Album został wydany przez wytwórnię Signum Classics (SIGCD 397). Wydawnictwo otrzymało nagrodę Gramophone Editor's Choice (Gramophone, 11-2014). Tracklista: 1. Sonata No.14 in C-sharp Minor, Op.27, No.2 2. Sonata No.29 in B-flat Major, Op.106 “Hammerklavier” 3. From Die Ruinen von Athen, Op.113 (The Ruins of Athens) Beethoven, arr. Bax
Tracklista:1. Heads Or Tails2. Thirsty3. Partner in Crime4. Dead Man's Voice5. I Believe6. Ride With Me7. Hurt Me Once (Love Me Twice)8. Not from This World9. What If It Was You10. Try (And You Know Why)11. From Guns & Shovels12. The Secret13. Whiskey Nightmare14. It's a Long Way15. Leave Me Alone
This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.
FROM SMITHSONIAN//38 TR/32 PGS BOOKLET. SOUTHERN APPALA
Since early mediaeval times, the characteristic church services held in the Catholic Church have incorporated the prayer times of the Officium on Holy Thursday, Good Friday and Holy Saturday, particularly the Matins. These services were originally held in the early hours of the morning but were in later centuries transferred to the afternoon of the previous day. Each of these Matins consisted of three nocturnes in which Psalm recitations alternate with readings from the Lamentations of the prophet Jeremiah and texts by the theological teacher St Augustine and responses. Over the course of time, the settings of these texts became progressively more elaborate in their polyphony. The popularity of these Matins in Catholic Europe, particularly up to the end of the eighteenth century, was however not limited to their frequently rich musical design; the names given to these services such as “Pumpermetten” or “Finstermetten” accompanied by the customs of hammering on the church pews or the gradual extinguishing of the candles are testament to a great folk tradition. August the Strong’s conversion to Catholicism created a demand for ceremonial church services to cele-brate Holy Week at the court chapel in Dresden and Jan Dismas Zelenka was commissioned to compose the appropriate music. Zelenka wrote six Lamentationes Jeremia Prophetae ZWV 53 (of which only the firs lamentation is included on this CD) and the 27 Responsoria pro hebdomada sancta ZWV 55.The Collegium 1704 and Collegium Vocale 1704 under the direction of Vaclav Luks have produced a pair of extensive CDs with the firs complete recording of the nine nocturnes of Holy Week within their liturgical context with all lessons in church modes, the Gregorian antiphons and the entire collection of 27 responses from the Responsoria pro hebdomada sancta ZWV 55, conjuring up a comprehensive impression of the celebrations of Holy Week at the Dresden court chapel during the 1720s.
Tracklista: 1. Dimestore Diamond2. Heavy Cross3. 8th Wonder4. Love Long Distance5. Pop Goes the World6. Vertical Rhythm7. Men in Love8. For Keeps9. 201210. Love and Let Love11. Four Letter Word12. Spare Me from the Mold
Tracklista: Side A 1. Log Jam 2. Pith 3. Seed Bank 4. Linnaea Side B 1. At The Edge 2. Conifer 3. Rain Soup 4. Drug The Lake 5. Here From Where We Are
Tracklista: CD 1 1. Come Away With Me 2. You're Beautiful 3. Moon River 4. (They Long To Be) Close To You 5. Closest Thing To Crazy 6. If You're Not The One 7. What A Difference A Day Makes 8. Stormy Weather 9. Lady In Red 10. Crazy 11. Against All Odds (Take A Look At Me Now) 12. Chi Mai 13. Three Times A Lady 14. Clair De Lune 15. The First Time Ever I Saw Your Face 16. As Time Goes By 17. When I Fall In Love 18. Are You Lonesome Tonight? 19. Air On A G String 20. Imagine CD 2 1. Will You Still Love Me Tomorrow 2. Yesterday 3. Let It Be 4. The Girl From Ipanema 5. You've Got A Friend 6. Angels 7. I Just Called To Say I Love You 8. Don't Know Why 9. Theme From 'Love Story' (Where Do I Begin) 10. Waterfalls 11. As Long As He Needs Me 12. (Everybody's Gotta Learn Sometime) I Need Your Loving 13. Unchained Melody 14. Love Is All Around 15. Begin The Beguine 16. The Piano 17. Send In The Clowns 18. The Long And Winding Road 19. When You Tell Me That You Love Me 20. Love Theme From 'Romeo And Juliet'
Tracklista: CD 1 1. We Dance 2. Rattled By The Rush 3. Black Out 4. Brinx Job 5. Grounded 6. Serpentine Pad 7. Motion Suggests Itself 8. Father To A Sister Of Thought 9. Extradition 10. Best Friend's Arm 11. Grave Architecture 12. At And T 13. Flux = Rad 14. Fight This Generation 15. Kennel District 16. Pueblo 17. Half A Canyon 18. Western Homes 19. Sordid (Previously Unreleased) 20. Brink Of The Clouds (Rattled By The Rush B-Side) 21. False Skorpion (Rattled By The Rush B-Side) 22. Easily Fooled (Rattled By The Rush B-Side) 23. Kris Kraft (Father To A Sister Of Thought B-Side) 24. Mussle Rock (Is A Horse In Transition) (Father To A Sister Of Thought B-Side) 25. Give It A Day (Pacific Trim Ep) 26. Gangsters And Pranksters (Pacific Trim Ep) 27. Saganaw (Pacific Trim Ep) 28. I Love Perth (Pacific Trim Ep) 29. Sentinel (Previously Unreleased) CD 2 1. Sensitive Euro Man (I Shot Andy Warhol Soundtrack) 2. Stray Fire (Previously Unreleased) 3. Fight This Generation (Live At Hilversum, Holland) 4. Easily Fooled (Live At Hilversum Holland 1994) 5. Soul Food (Wowee Zowee Jam Session) 6. It's A Hectic World (From Homage To Descendents Tribute Album) 7. Kris Kraft (Steve Lamacq Evening Session) 8. Golden Boys/Serpentine Pad (Steve Lamacq Evening Session) 9. Painted Soldiers (Steve Lamacq Evening Session) 10. I Love Perth (Steve Lamacq Evening Session) 11. Dancing With The Elders (From Medusa Cyclone/Pavement 7") 12. Half A Canyon (Live Wireless Jjj Radio Australia 1994) 13. Best Friend's Arm (Live Wireless Jjj Radio Australia 1994) 14. Brink Of The Clouds/Candylad (Live Wireless Jjj Radio Australia 1994) 15. Unfair (Live Wireless Jjj Radio Australia 1994) 16. Easily Fooled (Live Wireless Jjj Radio Australia 1994) 17. Heaven Is A Truck (Live Wireless Jjj Radio Australia 1994) 18. Box Elder (Live Wireless Jjj Radio Australia 1994) 19. No More Kings (Schoolhouse Rock Rocks Comp) 20. Painted Soldiers (From Kids In The Hall In Brain Candy Soundtrack) 21. We Dance (Alternate Mix From Wowee Zowee Session)
1. Silvester Anfang2. Deatherush3. Fall Of Seraphs4. Carnage5. Neerolust6. Uncient Skin7. Freezing Moon8. Symbols Of Bloodswords9. From The Dark Past10. Chainsaw Tusfuck11. I Am Thy Labyrinth12. Pure Fucking