Tracklista:1. Intro2. They Don't Wanna See3. Nah4. Back Then5. Active6. Peakbo7. Living8. I Heard9. Fuck It10. Most Hated11. Till the End12. Bad13. Body Close14. Get to Know Me15. Tonight16. Ot17. 24/718. Where I'm From19. Outro
Tracklista:1. The Other Half2. See It Like a Baby3. Thank You Whoever You Are4. Most Toys5. Somewhere Else6. A Voice from the Past7. No Such Thing8. The Wound9. The Last Century for Man10. Faith
The most complete version available of the BBC coverage of England's World Cup victory at Wembley Stadium on 30th June 1966. The well-told story shows England coming from behind to take a 2-1 lead which they held until West Germany scored in the last minute of ordinary time. The extra thirty minutes were packed with action and controversy as Geoff Hurst scored a somewhat dubious third for England, and then completed his hat-trick. The commentary comes from Kenneth Wolstenholme who uttered the famous phrase 'They think it's all over...it is now!'
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
The highly-gifted violinist and dancing master Pantaleon Hebenstreit (1667-1750) came upon the idea of devoting himself to the dulcimer and to try to see if he could perfect it and produce on it that which he was capable of on the clavier. He considerably enlarged the range of the rustic type of instrument and turned the diatonic instrument into a chromatic one. He achieved such skill on his perfected dulcimer that he progressed in a breathtaking career to being one of the most popular virtuosos of his time. In 1705 he performed at Versailles in front of Louis XIV (who supposedly named the instrument after its inventor). In 1708 he played for the Emperor in Vienna and was finally appointed as pantaleonist to membership of the Hofkapelle of Dresden, the most famous European orchestra at the time, in 1714. Hebenstreit had several pupils who achieved great fame. One of these was Maximillian Hellmann, for whom Caldara had composed in Vienna. It is highly likely that the popularity of the pantaleon prepared the ground for the later triumphant progress of the pianoforte (Hammerklavier): Around 1730 several central-German clavier-makers experimented with the mechanism of hammers hitting from above. Different string materials and the choice of hammers, which could be covered with different materials, lent the pantaleon an overwhelming richness of tone-colours and the possibility of great dynamic differentiation. The considerable range, the possibility of using two-voice strokes and arpeggios to describe the harmony, and the richness of sounds and colours raised the pantaleon to the rank of an instrument, »which from a miserable dulcimer has become the most complete of instruments, even more perfect than the claveci« (Stählin 1770), »in as much as it is the true forte piano, because our modern fortepiano is completely overshadowed by it.« (Kachel 1792) As reasons for the disappearance of the instrument in the second half of the 18th century, unresolved constructional problems, the unwieldy size of the instrument, the difficulties of tuning it and the high cost of maintaining the many strings (above all the gut strings), but also the tremendous difficulties of mastering the instrument are cited. Unfortunately no pantaleon exists to assist our attempt to get on the trail of the legendary instrument: the current state of research offers too few reference points for a reconstruction. Not a single original has survived, there are no construction designs or technically concrete descriptions whatsoever and similarly no definite illustrations of the instrument. The modern chromatic tenor dulcimer from Salzburg seems to us for the moment therefore to offer the best possibility of nearing the sound of the pantaleon - at least in its form with metal strings. Jürgen Banholzer and Margit Übellacker
Since they were founded in 1979 Harry Christophers and The Sixteen have recorded over 100 discs of choral music spanning 600 years. On this new collection, CORO presents a selection of their most celebrated recordings of music by composers from across Europe. This disc features music from over a dozen composers representing ten countries from Palestrina’s Assumpta Est Maria and Monteverdi’s Beatus Vir to excerpts from Poulenc’s Sept Répons des Ténèbrae and Frank Martin’s Mass for Double Choir. This disc provides a superb collection of works from some of Europe’s most celebrated composers and, alongside the first disc in this set, Great British Choral Works, is the perfect introduction to The Sixteen’s wonderful music.
Winylowa edycja albumu "Face To Face" brytyjskiego zespołu The Kinks, który swoją premierę miał w 1966 roku. Album ten stał się krokiem milowym do międzynarodowej kariery grupy.Tracklista:Side A:1. Party LineRosy Won't You Please Come Home3. Dandy4. Too Much On My Mind5. Session Man6. Rainy Day In June7. House In The CountrySide B:1. Holiday In Waikiki2. Most Exclusive Residence For Sale3. Fancy4. Little Miss Queen Of Darkness5. You're Looking Fine6. Sunny Afternoon7. I'll Remember
1. Dawn 2. I Will Extol Thee 3. A Garden Locked 4. Wonder 5. Beloved of My Soul 6. Open the Gate 7. The Amendment 8. Restore our Judges 9. Prayer 10. River 11. My Field 12. Stand Beside Us 13. My Doe 14. Moses 15. One and Most High 16. Messiah
String Quartets, Op 17: performed from the London edition published by Welcker c1774 (Nos 1-6)Haydn’s String Quartets Op 17 were written during his most effusively productive period, during his tenure in the service of the Esterházy family. He had a magnificent group of musicians at his disposal, including the young virtuoso violinist Luigi Tomasini, whose genius can be traced throughout these works, particularly in the achingly beautiful melodies of the adagio movements. These string quartets mark Haydn’s emergence as an indisputably great composer. They have a seriousness of intent and an increasing mastery of rhetoric and thematic development that are a world away from the lightweight divertimento-quartets that he was formerly producing.They are performed here on period instruments by the dazzling London Haydn Quartet, whose disc of the Op 9 quartets drew the most extravagant praise from the critics. Their second disc has been eagerly awaited, and comes as part of Hyperion’s celebrations of ‘Haydn year’.
2011/12 sees the 400th anniversary of the birth of one of the most important masters of the early German Baroque. Hammerschmidt‘s vocal works are known to the wider public today throught just a few pieces such as ‚Machet die Tore weit‘ and ‚Also hat Gott die Welt geliebt‘. His output encompasses a wide range of musical forms: concertos and cantats, motets and instrumental pieces, as well as ‚secular‘ vocal works on the most varied scorings.This CD is the fi rst of two releases from CARUS with ensemble Gli Scarlattisti which present Andreas Hammerschmidt‘s vocal works in a thematic and theologically-liturgically arranged sequence, and each work is juxtaposed with composition to a Latin text by his contemporary Johann Rosenmüller.