Tracklista: 1. The Uncrowned King2. You3. Many Blessings4. Mode for Joe5. Lottie the Body's Mood7. Ghost Dancers6. Reza8. French Spice9. Sheila's Blues
Tracklista: 1. Butcher Man2. 14 Stations3. Lost & Found4. Caught in the Middle5. Break the Silence6. How Many Roads7. No Substitute8. Bad Things9. Innocent Thieves10. Running Out of Time11. Last Train
18th-century Europe has been a period of production of a huge amount of instrumental chamber music particularly fashioned to the delight and entertainment of the society's upper classes. In the Rococo, especially the rising bourgeoisie was familiar enough with the language of music to be both consumers and active participants, with an ever-growing demand for musical novelty for their entertainment in private salons. The thriving market in chamber-music part-sets for domestic use (a score was considered unnecessary) was served by many professional musicians who worked outside the traditional spheres, as have been the church or the theatre. These interpreters-composers were chiefly violinists, but also flautists and oboists, often leading an itinerant life throughout Europe.The Pla brothers belonged to this kind of itinerant virtuosos: born into a Catalan family of musicians, they were excellent oboists, but played other instruments as well, and composed. Manuel Pla, known to have played also violin and harpsichord, established himself in Madrid as a military musician and theatre composer, probably remaining there until his death in 1766. Josep and Joan Baptista plied their trade outside Spain, as chamber music enjoyed limited popularity in their home country. From about 1751 they toured the courts and concert halls of the main European capitals, performing together. Apparently, the two brothers composed most of their sonatas together. After Josep's death in 1762, Joan Baptista continued alone, as oboist, bassoonist and dulcimer virtuoso, settling at the court in Lisbon from 1769 until his death in 1773. Being famous for the sweetnes and the brilliance of their playing, they were celebrated wherever they appeared. Nowadays, their music is still relatively unknown and very few of their works have been edited, performed or recorded. Almost hundred orchestral and chamber works by the Pla brothers survive in manuscript copies or old printed editions and there are references in various catalogues by 18th-century editors, of many others, which are still to be discovered.
Zremasterowana edycja deluxe na dwóch kompaktach czwartej studyjnej płyty legendarnego synthpopowego duetu Erasure, który tworzą Andy Bell i Vince Clarke. „Wild!” oryginalnie ukazała się w 1989 roku, dotarła na szczyt brytyjskiego notowania i dwukrotnie pokryła się na Wyspach platyną. Pochodzą z niej przebojowe single „Drama!”, „You Surround Me”, „Blue Savannah” oraz „Star”. Edycję deluxe 2CD zapakowano w format książki w twardej oprawie. Do bookletu dodano rzadkie zdjęcia oraz nowe notki o albumie. Na bonusowym dysku znaleźć można, chociażby nowy remiks Richarda Norrisa („The Grid / Beyond The Wizard's Sleeve”), niedawno odnaleziony i wcześniej niepublikowany miks „How Many Times?”, rzadki remiks z 12-calówki autorstwa Marka Saundersa. Są też utwory koncertowe nagrane w London Arena w grudniu 1989 roku. Tracklista: CD 1 1. Piano Song (Instrumental) ( 2019 - Remaster) 2. Blue Savannah (2019 - Remaster) 3. Drama! (2019 - Remaster) 4. How Many Times? (2019 - Remaster) 5. Star (2019 - Remaster) 6. La Gloria (2019 - Remaster) 7. You Surround Me (2019 - Remaster) 8. Brother And Sister (2019 - Remaster) 9. 2000 Miles (2019 - Remaster) 10. Crown Of Thorns (2019 - Remaster) 11. Piano Song (2019 - Remaster) CD 2 1. Sweet Sweet Baby (The Moo-Moo Mix) (2019 - Remaster) 2. Drama! (Richard Norris Mix) (2019 - Remaster) 3. Blue Savannah (Mark Saunders 12” Remix) (2019 - Remaster) 4. Piano Song (Live At The London Arena) (2019 - Remaster) 5. Runaround On The Underground (Remix) (2019 - Remaster) 6. How Many Times? (Alternative Mix) (2019 - Remaster) 7. Supernature (Daniel Miller & Phil Legg Mix) (2019 - Remaster) 8. Star (Soul Mix) (2019 - Remaster) 9. No G.D.M. (Unfinished Mix) (2019 - Remaster) 10. Drama! (Act 2) (2019 - Remaster) 11. Brother And Sister (Live At The London Arena) (2019 - Remaster) 12. Dreamlike State (7” Acappella Mix) (2019 - Remaster) 13. You Surround Me (Gareth Jones Mix) (2019 - Remaster) 14. 91 Steps (6 Pianos Mix) (2019 - Remaster)
Tracklista:1. 'Til Now Is Secret2. Night On Earth3. Arctic Willow4. Folding5. Shade of Many Shades6. Mock Turtle7. Luna Llena8. Buzz Theory9. Chemin Des Cascades10. I Read It Somewhere
