
Tracklista:1. Bud Powell2. Humpty Dumpty3. Emily4. Well You Needn't5. Round Midnight6. Budo7. Just One of Those Things
- Wykonawca Rodney Green Quartet
- Data premiery 2017-09-15
- Nośnik CD
- Jazz/Blues / Jazz
- 3-05-2020, 13:18
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Tracklista:1. Bud Powell2. Humpty Dumpty3. Emily4. Well You Needn't5. Round Midnight6. Budo7. Just One of Those Things

In a very short time, Yannick Nézet-Séguin has become one of the most sought-after young conductors in the world, popular with orchestras and audiences alike. Recently named as Music Director Designate of the Philadelphia Orchestra, he succeeded Valery Gergiev as Music Director of the Rotterdam Philharmonic Orchestra in 2008, and has since then taken the orchestra on acclaimed tours to Asia, the USA and his native Canada, as well as making a high-profile appearance during the BBC Proms in London and undertaking a residency at Théâtre des Champs-Elysées in Paris. For the first of four projected discs with BIS, Nézet-Séguin and his Rotterdam players have recorded Hector Berlioz’ masterpiece Symphonie fantastique, in a full-blooded and luxurious performance which at the same time respects the work’s classical proportions: the conductor himself has described the work as being the last Classical symphony as well as the first Romantic one. The first performance of the largely auto-biographical Symphonie (originally entitled ‘An Episode in the Life of an Artist’) formed the composer’s great break-through, and was applauded by luminaries such as Franz Liszt. In his Memoirs Berlioz relates how the closing movements, March to the Scaffold and the Witches’ Sabbath, in particular caused a sensation. The work is here followed by the ‘lyrical scene’ Cléopâtre (often referred to as La Mort de Cléopâtre), composed shortly before as Berlioz’ entry in the competition for the prestigious Prix de Rome. The dramatic potential of the text – Cleopatra’s farewell to the world before committing suicide by snakebite – led the young composer to write music of the highest possible drama, which thoroughly scared off the academicians of the Prix de Rome-jury from awarding it a prize. Performing – or rather embodying – the part of Cleopatra is the electrifying soprano Anna Caterina Antonacci, in one of her rare appearances on disc.

Jean-Baptiste Loeillet of London (november 18, 1680 – July 19, 1730), was a Flemish baroque composer as well as a performer on the recorder, flute, oboe, and harpsichord. He is called the London Loeillet to distinguish him from another famous composer, his first cousin Jean Baptiste Loeillet of ghent, and he was the elder brother of Jacques Loeillet, also a composer. Loeillet was born at ghent, then in the spanish netherlands. in 1705, after his studies in ghent and Paris, he moved to London and became known as John. in London, his last name was sometimes rendered as ‘Lully’ or ‘Lullie’: he was unrelated to Jean-Baptiste Lully, the French composer. His works were published by Walsh in London under the name of John Loeillet. He was successful as a player and teacher of the harpsichord. He played woodwind in the Queen’s theatre in the Haymarket and held musical gatherings every week at his home. His performances were well received in London; and he was responsible for introducing Arcangelo corelli’s 12 concerti grossi to Londoners. According to the new Penguin Dictionary of Music, he helped to popularise the transverse flute (a new instrument compared to the recorder) in england. He died in London.

1. Well, Well, Well 2. A.k.a. I-D-I-O-T 3. Here We Go Again 4. I m A Wicked One 5. Automatic Schmuck 6. King Of Asskissing 7. Hail Hail Spit N Drool 8. Black Jack 9. What s That Spell?... Go To Hell! 10. Theme From... 11. Uptempo Venomous Poison 12. Oh Lord! When? How? 13. The Stomp 14. Closed For The Season

Documentary about pioneering New York punk band the Ramones, directed by Michael Gramaglia and Jim Fields. The film features rare footage and contributions from guitarist Johnny Ramone, Nicolas Cage, Anthony Kiedis and Flea, as well as the last interview ever given by Joe Strummer of the Clash.

The young Oxford choir turns its immaculate ensemble, lucid diction and faultless tuning to an exciting find: a hugely neglected composer from the 16th century. Relatively little is known about Dominique Phinot’s life—there is a suggestion that he was executed for homosexual practices, cutting short a productive and impressive composing career. Phinot’s output consists of over a hundred motets, two Masses, and settings of Vesper Psalms and the Magnificat, as well as two books of French chansons and two Italian madrigals. The acclaim with which his sacred compositions were received is evident both in the frequency of their publication as well as in the writings of his contemporaries. He was clearly renowned as a master of imitative polyphonic writing. The publication in Lyons during 1547/8 of two collections of Phinot’s motets secured his reputation for the rest of the century and beyond. Not only do the five-voice motets in the Liber primus mutetarum confirm his outstanding polyphonic skills but the Liber secundus contains five eight-voice works which are of considerable historical importance. The latter are unique in the mid-sixteenth century in their treatment of double-choir dialogue, a technique in which two four-part ensembles normally alternate thematically related phrases of varying lengths. These works, of which four are included in this recording, are the antecedents of the resplendent Venetian polychoral tradition of the late sixteenth and early seventeenth centuries. 'The Brabant Ensemble's performances of these fascinating works are as polished and assured as we have come to expect, full-throated yet finely modelled and shimmering with lively intelligence. Rice unerringly finds the right pace for each work … and pays full heed to Phinot's expressive use of contrasting textures. Amidst all the drama of the larger works, the ensemble's caressing, translucent rendition of O sacrum convivium is a particular high point. This is a valuable and engrossing premiere for a neglected and somewhat unconventional sixteenth-century master' (International Record Review) 'There are many laurels to award in this column, but arguably the biggest, shiniest and bushiest wreath should land on Stephen Rice and his spirited Brabant Ensemble for their outstanding disc of works by Dominique Phinot. What a discovery! Extraordinary music, not least the 'secret chromatic art' exemplified in the motet _Pater Peccavi_, which deserves the widest hearing thanks to these sinuous, assured performance, captured in an edgy acoustic that enhances the curious architecture of the polyphony' (Choir & Organ Magazine)

'In this well recorded, presented and imaginatively conceived issue we see again just how well Hyperion can produce the goods! It is a particular pleasure to see this issue on the market' (CDReview) 'Well worth the attention of those who enjoy piano music that seeks merely to soothe, charm and enchant' (Gramophone) 'Jacobs treats the music with affection, but also respect; he's served by an excellent recording' (BBC Music Magazine Top 1000 CDs Guide)

Ensemble Signal perform a selection of works by the German composer Helmut Lachenmann. Known for requiring performers to play his music using unusual techniques, Lachenmann here supervises the recordings, as well as performing as soloist for three of the piano works.

Tracklista: 1. World In Harmony 2. Oh Well 3. Stranger Blues 4. Rattlesnake Shake 5. Red Hot Mamma 6. Teenage Darling 7. Keep A-Knocking 8. Jenny Jenny 9. Encore Jam

Tracklista: 1. Devil May Care 2. I Can't Get Started 3. God Only Knows 4. Love Won't Let Me Wait 5. Lookin' Good 6. Well You Needn't 7. It Ain't Necessarily So 8. Too Close For Comfort 9. Small Day Tomorrow 10. In The Wee Small Hours Of The Moring