Rok po premierze płyty zainspirowanej hitami z broadwayowskich musicali, grupa Il Divo prezentuje nowe wydawnictwo - ‘Live In Japan’. Składa się na nie CD i DVD z zapisem koncertu zarejestrowanego w słynnym tokijskim Budokan Theater. Il Divo wystąpiło przed japońską publicznością w ramach światowej trasy promującej krążek „A Musical Affair”.
Tracklista:1. Life in Pink2. Call Me3. Take Away4. Hate You5. Drink About You6. Body Heat7. Karaoke Kiss8. Musical Theatre9. California Poppies10. Always Shining11. Today12. Twisted Up13. My Little Alien14. To the Music I Belong
Legendarne koncerty i materiały zza kulis! Jeden z najsłynniejszych i najpopularniejszych współczesnych skrzypków i jego uwielbiany zespół - Andre Rieu i Orkiestra Johannesa Straussa! Tracklista: DVD 1 1. Magic of Maastricht 2. How It All Began 3. Dance The Night Away 4. Wedding Special DVD 2 1. Love in Maastricht 2. European Dream 3. Making The Magic DVD 3 1. Christmas in London 2. World Tour 3. My Musical Year
Tracklista: CD 1 1. Carry Go Bring Come 2. River Bank Pt.2 3. Musical Communion 4. Feeling Fine 5. Strong Man Sampson 6. Over The River 7. Next Door Neighbour 8. When I Call Your Name 9. Yeah, Yeah Baby 10. Hog In A Cocoa 11. Musical Storeroom 12. Corner Stone 13. Latin Goes Ska 14. Open The Door 15. Jordan River 16. Really Now 17. Sun Rises 18. Yard Broom 19. Street Corner 20. King Samuel 21. You Are Mine 22. You Can Depend On Me 23. Night Food 24. Foul Play 25. Penny Reel 26. Jump Out Of The Frying Pan 27. Downtown Girl 28. Why Worry 29. I Want My Cock 30. River Bank Pt. 1 CD 2 1. Magic 2. Twelve Minutes To Go 3. Strolling In 4. Dan De Lion 5. Apanga 6. Eastern Standard Time 7. Rough And Tough 8. Garden Of Love 9. Dearest 10. Silver Dollar 11. Let George Do It 12. Woman A Come 13. Cotton Tree 14. Doctor Dekker 15. Occupation 16. Solomon Gundie 17. Watermelon Man 18. East And West 19. I Shall Wear A Crown 20. Running Around 21. Blues From The Hills 22. Number One 23. We Two Happy People 24. Robin Hood 25. Eunodos 26. Rude Boy 27. How Many Times
Francesca Caccini, or « La Cecchina », Florence-born composer. Soprano Shannon Mercer reveals herself has the perfect performer of her vocal oeuvre, heartfelt baroque music with a foot in the Renaissance era. Sylvain Bergeron (theorbo, baroque guitar), Luc Beauséjour (harpsichord, organ) and Amanda Keesmaat (cello) are the ideal musical companions on this path to baroque music discovery. One of the first album entirely devoted to Francesca Caccini.Discerning affinitiesFor musicians, whose individual career paths are constantly overlapping, it is not an uncommon experience for affinities to develop during joint projects. But occasionally, the synchronicity of such affinities can be completely unexpected. After having explored the liturgical repertoire of Vivaldi and Bach, as well as music from France, England and Wales, soprano Shannon Mercer wanted to tackle a program of 17th-century Italian music that would include works by the female composers Barbara Strozzi and Francesca Caccini. At about the same time, harpsichordist and organist Luc Beauséjour came across the latter composer’s name in a work that mentioned she was known to Monteverdi. “He had spoken of the exceptional quality of her music, which piqued my curiosity,” explains Beauséjour. Over the summer, his research turned up facsimiles, and he suggested a reading session to get a better sense of Caccini’s musical personality. Given the variety and quality of these forgotten works, the idea of a recording project dedicated entirely to Caccini was a natural outcome.A full lifeBorn in Florence in 1587 and often nicknamed “La Cecchina” (the singing bird), Francesca Caccini first studied music under the watchful eye of her mother, a soprano, and her father, Giulio Caccini, a prolific and respected composer and member of the Florentine Camerata, a circle of artists dedicated to the representation of the human soul through music. Along with her brother Pompeo and sister Settimia, she was a member of the Concerto Caccini, an ensemble whose notable performances included singing at the marriage of Henri IV of France and Maria de Medici in 1600. Four years later, when the king heard her in Paris, he was profoundly moved. “You are the best singer in France,” he unequivocally stated and immediately offered her a position at court, but the Florentine officials refused to release her from her engagement. In 1607, Francesca’s reputation was solid enough to win