Tracklista: CD 1 1. Spunk Rock 2. Many Are Called But Few Get Up 3. Angel Easy 4. Bananas 5. Romain CD 2 1. Many Are Called But Few Get Up 2. Daughter of the Fireplace 3. H. Samuel CD 3 1. A Night in Dad's Bag 2. Just for You 3. Back Into the Future 4. Don't Go Away 5. Ain't Their Fight 6. Never Say Nups to Nepalese 7. Sospan Fach 8. C'mon 9. Jam Up Jelly Tight/ Oh No, Not Again CD 4 1. Welcome to the Party 2. Boogaloo Babe 3. My Way 4. Jambalaya 5. Jingle Bells 6. Run, Run, Rudolph 7. Mona 8. Eddie Waring 9. Life On the Road/Shuffle CD 5 1. 7171-551 2. Codine 3. Babe I'm Gonna Leave You 4. Many Are Called, But Few Get Up 5. Bananas
Tracklista:1. Amore Baciami2. Pure Imagination3. Vamos Azcucar4. I Love You Both5. Praeludium6. Oblivion7. Giant Steps8. Love Is a Many Splendored Thing9. I Remember Michel10. Cancion Para Amar11. Star Wars12. Staying Alive
Tracklista:1. Anyone Who Had A Heart2. Don't Make Me Over3. Walk On By4. Message To Michael5. Alfie6. I Say A Little Prayer7. The Windows Of The World8. Do You Know The Way To San Jose9. I'll Never Fall In Love Again10. Then Came You11. I'll Never Love This Way Again12. Deja Vu13. After You14. No Night So Long15. Heartbreaker16. How Many Times Can We Say Goodbye17. Will You Still Love Me Tomorrow18. Love Power19. Reservations For Two20. That's What Friends Are For
The music of Josef Suk, pupil of Dvorak and married to the elder composer’s daughter, is only now beginning to be recognized for its true worth. Presented here are three relatively early works, brimming with youthful enthusiasm but already showing considerable individuality, a highly developed approach to structure, and, occasionally, a touch of the melancholy introspection which was to inform many of the composer’s later works. A talented violinist, Suk lends to his chamber compositions a true understanding of the genre, while his thoroughly ‘Czech’ musical upbringing ensures strong representation for the folk and dance influences to be found in the music of many of his contemporaries.As our understanding of the tradition of Czech music expands both forward and backward from the national revival of the nineteenth century, it is informed by a great diversity of riches. Janácek and Martinu are now well established in the international repertoire, while the Czech composers of the eighteenth century are seen as an important part of the context in which Haydn, Mozart and Beethoven worked. In all of this, the presence of Josef Suk has not loomed large, but is now beginning to come much more to the fore.The facts of Suk’s life are well known. Like many contemporary Czech musicians, he was initially tutored by his family in a musically literate setting; compositional success arrived at an early stage during studies at the Prague Conservatory. A favourite pupil of Czech music’s greatest luminary, Antonín Dvorák, he joined that august composer’s family when he married Dvorák’s daughter Otilie in 1898. A talented violinist, he became a founder-member of one of Europe’s most important string quartets, the Czech Quartet, and over the years was seen as a senior figure in Czech music and a mentor for many, including Martinu.Although Suk, given his similar educational background and sensibility as both string player and performer, might seem the ideal successor to Dvorák, there are many differences between the two. Unlike Dvorák, Suk did not compose operas and despite a tendency among commentators to see his music in a line of descent from the older composer, their musical languages were quite different; one of the great qualities of Dvorák’s teaching is that he ensured his pupils were no mere imitators. Even in Suk’s early works there is considerable individuality and a highly developed approach to structure. There is also a tendency towards expressive melancholy perceptible well before the dual tragedies of Dvorák’s death and that of Otilie, in 1904 and 1905 respectively. This watershed experience turned introspection into an eloquence found in the symphony Asrael (1905–6) and subsequent orchestral works that, once discovered, speak to an audience with a force comparable to that of Mahler.Many of these qualities are already evident in the Piano Quintet in G minor Op 8; although it was published in 1915 it was, in fact, composed in 1893, relatively early in Suk’s career. Another strand is also apparent in the Quintet: it is dedicated to Brahms, an old friend of Dvorák, who had already given Suk advice and encouragement. The influence of the German composer can be felt in the rhetoric of certain passages, notably in the first movement. But the Quintet is far from being a compendium of youthful