Tracklista:1. Mountain2. Bob Lennon John Dylan3. Playing Dead4. Prawn5. Jason6. Celestial Bodies7. Silent Orb8. Sunbed9. Give Up Your Dreams10. Myth
The Christmas Oratorio is one of Bach's greatest masterpieces and this recording is one of The Sixteen's finest. Mark Padmore is one of today’s greatest ‘Evangelist’s’, and this recording shows him at his very best. During his years as Leipzig’s Director Musices, Bach supplied at least three complete annual cycles of Cantatas for the church year. The rich variety of his writing for solo voices and orchestra along with thrilling choral textures is well represented in the three cantatas on this disc.Bach’s Mass in B minor displays all the ingredients that contribute to his supreme ranking amongst his peers of any age, and also demonstrates the breadth of compositional skills amassed during his lifetime. It demands choral singing of blistering athleticism but also sensitive, responsive and, at times, majestic orchestral playing coupled with virtuosic obligato
Wydanie 180 gram.Tracklista:LP 1:1. Eternal Dark2. Excalibur3. Jesus4. All Night In Red Light5. Powertrash6. Fever7. Open The Gate8. Revolution9. Speed Of Samurai10. Warriors Of The World11. Behind The Walls Of DeathLP 2:1. Seven Witches2. Conquer3. Torcher4. The Trial5. City Ad Mortis6. Midnight Delight7. Bombers8. Attack9. Discovery10. Trip To Doom11. Condemned To The Gallow12. Beelzebub'S FriendLP 3:1. Bite In Anger2. Suicide3. Playing Games4. Angels Of Beware5. Ancient Steel6. You'Re In My Heart7. Misantrope8. I'M The One To Blame9. I Want To Live10. Starbreaker11. Profession Of Violence
Tracklista:1. When the Sun Goes In2. Nobody Loves You Like I Do3. We Watch the Stars4. Licence to Be Cruel5. Til Tonight6. You Made Me Write a Love Song7. Secret Party8. Little Girl9. You Do My Head In10. Playing You11. Out of Control12. Fallen
Największe przeboje Ennio Morricone na dwupłytowym albumie. Tracklista:CD 11. Gabriel's Oboe2. The Good, The Bad and The Ugly3. Mission4. For a fistful of dollars5. Duck, You Sucker6. Once Upon a Time in the West7. Once upon a time in America8. To The Ancient Stairs9. Cinema Paradiso10. Moses11. A trumpet12. Brothers13. Ave Maria Guarani14. Once Upon a Time in the West15. The Legend of the Pianist on the Ocean16. Wild Bunch17. For a fistful of dollars18. Playing Love19. For a fistful of dollars20. The Return Of Ringo21. Cinema Paradiso22. Gabriel's Oboe23. The Legend of the Pianist on the OceanCD 21. Gabriel's Oboe2. The Good, The Bad and The Ugly3. Mission4. For a fistful of dollars5. Duck, You Sucker6. Once Upon a Time in the West7. Once upon a time in America8. To The Ancient Stairs9. Cinema Paradiso10. Moses11. A trumpet12. Brothers13. Ave Maria Guarani14. Once Upon a Time in the West15. The Legend of the Pianist on the Ocean16. Wild Bunch17. For a fistful of dollars18. Playing Love19. For a fistful of dollars20. The Return Of Ringo21. Cinema Paradiso22. Gabriel's Oboe23. The Legend of the Pianist on the OceanWykonawcy:CD11, 23 - QUINTETTO D'OTTONI E PERCUSSIONI DELL'ORT2 - CHAKIRA3 - 9 NINO ROTA ENSEMBLE10 -13 FABIANO MANIERO,SILVIO CELEGHIN,SILVIA CALZAVARA14, 21 - CINEMA SERENADE ENSEMBLE15 - MARINO RISI,ANTONELLO SASSONE16, 20, 22 - NAZCA17 - TARAHUMARA18 - MATOGROSSO19 - JOHN CALTRAN CD21 - 3 GIADA MONTELEONE4, 20 FABIANO MANIERO,ALESSANDRO MODENESE,MOVIE TRIO5 - 7 MOVIE TRIO,FABIANO MANIERO,ALESSANDRO MODENESE8 -14 MOVIE TRIO15 - 16 QUINTETTO D'OTTONI E PERCUSSIONI DELL'ORT17 MASCAGNI BASSOON QUARTET18 - 19, 21 BENEDETTA CARETTA
Chandos signed Karen Geoghegan as an exclusive artist in 2007 following her wonderful performances on the BBC TV‘The Classical Star’ programme. This is her fourth recording with the label, following her CD of works by Hummel,Weber, Berwald, Jacobi, Elgar and Gershwin, her CD of French music for bassoon and piano, and her contribution, in theSuite-Concertino in F major, to Noseda’s Wolf-Ferrari CD. All of these received much acclaim, and the expressivematurity and sensitivity of her playing have quickly cemented her status as a rising star: ‘Name five internationally famous bassoon soloists. Archie Camden, Gwydion Brooke and, er, that’s it. Except I think weshall soon be adding the name of Karen Geoghegan to the roll call…’GramophoneSince graduating from the Royal Academy of Music this year, Karen Geoghegan has been playing first bassoon with theesteemed BBC Philharmonic, Philharmonia Orchestra, and Ulster Orchestra with which she is currently on trial. She madeher BBC Proms debut in 2009, performing Mozart’s Bassoon Concerto with the BBC Philharmonic under GianandreaNoseda. The same strong partnership is performing again on this new release, with Mozart’s Concerto featuringprominently. Its second movement in particular is stunning as it unfolds in an almost operatic manner as a soulful aria-likeline for the bassoon against the gently rhythmic accompaniment of the orchestra, the strings muted throughout.Whereas Mozart’s work is widely recognised as the veritable cornerstone of the bassoon repertoire, the compositions byCrusell and Kreutzer are little-heard but distinguished vehicles for the instrument. Rossini’s Bassoon Concerto wascompletely unknown until relatively recently. It was only in the early 1990s that it came to light among a nineteenthcenturycollection of manuscripts that had been archived at the library in Ostiglia, near Mantua. Vigorous and exhilarating,but with a dreamy and pensive second movement, this Concerto was a real find. In the third movement, Rossini puts thebassoon through some hair-raising paces across the whole range of its available register, before finally providing asatisfyingly high-spirited ending to an intriguing work.
