Tracklista:1. Unrequited Love2. Revenge3. Blast from the Past4. Matter of Time5. MI.56. Dinosaur Rock7. Don't Pretend8. Too Proud9. Call of the Wild10. Manslaughter11. Back to the Barracks12. 54-46 (That Was My Number)13. Prevenge (Previously Unreleased)14. You've Got to Pick a Pocket Or Two (Previously Unreleased)
It is typical of Gustav Mahler’s paradoxical nature that during his years of maturity as a composer he worked exclusively in two dissimilar genres, exploring the intimacy and formal compactness of the lied and the public expansiveness of the symphony. It is also characteristic that in Mahler’s output these two genres were mutually influential and that eventually they fused in a work of commanding inventiveness, subtlety and power: Das Lied von der Erde (1907–8). This recording encompasses the first half of Mahler’s career as a song-writer, and contains (with the exception of two unfinished early songs and those that have been lost) all of his songs composed up to 1890. Already during this period, many of Mahler’s songs were related to other, larger-scale works, producing a web of cross-references and allusions. As a student in Vienna during the late 1870s Mahler was already composing songs, but no complete example from this period survives. From 1878 until the early 1880s Mahler worked on two major projects: the cantata Das klagende Lied (published in a revised form in 1899) and the never-to-be finished opera Rübezahl, of which only the libretto survives. In the summer of 1879 the young composer fell in love with Josephine Poisl, the daughter of the postmaster at his home town, Iglau. This first love turned Mahler’s thoughts towards a more intimate musical form and in February 1880 he began work on a collection of five songs, settings of his own texts, dedicated to Josephine. During the spring the romance petered out and Mahler completed only three of the songs, Im Lenz, Winterlied and Maitanz im Grünen. Im Lenz is built up out of the alternation of two contrasting musical ideas, a fast, vigorous setting of the first and third stanzas, and a slower, more mysterious passage for the daydreamer’s answers in the second and fourth stanzas. The first section alludes to material from Das klagende Lied but the second goes further and quotes directly from the cantata. Winterlied begins in relaxed mood with a gently lilting accompaniment that eventually incorporates trills and semiquaver decoration to suggest the spinning wheel, but the song culminates in the despairing outburst of the last three lines. There follows an extended coda for the piano which draws on Waldmärchen (the first part of Das klagende Lied) for its consolatory closing bars. These two songs are quite different in style to the third: they both aspire to the sophistication of lieder, while Maitanz im Grünen is a Gesang, a simpler song in a style influenced by popular and folk music. Maitanz was eventually published, slightly altered, as the third of the Lieder und Gesänge under the title Hans und Grete. Here it is followed by Winterlied and Im Lenz, the two other songs completed in 1880. For all its apparent simplicity, Hans und Grete is an important work in Mahler’s oeuvre. He used some of its text (and presumably its music) in Rübezahl. But the song is most significant because it is the earliest manifestation of Mahler’s fascination for the Ländler (a type of rustic waltz), which is portrayed in the song with robust simplicity. The idiom and some of the music from this song were re-used in the scherzo of Mahler’s Symphony No 1, and in his later works the dance was subjected to increasingly imaginative transformation. Having previously supported himself chiefly by teaching, Mahler entered (as he called it) ‘the hell of theatrical life’ during the summer of 1880 when he obtained a temporary appointment as conductor (and odd-job man) at a tiny summer theatre at Bad Hall. Four years later he had made considerable progress up the ladder of success – he was a conductor at the theatre in Kassel – and was in love again. And for a second time love generated the creative momentum that resulted in the composition of songs, in this case Mahler’s first large-scale masterpiece, the song-cycle Lieder eines fahrenden Gesellen. The cycle looks backwards and forwards. At the end a passage from Waldmärchen is quoted for poetic reasons: on both occasions the music accompanies the passage into sleep of a character who will never wake. However, Mahler recognized that some of the music of the cycle had the potential for symphonic expansion, and material from the second and fourth songs appears in the first and third movements of the Symphony No 1, completed four years later. The Gesellen songs began life in December 1884 as a group of six poems addressed to Johanna Richter, an opera-singer at Kassel, but its