Tracklista:1. All That Reckoning (Part 1)2. When We Arrive3. The Things We Do to Each Other4. Wooden Stairs5. Sing Me a Song6. Mountain Stream7. Missing Children8. Shining Teeth9. Nose Before Ear10. All That Reckoning (Part 2)11. The Possessed
Francesco Ezechiele Ermenegildo, Cavaliere Suppé-Demelli, or as he is more commonly known today, Franz von Suppé, was born in Spalato (Split), then part of the Austrian Empire, to parents of Italian / Belgian and Austrian descent. Although discouraged from a musical career from an early age, Suppé received encouragement from a distant yet illustrious relative, the great Italian opera composer Donizetti. By the 1840s Suppé had carved for himself a successful niche as a composer for the stage, and over the four decades that followed there was rarely a year without a new stage work from him.Although the bulk of his operas and operettas have sunk into relative obscurity, his bright and colourful overtures have survived. Suppé was often referred to as ‘the Viennese Offenbach’, and in fact he was responsible for introducing many of Offenbach’s operettas to the Austrian capital. The Beautiful Galatea was among his first efforts in the style of Offenbach, Suppé here taking on the French composer’s La Belle Hélène.Also on this disc are the overtures to Poet and Peasant, perhaps Suppé’s most familiar, and Boccaccio which is widely regarded as Suppé’s finest work for the stage, based very loosely on the life of Giovanni Boccaccio (1313 – 1375), the Florentine author of the Decameron.It would seem that wars and musical comedy often go hand in hand, perhaps partly for the purpose of deflating military pomposity. Several of Suppé’s operettas are in this vein, including Light Cavalry, The Jolly Robbers, Isabella, and, a major success, Fatinitza, all of which feature military plots in some form.Last, but not least, this disc features Suppé’s overtures to A Morning, Noon, and Night in Vienna, The Queen of Spades, Donna Juanita, and The Model, several operatic marches, the concert march Up Hill and Down Dale, and the Humorous Variations on the beloved Student Song ‘Who comes from afar?’.The works are performed by the Royal Scottish National Orchestra under Neeme Järvi, who in 2012 celebrated his thirty-year recording career with Chandos Records.
Tracklista: CD 1 1. Nobody's Sweetheart 2. Freeze An' Melt 3. Underneath The Harlem Moon 4. I'll Never Be The Same 5. Rockin' Chair 6. Japanese Sandman 7. Poor Richard 8. I Can't Believe That You're In Love With Me 9. Ain't Misbehavin' 10. Doin' What I Please 11. West End Blues 12. Black And Tan Fantasy 13. Heebie Jeebies 14. Collegiate Love 15. Song Of The Islands 16. Tiger Rag 17. Stormy Weather 18. Confessin' 19. Nagasaki 20. After You've Gone 21. Slippery Horn 22. St. James Infirmary 23. Baby Mine 24. I Hate Myself 25. All For The Sake Of Love CD 2 1. Twelfth Street Rag 2. Young And Healthy 3. East St. Louis Toodle-Oo 4. Maniac's Ball 5. Strange As It Seems 6. Rhythm Is Our Business 7. Choo Choo 8. Bundle Of Blues 9. No-One Loves Me Like That Dallas Man 10. Moon Glow 11. Darktown Strutter's Ball 12. Rockin' In Rhythm 13. You Rascal You 14. Stratosphere 15. Hotter Than Hell 16. Big House Blues 17. Sing Sing Isn't Prison Any More 18. Baby, When You Ain't There 19. I've Got Rhythm 20. Be Bo Bo 21. Basin Street Blues 22. Doin' What I Please 23. Comin' 'Nd Gone 24. I've Found A New Baby 25. I'll Putcha Pitcha In The Paper
Tracklista: 1. Intro 2. Masterbook Theater 3. Dallas Got That Soul 4. Who's That Girl? 5. Jubilee (Til the Sunlight) 6. Save It for Another Day 7. Love Crimes 8. Drive 2 Rochester Park 9. Dallas Lady 10. American Weirdo 11. God Save the "D" 12. Denglish Muffins 13. Daydream 14. Electricity 15. Higher 16. To Me Mum 17. Coming Back
Rachmaninov’s Études-tableaux explore a plethora of colours, textures and sonorites and demonstrate the emotional range of the composer’s expression. Howard Shelley gives authoritative performances of these studies and tackles the technical challenges with an easy brilliance. ‘In Shelley’s Rachmaninov series, I think this the finest achievement among them’ (Gramophone) ‘The performance, to say nothing of the sound, is transcendental’ (Acoustic Sounds Catalog, USA) ‘Peerless command and inimitable insights’ (Hi-Fi News) ‘The refinement of the playing reminds one of Rachmaninov’s own classic interpretations: few contemporary pianists can equal Shelley’s elegant phrasing in pianissimo passages or his imaginative and resourceful use of the pedal. Strongly recommended’ (The Monthly Guide to Recorded Music)output reveals him to have been a far more complex artist than such a superficial description