Tracklista: 1. Northpole Blues 2. Blood Meridian I 3. It Ain't Easy 4. Rain 5. Made It To 27 6. Nothing's Changing 7. Let It Fly 8. Blood Meridian II 9. Awesomeness Of Love 10. Love Is Such A Waste 11. Am I Losing My Mind 12. Life In A Fish Tank
Tracklista:1. Everyone Out2. Cut & Run3. Everything Goes Wrong4. I Don't Wanna Go Out5. Guilt and Shame6. The World Is Falling Apart7. Such a Mess8. Song of the Animals9. Nothing Ever's Gonna Be Alright10. Second-hand Shame11. ~12. Save the Future13. Likes of Me
Volume 48 of Masaaki Suzuki’s and Bach Collegium Japan’s traversal of Johann Sebastian Bach’s cantatas opens with Cantata 43, O ewiges Feuer, o Ursprung der Liebe – a jubilant work intended for Whit Sunday 1727, but with its origins in an earlier, secular wedding cantata. Its scoring, with three trumpets and timpani, returns in the closing work, Gott, man lobet dich in der Stille (BWV 120) composed for a festive church service marking the annual town council election in Leipzig. But the programme also also offers moments of introspection and quiet beauty, such as the celebrated alto aria Ich will dich all mein Leben lang from Cantata 117, here performed by the counter-tenor Robin Blaze, well-known to the followers of this series. Cantata 98 contains another heartfelt aria: Hört, ihr Augen, auf zu weinen, sung by the soprano Hana Blažíková, whose performances on recent releases have impressed many reviewers. With approximately another eight volumes remaining of this great undertaking, the energy and dedication of Masaaki Suzuki and his musicians show no signs of flagging, and the recent volumes 46 and 47 were warmly welcomed by reviewers around the world, receiving distinctions such as ‘Critics’ Choice’ in Gramophone, ‘Choral Choice of the Month’ in BBC Music Magazine and ‘Recording of the Month’ on the website MusicWeb-International, as well as top marks in Diapason (5 Diapasons) and on klassik-heute.de (10/10/10).
Tracklista:1. Bye Bye Baby2. The Chaperone3. Tell Him4. Party Lights5. Seven Day Fool6. What's a Matter Baby7. I'm On My Way8. Is It True (What They Say About You)9. Just a Little Bit10. I Don't Want to Take a Chance11. Playboy12. Keep Your Hands Off My Baby13. I Sold My Heart to the Junkman14. Voodoo Voodoo15. Puddentane16. You Ain't Such a Much17. Camel Walk18. Oh Lover19. A Fool in Love20. She'll Be Gone21. Don't Let Her Take My Baby22. Baby, Please Don't Go23. Don't Let Him Shop Around24. I Want a Guy25. Got My Mojo Working26. Two Lovers
In their survey of the trio sonata, the four members of London Baroque have already visited France, England and Germany before arriving at the actual birthplace of the genre – Italy in the 17th century. There the years around 1600 had seen ground-breaking developments in vocal music, such as the seconda prattica characterised by the clear division between a single melodic line and a supporting continuo bass. Now instrumental music was becoming important in its own right, and soon the violin was recognized as the ideal vehicle for a new style which is obvious already in the very first trio sonatas, such as Giovanni Paolo Cima’s Sonata a tre from 1610. The term ‘trio sonata’ is a later expression, and in 17th-century Italy the terms commonly used were ‘Sonata a due’ (two melody instruments plus continuo), and ‘Sonata a tre’ (three melody instruments – usually two soprano and one bass – plus continuo). The form could also vary, from ‘free’ sonatas to sets of variations, chaconnes and passacaglias. From this almost bewildering variety, London Baroque has selected 16 works which chart the development from the origins of the genre to its ‘coming of age’ with Arcangelo Corelli, in the 1680s. Already famous in his own lifetime, when he was one of the most influential composers in all of Europe, Corelli is an exception among the composers featured here: many of his colleagues are all but forgotten today, and little is known about their lives. There are also great gaps in our knowledge about the music itself – for instance regarding the instrumentation (what kind of cello would have been used?) and the use of ornaments. In such uncharted waters, London Baroque provides much-needed and expert guidance, as testified to in a review of their recording of sonatas from 17th-century France on the German website Klassik Heute: ‘Everything that one might possibly wish for in a performance of this music is present here: charm, elegance, eloquence, force, flexibility, fire, intimacy, and most importantly: soul.’
The duo is at its most direct during the intro to Stanley Myers' melancholic "Cavatina," the theme song to Michael Cimono's classic The Deer Hunter (1978), but ultimately dissolves into freer time, again still respecting the song's essence. It's their innate ability to head into uncharted territory while remaining reverential to their source that makes Peacock and Copland such a compelling duo. A clear window into the improvisational mindset, Insight is another high water mark for both of these fine, interpretive, and consistently inventive musicians.
Tracklista:1. The Woodlands Of Old2. An Odd Question From A Forest Bird3. From Thunder That Shakes4. The Yage Letters5. The Hunters Moon6. Mountain Cloud Descending7. Procession8. Crow Hushing The Floating Woods9. The Mahogany Free (Sheltered)10. He Laughed Himself To The Centre11. Unsettling Sky12. Humbled Before Your Presence13. Who Had Such Foolish Care14. Circle The Corn15. Centipede16. Dry Wind Blown17. Haxaal's Dream18. Heavilly He Flies19. The Dark Pines20. The Sun Lends Warmth And Comfort21. A Welcome Beneath Night's Darkness
Tracklista:1. There's Something Seriously Wrong With Me2. Brandy Breath3. Take Your Meds4. MacGowan's Seeth5. This Is a Pig6. Such a Bore7. Forward to Fun8. For My Life9. Don't Mind Me10. Highway 111. F**ked 1712. Might We Dance13. Hooray for the Holidays
Country musician Kenny Rogers performs live with his band The First Edition and special guests. Featuring live clips from the early days of the American singer-songwriter's career, the performance includes tracks such as 'Ruby Don't Take Your Love to Town', 'Ain't No Sunshine' and 'Bridge Over Troubled Water'.
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.”