Tracklista:1. With No Advantage2. The Gilded Fear That Guides the Flow3. Of Everything That Rhymes4. Is in It's Clearest Form5. An Image Apart from Ourselves6. Whose Palms Create7. As a Weaver Would8. A Shade of Celadon9. So Etched in Memory10. Upon the Break Arch11. That Wounded Weathered12. Shut-ins On Sunday See13. The Very Edge of It's Flame14. And Relent
Winylowa wersja albumu Justina Biebera z 2010 r.Tracklista:Side A1. Baby 2. Somebody To Love 3. Stuck In The Moment 4. U Smile 5. Runaway Love Side B1. Never Let You Go 2. Overboard 3. Eenie Meenie 4. Up 5. That Should Be Me
Although Britten is particularly celebrated for the substantial body of music he composed for the tenor voice—almost all of it directly inspired by the artistry of his long-term partner and creative muse, Peter Pears—the composer also left an important legacy of music for baritone. Characteristically, Britten’s output for low voice was also inspired by the talents of specific performers with whom he was closely associated, among them Dietrich Fischer-Dieskau, John Shirley-Quirk, Owen Brannigan and Benjamin Luxon. In addition to song-cycles, individual songs and folksong arrangements, Britten wrote challenging baritone roles in operas as diverse as Billy Budd (1951), Owen Wingrave (1970) and Death in Venice (1972)—the title role of the second of these made very much Gerald Finley’s own in his magnificent interpretation in Margaret Williams’s 2001 television film of the opera. Even when Britten was writing for other singers, however, Pears’s influence remained apparent in the composer’s choice of texts for musical setting, which often reflected the tenor’s literary tastes as well as Britten’s own.The many poems set to music by Britten when he was a prolific schoolboy composer date from long before he met Pears, and the composer’s literary choices were at that early stage fairly conservative. Britten’s favourite poet during his youth was Walter de la Mare, and in 1968 the mature composer assembled a set of five of his juvenile settings of de la Mare’s poetry under the title Tit for Tat, which was given its first performance by John Shirley-Quirk and the composer at the Aldeburgh Festival in 1969. In his programme note written for the occasion, Britten commented that he had made his selection from songs composed between the ages of fourteen and seventeen; he said that he had ‘cleaned them very slightly, and here at this first performance, offer them in gratitude to the poet’s son, the wise and encouraging chairman of my new publishers, whose father’s poems have meant so much to me all through my life.’ (The reference was to Richard de la Mare, who was celebrating his seventieth birthday in that year, and who had become Chairman of Faber Music in 1966, having previously served as Chairman of the parent company Faber & Faber.) Britten’s punctilious attention to detail in his manuscripts meant that all the songs could be dated fairly precisely: ‘A Song of Enchantment’ was composed in January 1929, ‘Autumn’ (originally accompanied by string quartet) on 28 January 1931, ‘Silver’ on 13 June 1928, ‘Vigil’ on 23 December 1930, and the concluding title song in the first two weeks of 1929. In his preface to the published score, Britten noted that ‘oddly enough, the inadequacies seemed to be more striking in the later songs—new musical styles had appeared on the composer’s horizon too recently to be assimilated … At any rate, although I hold no claims whatever for the songs’ importance or originality, I do feel that the boy’s vision has a simplicity and clarity which might have given a little pleasure to the great poet, with his unique insight into a child’s mind.’Four years before Shirley-Quirk gave the premiere of Tit for Tat, the Aldeburgh Festival had also been the venue for a more substantial and challenging baritone cycle, the Songs and Proverbs of William Blake. Britten’s close association with the legendary German baritone Dietrich Fischer-Dieskau began in