suggests. The emotional range of his expression was, in fact, surprisingly wide, and his objectivity—the very antithesis of subjective Romanticism—marks him out as an exceptional composer, doubly so for one of his generation and nationality. As a late nineteenth-century Russian, Rachmaninov exhibits some curious features: he had nothing to do with the nationalist movement and he was a world-famous composer whose influence was negligible. A further paradox is that although he was one of the most popular composers of all time the majority of his works remained virtually unknown for decades after his death. Consequently, his work was—and still is, in some quarters—frequently misunderstood. A clue to his true artistic character can be found in one of the rare interviews he gave, for The Étude in 1941, when he said:In my own compositions, no conscious effort has been made to be original, a Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible. I am a Russian composer, and the land of my birth has influenced my temperament and outlook. My music is the product of my temperament, and so it is Russian music; I have never consciously attempted to write Russian music, or any other kind of music …Romanticism in music centres upon extra-musical thought, and reached its zenith in the nineteenth century with a kind of obsessive self-regarding individualism, a state of mind utterly alien to Rachmaninov’s restrained and profoundly civilized art. Rachmaninov knew that he was not, at heart, a Romantic composer, as were his great pianist-composer predecessors Schumann and Liszt, yet he did not remain entirely aloof from the movement.Although it is tempting to consider the Études-tableaux as the epitome of Rachmaninov’s Romanticism in piano music, he was reluctant to reveal any extra-musical programme to them. Such reticence is foreign to the true Romantic, and in Rachmaninov’s case amounts almost to an anti-Romantic stance.The use of the word ‘tableaux’ is misleading in the present context. Although we know Rachmaninov was inspired by extra-musical subjects in some of them, he said: ‘I do not believe in the artist disclosing too much of his images. Let them paint for themselves what it most suggests.’ The programmes he supplied in 1930 to the Italian composer Ottorino Respighi, who orchestrated five of the Études-tableaux for Serge Koussevitsky and the Boston Symphony Orchestra, seem contrived and full of post hoc justification, without being entirely inappropriate. The ‘tableaux’ are not first and foremost ‘pictures’ in the Musorgskian sense, rather are they successors to Chopin’s Ballades in that they permit poetic interpretation whilst at the same time being composed entirely from musical (and also technical) ideas. The ‘character’ of each piece is dictated by the material, and it is the ‘character’ which is the ‘tableau’.The first set, Op 33, followed immediately upon the thirteen Préludes of Op 32, being written before the Préludes were premiered. Thus they follow a succession of large-scale masterpieces: two operas, the first piano sonata, second symphony, the symphonic poem The Isle of the Dead, the third concerto, the Liturgy of St John; and after this exclusive concentration upon big works during almost the whole of the previous ten years, Rachmaninov doubtless felt the need to express his compositional mastery and newly developed artistic strength in works of the smallest scale. He found the task exceptionally difficult, as it ‘presented many more problems than a symphony or a concerto … after all, to say what you have to say, and say it briefly, lucidly, and without circumlocution is still the most difficult problem facing the creative artist.’ Rachmaninov composed nine Études-tableaux in 1911, but they were not published until 1914, when three were removed—the original No 3 in C minor, No 4 in A minor and No 5 in D minor. Of these, No 4 was revised in 1916 and incorporated (as No 6) into the second set (Op 39), which was written between September 1916 and February 1917. Nos 3 and 5 from the first set remained in manuscript and were found after Rachmaninov’s death, being ultimately published in 1948 when they were reinstated as parts of his Opus 33. As a result, the form in which we hear the first set of Études-tableaux today is one which was unknown to the composer, and goes against his express wishes. Whilst it is generally conceded that Rachmaninov’s first thoughts are almost invariably preferable in regard to those works which he subsequently allowed to be cut (second symphony, The Isle of the Dead, third piano concerto—consecutive works), his Opus 33 presents an insoluble problem: do we