Tracklista: 1. Sun Is Shining2. Soul Fire3. 54-46 Was My Number4. Brigadier Sabari5. Horse With No Name6. Night Nurse7. Zungguzungguguzungguzeng8. Bam Bam9. I'm Still in Love With You10. I Love King Selassie11. Material Man12. I Shot the Sheriff (Instrumental)13. Stop the Fussing and Fighting14. Pass the Kutchie
Tym razem tytuł albumu wyraża oczywistą oczywistość, no i skracać go nie trzeba. Co innego tracklista, tu ponownie nawiązań do popkultury mrowie. W przypadku „Trójki” chyba równie bogata byłaby lista muzycznych inspiracji - gdyby ktoś się taką zdecydował sprokurować rzecz jasna. I nie zrozumcie mnie źle, „3” nie jest żadną imitacją. Jest może natomiast jakimś odbiciem tego, co dzieje się we współczesnej klubowej elektronice. Z pewnością można tu łatwo zauważyć, jakie muzyczne zjawiska przyciągają obecnie uwagę "en2aka". Z fakturalnych nieoczywistości nie rezygnuje on wcale, jednak na nowym albumie z wolna toczące się bity zostaną wyparte na rzecz energetycznych i połamanych podziałów perkusyjnych. Pod tym względem „3” to formalna świeżość. I choć, jak już wspomniałem, galopujące bębny mocno wypełnią tu przestrzeń, pozostawiają także nieco miejsca numerom, które, m.in. ze względu na swoją motorykę na myśl przywodzić będą poprzednie wydawnictwa. Feeling en2aka również pozostaje ten sam - wrocławianin jest nadal daleki od sztampy i trudny do zaszufladkowania. Z całą pewnością „3” ze względu na swoją inność zapadnie na długo w pamięć. Warto może jeszcze dodać że w „6 by 9s” gościnnie udziela się Jimmy Jams (połowa duetu Widows), z kolei „Zombie with Shutdown Syndrome” swoje zajebiste piano-staby zawdzięcza Spiskowi Jednego (z Night Marks Electric Trio). Tracklista: 1. Body Blows 2. Gilgamesh & The Invention Of Frisbee 3. Soap With A Prize Inside! 4. Walkin' Cloud Mine 5. 6 By 9s (feat. Jimmy Jams) 6. Zombie With Shutdown Syndrome (feat. Spisek Jednego) 7. Woodwork Misfits 8. Cadillacs & Bananas 9. Eye Witness To Ghost Rape 10. Pipes On Pluto 11. Pope's Sinister Laugh 12. Most Unusual Snowflake 13. Rusty Spur
Tracklista:1. Breaking Down2. Over You3. Grown Up4. The Scene5. TV Head6. I Don't Wanna Be Smart7. Kids Wanna Dance8. Losing My Mind9. Where's EJ10. Monsters11. Shark Attack12. Let's Do It13. I Wanna Be With You14. Spit It Out15. Too Weak to Die16. Mary (I Love You)17. Day Dream
Tracklista: 1. True Confessions 2. Ready Or Not 3. Trick Of The Night 4. Dance With A Stranger 5. In A Perfect World 6. Venus 7. Do Not Disturb 8. A Cut Above The Rest 9. Promised Land 10. More Than Physical 11. Hooked On Love
Tracklista:1. Can'T Get Enough2. Feel Like Makin' Love3. Run With The Pack4. Shooting Star5. Movin' On6. Bad Company7. Rock 'N' Roll Fantasy8. Electric Land9. Ready For Love10. Live For The Music
Tracklista: 1. Durban Deep2. Healing Hands3. Whispers4. Club at the End of the Street5. Sleeping With the Past6. Stone's Throw from Hurtin'7. Sacrifice8. I Never Knew Her Name9. Amazes Me10. Blue Avenue
Tracklista: CD 1 1. The Girl From Ipanema 2. Desafinado 3. No Fundo Do Mar 4. Summer Samba 5. Para Ti 6. Agua De Beber 7. Dindi 8. Brazil (Aquarela Do Brasil) 9. Fotografia 10. Soul Mais Bossa 11. O Circo (Feat. Celia Vaz) 12. Lullaby 13. Na Onda 14. Triste 15. Só Tinha Que Ser Com Voce 16. Chega De Saudade (No More Blues) CD 2 1. Pra Ze (With Roberto Menescal) 2. Rejoycing 3. Isn't She Lovely 4. Corcovado 5. Once I Loved 6. Samba Pa Ti 7. Aquilas Coisas Todas (With Wanda Sa) 8. O Outro Lado Do Rio 9. Insensatez 10. How Insensitive 11. Summer Samba (So Nice) 12. O Amore É Chama (Feat. Nelson Faria) 13. Favela 14. Useless Landscape 15. Looks Like December (Anos Dourados) 16. Dreamer CD 3 1. Dindi 2. Reza 3. Ceu E Mar (With Nelson Faria) 4. Filhos (Feat. Ivan Lins) 5. No Tempo Da Bossa 6. Meu Samba Torto (With Celso Fonsa) 7. Dindi 8. So Danco Samba 9. O Grande Amor 10. Birinight 11. A Felicidade 12. Vem Ver 13. Wave 14. Meditation 15. One Note Samba 16. Mas Que Nada
Bach’s direct source of inspiration for the cello suites was most probably the virtuoso cello playing of Christian Ferdinand Abel, also in the service of Prince Leopold of Köthen and a superb violinist and viola da gamba player as well. This must, however, remain guesswork, as the original manuscripts of the cello suites have been lost. It is primarily thanks to Anna Magdalena Bach, Bach’s second wife and a singer in service to Prince Leopold with the title of Cammer-Musicantin, that we owe the survival of these works. It was she who prepared many first copies of Bach’s works, including the earliest known copy of the cello suites. Quirine Viersen uses the most recent edition from Bärenreiter as the basis for her first recording of the Bach cello suites; this edition is an amalgamation of four manuscript copies, including the original copy by Anna Magdalena Bach. After in-depth study of the Bärenreiter edition and of the historical musicological works by Mattheson, Leopold Mozart and Quantz, the greatest musical theorists of the Baroque era and the forefathers of today’s historically informed