Tracklista:1. Holiday's2. C'est La Saison D'aimer3. La Valse Rousse4. Le Charme Étrange5. La Canonette6. Baron Zeep7. L'avocate8. The Most Beautiful Suffragette9. La Sabotine10. C'est La Valse Du Passé11. El Opera Tango12. The Pink Lady13. Cabriolet Enchanté
Symphony for Cello and Orchestra, Op. 68 Each of the four creative periods of Britten’s prolific career culminated in a major large-scale work. His full maturity was signalled by Peter Grimes (1945), the second and third creative periods ended with the War Requiem (1961) and Death in Venice (1973), and his brief Indian summer flowered in one of his very finest chamber works, the Third String Quartet. The two works featured on this disc frame his third creative period. After the War Requiem Britten embarked on a period of experimentation and expansion of techniques – a period that saw the composition of some of his most original works: the Cantata Misericordium, the Three Church Parables, the Songs and Proverbs of William Blake and A Poet’s Echo. Two considerable masterpieces belong to these years, Curlew River (the first of the Parables) and the Symphony for Cello and Orchestra The Cello Symphony was completed in May 1963 and was one of a series of works (including the Sonata in C and three suites for unaccompanied cello) that Britten composed for, and dedicated to, Mstislav Rostropovich. It was the first purely instrumental work of such imposing scale that Britten had composed since the early 1940s. The opening D minor Allegro maestoso is also Britten’s most substantial sonata-allegro in terms of scale and content. The contrapuntal G minor scherzo (Presto inquieto) exploits a three-note scalic motif contained within a minor third. Thirds also predominate in the intense, elegiac Adagio, in which the principal theme is constructed entirely from a descending sequence of melodic thirds. The second subject, shared between the cello and solo horn, anticipates the Passacaglia finale, where the trumpet tune (shades of Prokofiev and Janáˇcek) is subjected to six variations and a coda over a ground bass. The most important distinction to be made between Britten’s early concertos and the Cello Symphony is in the relationship between the soloist and the orchestra. Whereas in the bravura Piano Concerto (1938) and even in the more intense Violin Concerto (1939) the soloist assumes the traditional stance, being removed from and in dramatic conflict with the orchestra, in the Cello Symphony the soloist is a virtuosic yet integral part of a coherent symphonic design. The relationship is that which Britten had already explored in the Sonata for Cello and Piano that he had composed for Rostropovich in 1960. An age-old problem in writing for the cello as a solo instrument in the context of a full symphony orchestra is the difficulty of balancing the textures in such a way that the soloist can be heard. But the cello’s most expressive range is that which corresponds with the tessitura of the tenor voice, and Britten certainly knew how to discipline orchestral forces to allow the tenor voice to carry without force. A remarkable feature of the orchestration of the Cello Symphony is the melodic importance of the bass-Iine and the upper woodwind. The middle register of the orchestra is freed for the soloist. In this respect the orchestral palettes of the Cello Symphony and Death in Venice (whose principal protagonist, Gustav von Aschenbach, is sung by a tenor) have a great deal in common. © John Evans
Tracklista:1. Main Title (The Son Of Kong)2. Ship at Sea3. In Dakang4. Runaway Blues5. Fire!6. An Offer of Help7. Memories8. Chinese Chatter9. Forgotten Island10. Quicksand - Little Kong11. The Styracosaur12. The Black Bear13. Finger Fixings14. Campfire at Night15. The Old Temple16. Johnny Get Your Gun17. Finale (The Son Of Kong)18. Main Title (The Most Dangerous Game)19. The Wreck20. The Approach21. Russian Waltz22. Incidental Music23. Agitato24. The Iron Door25. Night26. The Count Approaches27. Misterioso Dramatico28. The Chase29. The Chase Continues30. The Waterfall31. The Fight32. Escape - Finale
Tracklista:23. Killing Me Softly With Her Song2. I'll Never Fall in Love Again1. How Deep Is Your Love3. We've Only Just Begun4. With You I'm Born Again5. Mandy6. Feelings7. I Only Have Eyes for You8. I'm Stone in Love With You9. The Way We Were10. Help Me Make It Through the Night11. We're All Alone12. How Deep Is Your Love13. When I Need You14. Where Do I Begin? (Love Story)15. Without You16. You Are the Sunshine of My Life17. The Most Beautiful Girl18. A Man and a Woman19. When Will I See You Again?20. Misty21. The Twelfth of Never22. The First Time Ever (I Saw Your Face)
'Yet another super disc from this company. Thea King is no stranger to Hyperion but I think this may be her best disc to date for them. [The Frankel] is a masterpiece pure and simple and anyone who tells you different must be deaf' (Tempo)'Thea King is a peerless advocate in just such a voyage of discovery' (Hi-Fi News)'Easily the most important clarinet disc of the year' (Clarinet & Saxophone Journal)'A CD to treasure and savour in the years to come' (Fanfare, USA)