restore the C minor and D minor pieces to their original place, or do we play the set in the first published form? As the question did not arise during Rachmaninov’s lifetime, we have no direct evidence, but there is a curious connexion between the two previously unpublished Études: they both use material from other works.In April 1914 Rachmaninov revealed he was working on a new concerto (his fourth). It was uncharacteristic of him to announce work in progress. The war interrupted the concerto, and the work did not appear until 1926. The opening of the concerto, and a subsidiary theme in the slow movement of the same work, were both—as Geoffrey Norris has pointed out—taken from the discarded C minor Étude. The D minor Étude is based on material from the first movement of the first piano sonata (1907). At the suggestion of Konstantin Ignumnov, Rachmaninov excised fifty bars from the movement before publication: it must have been that Rachmaninov constructed this Étude from the music he discarded from the sonata. And so it is likely that the two unpublished Études-tableaux, using material already in hand for other works, were withdrawn by the composer for this very reason. A further point is that the six as originally published give the impression of a Schumannesque organic unity, akin to the procedures of Schumann’s Études symphoniques: there are melodic-cellular connexions between the six which the C minor and D minor do not share.It is possible to discern a more elliptical, laconic manner in Rachmaninov’s post-Revolutionary works, and this change of emphasis is already apparent in the Études-tableaux. As we have seen, Rachmaninov admitted that such brevity presented him with considerable compositional problems, but, apart from their brevity, these pieces are virtuosic in the extreme. They make cruel demands of unconventional hand positions, immense physical strength and energy from the player and, combined with the impacted character of each piece and the often wide leaps for the fingers, such problems place these works outside the scope of any but the most formidable virtuoso technique. Rachmaninov’s Études-tableaux mark the virtual end of the nineteenth-century tradition of virtuoso writings of the great composer-pianists.In addition to their unique qualities must be mentioned their unusual harmonic language, already foreshadowed in parts of the third concerto: modal harmonies and melodic characteristics can be frequently found in the Études, together with the absence of the third in the traditional major and minor modes; the flattened seventh, and Rachmaninov’s use of thick chordal clusters in contrary and parallel motion. These features account for the less obviously ‘Russian’ nature of the music, placing the composer more firmly in the Central and East-European tradition. The Études-tableaux of Opus 39 were the last works Rachmaninov composed in Russia.Detailed comment on each piece is unnecessary, but note particularly the modal aspect of the melody in Op 33 No 1, and how the quiet ending of this piece is echoed in the opening of No 2, being a variation upon it, and how this is carried through the remainder of the set. The final C sharp minor is almost a parodia of the most famous of Rachmaninov’s Préludes. Op 39 can also be perceived as a hidden set of variations on this composer’s idée-fixe, the Dies irae, parts of the plainchant being quoted directly in all of the nine studies, particularly obviously in the first five. The Dies irae is quoted in Rachmaninov’s Isle of the Dead, which was inspired by Böcklin’s painting, and Rachmaninov claimed two other Böcklin paintings, ‘The Waves’ and ‘Morning’, were the inspiration behind the first and eighth respectively.One final point on the entire collection is the vivid rhythmic life of the music: at times virile and commanding, at others subtle and understated, it is an aspect of Rachmaninov’s compositional skill which helps to ensure the immortality of his music.Robert Matthew-Walker © 1983
Tracklista:1. Dancing Yet2. Whatcha' Gonna Do3. Sweet and Tender Romance4. Don't Do It No More5. Love Is a Word6. Stop and You Will Become Aware7. Music Talk8. Like the Big Man Said9. I Want That Boy10. The Boy I Used to Know11. Mama Didn't Lie12. He Doesn't Want You13. Hear You Talking14. He Fought the Law15. Find Out What's Happening16. Forget About the Bad Things17. I Know You Love Me Not18. I'm Waiting for the Day19. Lonely City Blue Boy20. The Pleasure Girls21. Ain't That Fun22. Suffer Now I Must23. Euston Station24. He Knows I Love Him Too Much25. Make the Most of It
