Tracklista: 1. Deluxe (Immer Wieder) 2. Walky-Talky 3. Monza (Rauf Und Runter) 4. Notre Dame 5. Gollum

• Wykonawca Harmonia
• Data premiery 2018-05-25
• Nośnik Płyta Analogowa

Pięciopłytowe wydawnictwo "Deja Vu" (Definitive Gold) przedstawia Antologię aż 100 oryginalnych, klasycznych nagrań słynnych gwiazd muzyki francuskiej. Występują : Maurice Chevalier, Charles Trenet, Edith Piaf, Yves Montand, Juliette Greco, Charles Aznavour, Gilbert Becaud, Leo Ferre, Georges Brassens i Jacques Brel.Tracklista:CD 1: Maurice Chevalier1. Valentine2. Quand Un Vicomte3. Paris Sera Toujours Paris4. Ca Fait D'excellents Francais5. Fleur De Paris6. Ca Sent Si Bon La France7. Ma Pomme8. Prosper9. Si Vous Connaissiez Ma Poule10. MimiCharles Trenet:11. Je Chante12. Boum!13. Menilmontant14. Y'a D'la Joie15. La Romance De Paris16. Le Soleil et La Lune17. La Vie Qui Va18. J'ai Ta Main19. Hop ! Hop !20. Un Rien Me Fait ChanterCD 2: Edith Piaf1. La Vie en Rose2. L'accordeoniste3. Mon Legionnaire4. Bravo Pour Le Clown5. Hymne a L'amour6. L'etranger7. C'est a Hambourg8. Elle Frequentait La Rue Pigalle9. C'etait Une Histoire D'amour10. Les Amants De ParisYves Montand:11. A Paris12. Les Feuilles Mortes13. Les Enfants Qui S'aiment14. Jolie Comme Une Rose15. C'est Si Bon16. Il Chantait17. Et La Fete Continue18. Ainsi Va La Vie19. Barbara20. La Grande CiteCD 3: Juliette Greco1. Sous Le Ciel De Paris2. Je Suis Comme Je Suis3. Si Tu T'imagines4. Embrasse - Moi5. La Rue Des Blancs - Manteaux6. La Belle Vie7. La Fourmi8. A La Belle Etoile9. Romance10. Il Y AvaitCharles Aznavour:11. Plus Bleu Que Tes Yeux12. Jezebel13. Il Pleut14. J'ai Bu15. Poker16. Oublie Loulou17. Je Suis Amoureux18. Retour19. Le Feutre Taupe20. Je N'ai Qu'un SouCD 4: Gilbert Becaud1. Les Croix2. Quand Tu Danses3. Mes Mains4. Viens5. Madame Pompadour6. Ding - Dong Sonnez7. Donne - Moi8. Un Nouveau Printemps9. C'etait Mon Copain10. Moi Je SaisLeo Ferre :11. La Vie D'artiste12. A Sint Germain De Pres13. La Femme Adultere14. Le Temps Des Roses Rouges15. L'ile Saint - Lous16. Les Cloches De Notre Dame17. Paris - Canaille18. Le Metro19. Notre Amour20. Le Pont MirabeauCD 5: Georges Brassens1. La Mauvaise Reputation2. Le Parapluie3. Le Petit Cheval4. Le Gorille5. La Chasse Aux Papillons6. Hecatombe7. Maman, Papa8. Le Mauvais Sujet Repenti9. Comme Hier10. Pauvre Martin11. Brave MargoJacques Brel:12. La Haine13. Grand Jacques14. Le Diabel15. Il Peut Pleuvoir16. Il Nous Fait Regarder17. Le Fou Du Roi18. Sur La Place19. Qu'avons - Nous Fait, Bonne Gens ?20. Les Pieds Dans Le Ruisseau

• Wykonawca Brel Jacques , Greco Juliette , Aznavour Charles , Becaud Gilbert , Edith Piaf , Montand Yves , Brassens Georges , Chevalier Maurice
• Data premiery 2006-01-01
• Nośnik CD

