obviously disliked since he revels John Jayberd’s demise; Vaughan Williams echoes these sentiments in some brilliant choral writing. The section ends with a parody of the Office for the Dead. The following Romanza is no parody but a real requiem for a pet sparrow killed by a cat. Tender innocence is marvellously portrayed in both verse and music in this lament by a lady for her lost pet. Little Jane and her friends carry the minute coffin to its interment, chanting words from the Requiem. The sensitivity of orchestral writing in this movement is one of Vaughan Williams’s most remarkable achievements. The air is full of the sound of birds and, at the climax, Jane’s voice can be heard intoning the Miserere. The chorus, in a glorious passage, sings of the approaching night and for Philip Sparrow’s soul. Here Vaughan Williams is truly inspired; avoiding sentimentality he unerringly evokes an emotional response of genuine depth. To be successful the final song could only be a complete contrast to ‘Jane Scroop’, and so it is. ‘Jolly Rutterkin’ is a delightful Scherzo that uses cross-rhythms in an exciting and masterly fashion. It brings a fine work to an eminently satisfying conclusion. Nearly thirty years after his time in Paris with Ravel was not Vaughan Williams still reaping the benefit of his studies there? There are many pointers to that conclusion in the Five Tudor Portraits. Peter Lamb © 1999
Tracklista: 1. Do You Want to Build a Snowman? (Instrumental)2. For the First Time in Forever (Instrumental)3. Love Is an Open Door4. Let It Go (Instrumental)5. Reindeer(s) Are Better Than People (Instrumental)6. In Summer (Instrumental)7. For the First Time in Forever (Reprise) [instrumental]8. Fixer Upper (Instrumental)
Nagranie muzyki lutniowej angielskiego kompozytora doby renesansu w wykonaniu lutnisty Nigela Northa. Lista utworów:1. The Prince's Almain, Masque and Coranto2. Pavan no. 13. Galliard: My Lady Mildmay's Delight4. Pavan no. 25. 2 Almains6. The Noble Man7. The Witches' Dance8. Pava no. 39. 3 Almains10. The Fairies' Dance11. Fantasie12. Galliard13. Lady Strange's Almain14. Pavan no. 4 (set Nigel North)15. The First, Second and Third Dances in the Prince's Masque16. 3 Almains17. The Satyre's Dance (set Nigel North)