Tracklista:1. Skulls2. Monument3. Sordid Affair4. You Know I Have To Go5. Save Me6. I Had This Thing7. Rong8. Here She Comes Again9. Running To The Sea10. Compulsion11. Coup De Grace12. Thank You
Tracklista: CD 1 1. Three Coins In The Fountain 2. Cry Me A River 3. Only You 4. Dream Lover 5. What Do You Want? 6. Lipstick On Your Collar 7. Peggy Sue 8. Bye Bye Love 9. Why Do Fools Fall In Love? 10. Walkin' After Midnight 11. Rock Around The Clock 12. Oh! Carol 13. Que Sera, Sera (Whatever Will Be, Will Be) 14. At The Hop 15. Only Sixteen 16. Tequila 17. Just Walkin' In The Rain 18. Do You Wanna Dance? 19. Chantilly Lace 20. He's Got The Whole World In His Hands CD 2 1. What Do You Want To Make Those Eyes At Me For? 2. Reet Petite 3. Diana 4. Born Too Late 5. (This Is) A Fine Romance 6. I Walk The Line 7. Lollipop 8. Love Letters In The Sand 9. Sh-Boom 10. Singing The Blues 11. Tears On My Pillow 12. Dreamboat 13. A Teenager In Love 14. On The Street Where You Live 15. La Bamba 16. C'mon Everybody 17. Little Darlin' 18. Blue Suede Shoes 19. Mona Lisa 20. Magic Moments CD 3 1. All I Have To Do Is Dream 2. To Know Him Is To Love Him 3. There Goes My Baby 4. Fever 5. Mr. Sandman 6. Memories Are Made Of This 7. It's Only Make Believe 8. Here Comes Summer 9. Sweet Little Sixteen 10. Kisses Sweeter Than Wine 11. Shout 12. Tom Dooley 13. Yakety Yak 14. I'm Walking Behind You 15. Earth Angel 16. Sea Of Love 17. It's Late 18. Mambo Italiano 19. Seven Little Girls Sitting In The Back Seat 20. Book Of Love
The works included on this CD are among the last, highly virtuosic compositions for these ‘old-fashioned’ instruments, and are the icing on the cake for trombonists, cornetto- and dulcian players. In the 18th century, the leading role of these instruments was taken over by more ‘modern’ instruments such as the baroque oboe, the baroque bassoon, not to mention the violin and cello. Schmelzer & Co The meteoric rise to power of the House of Habsburg was mired in the battles, purges, and religious persecution surrounding the Counter-Reformation. In this devout, Jesuit, Counter- Reformist court, music had an important role. This can be seen in the importance and size of the Hofkapelle. Each individual leader of the House of Habsburg contributed to the musical development of the court in some way. For instance Ferdinand II (1578-1637), a very devout leader who was one of the most resolute backers of the anti-Protestant Counter-Reformation, helped secure Vienna’s position as one of the centers of music in Europe after his accession to the Imperial throne. His son, Ferdinand III (1608-57), a great patron of music as well as an amateur composer, was active in employing Italian kapellmeisters such as Antonio Bertali (1605-1669). Leopold I (1640-1705), the second son of Ferdinand III, became head of the Austrian monarchy in 1657, and was crowned Holy Roman Emperor the following year. During his reign, musical life in the Viennese court was expanded. He also composed and was responsible for employing among many others, Johann Heinrich Schmelzer (c.1620/23-1680) and Johann Joseph Fux. (1660- 1741). Josef I (1678-1711), the eldest son of Leopold, was an amateur harpsichordist, singer, and composer. The recruitment of musicians for the court hofkapelle was often undertaken by important contacts in Italy. During the period 1660-1740, primarily Italians filled the significant posts of hofkapellmeister and vice-hofkapellmeister, for instance Massimiliano Neri, Marco Antonio Ferro and others. The only two natives to hold the post were Schmelzer and Fux. Interestingly, the positions of court and church organist were more than not occupied by natives, for instance by Georg Muffat (1653-1704) in Salzburg. While court composers were naturally occupied with composing music for the Devine Service and courtly events, not all music produced was occasional or of minor significance. In Vienna, there arose a strong tradition of composing in the stile antico. Fux in particular considered it his duty to preserve this older style. ARTIST BACKGROUND Caecilia-Concert is a versatile, international ensemble, specialising in the performance of 17th century music for instruments and voices. The group was formed in 2001 by a group of young instrumentalists who were already working at the forefront of authentic performance practice in Europe. The aim was to rediscover and bring to today’s audiences, music which had been lost, forgotten about, or had simply lain for hundreds of years in the shadows of other great works. Since then, Caecilia-Concert has not only made a name for itself as a virtuosic, flexible, small-scale recital ensemble of the highest international level, but has on