'Lost music re-born' said the BBC Music Magazine of 'Magister Leoninus 1' issued in 1997. That disc won a Diapason d'Or d'Année and appeared among the BBC's 'Best of the Year' discs. Here is a second CD of austere and beautiful music by this mysterious master from the 12th-century School of Notre Dame, of whose name we are not even sure. Red Byrd's new recording includes compositions for three of the most important feasts in the liturgical year: Christmas, Easter and Pentecost.Music for the office from twelfth-century ParisThe history of late twelfth-century polyphony was first written a hundred years after the event by a monk who may have come from Bury St Edmunds; history has not entrusted us with his name and he is usually referred to by the title he received when his treatise was first published in the nineteenth century: Anonymous IV. Anonymous as he was, he tells us about two of the most important composers of the fifty years either side of 1200: the magistri Leoninus and Perotinus. Leoninus, we are told, wrote a cycle of two-part settings of the most important chants in the liturgical year—Christmas, Easter, Assumption and other feasts; this cycle was called the Magnus liber organi (‘The great book of organum’). Perotinus and his contemporaries played an important role in the careful recasting and elaboration of this repertory. According to the monk from Bury St Edmunds, Perotinus either shortened or edited (interpretations vary) Leoninus’ great book of organum; long sections of almost improvisatory scope were rewritten according to the tighter principles of discant composition that Perotinus himself may have contributed to codifying. Both Leoninus and Perotinus worked at the Cathedral Church of Notre Dame de Paris. While little is conclusively known about the biography of Perotinus, recent fashion has inclined to identify Leoninus with Leo, a canon of Notre Dame in later life and, incidentally, an author of neo-Ovidian homoerotic poetry.Organa of the type that make up Leoninus’ Magnus liber organi are polyphonic settings of plainsong. The original chants employ two musical styles: the solo sections are elaborately melismatic and contrast with the simpler, more syllabic, sections sung by the schola. It is the melismatic solo sections of the chant that are set polyphonically. The result is that a performance of organum involves polyphony and plainsong. Most of the music for the office written by Leoninus and his contemporaries consisted of settings of responsories. A responsory was made up of a respond followed by a verse, followed by a repeat of part of the original respond. The ‘Gloria Patri’ follows, and the work concluded with either the complete responsory or a part thereof, depending on the status of the feast (three of the seven responsories on this recording include a complete repeat). Within each of these main sections are settings of both solo and choral chants. The respond consists of just the first couple of words set in polyphony followed by the rest of the choral chant; the verse is entirely set in polyphony; the partial repeat of the respond is always in plainsong; the ‘Gloria Patri’ is set sometimes in polyphony, and sometimes left as plainsong. In the case of the responsory Sedit angelus, two settings are preserved in the principal manuscript for this repertory, and Red Byrd perform them both. In a liturgical context, only one of these would have been used.Leoninus’ organa dupla of the Magnus liber organi took the plainsong and did one of two things with it: for the more syllabic sections of the chant that he set, he laid out the lowest part (the tenor) in long notes and wrote highly elaborate, rhapsodic lines above it (the duplum); this style of music was called organum per se (medieval terms vary, and theorists took a pedantic pleasure in pointing out the complexities of usage for a term—organum—that could mean a complete piece or a generic style or, as here, a subsection). Alternatively, he took the long melismas of the chant and organized them into repeating rhythmic cells and wrote a correspondingly tight rhythmic duplum above it. The rhythmic organization of this procedure gave rise to what are called the rhythmic modes (this style was called discantus). Both types of music exist within the same composition; the sections based on highly melismatic chants that use the rhythmic modes are called clausulae when they are given discrete, self-contained forms. The resulting structure of alternations of plainsong, organum per se and discantus can be illustrated by a transcription of the text of Repleti sunt omnes:    Repleti sunt omnes Spiritu Sancto et ceperunt loqui prout Spiritus Sanctus dabat eloqui illis. Et convenit multitudo dicencium. Alleluya. Loquebantur variis linguis apostoli magnalia Dei. Et convenit multitudo dicencium. Gloria Patri, et Filio, et Spiritui Sancto. Alleluya.In this transcription, those parts of the text that are left in plainsong are given in roman type, those in organum per se in italics and passages in discantus are given in bold italics. Full-blown clausulae, where sections in discantus are structured according to pattern are much rarer in the responsory than in the settings