Tracklista: 1. We Can Mess Around2. Cruel to Be Kind3. As Lovers Do4. I'll Take Good Care of You5. Hey Baby (They're Playing Our Song)6. Do the Cod7. God Bless (Whoever Made You)8. Everybody9. Private Number10. Give Me Back My Love11. It's All Over Now
Reedycja na pojedynczym winylu debiutanckiej płyty amerykańskiej dancepunkowej formacji LCD Soundsystem. Imienna płyta pochodzi z 2005 roku. Wyprodukował ją team The DFA, w którego skład wchodzili Tim Goldsworthy, Jonathan Galkin oraz lider kapeli, James Murphy. Płyta "LCD Soundsystem" uzyskała nominację do Grammy w kategorii "Best Electronic/Dance Album" oraz pokryła się złotem na Wyspach. To właśnie z niej pochodzą znakomite single LCD Soundsystem "Daft Punk Is Playing At My House" oraz "Tribulations". Tracklista: Side A 1. Daft Punk Is Playing At My House 2. Too Much Love 3. Tribulations 4. Movement 5. Never As Tired As When I’m Waking Up Side B 1. On Repeat 2. Thrills 3. Disco Infiltrator 4. Great ReleasE
‘A catalogue of revelations on how the Russian composer’s piano music should sound … one of the finest performances I’ve ever heard from the Scottish pianist—Osborne presented a textbook demonstration of clarity of thought and purpose … a philosophy which banished notions of Rachmaninov’s music as turgid, densely textured emotional upheaval in sonic form. This was so clear it had a rare purity, wholly refreshing the music in all its parts’ (The Glasgow Herald) ‘Textures that on the page look impossibly convoluted emerged wonderously clear, fluent and beauteous’ (Financial Times)Steven Osborne’s live performances of Rachmaninov’s preludes were greeted ecstatically by critics and audience alike: a new benchmark for performances of these works, and a new departure for this most subtle and sensitive of pianists. Now Steven has committed the complete cycle to disc—a surprisingly rare recording venture in itself. His matchless musicianship has rarely been so blazingly evident as it is here. Also apparent is his deeply individual relationship with the repertoire. This is a disc to treasure.Steven Osborne writes … ; Recently as I was exploring a book shop I saw the banner ‘Tragic Life Stories’ over an entire wall of books. I laughed, but I could have cried, and not in the way the authors presumably hoped. What a bizarre phenomenon this is, the sudden emergence of a genre of writing which apparently delights in describing personal misery at its most heart-breaking. Why do I mention this? Well, I adore Rachmaninov’s music—there are few composers who speak to me more directly. Yet I know a number of musicians, including some whose opinion I greatly respect, who think his music shallow, even cheap. I have a suspicion that for some of them, this music is a bit like one of these stories—not so much emotionally explicit as manipulative, calculated to draw the maximum sympathy from a credulous audience. (At least, this is what appears to underlie the famous entry in the 1954 Grove Dictionary which laments Rachmaninov’s ‘artifical and gushing tunes’.) It may be a tempting response to a composer whose music fits seamlessly into the classic film Brief Encounter, but the charge doesn’t really stand up to scrutiny: listening to Rachmaninov’s piano-playing, one hears a clarity and emotional discretion which is the antithesis of such sensationalism.I cannot dismiss all ‘Rachmaninophobes’ so easily, and there is an issue here which interests me: what does it mean for music to have depth? Compare Rachmaninov’s music to Schubert’s, and it seems to me clear that the latter contains much greater complexity of emotion. Schubert’s later works in particular blend innocence, violence, sublime playfulness, humility, dread, and innumerable other emotions in the most potent fashion; as a result, there are very many ways of understanding his music, depending on how one balances these conflicting elements. With Rachmaninov there is one element which dominates: a sense of melancholy to which his music returns again and again. Correspondingly, there is less ambiguity to the music. Does this make it less deep, less meaningful? I think the better response is to say it is less complex, because Rachmaninov expresses more profoundly than almost anyone else what it means to feel hopeless, to long for what is unattainable; the depth of feeling is, to me at least, unquestionable. This helps me make sense of the antipathy some have towards Rachmaninov’s music. The more ambiguous a piece of music is, the more likely we will find personal meaning in it. If, however, we are directly confronted with a rather depressive musical world, it is understandable that some will find that threatening, self-indulgent, or else simply uninteresting.I am of course overstating the case to make my point. Rachmaninov’s music can contain a wonderful variety of mood, as these preludes clearly show. Still, it is worth asking how many pieces here reflect a truly positive, outgoing frame of mind. Even the most sunny and ebullient—those in the major keys of B flat, C, E and A flat—have their moments of inwardness, the last three of these ending with a kind of retreat into privacy. I think this is a telling instinct in music which is otherwise so open, suggesting that the pull of introversion was difficult for Rachmaninov to overcome.