
Canadian singer-songwriter Leonard Cohen performs live in San Sebastian. Recorded in May 1988, the tracks performed include 'Bird On the Wire', 'Chelsea Hotel', 'Hallelujah' and 'So Long, Marianne'.
- Data premiery 2017-01-03
- Nośnik DVD

Canadian singer-songwriter Leonard Cohen performs live in San Sebastian. Recorded in May 1988, the tracks performed include 'Bird On the Wire', 'Chelsea Hotel', 'Hallelujah' and 'So Long, Marianne'.

Ścieżka dźwiękowa do jednego z najbardziej wyczekiwanych filmów roku - "Bohemian Rhapsody" - porywającej opowieści o Freddie'em Mercury. Największe hity Queen w wersjach studyjnych i najlepsze wykonania koncertowe, w tym 11 niepublikowanych dotąd nagrań. Za produkcję 22 utworów z soundtracku odpowiadają Brian May i Roger Taylor, ze współudziałem wieloletnich współpracowników Queen: Justina Shirley-Smitha, Krisa Fredrikssona oraz Joshua J Macrae. Masteringiem zajęli się Adam Ayan i Bob Ludwig. „Bohemian Rhapsody” będzie dopiero drugim pełnym soundtrackiem w dyskografii zespołu – pierwszy to „Flash Gordon”. W przeciwieństwie do „Flash Gordona”, na „Bohemian Rhapsody” nie znajdziemy fragmentów filmu. Każdy utwór jest pełnowymiarowy, nawet jeśli na ekranie usłyszymy tylko kilkanaście sekund. Kluczowym zadaniem dla ekipy odpowiedzialnej za soundtrack „Bohemian Rhapsody” było dopasowanie jak najlepszych wersji utworów Queen, zwłaszcza nagrań koncertowych, do scenariusza. Nie chodziło o stworzenie przypadkowej kompilacji największych hitów, lecz spójnej opowieści, która podkreśla najważniejsze punkty historii opowiadanej na ekranie. Aby zapewnić słuchaczom jak najwspanialsze kinowe doznania, Brian May wpadł na pomysł, by Queen wykonał własną wersję słynnego motywu 20th Century Fox. Tak rozpoczyna się zarówno album, jak i film. Film „Bohemian Rhapsody” to porywająca opowieść o zespole Queen, jego muzyce i niezwykłym wokaliście Freddie’em Mercurym, który przełamując stereotypy i konwencje, zdobył uwielbienie niezliczonych fanów. Film ukazuje błyskotliwą karierę zespołu, który dzięki ikonicznym utworom i rewolucyjnemu brzmieniu wspiął się na szczyty sławy, dopóki skandalizujący styl życia Mercury’ego nie postawił wszystkiego pod znakiem zapytania. Triumfalny powrót zespołu podczas koncertu na rzecz Live Aid z udziałem cierpiącego na śmiertelną chorobę Mercury’ego wszedł na trwałe do historii muzyki rockowej i po dziś dzień stanowi źródło inspiracji dla wszystkich tych, którzy czują się inni, niepoprawnych marzycieli i wielbicieli muzyki na całym świecie. Tracklista: LP 1 Side A 1. 20th Century Fox Fanfare 2. Somebody To Love 3. Doing All Right... revisited (Performed by Smile) 4. Keep Yourself Alive (Live At The Rainbow) 5. Killer Queen 6. Fat Bottomed Girls (Live In Paris) Side B 1. Bohemian Rhapsody 2. Now I'm Here (Live At Hammersmith Odeon) 3. Crazy Little Thing Called Love 4. Love Of My Life (Rock In Rio) LP 2 Side C 1. We Will Rock You (Movie Mix) 2. Another One Bites The Dust 3. I Want To Break Free 4. Under Pressure (Performed by Queen & David Bowie) 5. Who Wants To Live Forever Side D 1. Bohemian Rhapsody (Live Aid) 2. Radio Ga Ga (Live Aid) 3. Ay-Oh (Live Aid) 4. Hammer To Fall (Live Aid) 5. We Are The Champions (Live Aid) 6. Don't Stop Me Now… revisited 7. The Show Must Go On

Experimental musician Danielle Dax captured live in performance at the Camden Palace. The tracks performed by the singer include 'Ostrich', 'Pariah', 'Evil Honky Stomp' and 'Here Come the Harvest Buns'.

Though he professed not to enjoy concert giving, Grainger was one of the greatest pianists of the earlier twentieth century and had an intimate understanding of the capabilities of the piano and how best to write for it. He possessed a unique compositional voice and was, in many ways, part of the great composer–pianist tradition stretching from Liszt to Busoni for whom the concert transcription was an essential part of their art.This recording contains the majority of Grainger’s concert transcriptions of music by other composers (his few Bach arrangements are performed by Piers Lane on Bach Piano Transcriptions Volume 3). They range from the folk-inspired Irish Dances of Stanford, full of Grainger’s characteristically extrovert piano writing, to the hyper-romantic lushness and incredible pianistic sophistication of his Ramble on Love based on Richard Strauss’s ‘Rosenkavalier’. All are superbly played by Piers Lane.