occasion, expanded to incorporate other instruments and singers performing rarely heard masterpieces from Italy, Germany, Austria and The Netherlands. Since a successful debut concert in Kampen, Holland, Caecilia-Concert has enjoyed a succession of well-received concerts in many festivals, including the Utrecht Early Music Festival, Festival of Flanders, Ton Koopman’s Itineraire Baroque Festival in France, and the Brunnenthaler Konzertsommer in Austria. The Caecilia-Concert has performed at such prestigious venues as London’s Purcell Room, and Vredenburg concert hall in Utrecht, and has performed live on BBC Radio 3 as ‘featured artist’ on The Early Music Show, Austrian ORF Konzert Sender, and NPS in Holland. Following the success of their debut CD Treasury of a Saint in 2006 (Challenge Classics CC72161), Caecilia-Concert released Buxtehude & Co in 2007 (Challenge Classics CC72179), also to critical acclaim. The present CD is the second in their series of recordings which pay homage to the influence and inspiration of the great masters of the Early Baroque. Kathryn Cok works with the Amsterdam Baroque Orchestra and other important early music ensembles in Europe, and performs as a soloist in many of the world’s most renowned Early Music Festivals and important keyboard museums. Kathryn teaches at the Royal Conservatory in The Hague. Wouter Verschuren is principal bassoonist of the Amsterdam Baroque Orchestra conducted by Ton Koopman. He regularly plays with other renowned period orchestras and plays in numerous international chamber music ensembles. Wouter teaches at the Royal Conservatory in The Hague and at the Utrecht Conservatory. Adam Woolf studied baroque trombone in London at the Royal Academy of Music, where, 10 years after graduating, he was awarded an honorary Associate-ship for distinguished contribution to the music profession. Adam is principal trombone with Sir John Eliot Gardiner’s orchestras and freelances with chamber music ensembles across Europe. TRACKLIST Neri: Sonata Sesta à 5, Schmelzer: Sonata à 2 , Ferro: Sonata 11 à 4 , Schmelzer: Sonata à 3 , Fux: Sonata à 4, Bertali: Sonata à 3 , Bertali: Sonata à 3 , Buonamente: Ballo del Gran Duca, de Selma y Salaverde: Vestiva i Colli Passeggiato , Bertali: Sonata à 3, Muffat: Passacaglia , Schmelzer: Sonata à 3 , Schmelzer: Sonata La Carolietta SUMMARY A highly interesting CD of wonderful music of an important period in time, where the House of Habsburg contributed to the flourish of music by having many talented composers working as hofkapellmeisters at this Court that supported the development of music. Composer Johann Heinrich Schmelzer and his German and Italian composercolleagues (Schmelzer & Co) leave us a range of beautiful baroque works.
We are delighted to announce the signing of one of the world’s greatest cellists, Pieter Wispelwey, who after many years on the Channel Classics label has decided to move to ONYX. In this outstanding recording of mid- 20th century cello music, Pieter makes his first recording of the great Walton Cello Concerto.Pieter recorded the Walton in Australia in 2007 in several live concerts with the excellent Sydney Symphony Orchestra under the experienced baton of the British conductor Jeffrey Tate. This recording has been expertly edited from the live concerts (applause omitted). The rest of the recording was made in studio conditions in Holland.The works for solo cello are cleverly interrelated and brings discoveries such as the Bloch Suite (written at exactly the same time as the Walton Concerto in 1957), the early Ligeti Sonata (1948-53) and two works written for Rostropovich: Britten’s Ciaconna from the 2nd suite and one of Walton’s own contributions to the ground bass form, the Passacaglia. For the concerto Wispelwey plays his normal Guadagnini cello but for the solo cello works he was thrilled to be able to record on the great Magg Stradivarius from 1698.Gramophone MagazineJune 2009“..his playing is flawless…”BBC Music MagazineJune 2009*****“Walton's Cello Concerto is like a bottle of vintage wine from the composer's home on the Italian island of Ischia… its warmth, finesse and wry serenity are qualities that appeal all the more as time passes. Wispelway's cello playing, too, has a kind of seasoned timbre sound, at once mellow and concentrated, that suits the music to near-perfection. This concert performance... is alive at every point, and has an excellent orchestral contribution (the playing of the principal oboist is a lustrous phenomenon). Wispelway's selection of solo cello works on the rest of the CD, too, is so finely played that monotony is never risked for a moment.”The Telegraph23rd March 2009“Walton's Cello Concerto is alive with magical brilliance.”The Times14th March 2009****“The ethereal orchestral opening gives way to a meandering cello line that takes time to find its direction. But Wispelwey's idiosyncratic virtuosity finds the convincing thread. The maudlin chords of the Bloch Suite for solo cello make a seamless follow-on, with Ligeti and Britten thoughtful 20th-century companions.” 