Tracklista:1. Riverdance2. Hennessey's3. Lift the Wings (From 'Riverdance')4. The Britches Full of Stitches5. Stolen Kiss (From 'Lord of the Dance')6. Barn Dances7. Naoise8. The Rare Old Mountain Dew9. The Coolin10. O'Carolan's Draught11. She Moved Through the Fair12. Micho Russell's13. Cuaichin Gleann Neifin (Glenroe)14. Jimmy Wards15. Lift the Wings (From 'Riverdance')16. Lord of the Dance
Tracklista:1. Evil Gets an Upgrade2. There Is No God3. The Grim Palace4. Darkness Falling5. Creation of Satan6. The Sign of Eternal Curse7. A Vision of a Nameless Soul8. Emerging from the Immortals9. The King of Asine10. Spirit of the Tomb11. Angel of Revenge
..AND DANGEROUS =2 ON 1= 1. DEATHRIDER 2. METAL THRASHING MAD 3. I'M EIGHTEEN 4. PANIC 5. SUBJUGATOR 6. SOLDIERS OF METAL 7. DEATH FROM ABOVE 8. ANTHRAX 9. ACROSS THE RIVER 10. HOWLING FURIES 11. ARMED & DANGEROUS 12. RAISE HELL 13. GOD SAV
This recording of the Saint John Passion by the Bach Choir of Bethlehem – America’s oldest Bach society -- is an acknowledgement of an important part of its history. In 1888, fresh from studying with Reinberger in Munich, J. Fred. Wolle conducted the Bethlehem Choral Union in the first complete American performance of this Passion in Bethlehem’s Moravian Church. Ten years later, the Choral Union morphed into the Bach Choir that came into being to perform the B Minor Mass in 1900. Although there were a few gaps in the early years, the annual Bethlehem Bach Festival continues to bring the music of Bach to thousands of people from across the United States and beyond. Bach’s Saint John Passion is one of the masterworks of the choral repertory, but it took time for it to be acknowledged as the masterpiece it truly is. It was re-discovered after Mendelssohn’s performance of the Saint Matthew Passion in 1829 had stunned the music world, awakening it to the superlative quality of Bach’s vocal music, and, at the same time, creating an upsurge in the performance of choral music in general, which continues to this day. The interest generated by the Saint Matthew Passion threw the spotlight on the other Passion that Bach composed, the Saint John Passion. The comparison with the Saint Matthew Passion often meant that the Saint John Passion was thought to have been a more simple work, in that it called for less complexity in terms of the vocal and instrumental resources. But the differences between the two Passions are not because one is superior to the other but because they are settings of two different narratives, each one written from a different perspective. The Passion narrative in Saint Matthew’s Gospel is interpretative and deals with the cosmic implications of the tragedy. The Passion narrative in Saint John’s Gospel is more dramatic and displays the unfolding details of the suffering of Jesus – and their effect on those caught up in it – in personal terms. Thus Bach’s setting of the Saint Matthew Passion is somewhat detached, distant and reflective, like looking down on an event from high above, whereas his Saint John Passion is dramatic, immediate and compelling, like being on the edge of an apron stage for the performance of a Shakespeare play – so close that you are virtually part of the action. Bach’s Saint Matthew Passion is more measured, with places of rest, where the action stops and the significance of what has just taken place is interpreted. In contrast, the Saint John Passion is almost breathless in its progress through the sequential events of the Passion, and the chorales and arias heighten this intensity. The Saint Matthew portrays the Passion something like a tableau to be observed: the Saint John, as a sequence of events to be experienced. Today Bach’s Passions are heard very differently from how they were first heard in Leipzig. Contrary to what one might think, they are liturgical music. The Saint John Passion was not written as an independent