her a position with the Medici as a teacher, singer, vocal coach and composer of lyric and chamber music. The same year, she married another court musician, Giovanni Battista Signorini, whom she bore a daughter. In 1617, while the couple toured Milan, Parma, Lucca, Savona, and Genova, the poet Gabriello Chiabrera wrote: “Unquestionably, she was seen as a marvel and, in just a few days, her reputation had spread far and wide.”Soon after the death of her first husband in December 1626, Francesca married a music-loving nobleman from Lucca, Tommaso Raffaelli, the father of her son. But Raffaelli died three years after their marriage, prompting her to return to the Medici court. In 1634, she took on the position as music teacher to the Medici princesses and to her own daughter, Margherita, with whom she also performed. She left the service of the Medici in 1641 and subsequently disappeared from the public record. She is buried in San Michele Visdomini cemetery in Florence, alongside her father and sister.A unique styleA singer, lutenist, guitarist, and harpsichordist, by 1614, she had become the best paid court musician anywhere. Over the years, she composed an impressive number of works, including at least 16 stage works, of which unfortunately remain only the manuscripts of La liberazione di Ruggiero—the first Italian opera performed outside of Italy—and excerpts from La Tancia and Il passatempo. An examination of the few remaining scores of her works indicates the high degree of attention she paid to musical notation, in the rhythmical placement of syllables and words, especially beneath ornaments, in explicit phrasing indications, and in the meticulous notation of her frequently long and fluid melismas.Francesca Caccini made use of surprising harmonies, which powerfully convey the various affects of the music. Instead of merely assuming their musical function, chords become colours. “She employed uniquely personal turns of phrase, especially in her cadential figures, and her bold dissonances do not always resolve where one would expect,” notes Beauséjour. “Cadences often end on a minor chord, when in Italy at the time, the major resolution was almost always preferred,” remarks Sylvain Bergeron, who also observes that “certain recurring melodic formulae are quite unusual.”A seminal workIn 1618 she published Il primo libro delle musiche, dedicated to Cardinal Charles de Medici, a striking portrait of the artist in 36 tableaux. The varied collection includes euphoric religious songs, emotionally troubling laments, madrigals and canzonettas expressing the joys and perils of love, inspired by her own poems. While most of the pieces were probably accompanied by theorbo at the time, the musicians on this recording decided to use a fuller continuo, as implied by the inclusion of a bass line in the score. “We felt we would do better service to the music by having a more varied and lively instrumentation, giving us a wider palette of sounds to choose from,” states Beauséjour. It was Bergeron who proposed the choice of musical colours. “Above all, I tried to match instrumentation to style. Hence, the secular songs (canzonettas, arias, romanescas, etc.) employ Baroque guitar, cello and harpsichord, while the sacred songs use organ, cello and occasionally theorbo. The lighter, more rhythmical pieces were better suited to Baroque guitar, while for the more serious pieces, theorbo was the appropriate choice. And for songs with several verses, I used the text itself as a guide.”In order to give the program some variety, the recording includes several instrumental tracks. Some songs were adapted for organ or cello, though strictly observing the written bass and melodic lines. The only works not by Francesca Caccini are Bergeron’s arrangement for Baroque guitar of four short songs by her father, Giulio, which Bergeron entitled Quattro Canzoni di mio padre, “as if Francesca had arranged a few of her father’s songs as a tribute.”In tackling the interpretive challenges of this little-known repertoire, Mercer had to take a new approach to the trills, while also working on the control and breathing required to sustain Caccini’s long phrases and on clearly conveying the text, which includes many sonorous images. “It’s almost as if we were creating something completely new, or solving an equation. We had to be spontaneous and creative, and use our improvisational skills, and that’s what I love most about this repertoire. But we were all driven by the importance of bringing the work to light and recognizing the talent of this remarkable composer.”© Lucie RenaudTranslation: Peter Christensen