the early 1960s, and the baritone parts in Britten’s War Requiem (1962) and Cantata Misericordium (1963) had been written specifically for him to sing. Shortly afterwards the composer embarked on the composition of a solo song-cycle designed to showcase Fischer-Dieskau’s unique blend of intense lyricism and dramatic characterization, and Britten turned for inspiration to the vivid and sometimes visionary poetry of William Blake. Britten’s working title for the cycle—which was based on fourteen short but striking Blake texts selected by Pears—was Songs and Sentences of William Blake. The score was completed on 6 April 1965, the manuscript inscribed with the words ‘For Dieter: the past and the future’. The work, under its slightly revised title, was first performed by its dedicatee and composer at Aldeburgh’s Parish Church on 24 June 1965, and six months later the two men recorded their powerful interpretation for Decca at Kingsway Hall, London.Britten’s Blake cycle returns in places to the dark intensity of his much earlier Blake setting, ‘The Sick Rose’ (‘Elegy’) from the Serenade for tenor, horn and strings of 1943. Both the fully chromatic melody and striking image of cankerous corruption in the earlier song look directly ahead to the Songs and Proverbs—which are based on texts drawn from Blake’s Songs of Experience (1794), in which ‘The Sick Rose’ is also to be found. With the addition of one poem from the Songs of Innocence (1789) and several epigrams from the undated Proverbs of Hell, Britten created a continuous structure in which the Proverbs are set to recurrent but constantly reworked ritornello material, a structural plan familiar from other Britten works of the late 1950s and early 1960s (principally the orchestral song-cycle Nocturne, the opera A Midsummer Night’s Dream and the Cantata Misericordium). These stark Proverbs are clearly distinguished from the songs they punctuate by their disconcerting lack of metrical synchronization between voice and piano—a feature retained from the Church Parable Curlew River, composed in the previous year—and they also make limited use of twelve-note techniques.As so often in Britten’s later music, the tension between luminous diatonicism and elusive chromaticism is exploited throughout the cycle as a potent symbol for the conflict between innocence and experience at the heart of Blake’s poetry. The settings of ‘London’ and ‘Every Night and every Morn’ that frame the cycle are closely related in their ambiguous and subtly disturbing chromaticism, while greater tonal simplicity is reserved for natural scenes: the bright glow of ‘The Tyger’ and the lament for ‘The Fly’. Moments of tremendous rhetorical power are strategically located in ‘A Poison Tree’ and ‘Ah, Sun-flower’. ‘A Poison Tree’ features a highly original use of simple major and minor triads within a context of chromatic saturation. The young Britten had previously set this same Blake text to music on 2 March 1935; the earlier song remained unperformed until 1986, and is also included in the present recording. As in the opera The Turn of the Screw (1954), the intense chromaticism of the mature treatment of this gripping text serves as a graphic symbol of cankerous evil, and forms the utterly chilling core of the cycle.The last of Britten’s many published sets of folksong arrangements was prepared in the summer of 1976, shortly before his death, and featured harp rather than piano accompaniment since the composer had for some time been too ill to accompany Pears in public. The harpist Osian Ellis had accordingly become one of Pears’s regular accompanists, and the 1976 folksongs were designed to serve (as had Britten’s earlier folksong settings with piano) as popular encore items for the duo. ‘She’s like the swallow’ and ‘Bird Scarer’s Song’ were first performed in this capacity at the Aldeburgh Festival on 17 June 1976, and ‘Lemady’ was first performed at the University of Chicago on 10 November 1977. ‘David of the White