oratorio, though that is how we usually hear it – in the same way we hear Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah, or Britten’s War Requiem. But Bach wrote it for a community at worship, not an audience at leisure. It was composed for a liturgical service, vespers on Good Friday. It was designed to be heard in the context of prayer, preaching and congregational song. The two halves were not meant to incorporate an intermission but an hour-long sermon on the Passion of Jesus. When we hear this work, we hear it out of context. We do not hear it as part of the Holy Week music. We do not hear it as liturgical music, performed at vespers on Good Friday. We hear it in an entirely different context – modern, non-ecclesiastical, and in a concert hall setting (even though it may take place in a church), or disembodied through speakers or ear-buds – where the music comes to us detached from its original context and is heard in isolation and judged on its own terms and for its own sake. We can be historically informed in our performance, by using period instruments. We can learn the appropriate performance practices associated with this music. But what we cannot do is hear this music with 18th-century ears. We have 21st-century ears that cannot pretend to have unheard the sounds of Schoenberg, Stravinsky and Stockhausen. We have 21st-century minds that cannot fabricate the limitations of an 18th-century world-view. Therefore we have to create our own context in which to hear this work. In philosophical terms, we have to interpret what we hear so that it makes sense in our modern world, and each one has to create our own philosophical context. Some will hear this music – as indeed it is – as a statement of Christian faith, still powerful, even though it is heard outside of its original liturgical and theological contexts. Others, who do not share this belief, will ignore its text and subject matter and receive it as marvelous music. But even though it is magnificent music, it is disturbing music. It is, after all, the musical exposition of the trial and execution of one who is innocent, while everyone else in the story is less than perfect. But it is not an exercise in despair. This music proves beyond all doubt that, while human nature might be seriously flawed, it is nevertheless capable of creating works of art that give us hope to live by. Just listen to that closing chorale, almost entirely in the major mode, whereas most of the Passion that precedes it has been in the minor. So at the end, hope conquers despair, death is followed by resurrection. Robin A. Leaver
15 TRACKS FROM 1975
O wyjątkowości serialu "Twin Peaks" decydują nie tylko wspaniałe kreacje aktorskie i niesamowite historie w serialu, lecz również muzyka. Fani serialu ucieszą się, że na rynku są dostępne aż dwie ścieżki dźwiękowe do "Twin Peaks"! Ścieżki dźwiękowe otrzymały tytuły "Twin Peaks (Music From The Limited Event Series)" oraz "Twin Peaks (Limited Event Series Soundtrack)". Ukazały się na CD i na podwójnym winylu. Na pierwszym wydawnictwie znalazły się piosenki artystów, jacy pojawili się w serialu, na scenie w klubie "Roadhouse" w Twin Peaks i nie tylko tam. Zaczyna się od nowej wersji tematu głównego, skomponowanego oczywiście przez Angelo Badalamentiego, a dalej mamy utwory autorstwa między innymi Chromatics, Sharon Van Etten, Nine Inch Nails, Rebekah Del Rio, Lissie, ZZ Top, Eddiego Veddera. Drugie wydawnictwo to z kolei w przeważającej mierze utwory skomponowane na potrzeby serialu przez Angelo Badalamentiego, w tym inny główny temat. Wśród 18 kompozycji znajdziemy także nagrania grupy Chromatics, która w obrazie kilka razy pojawiła się na scenie w knajpie w Twin Peaks, jak i kompozycję jednego z ulubieńców Davida Lyncha, Krzysztofa Pendereckiego – "Ofiarom Hiroszimy – tren". Trzeci sezon "Twin Peaks" zadebiutował w HBO Polska 22 maja, w USA serial