Tracklista:1. Best Around2. Take the L to Leave3. Girl Problems4. Dead Pontoon5. Ektelon6. Drive South7. Sad Sams8. Talamak (First Version)9. Warm Frames10. New Loved Ones
Highlights of Leicester City's incredible 2015/2016 season featuring every goal from every match. Having narrowly avoided relegation in the previous campaign, Leicester began the season as 5,000-1 outsiders to win the Premier League Crown but would go on to defy the odds, win the title and qualify for the Champions League for the first time in the club's history with their new manager Claudio Ranieri at the helm.
1. First Day of my Life 2. In the Shadows 3. Still Standing 4. In My Life 5. Time to Burn 6. Guilty 7. Not Like the Other Girls 8. The One I Love 9. Back in the Picture 10. Funeral Song 11. In the Shadows [multimedia track]
Zestaw 5 płyt Sisters Of Mercy: A Slight Case Of Overbombing, Some Girls Wander By Mistake, First And Last And Always, Floodland, Vision Thing.
Trzy płytowy box zawierający słynne soundtracki Zbigniewa Preisnera do niezapomnianej trylogii Krzysztofa Kieślowskiego. Muzyka do "Niebieskiego", "Białego" i "Czerwonego", wydana w digipackach, zapakowanych w gustowną obwolutę. Tracklista: CD 1: „Bleu” 1. Song For The Unification Of Europe (Patrice's Version) 2. Van Den Budenmayer - Funeral Music (Winds) 3. Julie - Glimpses Of Burial 4. Reprise - First Appearance 5. The Battle Of Carnival And Lent 6. Reprise - Julie With Olivier 7. Ellipsis 1 8. First Flute 9. Julie - In Her Own Apartment 10. Reprise - Julie On The Stairs 11. Second Flute 12. Ellipsis 2 13. Van Den Budenmayer - Funeral Music (Organ) 1:59 14. Van Den Budenmayer - Funeral Music (Full Orchestra) 15. The Battle Of Carnival And Lent II 16. Reprise - Flute (Closing Credits Version) 17. Ellipsis 3 18. Olivier's Theme - Piano 19. Olivier And Julie - Trial Composition 20. Olivier's Theme - Finale 21. Bolero - Trailer For 'Red' Film 22. Song For The Unification Of Europe (Julie's Version) 23. Closing Credits 24. Reprise - Organ 25. Bolero - "Red" Film CD 2: „Blanc” 1. The Beginning 2. The Court 3. Dominique Tries To Go Home 4. A Chat In The Underground 5. Return To Poland 6. Home At Last 7. On The Wisla 8. First Job 9. Don't Fall Asleep 10. After The First Transaction 11. Attempted Murder 12. The Party On The Wisla 13. Don Karol I 14. Phone Call To Dominique 15. Funeral Music 16. Don Karol II 17. Morning At The Hotel 18. Dominique's Arrest 19. Don Karol III 20. Dominique In Prison 21. The End CD 3: „Rouge” 1. Miłość Od Pierwszego Wejrzenia (Love At First Sight) (Vocals – Zbigniew Zamachowski) 2. Fashion Show I 3. Meeting The Judge 4. The Tapped Conversation 5. Leaving The Judge 6. Psychoanalysis 7. Today Is My Birthday 8. Do Not Take Another Man's Wife I (Composed By Van Den Budenmayer, Soprano Vocals – Elzbieta Towarnicka) 9. Treason 10. Fashion Show II 11. Conversation At The Theatre 12. The Rest Of The Conversation At The Theatre 13. Do Not Take Another Man's Wife II (Composed By Van Den Budenmayer, Soprano Vocals – Elzbieta Towarnicka) 14. Catastrophe 15. Finale
Tracklista:1. Beautiful Surrender2. You Came (Lazarus)3. Find Me4. Outrageous Love5. Strength6. The Gospel7. So Much Grace8. Beautiful Jesus9. First Love10. Abba (Arms of a Father)11. Catch the Wind12. No Longer Slaves (Radio Version)
Yevgeny Sudbin made his sensational début on disc with a programme of sonatas by Scarlatti, but soon continued with recordings of music by later composers from his own country of birth, Russia. 2010 saw Sudbin’s return to the 18th century, with a Haydn recital which has confirmed his reputation as a highly versatile musician, ‘whose exquisite nuances, shimmering colours and rare rhetorical power make him an ideal Haydn interpreter.’(Pizzicato) This acclaimed disc was described as ‘truly a class act’ by Classic FM Magazine; an act which Sudbin now follows up with the first disc in a series of Beethoven’s piano concertos. Opening with the composer’s final two works in the genre, Sudbin shares the stage with Minnesota Orchestra and Osmo Vänskä, a team whose Beethoven credentials are assured after their recent cycle of the nine symphonies – ‘unquestionably one the great Beethoven cycles’ according to the website ClassicsToday.com. If Beethoven’s first works in the concerto genre are indebted to Mozart, the composer had definitely found his own feet by the time of Piano Concerto No.4 in G major. This is evident from the very beginning of the work where, instead of the expected orchestral introduction, the solo piano enters, signalling the intimate and lyrical quality of the work. No less innovative is Piano Concerto No.5 in E flat major – by many considered the finest of all piano concertos. Giving the timpani an unusually prominent and crucial role, this work is majestic and at times even martial in character, something which in English-speaking countries has earned it the nickname ‘Emperor’.
Tracklista:1. Flood2. Dispersion3. Gates4. Pyramid Cities5. Rings6. Verity in the Legends7. Giant Signs8. Beyond Earth10. The First Natoin, the Last Survivor9. In the Serve of Evil11. Everything Reveals
Tracklista: 1. Love Flight2. First Light3. Second Sun4. Moon Tan
Scharwenka was one of the most beloved of musical figures during the late nineteenth and early twentieth centuries. His Concerto No 4 in F minor, written in 1908, was greeted at its premiere with astonishing enthusiasm from an audience ‘which may, without exaggeration, be said to have included almost every pianist – virtuoso, teacher and student – in Berlin’. Two years later Scharwenka was to give his first performance of the work at a concert in New York. The conductor was Gustav Mahler. Emil Von Sauer’s compositions have suffered from an even greater neglect, wholly unjustifiable, than Scharwenka’s. The E minor Concerto had already gone through eight printings by 1908 when he performed it in Chicago: “It was no matter for astonishment that when the pianist-composer had brought the work to its conclusion a storm of genuine enthusiasm should seep the house from gallery to floor … Mr Sauer represents a school of piano-playing that has all but vanished. The pianists who are now moulding the taste of the public are, one and all, engaged in the questionable task of reproducing with their instruments effects that are orchestral … but in the meantime we are in danger of forgetting the joys of pure pianism. To such joys Mr Sauer has awakened us.” Two first recordings, played by one of the greatest virtuoso pianists today.