Tracklista: CD 1 1. Mr. Sandman 2. Let Me Go, Lover 3. Naughty Lady Of Shady Lane 4. This Ole House 5. Count Your Blessings 6. I Need You Now 7. Teach Me Tonight 8. Hearts Of Stone 9. Papa Loves Mambo 10. Let Me Go, Lover (With The Lancers) 11. Mister Sandman (Feat. Al Alberts) 12. Shake, Rattle And Roll 13. Make Yourself Comfortable 14. Dim, Dim The Lights (I Want Some Atmosphere) 15. Hearts Of Stone 16. Melody Of Love 17. That's All I Want From You 18. Melody Of Love (Feat. Al Alberts) 19. Sincerely 20. (My Baby Don't Love Me) No More 21. Earth Angel 22. Melody Of Love 23. Ko Ko Mo 24. Tweedle Dee 25. Earth Angel 26. Ko Ko Mo (I Love You So) 27. The Crazy Otto (Medley) 28. Rock Love CD 2 1. Open Up Your Heart (And Let The Sunshine In) 2. How Important Can It Be 3. Ballad Of Davy Crockett 4. (I'm Always Hearing) Wedding Bells 5. Blue Mirage (Don't Go) 6. Ballad Of Davy Crockett 7. Pledging My Love 8. Play Me Hearts And Flowers (I Wanna Cry) 9. Cherry Pink And Apple Blossom White 10. There Goes My Heart 11. It May Sound Silly 12. Dance With Me, Henry 13. Nobody 14. Ballad Of Davy Crockett 15. Danger! Heartbreak Ahead 16. Darling Je Vous Aime Beaucoup 17. The Breeze And I (Andalucia) 18. Unchained Melody 19. Unchained Melody 20. Two Hearts 21. Whatever Lola Wants 22. Unchained Melody 23. Don't Be Angry 24. Heart 25. Cherry Pink And Apple Blossom White 26. Honey Babe 27. Rock Around The Clock CD 3 1. A Blossom Fell 2. If I May 3. Hey, Mr. Banjo 4. Learnin' The Blues 5. Something's Gotta Give 6. Love Me Or Leave Me 7. It's A Sin To Tell A Lie 8. Something's Gotta Give 9. Hard To Get 10. Alabama Jubilee 11. Sweet And Gentle (Me Lo Dijo Adela) 12. A Story Untold 13. I'll Never Stop Loving You 14. Ain't That A Shame 15. Seventeen 16. Razzle Dazzle 17. House Of Blue Lights 18. Hummingbird 19. Ain't That A Shame 20. Domani 21. The Man In The Raincoat 22. The Longest Walk 23. Yellow Rose Of Texas 24. Yellow Rose Of Texas 25. Wake The Town And Tell The People 26. Song Of The Dreamer 27. Maybelline 28. Seventeen CD 4 1. Tina Marie 2. Fooled 3. Autumn Leaves 4. Gum Drop 5. Love Is A Many Splendored Thing 6. I Want You To Be My Baby 7. Moments To Remember 8. Suddenly There's A Valley 9. The Bible Tells Me So 10. Love Is A Many Splendored Thing 11. Shifting, Whispering Sands (Parts I And II) 12. Black Denim Trousers 13. Shifting, Whispering Sands 14. You Are My Love 15. My Bonnie Lassie 16. At My Front Door 17. At My Front Door 18. He 19. Forgive My Heart 20. Someone You Love 21. Only You (Feat. Jimmy Sacca) 22. Sixteen Tons 23. Cry Me A River 24. Croce D'oro 25. Daddy-O 26. Burn That Candle
Tracklista: 1. Bells of Rhymney2. Bidin' My Time3. Given All I Can See4. Different Rivers5. Here She Comes Again6. Walk Right Back7. Such Is the World That We Live In8. When I Get a Little Money9. She Don't Care About Time10. New Old John Robertson11. Restless12. Wildflowers
Album „Odyssey”, wyprodukowany przez Stuarta Price’a, rozpoczyna celebrację 30-lecia Take That, które przypada w 2019 roku. Wydawnictwo zawiera 27 utworów, które przekrojowo reprezentują największe przeboje grupy z trzech dekad działalności. Na krążku nie zabrakło również trzech premierowych piosenek oraz wyjątkowych gości. Dwupłytowy album to mix największych hitów Take That oraz kilka utworów w odmienionych aranżacjach. W niektórych przypadkach klasyki otrzymały zupełnie nową produkcję. Brytyjski zespół zawsze był daleki od przewidywalności, zarówno na płytach, jak i podczas występów na żywo. „Odyssey” to najlepsze wyjaśnienie, dlaczego boysbandowi udało się sprzedać ponad 45 mln egzemplarzy płyt na całym świecie. Singlem promującym płyte jest utwór „Pray (Odyssey Version)”. Tracklista: CD 1 1. Greatest Day (Odyssey Mix) 2. It Only Takes A Minute (Odyssey Mix) 3. These Days (Odyssey Mix) 4. Could It Be Magic (Odyssey Version) 5. Everything Changes (Odyssey Version) 6. Travel Interlude 7. Out Of Our Heads 8. A Million Love Songs (Odyssey Mix) 9. Sure (Odyssey Mix) 10. Love Ain’t Here Any More - featuring Boyz II Men (Odyssey Version) 11. Spin 12. Cry (Odyssey Mix) 13. Said It All (Odyssey Mix) 14. How Deep Is Your Love - featuring Barry Gibb (Odyssey Version) CD 2 1. Let's Do It Again Interlude 2. Patience (Odyssey Mix) 3. The Flood (Odyssey Mix) 4. Back For Good (Odyssey Mix) 5. Get Ready For It (Odyssey Alt Intro) 6. Everlasting 7. Giants (Odyssey Mix) 8. Shine (Odyssey Alt Intro) 9. Never Forget (Odyssey Version) 10. Relight My Fire – featuring Lulu (Odyssey Version) 11. Babe (Odyssey Version) 12. Pray (Odyssey Version) 13. Rule The World - (Odyssey Version)
Tracklista: 1. The Ending 2. Giving Up 3. It Just Gets Worse 4. Unlearn Purpose 5. Word To God 6. The Weight Of Guilt 7. Dead Wrong 8. Cross The Line 9. The Time That Passed