performance movement, Quirine Viersen allowed herself to be guided by instinct rather than by intellect and finally decided to follow her own intuition. Having said this, she did study the Suites with her teacher Heinrich Schiff, played them in a masterclass with Yo-Yo Ma and took lessons with no one less than Nikolaus Harnoncourt. But most of all she took to heart the lessons she received from her own father Yke Viersen: principal Cellist with the Concertgebouw Orchestra for the last 30 years. Quirine Viersen about the Suites: “Even though the suites were not composed for ecclesiastical use, they do seem to deal with higher matters. This has nothing to do with ‘Amen’ or ‘Allah hu akbar’. I feel that we are people who attempt to come as close as possible to the heart of our existence. In many ways we have possibly become a little unworthy; we have torn ourselves loose and have completely forgotten that things can often have a deeper meaning, that these things can exist in a broader context. This was self-evident to Bach, for his life and his works were permeated with awe for higher things, for God. This was an integral part of the time in which he lived. Bach was not simply a man whose musical genius would never be equalled but was also an enthusiastic and inspired craftsman who set himself the highest demands.” “The German language draws a felicitous distinction between two different types of people: Kopfmensch and Bauchmensch. The first relies on his head, his intellect, whilst the second relies on his belly, his gut feelings. I am clearly a Bauchmensch. When I am on stage I am principally concerned with what I feel, with trying to express what I believe lies inside Bach’s music. What was Bach’s intention in composing his suites for cello? For me they are a landscape in which everything exists to be discovered afresh. Many musical narratives are possible and each landscape has its own perfumes and colours; each movement represents a particular state of mind. To traverse Bach’s music is to traverse infinity.”
Among requiems, the one composed by Johannes Brahms is unusual in more than one way. First of all, it was one of the first works with that title that didn’t employ the standard text, in Latin, of the Roman Catholic Mass for the dead. Brahms instead compiled his own text from the German Bible of Martin Luther, placing the focus on the living rather than on the dead, as demonstrated by the beginning of the work: ‘Blessed are those who bear pain: for they shall be comforted.’ The result is a work suffused with the glow of humanism, notably less concerned with sin and punishment than many other works in the same genre. Indeed, in connection with one of the first performances of the work, Brahms said regarding the title that he ‘would gladly give up the German and simply put human’. It is this work, then, that Valery Gergiev chose to perform at his final concerts as principal conductor of the Rotterdam Philharmonic Orchestra. This memorable event – the finale of an era in the life of the conductor as well as in the history of the orchestra – was captured on film, and is now being released on DVD. For the performances, and recording, of this work, in which the choir plays a central role, the orchestra invited the renowned Swedish Radio Choir, as well as the soloists Solveig Kringelborn and Mariusz Kwiecień.
It is a familiar fact that Antonio Vivaldi was a prime mover in the creation of the solo concerto, but what is less well known is that he also was the leading exponent of the older concerto a quattro – music in four parts, with several players to a part, intended for what we nowadays would call a string orchestra with continuo. As Vivaldi expert Michael Talbot explains in his informative liner notes, these works are notable not only for their beauty, but also for their experimental character and for providing the most important examples of fugal writing in Vivaldi’s instrumental music. It is not known when Vivaldi started to write them, but most of the almost fifty concertos probably originate from the 1720s and 1730s. They are recreational music par excellence, well suited to outdoor performance in gardens, but some of them may also have been played in various churches and theatres of Venice. This recording includes eight of the concertos, as well as the Sinfonia from the serenata La Senna festeggiante (The Rejoicing Seine) composed in honour of the young French king Louis XV, and the Sonata a 4 in E flat major ‘Al Santo Sepolcro’. The acclaimed Polish period band Arte dei Suonatori have made a number of highly regarded recordings, including a version of Handel’s 12 Concerto grossi Op. 6 which the international music press greeted with enthusiasm upon its release in 2008. It was ‘Orchestral Choice of the Month’ in BBC Music Magazine, received top marks in Diapason, and was described as ‘quite simply flawless and must be considered as a model for Handel interpretations of our time’ by the reviewer in the German magazine Toccata – Alte Musik Aktuell.