of the gradual or alleluya for the Mass (see Red Byrd’s Magister Leoninus: Music for the Mass from 12th-Century Paris, CDH55328), and more often represent digressions from the sustained-tone style of organum per se than carefully patterned clausulae. In the cases of the three processional works—Christus resurgens, Sedit angelus and Advenit ignis—only the verse is set in polyphony, and the antiphon and responds are left in plainsong.Red Byrd’s recording includes compositions from three of the most important feasts in the liturgical year: Christmas, Easter and Pentecost. One of the two Christmas responsories, Descendit de celis is furnished with a prosa, further sections of plainsong that decorate the original chant—in the same way that the organum itself decorates the plainsong. It is not entirely clear whether the liturgy at Notre Dame allowed both the use of a prosa and organum simultaneously, or whether each could be deployed on different occasions. In any case, Red Byrd provide a complete version of the piece including organum and prosae. The responsories recorded here are for either of the two most important offices of the liturgical day: Vespers and Matins. Iudea et Iherusalem is the responsory at First Vespers on Christmas Day (actually sung the night before) and Descendit de celis is the third responsory (out of a total of nine) for Matins on Christmas Day.Three of the works on this recording were composed for processions. Sedit angelus and Advenit ignis are processional responsories, and Christus resurgens is a processional antiphon. Unlike the responsories, which were sung in the choir at Notre Dame, they were sung at various points around the cathedral and its environs. Christus resurgens was written for the procession to the Baptistry of Saint-Jean-le-Rond after Second Vespers on Easter Sunday and Saturday in Easter Week, and Advenit ignis was destined for the procession before Mass on the feast of Pentecost. Sedit angelus was used an astonishing number of times: in the procession after Second Vespers on its return to Notre Dame, on Easter Sunday and Sunday after Easter, in the procession after Terce during the return from Saint-Jean-le-Rond and Saint-Denis-du-Pas, during the Octave of Easter and the Fifth Sunday of Easter, and in the procession on arrival at Saint Marcel, on the second Rogation Day before Ascension. The final work on this recording sets one of the best-known texts in the entire liturgy. Benedicamus Domino was heard at the end of every one of the canonical hours and at the end of the Mass when the ‘Gloria’ was not sung. The principal manuscript for this repertory contains no fewer than eleven settings, of which the one recorded here is the ninth.Performing the duplum lines in organum per se is a skill that is difficult to regain eight centuries after this music was originally conceived. The music notated in the original manuscripts gives a mixture of information: some idea of what the composer’s overall structure might have been, an idea of at least one (and probably more than one) performer’s view of the music—and it has to be remembered that a performer’s ‘view’ of this music would almost certainly have entailed changes to pitch and rhythm, and a sense of what a thirteenth-century editor would have done in trying to copy down and render consistent a wide range of material. So these sections which, in their floridity, resemble late eighteenth- and early nineteenth-century coloratura vocal lines, differ in that they are not just blueprints to be ornamented; they are blueprints that have already been partially ornamented, and the singer of the duplum part treads a very careful path between the slavish duplication of a medieval performer’s view of the work and the complete recreation of Leoninus’ music. In this recording, Red Byrd include a composition that in turn includes a rare example of what medieval theorists called copula, where—for short passages in organum per se—the upper voice adopts the rhythms of discantus in a sequential pattern and then returns to its original style. This is audible in the verse of Iudea et Iherusalem, as the first syllable of ‘Constantes’ changes to the second and after the short passage of discantus on the word ‘estote’.It used to be thought that the sustained notes in organum duplum were to be held relentlessly: a challenge to breath control and the sanity of the singer taking the part. Re-readings of thirteenth-century theory suggest that the tenor is responsible for contributing with great subtlety to the texture of the work by breaking the sound, at the same time as one or more of the upper voices, and this is the procedure that Red Byrd employ in this recording.The editions of the music are taken from the manuscripts Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1 (polyphony) and Paris, Bibliothèque Nationale de France, fonds Latin 15181–2 (plainsong). The music appears in volume 2 of Le Magnus liber organi de Notre Dame de Paris (Monaco: Éditions de l’Oiseau-Lyre, 2003). The English translations were supplied by Leofranc Holford-Strevens, and thanks are also due to Mary Berry and the Schola Gregoriana of Cambridge for their assistance.Mark Everist © 2001