subsequent history is far from simple and accounts for the significance of Colin Matthews’s new edition, recorded here for the first time. Mahler set four of the poems in the mid-1880s but the earliest score to survive is a neat copy of a version for voice and piano dating from around 1891. The cycle was orchestrated and extensively revised during the 1890s. The first performance, conducted by Mahler, was given in 1896, and the orchestral score and a new version for voice and piano were published the following year. However, through some oversight these two publications differ in significant details; the version with piano accompaniment represents an intermediate stage in the work’s evolution, somewhere between the 1891 copy and the composer’s final thoughts embodied in the published full score. Colin Matthews has therefore prepared a new edition for voice and piano which corresponds to Mahler’s orchestral version. Mahler’s verses are not great poetry. The vocabulary is conventional and the image of a grief-stricken wanderer striving for forgetfulness was a Romantic commonplace. The first poem even borrows heavily from two folk texts included in Des Knaben Wunderhorn. But Mahler’s music transcends the texts’ limitations, and possesses both originality and universality. The work is the first of Mahler’s large-scale compositions to project a spiritual journey in music which is constantly evolving, developing and moving onwards. The poet may achieve peace in death beneath the linden tree, but the music is as much concerned with mirroring the eternal regeneration of Nature. The Lieder und Gesänge, published in 1892, are not a song-cycle, but simply collect together songs composed over a period of ten years. (The designation ‘aus der Jugendzeit’ was added by the publisher after Mahler’s death.) Hans und Grete is the third of the Poisl songs of 1880 and Frühlingsmorgen and Erinnerung were probably written shortly after its completion. Frühlingsmorgen uses a melodic phrase from Waldmärchen – the common poetic idea is again that of sleep – while Erinnerung is the first of Mahler’s songs about artistic creation. By 1887 Mahler was a conductor at the Leipzig Stadttheater, and it is likely that the two Molina settings were composed for the Leipzig premiere of Molina’s Don Juan in October 1887. Both songs are brief and uncomplicated, Serenade having the subtitle ‘with the accompaniment of wind instruments’ and Phantasie a footnote recommending the use of a harp for the accompaniment. In 1806 Achim von Arnim and Clemens Brentano published the first volume of a collection of folk poetry entitled Des Knaben Wunderhorn. Some of the poems included were accurate transcriptions of folk texts, while others were original poems by the editors. The majority, though, fell between these two extremes; based on popular sources they presented a highly romanticized vision of folk poetry. Exactly when Mahler became acquainted with the collection is uncertain. His own early texts are all written in a pseudo-folk idiom, and Wenn mein Schatz Hochzeit macht is obviously based on a poem included in the Wunderhorn. Mahler’s own comments are contradictory, but the songs in Books II and III of the Lieder und Gesänge are his first acknowledged Wunderhorn settings. Mahler met Weber’s grandson in 1887. Captain von Weber owned his grandfather’s sketches for a comic opera entitled Die drei Pintos and, impressed by the young conductor’s enthusiasm for Weber’s music, asked Mahler to complete the work. Mahler’s version of the opera had some success on German stages, but the project also brought Mahler into contact with the Captain’s family. The result was an affair with von Weber’s wife, Marion, and the composition of some Wunderhorn songs for his children. Between 1887 and 1890 further Wunderhorn settings followed to complete the last two books of the Lieder und Gesänge. The music of Mahler’s Wunderhorn songs matches perfectly the fusion of folk-like simplicity and artistic sophistication in Arnim and Brentano’s texts. Some of the songs take popular music as their starting point, for example, the Ländler (Selbstgefühl) or the military march (Aus! Aus!). Others use melodic shapes typical of German folk-song (Um schlimme Kinder artig zu machen), or allude to folk melodies associated with the original text (Zu Strassburg auf der Schanz’). The result is a musical language of extraordinary flexibility which can reflect the humour of Starke Einbildungskraft, the irony in the girl’s responses in Aus! Aus!, and the despair and desolation of Nicht wiedersehen! Mahler never orchestrated the Lieder und Gesänge, though he began an orchestral version of Zu Strassburg auf der Schanz’. One song did achieve a purely instrumental form: Ablösung im Sommer is the basis of the third movement of Mahler’s Symphony No 3. Looking back at his student songs, Mahler said in 1896: ‘The songs I wrote at that time were inadequately worked out, as my imagination was still too wild and undisciplined. For it’s the hardest of tasks, and requires the highest art and skill, to achieve something great in a small space.’ The songs of the 1880s show how well he had mastered the miniaturist’s art. Paul Banks © 1983