Rock’ (‘Dafydd y Garreg Wen’) was a tribute to Ellis’s Welsh ancestry. The Eight Folksong Arrangements of which these songs formed part were published posthumously in two distinct editions in 1980, the original with harp accompaniment and an alternative version with piano accompaniment prepared by the composer’s music assistant Colin Matthews.The other songs on the present disc also received exposure and publication only after the composer’s death in December 1976. Several date from the early 1940s when Britten and Pears were beginning to make their names in the USA as a recital duo: these include the setting of ‘Greensleeves’ and ‘The Crocodile’, the latter performed on 14 December 1941 at a concert given under the Auspices of the American Women’s Hospitals Reserve Corps at Southold High School in upstate New York, as part of a programme that also included Charles Dibdin’s ‘Tom Bowling’ (1789)—a song of which Britten later prepared his own realization, launched at the Aldeburgh Festival in 1959 and recorded by Pears in the same year. ‘I wonder as I wander’ was frequently performed alongside Britten’s folksong arrangements in his recitals with Pears following their return to the UK in 1942, but they never recorded or published it since they subsequently discovered that the words and melody were not in the public domain: the song had been published by John Jacob Niles in 1934, and in direct consequence Britten’s version did not receive its first recording until 1995, thanks to a belated special arrangement between Niles’s publishers and the Britten Estate. The triptych ‘Evening’, ‘Morning’ and ‘Night’ (first published in 1988) originally formed part of the incidental music Britten composed in 1945 for the Masque and Anti-Masque of This Way to the Tomb, a play by Ronald Duncan, who in the following year went on to provide the libretto for Britten’s opera The Rape of Lucretia.Two other songs date from the 1950s, although the date of the second remains uncertain. In 1952, Britten prepared a comic duet arrangement of the Appalachian folksong ‘The Deaf Woman’s Courtship’ for Kathleen Ferrier to sing as part of a national tour with Pears and Britten conceived with the aim of raising funds for the English Opera Group. According to Britten’s memoir of Ferrier, she sang her part ‘in a feeble, cracked voice, the perfect reply to Peter’s magisterial roar. A masterpiece of humour, which had the audience rocking, but never broke the style of the rest of the concert.’ After Ferrier’s untimely death, the contralto part was taken over by Norma Procter, though the arrangement was to remain unpublished until 2001. Britten’s setting of Goethe’s ‘Um Mitternacht’ (published in 1994) was probably composed in 1959, shortly after the composer’s strong interest in German poetry had borne fruit in his tenor song-cycle Sechs Hölderlin-Fragmente. At this time, Pears was enjoying an enviable reputation as one of the leading exponents of Lieder in the world, repeatedly earning ecstatic reviews in the German press that inspired the BBC to capitalize on this success by carefully promoting his and Britten’s work in Germany.
Tracklista: 1. Goodbye Friend Number One2. Brute3. Inside Good Times4. Clives5. All of You6. Mi Re Do7. Ahavas Oylam8. Little Arrows9. Der Leiermann10. Fallen Innocent Wandering Thieves11. They Can't Take That Away from Me12. Burnt13. Hulyet, Hulyet14. Goodbye Friend Number Two
'Krysia Osostowicz and Susan Tomes have a wonderful naturalness about their playing; it is true chamber music' (The Times) 'Subtle enough to suggest that for both artists these performances were a revelatory voyage of discovery' (Gramophone)