‘Tragic Life Stories’ notwithstanding, it is possible to write an account of a difficult life which transcends details of abuse or neglect (as Frank McCourt’s Angela’s Ashes triumphantly shows). I think there is a real sense in which Rachmaninov’s music tells us such a story. It may be dominated by the pain and sadness of his life but it expresses much else besides, and when we reach the astonishing climax of the final prelude, I find it impossible not to be deeply moved that a man like Rachmaninov was capable of creating such a rich and life-affirming gesture.INTERNATIONAL RECORD REVIEW 'OUTSTANDING' AWARD; BBC MUSIC MAGAZINE INSTRUMENTAL CHOICE; GRAMOPHONE EDITOR'S CHOICE; THE TIMES CLASSICAL CD OF THE WEEK; THE SUNDAY TIMES CD OF THE WEEK ; DAILY TELEGRAPH CD OF THE WEEK ; MUSICAL OPINION RECORD O F THE MONTH'Outstanding Rachmaninov playing of acute perception, discretion and poetic sensibility, limpid, powerful and luminous in equal measure' (BBC Music Magazine)'There are few pianists who offer such range and depth of palette: not even Ashkenazy's seminal reading … This has award-winner written all over it' (Gramophone)'Extremely impressive all round … Osborne lavishes a remarkable level of authority on every one of these masterworks, playing with a rare combination of technical ease, tonal lustre and idiomatic identification. He also has the undeniable advantage of a magnificent Steinway instrument with a rich, opulent sonority and great solidity in its bass register … In summary, Osborne goes from strength to strength as he moves through the cycle, wrapping up the final page of the concluding D flat prelude in a blaze of glory … For a truly spellbinding modern account, Osborne now holds the winning ticket' (International Record Review)'Osborne is perhaps the most convincing since Vladimir Ashkenazy … His dazzling technique illuminates the virtuosic allegro and allegretto sections, and his playing has a Rachmaninovian pliancy and beautifully achieved rubato in lyrical passages. One of the piano discs of the year' (The Sunday Times) 'This sensational pianist … brings his technical wizardry and, above all, his penetrating musical intelligence to these much-recorded works of Rachmaninov… In his combination of modesty, inner fire and natural virtuosity he brings to mind that other Rachmaninov master, Ashkenazy' (The Observer)'The brilliant Scottish pianist Steven Osborne is unafraid of challenges … He scales the 24 preludes of the great Sergei, and does so with passion and authority … Osborne flies free without ever rampaging. Sorrow and sunlight, death and life, all Rachmaninov is here, in three dimensions, luscious colour and widescreen. A most exciting release' (The Times)'This is an absolutely superb disc, one of the very finest integral sets of these works I have ever heard. Osborne's playing is magnificent throughout … This issue simply has to go to the top of the recommended list' (Musical Opinion)'This astonishingly good full set recording … Osborne's musicality is exquisite, addictive and sensational. This is a disc you'll want to listen to over and over again' (The Scotsman)
Wanda Landowska, who continued to perform and record up to her death in 1959, was renowned as the greatest harpsichordist of the first half of the twentieth century, resurrecting the instrument and taking a scholarly approach to the performance of music from the seventeenth and eighteenth centuries. This recording of Bach’s Well-Tempered Clavier, made between 1949 and 1954, was begun to commemorate the bicentenary of the death of Bach in 1750. As with all of Landowska’s recordings, what strikes the listener most is her vitality, her musical integrity, and her total commitment to the music she is playing. A contemporary reviewer noted at the time, “All such features of her playing should be studied and pondered, for here is a great musician interpreting in the light of long and fruitful experience and study. Those who know the score best should forget their theories and listen to what she has to say.”