Tracklista: CD 1 1. Blue Cee 2. Ecclusiastics 3. Hog Callin' Blues 4. Introduction to Symphony Sid 5. Take the 'A' Train 6. Fables of Faubus 7. Eat That Chicken #2 8. Monk, Funk Or Vice Versa 9. Oh Lord, Don't Let Them Drop That Atomic Bomb On Me, Drop It On Themselves, Coz They Made It 10. Eat That Chicken #3 CD 2 1. Eat That Chicken #4 2. Reets and I 3. Monk, Funk Or Vice Versa #2 4. Devil Woman 5. Eat That Chicken #5 6. Introduction to Symphony Sid #2 7. Peggy's Blue Skylight 8. Tijuana Table Dance (A.k.a. Ysabel's Table Dance) 9. Eat That Chicken #6 CD 3 1. I Can't Get Started 2. Monk, Funk Or Vice Versa #3 3. Please Don't Come Back from the Moon 4. Eat That Chicken #7 5. Eat That Chicken #8 6. Monk, Funk Or Vice Versa #4 7. O.P. 8. The Search
“Quebec Magnetic” to dwa niesamowite koncerty Metalliki z trasy Death Magnetic na dwóch płytach DVD i Blu-ray! Wydawnictwo zawiera zapis dwóch koncertów Metalliki jakie odbyły się w Quebecu w 2009r. Materiał wyreżyserował długoletni współpracownik zespołu - Wayne Isham. Wszystkie utwory wykonane podczas obu występów zostały wybrane przez fanów zespołu za pośrednictwem oficjalnej strony internetowej Metalliki. Wydawnictwo zawiera też materiał bonusowy – film dokumentujący wizytę zespołu w Quebecu i wywiady z fanami.1. That Was Just Your Life 2. The End Of The Line 3. The Four Horsemen 4. The Shortest Straw 5. One 6. Broken, Beat & Scarred 7. My Apocalypse 8. Sad But True 9. Welcome Home (Sanitarium) 10. The Judas Kiss 11. The Day That Never Comes 12. Master of Puppets 13. Battery 14. Nothing Else Matters 15. Enter Sandman 16. Killing Time 17. Whiplash 18. Seek & DestroyDODATKOWE UTWORY 1. For Whom the Bell Tolls 2. Holier Than Thou 3. Cyanide 4. Turn the Page 5. All Nightmare Long 6. Damage, Inc. 7. Breadfan 8. Phantom LordDODATKI Wywiady z zespołem I fanami nagrane w Quebecu
For our fi rst recording (Very British, ARS 38 066) we selected works from the baroque and contemporary repertoire, played on modern instruments. Inspired by the principles of historically informed performance practice, we make use of period instruments to a greater extent. On our new program, entitled Old Friends, we play a variety of Baroque instruments in addition to modern instruments. Harry Ries, the ensemble’s ancient music expert, unlocked the acoustic potential of these instruments for us – a sound that is unique, attractive and strikingly different from that of modern instruments. The smaller scale length, the lack of valves on the Baroque trumpet, and the different shapes of the mouthpieces present us, the musicians of the wes10brass ensemble, with an entirely new sound spectrum and, in combination with modern instruments, with a remarkable variety of timbral characteristics. During the recording of Old Friends we made a conscious decision to use both modern and historical (Baroque) instruments in order to highlight these differences and to reveal the stylistic diversity of the ensemble.
Tracklista:1. Complimentary Dismemberment Insurance2. This Day Is a Loaf3. Grow Up4. Lil Norge5. But I Don't Wanna Sing About Guitars6. People's Partray7. Olympic Portions8. You Sleep Good Now9. Hovering Above That Hill10. Denominator Bluise11. Hosanna in the Forest
In many of J. S. Bach’s cantatas, passions and oratorios, the oboe – and its various relatives such as the oboe d’amore and oboe da caccia – plays a prominent role. Using it as his preferred obbligato instrument, Bach obviously cherished the versatility of the oboe and selected it to accompany arias that deal with grief and heavenly joys, repentance and pastoral calm. It is therefore odd that no major concertante works for oboe by Bach have survived – or have they? Researchers have for a long time thought that his keyboard concertos were originally composed for other instruments, and much evidence points to certain of them being intended for the oboe, or oboe d’amore. Four such works have been gathered here, together with the Adagio from the composer’s Easter Oratorio, in performances by Alexei Ogrintchouk, one of today’s outstanding oboists. Starting to perform internationally at the age of 13, Ogrintchouk is currently principal oboist of the Royal Concertgebouw Orchestra, combining the position with solo engagements around the world. On his first solo disc for BIS he also directs the Swedish Chamber Orchestra himself, and is joined by dazzling young violinist Alina Ibragimova in the well-loved Double Concerto in C minor.
