1. A Rush and a Push and the Land Is Ours2. I Started Something I Couldn't Finish3. Death of a Disco Dancer4. Girlfriend in a Coma5. Stop Me If You Think You've Heard This One Before6. Last Night I Dreamt That Somebody Loved Me7. Unhappy Birthday8. Paint a Vulgar Picture9. Death at One's Elbow10. I Won't Share You
Tracklista:1. Into the Ritual (Intro)/Reincarnation2. Waiting for the Maggots3. Insomnia4. After Death5. Cannibalistic Killer6. The Things That Were (And Shall Be Again)/Chorus of the Doomed (Outro)7. Art of Butchery8. Necromantic Love-affair9. Ashes from the Past10. The Fifth Season11. Reincarnation12. Waiting for the Maggots13. Insomnia14. Cannibalistic Killer15. The Things That Were (And Shall Be Again)
Tracklista: 1. Take It Or Leave It2. Inside Out3. If We're Livin'4. Dirty Game5. Watch Yourself Grow6. Raise Your Glasses7. Singing Stormy Weather8. Big Attraction9. All That She Brings10. Fork in Your Tongue
Tracklista: 1. This Is Just The Beginning 2. Candylion 3. The Court Of King Arthur 4. Lonsome Words 5. Cycle Of Violence 6. Painting People Blue 7. Beacon In The Darkness 8. Con Carino 9. Gyrru Gyrru Gurryu 10. Now That The Feeling Has Gone 11. Ffrwydriad Yn Y Ffurfafen 12. Skylon!
This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.
Tracklista:1. Fade (To Shades of Black)2. By the Day (One More Shave'n'haircut)3. Mindful4. That Won't Stop Me5. I Always Will6. Water Is My Friend
Tracklista:1. Hey Porter2. Luther Played the Boogie3. So Doggone Lonesome4. I Walk the Line5. Give My Love to Rose6. Goodbye Little Darlin'7. Rock Island Line8. Big River9. Five Feet High and Rising10. Guess Things Happen That Way11. I Got Stripes12. Folsom Prison Blues13. When I've Learned14. Ballad of the Harp Weaver15. The Rebel - Johnny Yuma16. Busted
Tracklista: CD 1 1. Low Down And Lonesome 2. Come To Me 3. Back Down To Lonely 4. Crying Too Long 5. Wouldn't Mind The Rain 6. Good Luck Baby Jane 7. Save A Heart 8. The Fire Down Below 9. Good Woman At Home 10. You've Been Around 11. So Many Ways 12. Close Enough 13. I'll Never Love Again 14. Go Easy 15. A Love Like Yours CD 2 1. Hey Baby 2. Tell My Baby Goodbye 3. No Reason 4. It's Not Impossible 5. If There Could Be 6. Sunshine 7. Just Holding On 8. Any Way That You Want Me 9. Until Tonight 10. Tear It Up 11. You Fill My Life 13. San Diego Serenade 14. The Dream Never Dies 15. Lay Back In The Arms Of Someone 12. One Step At A Time
Tracklista:1. I Can't Feel the Freeze Or Fade (Intro)2. The Timeless Now3. Cherry Cola4. Ditchglass, They Think5. Invisible Jets6. Makes Me Miss the Misery Girls7. Scented Pictures8. Press Play9. The Fever That Goes Up and Down10. Fast Hat, Main Hat11. Most Boys
On the occasion of the 400th anniversary of Giovanni Gabrieli’s death, who was one of the most influential musicians of the Venetian School, we are pleased to present you with this extraordinary recording of “La Musica per San Rocco”. "La Musica per San Rocco" can be imagined as a type of music event which must have been usual in 17th Century Venice, and which represented its relish for splendour and freedom from strict schemes very well. Thomas Coryat wrote 1611 in his report "Coryat's Crudities": "The third feast was upon Saint Roches day being Saturday and the sixth day of August, where I heard the best musicke that ever I did in all my life both in the morning and in the afternoone, so good that I would willingly goe an hundred miles a foote at any time to hear the like...This feast consisted principally of musicke, which was both vocall and instrumentall, so good, so delectable, so rare, so admirable, so superexcellent, that I did even ravish and stupifie all those strangers that never heard the like...".