1 Cello Concerto: I. Moderato 2 Cello Concerto: II. Allegro Appassionato 3 Cello Concerto: III. Tema Ed Improvvisazioni 4 Suite No. 1 For Solo Cello: I. Prelude B5 Suite No. 1 For Solo Cello: II. Allegro 6 Suite No. 1 For Solo Cello: III. Canzona 7 Suite No. 1 For Solo Cello: IV. Allegro 8 Sonata For Solo Cello: I. Dialogo. Adagio, Rubato, Cantabile 9 Sonata For Solo Cello: II. Capriccio. Presto Con Slancio 10 Passacaglia For Solo Cello 11 Cello Suite No. 2, Op. 80: Ciaconna
Tracklista:1. The Catalyst2. Drown In The Imitation3. Do We Share This Gravity?4. Electric Reveries5. Si C'est Une Epreuve. On S'en Trompe
Pięć pierwszych albumów w dorobku legendarnego amerykańskiego wokalisty, siedmiokrotnego laureata Grammy, którego twórczość obejmuje przede wszystkim jazz i soul. Wszystko zaczęło się od tego, że w połowie lat 70. Al Jarreau współpracował z pianistą Tomem Canningiem. Wtedy został zauważony przed przedstawicieli wytwórni Warner, którzy błyskawicznie podpisali z nim kontrakt, co bardzo szybko opłaciło się obu stronom. Wydany w 1975 roku debiutancki krążek "We Got By" okazał się wielkim sukcesem. Podobnie było z wydanym zaledwie kilkanaście miesięcy później albumem "Glow". Stylistyczną paletę Jarreau rozszerzył na trzecim wydawnictwie "All Fly Home". Znalazły się na nim pierwiastki muzyki brazylijskiej, elementy popu. Artysta zaproponował poza własnymi kompozycjami również kilka przeróbek - "Wait A Little While" Kenny'ego Logginsa, "She's Leaving Home" The Beatles oraz "Dock Of The Bay" Otisa Reddinga. W nagraniach wziął udział między innymi ceniony gitarzysta smoothjazzowy Lee Ritenour. Później przyszedł wielki sukces artystyczny i komercyjny, który Jarreau zawdzięcza płycie "This Time". Muzyk poszedł na niej w kierunku R&B, dzięki czemu posmakował mainstreamowej popularności. Piosenka "Never Givin' Up" otrzymała nominację do Grammy w kategorii "Najlepszego utworu R&B". Warto wspomnieć, że na krążku na fortepianie zagrał David Foster, ceniony artysta i producent. Box zamyka krążek "Breakin' Away", który wywindował Jarreau na jeszcze większy poziom popularności. Na nim znalazła się przebojowa piosenka "We're In This Love Together". Krążek wyznaczył standardy R&B na kolejne lata. W jego nagraniach wzięli udział znani z Toto Steve Lukather i Jeff Porcaro.
Tracklista: 1. The Final Countdown2. Prisoners in Paradise3. Rock the Night4. Seven Doors Hotel5. Farewell6. Memories7. I'll Cry for You8. In the Future to Come9. Paradize Bay10. Superstitious11. Let the Good Times Rock12. Cherokee13. The King Will Return14. Danger On the Track15. Children of This Time16. Words of Wisdom
This 2nd volume of the musical biography of Roland de Lassus (5 CD of world premiere recordings) is dedicated to the glory years of his career in Munich as choirmaster of Duke Albrecht V. Glory of the expansion of the chapel, one of the most magnificent in Europe, and glory of the major event of this period, the flamboyant wedding of the heir to the throne in 1568. The works collected here sometimes reflect the function of Kapellmeister (masses and Magnificat, the event celebration), sometimes the free fancy of the composer soon everywhere celebrated as the new Orpheus.
Tracklista:1. Come All Ye Worthy Gentlemen2. Nova! Nova! Ave Fit Ex Eva3. Goday, Sir Cristemas4. Ave Maria. Hail Blessed Flower5. Nowell. Out of Your Sleep Arise6. Lulla, Lulla, Thou Little Tiny Child7. Remember, O Thou Man8. Lullaby, My Sweet Little Baby9. This Day Christ Was Born10. As Jacob With Travel Was Weary One Day11. The First Nowell12. Why, Most Highest?13. The Virgin Stills the Crying14. The Moon Shines Bright15. I Saw Three Ships Come Sailing In16. What Child Is This?17. See, Amid the Winter's Snow18. Sleep! Holy Babe!19. Good Christian Men, Rejoice20. Good King Wenceslas21. A Babe Is Born All of a Maid22. All This Night Bright Angels Sing23. Here We Come A-wassailing24. We Three Kings of Orient Are25. A New Year Carol26. I Sing of a Maiden27. Lullay My Liking28. Of One That Is So Fair and Bright29. This Have I Done for My True Love
Tracklista: 1. New Generation2. Love 'em Or Leave 'em3. Deep And Dark4. Borderline5. Blood Too Hot6. Maybe I Maybe You7. Someday Is Now8. My City My Town9. Through My Eyes10. Can You Feel It11. This Time12. She Said13. Remember The Good Times 0 Contains elements from "Happy Days Are Here Again"