Tracklista: 1. One Dime Blues2. Easy Rider Blues3. Jack O'diamonds4. Match Box Blues5. Beggin' Back6. He Arose from the Dead7. See That My Grave Is Kept Clean8. That Crawlin' Baby Blues9. All I Want Is Pure Religion10. Corinna Blues11. Hot Dogs12. Rambler Blues
Tracklista: CD 1 1. Boulder Buff 2. The Booglie Wooglie Piggy 3. Chattanooga Choo Choo 4. I Know Why 5. Don't Cry Cherie 6. Cradle Song 7. Sweeter That The Sweetest 8. I Guess I'll Have To Dream The Rest 9. Take The 'A' Train 10. Peekaboo To You 11. The Angels Came Thru 12. Under Blue Canadian Skies 13. Cowboy Serenade, The (While I'm Rollin' My Last Cigarette) 14. You And I 15. Adios 16. Are You Rusty, Gate? (Live) 17. Intermezzo (Live) 18. It Happened In Sun Valley 19. I'm Thrilled 20. The Kiss Polka 21. Delilah 22. From One Love To Another (Danza Lucumi) 23. Elmer's Tune 24. Georgia On My Mind (Live) 25. Says Who? Says You, Says I! CD 2 1. Everybody Loves My Baby (Live) 2. The Gentleman Needs A Shave (Live) 3. On Brave Old Army Team (Live) 4. Make Believe Ballroom Time 5. You've Got Me This Way 6. A Nightingale Sang In Berkeley Square 7. I'd Know You Anywhere 8. Solid As A Stonewall, Jackson (Live) 9. Oh So Good (Live) 10. Anchors Aweigh (Live) 11. Tiger Rag (Live) 12. Fresh As A Daisy 13. Isn't That Just Like Love? 14. Along The Santa Fe Trail 15. Do You Know Why? 16. Somewhere 17. Yes, My Darling Daughter 18. A Stone's Throw From Heaven 19. Helpless 20. Long Time No See, Baby 21. You Are The One 22. Our Love Affair (Live) 23. Lights Out! Hold Me Tight! (Live) 24. Limehouse Blues (Live) 25. There I Go (Live) 26. Down For The Count (Live) CD 3 1. You Walk By (Live) 2. Anvil Chorus (Parts 1 & 2) 3. Daisy Mae (Live) 4. Are You Jumpin' Jack? (Live) 5. Mem'ry Of A Rose, The 6. I Do, Do You? (Do You Believe In Love?) 7. Chapel In The Valley 8. Prairieland Lulaby 9. The Blues My Naughty Sweetie Gives To Me (Live) 10. Ida! Sweet As Apple Cider 11. Song Of The Volga Boatmen 12. The One I Love, The (Belongs To Somebody Else) 13. You Stepped Out Of A Dream 14. I Dreamt I Dwelt In Harlem 15. Sun Valley Jump 16. There'll Be Some Changes Made 17. Sentimental Me (Live) 18. When That Man Is Dead And Gone 19. The Spirit Is Willing 20. A Little Old Church In England 21. Perfidia 22. It's Always You 23. Spring Will Be So Sad (When She Comes This Year) 24. The Air Minded Executive CD 4 1. The Nearness Of You 2. Mister Meadowlark 3. My Blue Heaven 4. Body And Soul (Live) 5. When The Swallows Come Back To Capistrano 6. A Million Dreams Ago 7. Blueberry Hill 8. A Cabana In Havana 9. Be Happy 10. Angel Child 11. On The Alamo (Live) 12. The Call Of The Canyon 13. Crosstown 14. What's Your Story, Morning Glory? 15. Fifth Avenue 16. I Wouldn't Take A Million 17. A Handful Of Stars 18. Old Black Joe 19. Yesterthoughts 20. Falling Leaves 21. Shadows On The Sand 22. Goodbye, Little Darlin', Goodbye 23. Five O' Clock Whistle 24. Beat Me Daddy, Eight To The Bar 25. Ring Telephone, Ring
Tracklista:1. Political Animal2. Listen to the World3. White Gold in the Aral Sea4. Scratch the Surface5. Obsession6. What Are You Gonna Do?7. Synthetic Sin8. Calvary9. I Rode That Tide With the Starry-eyed