The Third Symphony was first performed in January 1930, its final movement setting a text by Semyon Isaakovich Kirsanov praising May Day and the revolution. Shostakovich stated that the work “expresses the spirit of peaceful reconstruction” and yet much of the music is dark and sombre in tone. The Tenth Symphony is one of his most popular and frequently heard works. It was first performed in December 1953 following the death earlier that year of Stalin, although Shostakovich had been working on much of the material incorporated in the symphony for many years. The great Russian soprano Galina Vishnevskaya claimed that the symphony was "a composer’s testament of misery, forever damning a tyrant".

During the 1910’s, at a time when late-romanticism had been taken about as far as possible, the collaboration between Igor Stravinsky and the ballet impressario Sergei Diaghilev had a huge influence on the development of music. Performed by Diaghilev's company Les Ballets Russes, their first joint effort, The Firebird, was a great success in Paris in 1910, and within the space of just a couple of years two further landmarks of twentieth-century music followed: Pétrouchka and Le Sacre du printemps. Stravinsky's clear-cut textures, strong primary colours and almost percussive treatment of the orchestra staked out a route later explored by many of his colleagues. Particularly striking in the case of Pétrouchka was the extensive use of scraps of folk song and street music, treated with extreme refinement and often biting irony – the character of Petrushka, a puppet come to life, was described by Stravinsky as ‘the immortal and unhappy hero of every fair-ground in all countries’. On the present recording the original 1911 version is used, giving an even more immediate and exciting effect. As for The Rite of Spring, the scandal at its 1913 premiere has become legendary – a scandal probably caused as much by Nijinsky’s choreography as by Stravinsky’s score. But even today, the music offers an extremely powerful experience, above all through its rhythmic qualities. Static rhythms, repeated for long stretches, generate enormous latent energy and are contrasted with irregular rhythms that change at bewildering speed. Both scores belong to the pinnacles of 20th-century orchestral music, and are here performed by the Bergen Philharmonic Orchestra conducted by its music director Andrew Litton. Most recently this team have released a highly praised cycle of Mendelssohn’s symphonies, but their Russian credentials are also impeccable, with their recording of Prokofiev’s Romeo and Juliet Suites being described as ‘glittering, colourful, spirited … and with a striking attention to detail’ on the website Klassik-Heute.

Krążek ze ścieżką dźwiękową do filmu "Insider" został ponownie wydany nakładem wydawnictwa Music On CD w 2017 roku. Muzyka została skomponowana przez duet Lisa Gerrard (Dead Can Dance)i Peter Bourke. Pieter Bourke - australijski perkusista, kompozytor i inżynier dźwięku. Współpracował z wykonawcami australijskimi: z zespołem Dead Can Dance, Lisą Gerrard i Davidem Thrussellem (jako Black Lung). Ścieżka zawiera także nagrania Massive Attack i Jana Garbarka. Peter Bourke i Lisa Gerrard otrzymali wspólnie dwie nominacje do nagrody Złotego Globu za Najlepszą Oryginalną Partyturę: w 2000 za film "Informator" (Insider) (film) (z 1999 roku) i w 2002 roku za film "Ali" (film) (z 2001). Tracklista: 1. Tempest Performed By Lisa Gerrard and Pieter Bourke 2. Dawn of the Truth 3. Sacrifice Performed By Lisa Gerrard and Pieter Bourke 4. The Subordinate 5. Exile 6. The Silencer 7. Broken 8. Faith 9. I'm Alone on This 10. LB in Montana 11. Palladino Montage 12. Iguazu Performed By Gustavo Santaolalla 13. Liquid Moon 14. Rites (Special Edit for the Film) Performed By Jan Garbarek 15. Safe from Harm (Perfecto Mix) Performed By Massive Attack 16. Meltdown

Live performance from American guitarist Stevie Ray Vaughan. Recorded in Japan in 1985, the tracks performed include 'Scuttle Buttin'', 'Couldn't Stand the Weather', 'Texas Flood' and 'Superstition'.

Performed by: Małgorzata Zalewska - harp Gary Guthman - trumpet (4,10) Tadeusz Leśniak - keybords, bandeon (3) All music composed by Gary Guthman Mastered by Artur Gasik

San Francisco Ballet perform this production of Prokofiev's ballet based on Shakespeare's tragedy. Recorded in May 2015 and choreographed by Helgi Tomasson, the lead roles are performed by Maria Kochetkova and Davit Karapetyan.