enthusiasms for the work of more venerable composers; many aspects of the melodic style, in particular, are typical of Suk throughout his career.The Quintet’s first movement opens in robust fashion with vigorous motion in all parts and soaring lines for viola and cello. Throughout this bracing movement the impetus rarely flags, although there are moments of repose; the last of these is in an extended passage based around G major. This leads into a bouncy coda which, just before the major-key close, broadens out into a grand final peroration. The Adagio lives up to its secondary marking, Religioso, with an inspiring chant-like opening in which chords for the strings alternate with sweeping arpeggios for the piano. The cello leads the melodic material of a central section which results in a remarkably ardent climax.An airy pentatonic theme, a common feature in Czech music since the early days of Smetana and Dvorák, introduces an extended scherzo which, while embracing counterpoint and energetic development, provides an aspiring, almost bardic theme for the viola. Unsurprisingly, there is a passing homage to Dvorák’s great A major Piano Quintet in the trio, but Suk’s youthful adventurousness takes his attractively harmonized main theme in unexpected directions before the return of the scherzo. Dvorák’s Quintet seems to be a presence again in the a tempo introduction to the finale, perhaps also in the fugato passage in the development. But Suk’s individuality is evident at many stages, not least in some piquant harmony and the inventive transformation of the main theme of the first movement, which provides much of the finale’s material.The Four Pieces for violin and piano Op 17 were composed in the spring of 1900 and dedicated to Karel Hoffmann, a fellow violinist in the Czech Quartet. The structure of these movements is simple, but their wide-ranging rhetoric proclaims a clearly sophisticated compositional temperament. The first movement, beginning with near-Impressionist colouring, also embraces extravagant romantic gestures in its central section. There is a hint of the national accent in the emphatic cross-rhythms which characterize the outer sections of the Appassionato second movement; these frame a passage of rapt lyricism entirely typical of Suk’s early maturity. This tendency is echoed in the intense opening of the third movement, although once again Suk, somewhat in the manner of alternation favoured by Dvorák in his Dumka movements, mingles seriousness with a brisker style of writing owing something to the Polka. The finale adopts the manner of a perpetuum mobile, drawing in a pastiche of the Classical manner amid the instrumental pyrotechnics.Suk’s three-movement Piano Quartet in A minor is his Op 1 and was dedicated, appropriately enough, to his teacher Dvorák. Composed in the early 1890s, it is no surprise that it was taken up by the Prague publisher Urbánek, since it is brimming with character and confidence. The very opening idea of the first movement, which looks forward to that of the Piano Quintet, is both striking and original. Equally effective is the writing for the instruments, particularly in the lead-up to the movement’s secondary material. A wide-ranging and challenging development shows the young Suk to be completely in command of his ideas. Inevitably there are hints of his teacher’s style, but there is much that is entirely characteristic of Suk, including a tendency toward introspection, even in the outwardly confident opening Allegro appassionato. The slow movement, led off by the cello and piano, has a nocturne-like quality; an expressive central section, marked to be played a little quicker, has something of the ardent, fairy-tale atmosphere Suk later brought to his music for the play Radúz and Mahulena. The last movement combines the characteristics of scherzo and finale. A bold, march-like opening idea introduces a number of episodes, some gently yearning in manner, before an ebullient close.
Tracklista: CD 1 1. Quo Vadis (I) 2. Jag Stod Ensam Pa Min Väg 3. De Va' Sa Längesen! 4. Kärlekens Sprak 5. Hon Vandrar Over Rummet Pa Jordens Klot 6. En Bit Av Evigheten 7. Quo Vadis (II) 8. Att Leva Är Att Älska 9. Varje Man 10. Punda' Vidare 11. En Av Oss 12. Jag 13. En Gang I Tiden 14. Quo Vadis (III) 15. Jag Färdas 16. To The Country 17. Tro Pa Var Värld CD 2 1. Quo Vadis (I) 2. Nobody Was There To Love Me 3. Many Years Ago 4. Experience Of Love 5. She Walks Across The Room 6. Sailing In The Sunshine 7. Quo Vadis (II) 8. Living Is Loving 9. Every Man 10. Experience Of Life 11. One Of Us 12. Yes I Am 13. Once Upon A Time 14. Quo Vadis (III)