Tracklista: CD 1 1. 3/4 A.D. (With Davey Graham) 2. She Fooled Me 3. Gotta Move 4. Rain Is Such A Lonesome Sound 5. I Got My Brand On You 6. Keep Your Hands Off 7. I Wanna Put A Tiger In Your Tank 8. I Got My Mojo Working 9. Down Town 10. How Long, How Long Blues 11. I Thought I Heard That Train Whistle Blow 12. I'm Built For Comfort (Aka Everything She Needs) 13. Up-Town 14. Rockin' 15. Night Time Is The Right Time 16. See See Rider 17. Blue Mink 18. Rainy Tuesday 19. Yogi 20. Sappho 21. Preachin' The Blues 22. Taboo Man 23. Whoa Babe 24. Every Day I Have The Blues 25. Well All Right, Ok, You Win CD 2 1. Little Bitty Gal Blues 2. Hoochie Coochie Man 3. Kansas City 4. Woke Up This Morning 5. Stormy Monday 6. Cabbage Greens 7. Chicken Shack 8. Haitian Fight Song 9. I Need Your Loving 10. Please Please Please 11. Little Baby 12. Roberta (Single Version) 13. I Got A Woman 14. Oh Lord, Don't Let Them Drop That Atomic Bomb On Me 15. Long Black Train 16. Rock Me 17. I'm So Glad 18. Wednesday Night Prayer Meeting 19. Oo-Wee Baby 20. River's Invitation 21. Money Honey 22. Louise 23. Floating 24. Rosie CD 3 1. Yellow Dog Blues 2. The Love You Save 3. Corina, Corina 4. Mary Open The Door 5. Little Bitty Girl 6. Go Down Sunshine 7. The Same For You 8. I'm Tore Down 9. In The Evening 10. Somethin' You Got 11. What's That Sound I Hear 12. I Wonder Who? 13. Operator 14. Steal Away 15. Mighty Mighty (Spade And Whitey) 16. Funky 17. Wild Injun Woman 18. To Whom It May Concern 19. I See It 20. You Don't Miss Your Water
City To City / Night OwlCity To City1. The Ark - Gerry Rafferty 5:362. Baker Street - Gerry Rafferty 6:013. Right Down The Line - Gerry Rafferty 4:204. City To City - Gerry Rafferty 4:515. Stealin' Time - Gerry Rafferty 5:396. Mattie's Rag - Gerry Rafferty 3:287. Whatever's Written In Your Heart - Gerry Rafferty 6:308. Home And Dry - Gerry Rafferty 4:529. Island - Gerry Rafferty 5:0410. Waiting For The Day - Gerry Rafferty 5:27Night Owl1. Days Gone Down (Still Got The Light In Your Eyes) - Gerry Rafferty 6:332. Night Owl - Gerry Rafferty 6:103. The Way That You Do It - Gerry Rafferty 5:064. Why Won't You Talk To Me - Gerry Rafferty 4:015. Get It Right Next Time - Gerry Rafferty 4:446. Take The Money And Run - Gerry Rafferty 5:517. Family Tree - Gerry Rafferty 5:558. Already Gone - Gerry Rafferty 4:529. The Tourist - Gerry Rafferty 4:1410. It's Gonna Be A Long Night - Gerry Rafferty 4:22
Tracklista:1. The Island of Love2. We Are Gone3. Shouldn't I Be Someone Else4. All Because of the Moon5. Sister & Brother6. On a Night Like This7. I Miss You8. Do You Remember Dreams9. The House That Jack Broke10. I Miss You Most On Sundays11. The Further On I Go12. It's Enough to Make You Fall in Love
Tracklista:1. Theme Tune to a Japanese B-movie Horror2. Signal3. Predictable4. Desire5. Tidal6. Beast7. Toad8. Come With Me9. Parts That Make The (W)hole10. We Are Machine11. Restless Feeling
Wyczekiwany debiutancki album Liama Payne’a, który święcił wielkie sukcesy z grupą One Direction, a teraz doskonale radzi sobie na listach przebojów solo. Na krążku znalazły się takie hity jak „Strip That Down”, „Polaroid”, „For You” i „Stack It Up”. Pełna tracklista poniżej. „Strip That Down” w duecie z Quavo (Migos) sprzedało się dotychczas w nakładzie przekraczającym 11,5 mln egzemplarzy na całym świecie i zgromadziło 1,8 miliarda streamów. „Polaroid” ma wynik 2 mln sprzedanych egzemplarzy. Najnowszy singiel promujący „lp1” to „Stack It Up” z gościnnym udziałem rapera A Boogie wit da Hoodie. Liam Payne nagrywał płytę w Londynie, Nowym Jorku i Los Angeles. Współpracował z topowymi producentami i kompozytorami, w tym z Ryanem Tedderem, Edem Sheeranem, Zeddem, Jonasem Blue, Stevem Mackiem, Joe Londonem oraz The Monsters and The Strangerz. Jak przyznaje sam artysta: „Ostatnie lata były pełne niesamowitych doświadczeń, które posłużyły mi za inspiracje. Krążek jest uosobieniem mojej pasji do muzyki. Miałem szczęście pracować z najlepszymi ludźmi w branży. Myślę, że piosenki, które powstały, bardzo dobrze oddają to, kim jestem, z czego jestem niesamowicie dumny. Wsparcie fanów ma dla mnie olbrzymie znaczenie, nie mogę się doczekać, gdy będą mogli usłyszeć całość!” Liam Payne solo sprzedał ponad 18 mln singli w zaledwie dwa lata. Liczba streamów jego katalogu przekroczyła 3,7 miliarda.