Tracklista:1. Run With the Devil2. The King3. Singing Swords4. Dreaming5. Stronger Than Evil6. Free7. Saturday Night8. Roar of the North9. I Am Me10. Air Raid11. Lionheart12. I'm Alive13. Day of Dream14. Sleipnir Unleashed
Tracklista:10. 'Til We Meet Again2. Never Get Enough3. Rainy Days and Mondays1. Remember When4. He Said, She Said5. In the Spring6. Only Want to Be With You7. Something Real8. The Joy of Me9. Stranger Things Have Happened11. Only Want to Be With You (Instrumental)
Stereolab kontynuują trwającą przez cały rok kampanię reedycji siedmiu albumów - kolejne trzy pojawiły się się 13 września 2019: "Emperor Tomato Ketchup" (1996 r.), "Dots and Loops" (1997 r.) i "Cobra and Phases Group Play Voltage in the Milky Night" (1999 r.). Albumy zostały wydane w wersji rozszerzonej i zremasterowanej na winylu, CD i w wersji cyfrowej przez Warp Records i należącego do zespołu Duophonic UHF Disks. Podobnie jak w przypadku majowych reedycji "Transient Random Noise-Bursts With Announcements" i "Mars Audiac Quintet", każdy album został zremasterowany z oryginalnych taśm 1/2” Bo Kondrena w Calyx Mastering pod nadzorem Tima Gane`a. Materiał bonusowy obejmie alternatywne nagrania, 4 dema utworów i niewydane miksy.
Tracklista: CD 1 1. Opera in Vout (Groove Juice Symphony) 2. Tip Light 3. Arabian Boogie 4. Boip! Boip! 5. The Bartender's Just Like a Mother 6. The Hogan Song 7. Money, Money, Money 8. Puerto - Vootie 9. Momma's in the Kitchen But We've Got 'Pop' On Ice 10. Down By the Station 11. I Don't Stand a Ghost of a Chance With You 12. Serenade to a Poodle 13. Communications 14. Organ - Oreene 15. Little Red Riding Woods 16. When Banana Skins Are Falling (I'll Come Sliding Back to You) 17. Bongo Cito 18. Soony Roony (Song of Yxabat) 19. Laughing in Rhythm 20. Sabroso 21. Babalu (Orooney) 22. Genius (Ride, Slim, Ride) 23. Federation Blues 24. Oh, Lady Be Good 25. For You CD 2 1. Yo Yo Yo 2. Chicken Rhythm 3. Yip Roc Heresy 4. The Hip Cowboy 5. I Only Have Eyes for You 6. As You Are 7. Taxpayers' Blues 8. Eatin' With the Boogie 9. St. Louis Blues 10. I Know What to Do 11. I Can't Give You Anything But Love 12. You Goofed 13. Make It Do 14. This Is My Love 15. Gomen Nasai (Forgive Me) 16. Potatoe Chips 17. Mishugana Mambo 18. Go, Man, Go 19. I'm in the Mood for Love 20. Gomen Nasai (Alternate Take 10) 21. Potato Chips (Alternate Take 1) 23. Make It Do (Alternate Take 1) 24. You Goofed (Alternate Take 7) 26. I'm in the Mood for Love (Alternate Take 4 and Studio Chatter) 28. Go Man Go (Alternate Take 3) 22. Potatoe Chips (Alternate Take 2) 25. You Goofed (Alternate Take 10) 27. Mishugana Mambo (Breakdown and Alternate Take 3)
By the early 1780s Haydn had been in the employ of Prince Nikolaus Esterházy for some twenty years. Yet, although his duties kept him at court for much of the year, his music and his reputation had already reached right across Europe, as far as Spain and England. Since there were no copyright laws to speak of in those days, dissemination of music was often through the work of publishers who had no compunction in re-engraving pirated versions of orchestral parts (the usual form of publication) if they could lay their hands on manuscript versions by disreputable copyists. Haydn, though obviously averse to publications of his music that gave him no financial reward, was astute enough a businessman often to have his works brought out by more than one publisher. Such was the case with Symphonies 76, 77 and 78, issued in the early 1780s by no fewer than three companies: Torricella in Vienna, Boyer in Paris and Forster in London. (Mozart tried a similar ploy by selling a manuscript to one publisher and then writing the music out again from memory to sell to another.) These three symphonies, not only the first since numbers 6, 7 and 8 to be written as a set (a publishing rather than a performing practice) were also the first Haydn wrote expressly for performance outside the confines of Eszterháza. They were intended for a concert tour to London, a trip that Haydn never made (he had to wait until the prince’s death in 1790 for the impresario Johann Peter Salomon finally to lure him to London). In 1781 (the year he began his association with the publisher William Forster) Haydn appears to have been invited to introduce in person some of his operas and symphonies to the London musical public. His Symphony No 53 had been performed with great success at one of the Bach-Abel concerts (run by the ‘London Bach’, Johann Christian and Karl Friedrich Abel, both of whom had taught Mozart on his visit to London in 1764) and The Morning Herald reported in November 1781 that Haydn ‘the Shakespeare of musical composition is hourly expected.’