pokazywała stacja Showtime. Na produkcję złożyło się 18 odcinków. Wszystkie wyreżyserował David Lynch. W główną rolę Agenta FBI Dale'a Coopera wcielił się ponownie laureat Złotego Globu Kyle MacLachlan. Oprócz niego na ekranie pojawiają się: Sherilyn Fenn, Sheryl Lee, Everett McGill, Wendy Robie, Monica Bellucci, Jim Belushi, Michael Cera, Richard Chamberlain, Laura Dern, Ashley Judd, Jennifer Jason Leigh, Berenice Marlohe, Tim Roth, Amanda Seyfried, Naomi Watts oraz polska aktorka Karolina Wydra. Tracklista: LP 1 Side A 1. Twin Peaks Theme (Falling) – Angelo Badalamenti 2. American Woman (David Lynch Remix) - Muddy Magnolias 3. Laura Palmer’s Theme (Love Theme From Twin Peaks) - Angelo Badalamenti 4. Accident / Farewell Theme - Angelo Badalamenti 5. Grady Groove (feat. Grady Tate) - Angelo Badalamenti Side B 1. Windswept (Reprise) - Johnny Jewel 2. Dark Mood Woods / The Red Room - Angelo Badalamenti 3. The Chair/Angelo Badalamenti 4. Deer Meadow Shuffle – Angelo Badalamenti LP 2 Side C 1. Threnody For The Victims Of Hiroshima (with Warsaw National Philharmonic Orchestra) - Witold Rowicki 2. Slow 30’s Room - David Lynch & Dean Hurley 3. The Fireman - Angelo Badalamenti Side D 1. Saturday (Instrumental) - Chromatics 2. Headless Chicken – Thought Gang (Angelo Badalamenti & David Lynch) 3. Night – Angelo Badalamenti 4. Angelo Badalamenti – Heartbreaking 5. Angelo Badalamenti – Audrey’s Dance 6. Angelo Badalamenti – Dark Space Low
Tracklista:1. Once2. Trip Trap3. By This4. The Village5. Bloodlines6. Follow Follow7. So Far from Here8. Embers9. Heavy Rock Warning
Tracklista:1. Some Sort of Rock N' Roll2. I'm a Witch3. Hanky Panky Franky4. You're a Doll5. The Old Ghost Don't Lie6. All My Baby Brought Back Was the Blues7. The Kids8. Johnny9. Hiding from the Moon10. Show Me Another Way to Your Heart11. Doo-wop Showaddywaddy12. Cosmic Love
Tracklista: 1. Wreck It Like Beckett 2. Kakistocracy 3. Callow 4. Expelled 5. Success? Success Is Survival 6. Save Me From The Ordinary 7. Crutch 8. I Stand Alone 9. Dumbdown 10. No Sunshine
During the period from which these three cantatas come, Bach no longer presented a new cantata of his own every Sunday. Instead he made extensive use of compositions by others, including his own second cousin Johann Ludwig Bach, court composer at Meiningen. In several instances, Bach also reused texts set by Johann Ludwig for his own compositions, including two of the cantatas here, Brich dem Hungrigen dein Brot and Es wartet alles auf dich. Both of these follow a pattern which falls into two parts, with the opening text of each section being taken from the Old and the New Testament respectively. The third cantata, Gelobet sei der Herr, mein Gott, is also unusual in its structure, in that it utilizes five strophes of a single hymn, word for word. The hymn strophes are respectively used for an opening chorus, three arias and a closing chorale, with the first and fifth movement – resplendently scored with trumpets and timpani – utilizing the same hymn melody, although in very different ways. The three arias (for bass, soprano and alto) are more intimate in size, but also highly varied, addressing in turn Christ, the Holy Spirit and the full Trinity. The disc closes with a movement for solo violin and orchestra, thought to be an opening sinfonia for an unknown cantata. It is possibly a late arrangement of an early work, as the highly virtuosic solo part seems to suggest influences from the Italian violin concertos that were making such an impact in Germany during the first decades of the 18th century. With this disc the cantata series of Bach Collegium Japan and Masaaki Suzuki reaches its 45th instalment, to ever-growing acclaim, as exemplified by a recent review regarding Volume 42: ‘a recording which shows Suzuki maturing along with Bach … another fine instalment in this most consistent of series’ (International Record Review).