1. Black Valor2. Necropolis 3. A Selection Unnatural 4. Denounced Disgraced 5. Christ Deformed 6. Death Panorama 7. Throne Of Lunacy 8. Eyes Of Thousand 9. That Which Erodes The Most Tender 10. I Will Return
The Choir of St John’s College, Cambridge, an exclusive Chandos artist, here presents its third release on the label. Established in the 1670s, the choir has a long and distinguished tradition of performing religious music and here offers distinguished interpretations of sacred works by Orlande de Lassus. Of its most recent release, Hear My Words: Choral Classics from St John’s (CHSA 5085), The Telegraph wrote: ‘The boy treble voices bring lustre and freshness to the sonority and the singing throughout is stirring and polished.’ Lassus was a prolific and versatile composer and the most famous musician of his day. By the age of twenty-one, he had been appointed Director of Music at the church of St John Lateran in Rome, an impressive appointment for one so young. More than 2000 works by Lassus survive: Latin settings of masses, canticles, motets, passions, litanies, and hymns, as well as secular pieces in Italian, French, and German. Lassus was charismatic and gregarious. He was also bipolar, however, a condition that caused him personal unhappiness, but which also accounted for some of the more original and startling passages in his music. The pieces on this recording represent only a small part of his enormous output: nineteen of the 750-odd surviving motets; two of the one hundred Magnificat settings; and three of his dozen purely instrumental works. It is a small sample, but it shows a composer whose formidable technique, kaleidoscopic ear for texture, and matchless word settings made him the darling of the musical High Renaissance in Western Europe. The majority of Lassus’s motets were settings of religious texts. Ecce nunc benedicite Dominum is one of two seven-voice pieces chosen for this recording, and its rich texture allows Lassus to explore appealing vocal combinations without breaking into double-choir cliché. Veni in hortum meum places the listener in the gently seductive world of the Songs of Songs – that ‘sensuously exciting and baffling’ book of the Bible, to quote the English novelist and poetA.S. Byatt. The two Magnificat settings on this recording were composed at least twenty years apart. The Magnificat ‘O che vezzosa aurora’ dates from the mid-1580s. A significant proportion of this work is based directly on a six-voice madrigal by the Modenese composer Orazio Vecchi (1550 – 1605), which was published around the same time. Lassus’s own setting, however, is sunny and optimistic in six-voice sections, and respectively robust and reflective in the three- and four-voice sections.
The case of Hummel is sadly typical of that of many early nineteenth-century composers. Accorded the greatest respect as composer and performer and showered with gifts and honours for most of his life, Hummel fell into near-oblivion soon after his death, his œuvre largely neglected apart from representations in conservatory curricula. Happily, he and others like him are now beginning to enjoy the popularity they deserve. A most versatile composer, his output embraces all genres with the significant exception of the symphony – unsurprising, perhaps, in view of Beethoven’s ongoing contribution; compare Brahms’s reticence in embarking on his own first essay in the form.
Tracklista: Side A 1. Thee Most Exalted Potentate Of Love 2. You Got Good Taste 3. Call Of The Wighat Side B 1. Faster Pussycat 2. I Ain't Nuthin' But A Gorehound 3. Psychotic Reaction
Most Records - nowa niezależna wytwórnia stworzona pod skrzydłami Prosto, które wychodzi poza ramy hip-hopu i wraca do swoich korzeni czyli nowoczesnej muzyki miejskiej, przedstawia swoje pierwsze wydawnictwo "The Beginning" to kompilacja jedenastu utworów od czołowych, polskich producentów muzyki elektronicznej. Udział w tworzeniu składanki Most "The Beginning" wzięło dziewięciu producentów: Hatti Vatti – znany z projektu HV/NOON, The Phantom znany jako Bartosz Kruczyński – połowa duetu Ptaki, Eltron John, SLG, Klaves, Matat Professionals znany także jako Newborn Jr., Good Paul, Botanica – nowe wcielenie GAAP KVLT oraz Richu M – muzyczne odkrycie wytwórni. Praca nad albumem rozpoczęła się podczas sesji wyjazdowej. Artyści zamienili dom w lesie w tymczasowe studio. W gąszczu kabli i sprzętów oraz instrumentów narodziło się wiele muzycznych pomysłów i nowe kolaboracje. Zderzenie tak bujnych i doświadczonych producenckich osobowości nie mogło przynieść innego rezultatu niż brzmieniowa mieszanka wybuchowa najnowocześniejszej muzyki na najwyższym poziomie produkcyjnym.