• Wykonawca Red Byrd
• Data premiery 2010-08-01
• Nośnik CD

Tracklista: 1. A Travers La Prairie D'Asphodeles2. Elagabalium3. La Tristesse Du Bien Divin4. Quand Notre Monde a Perdu Son Eclat5. La Gloire Des Avatars Déchus6. La Table D'émeraude7. Tandis Que Les Parjures Se Meurent

• Wykonawca Ave Tenebrae
• Data premiery 2016-11-25
• Nośnik CD

1. Symphony No. 1 in E major 45:372. Notre Dame, opera: Act 1. Introduction 4:293. Notre Dame, opera: Act 1. Interlude 4:594. Notre Dame, opera: Act 1. Carnival Music 5:51

• Wykonawca Malmo Symphony Orchestra
• Data premiery 2009-03-09
• Nośnik CD

Tracklista: 1. Deluxe (Immer Wieder) 2. Walky-Talky 3. Monza (Rauf Und Runter) 4. Notre Dame 5. Gollum

• Wykonawca Harmonia
• Data premiery 2018-05-25
• Nośnik Płyta Analogowa

Tracklista: LP 1 Side A 1. Electric Ballroom LP - 5/10 2. 12XU (Fragment) 3. Underwater Experiences 4. Everything's Going To Be Nice 5. Piano Turner (Keep Strumming Those Guitars) 6. We Meet Under Tables Side B 1. Zegk Hopq 2. Eastern Standard 3. Instrumental (Thrown Bottle) 4. Eels Sang Lino 5. Revealing Trade Secrets 6. And Then Coda LP 2 Side C 1. Notre Dame Hall LP - Go Ahead 2. Ally In Exile 3. Relationship 4. Underwater Experiences 5. Witness To The Fact S6. 2 People In A Room 7. Our Swimmer 8. Heartbeat Side D 1. Our Swimmer 2. Midnight Bahnhof Cafe 3. Second Length (Our Swimmer) 4. Catapault 30

• Wykonawca Wire
• Data premiery 2014-09-01
• Nośnik Vinyl / 12" Album

Tracklista: 1. Introit 2. Kyrie 3. Domine Jesu Christe 4. Sanctus 5. Pie Iesu 6. Agnus Dei 7. Lux Aeterna 8. Libera Me 9. In Paradisum 10. Ubi Caritas Et Amor 11. Tota Pulchra Es 12. Tu Es Petrus 13. Tantum Ergo 14. Notre Pere 15. Kyrie 16. Gloria 17. Sanctus 18. Benedictus 19. Agnus Dei  

• Wykonawca Simcock Iain
• Data premiery 1995-06-15
• Nośnik CD

Tracklista: 1. Firepower Kills 2. The Black Hand Reaches Out 3. Crushed Beneath The Tracks 4. Defiance Of Fate 5. Unraveling 6. Heart Of Darkness 7. Power Unsurpassed 8. Outer Reaches 9. Notre Dame (King Of Fools) 10. Glorious End

• Wykonawca Warbringer
• Data premiery 2020-04-24
• Nośnik CD

Angela Gheorghiu, zniewalająco uwodzicielska i wrażliwa artystka, w której życiu szczególne miejsce zajmuje Royal Opera House i Covent Garden, w których po raz pierwszy poruszyła wyobraźnię i serca miłośników opery na całym świecie. Prezentujemy jej recital na żywo z 2001 roku, podczas którego widzimy Gheorghiu w rolach, w których występowała w teatrze oraz na płytach (Adriana Lecouvreur, Madama Butterfly, Manon). Jej wykonania muzyki Belliniego, Mozarta i Haendla są magiczne. Dodatkowo usłyszymy utwory z jej rodzimej Rumunii oraz Broadwayu.Tracklista:1. Applause2. Lascia ch'io pianga3. Porgi amor4. Allons! Il le faut!...Adieu, notre petite table5. Depuis le jour6. Tu che di gel sei cincta7. Un bel dì vedremo8. Ecco: respiro appena...Io son l'umile ancella9. Casta Diva....Ah! bello a me ritorna10. O mio babbino caro11. Câte flori pe deal in sus12. I Could Have Danced All Night

• Wykonawca Gheorghiu Angela
• Data premiery 2017-01-20
• Nośnik CD