Wydanie 180 g. Tracklista: Side A 1. Justin Hinds & The Dominoes - Carry Go Bring Come 2. Babba Brooks - River Bank 3. Babba Brooks - Musical Communion 4. Roland Alphonso - Feeling Fine 5. Babba Brooks - Strongman Sampson 6. Justin Hinds & The Dominoes With The Skatalite Band - Over The River Side B 1. Owen & Leon Silvera With The Skatalite Band - Next Door Neighbour 2. Babba Brooks - When I Call Your Name 3. Stranger & Patsy With Babba Brooks & His Band - Yeah, Yeah, Baby 4. The Skatalite Band - Hog In A Cocoa 5. Frank Anderson With The Skatalite Band - Musical Storeroom 6. Justin Hinds & The Dominoes With The Skatalite Band - Corner Stone
Jean-Baptiste Loeillet of London (november 18, 1680 – July 19, 1730), was a Flemish baroque composer as well as a performer on the recorder, flute, oboe, and harpsichord. He is called the London Loeillet to distinguish him from another famous composer, his first cousin Jean Baptiste Loeillet of ghent, and he was the elder brother of Jacques Loeillet, also a composer. Loeillet was born at ghent, then in the spanish netherlands. in 1705, after his studies in ghent and Paris, he moved to London and became known as John. in London, his last name was sometimes rendered as ‘Lully’ or ‘Lullie’: he was unrelated to Jean-Baptiste Lully, the French composer. His works were published by Walsh in London under the name of John Loeillet. He was successful as a player and teacher of the harpsichord. He played woodwind in the Queen’s theatre in the Haymarket and held musical gatherings every week at his home. His performances were well received in London; and he was responsible for introducing Arcangelo corelli’s 12 concerti grossi to Londoners. According to the new Penguin Dictionary of Music, he helped to popularise the transverse flute (a new instrument compared to the recorder) in england. He died in London.
Tracklista:1. Neun Deutsche Arien2. Sonata for violin op. 1, nr.63. Three pieces for a Musical Clock
'Some of the most joyously delightful music that you will ever hear' (American Record Guide) 'Rimsky’s youthful quintet is a thoroughly diverting piece … like a garrulous but endearing friend whose loquacity is readily borne for the sake of his charm and good nature' (Penguin Stereo Record Guide) 'Two delightful rarities' (The Musical Times) 'Captivating' (Hi-Fi News) 'A most striking performance, beautifully modulated, elegantly phrased ... very well recorded indeed' (BBC Record Review)
Johann Strauss (1825–1899) mimo iż był synem cenionego austriackiego kompozytora, naukę kompozycji, gry na skrzypcach oraz fortepianie pobierał w tajemnicy przed ojcem. Jako sześciolatek stworzył swój pierwszy utwór, a w roli dyrygenta debiutował już w wieku dziewiętnastu lat. Miał wielki wpływ na postrzeganie walców tanecznych, które wywodząc się z przedmieść, za sprawą jego dzieł poczęły wieść prym na najbardziej prestiżowych wiedeńskich salonach. Zasłynął również jako jeden z największych twórców operetkowych. Jego utwory pochopnie postrzegane jako trudne w odbiorze, charakteryzują się niesamowitą świeżością i pogodą. Nazywany Królem Walca, tworzył prawdziwe symfoniczne poematy. Po śmierci ojca połączył własny zespół z jego orkiestrą – razem stały się prawdziwą sensacją drugiej połowy XIX wieku.Tracklista:CD 11. On the Beautiful Blue Danube - Waltz Op. 3142. Pleasure Train - Fast Polka Op. 2813. Roses From the South - Waltz Op. 2814. Spring's Voices - Waltz Op. 4105. Persian March - Waltz Op. 2986. Artist's Life - Waltz Op. 3167. Vienna Blood - Waltz op. 3548. Paris Entry-March - Waltz op. 3549. Long Live the Maguar - Hungarian Fast Polka Op. 332CD 2: Koncert Karnawały1. Jalousie Tango - J. Gade2. Plink, Plank, Plunk! - L. Anderson3. Jazz Conception - P. Zelenay4. If I Were A Rich Man (from musical "The Fiddler on the Roof") - J. Bock, S. Harnick5. Love Smiles Tango - P. Frosini6. Jazz Pizzicato - L. Anderson7. El Relicario - T. Padilla8. Trisch - Trasch Polka - J. Strauss9. Light and Shadow Valse-musette - P. Pizzigoni10. Serenade for Strings - Waltz - P.I. Tchaikovsky11. Scherzo - A. Corelli12. Winter - The Four Seasons - Allegro non molto - A. Vivaldi13. The Lonely Shepherd - J. Last14. Perpetuum Mobile - M. Komchack15. Dance - R. Nelson16. Csardas - V. Monti17. Memory - A. L. Webber18. Belle (from musical "Notre-Dame of Paris") - R. Cocciante