† He had still not arrived by February 1783 when the Herald again bemoaned that ‘we have got neither him nor his music—however the music is certainly to come—the musician, most probably, will remain in Vienna’. The English music historian Dr Charles Burney also wrote in a letter at about the same time, I have stimulated a wish to get Haydn over as opera composer—but mum mum—yet—a correspondence is opened, and there is a great likelihood of it, if these cabals, and litigations ruin not the opera entirely … Two years later, when the composer was still anxiously awaited, it was even lightheartedly mooted that he might be kidnapped, as the following, from another journal, the Gazetteer and New Daily Advertiser, suggests: This wonderful man, who is the Shakespeare of music, and the triumph ot the age in which we live, is doomed to reside in the court of a miserable German Prince, who is at once incapable of rewarding him, and unworthy of the honour … would it not be an achievement equal to a pilgrimage, for some aspiring youths to rescue him from his fortune and transplant him to Great Britain, the country for which his music seems to be made? In his letter offering the three symphonies to Boyer in Paris, Haydn describes them as ‘beautiful, elegant and by no means over-lengthy … they are all very easy, and without too much concertante’. They do indeed stand out from the surrounding Eszterháza works, lacking some of the idiosyncracies that, although suitable for his own performances at the court, might have deterred foreign performers. That is not to say, however, that they lack anything in originality or quality. Symphony No 76, like the other two, has the standard four movements and, unlike many of his other symphonies, no slow introduction to the first. Here we are launched straight into the first subject, an alternation of vigorously arpeggiated chords and a restrained, downward-moving phrase. There is no second subject as such, unless we include the brief pianissimo phrase (in the tonic key) that follows the second appearance of the falling idea. The Adagio begins with the strings alone, making the entrance of the wind on a pianissimo chord all the more effective; they return at the climax of the movement, a fortissimo tour de force of demisemiquavers and staccato semiquavers. The Minuet is followed by a lighthearted Rondo, featuring some brief woodwind solos before the final coda. The most notable thing about Symphony No 77 is its finale, one of the first examples of a sonata-rondo form, literally a combination of sonata form with the rondo in which the C section of the A–B–A–C–A comprises a development of earlier material rather than a new theme. The preceding movements are no less distinctive: an opening Vivace with, this time, a true second subject; a leisurely, often restrained Andante sostenuto with the strings muted; and a Minuet of a vigour that looks forward to the true scherzo. The first movement of Symphony No 78 has an urgency in keeping with its key, C minor. The second subject turns to the relative major, E flat, and it this key rather than the tonic that ultimately dominates the exposition. The development features some fine contrapuntal writing where fragments of both subjects are tossed between the various instruments. The Adagio returns to E flat major. Unlike the slow movements of the other two symphonies, the wind instruments are integrated lnto the texture from the start, while the stateliness of the music itself looks forward to the late ‘London’ symphonies. The C major Minuet is followed by a Presto rondo whose thinly scored B section turns to C major. When the same theme reappears later, so does the major mode, which remains to the end of the symphony. Matthew Rye © 1991
Tracklista:1. You're the One2. American Made3. (I'm Settin') Fancy Free4. Love Song5. Y'all Come Back Saloon6. Sail Away7. Dream On8. This Crazy Love9. Trying to Love Two Women10. Come On In11. Make My Life With You12. Thank God for Kids13. Elvira14. Bobbie Sue
Tracklista:1. Daydream Believer2. D.W. Washburn3. Tapioca Tundra4. Words5. Pleasant Valley Sunday6. Valleri7. It's Nice To Be With You8. Good Clean Fun9. Oh My My...10. You Can't Tie a Mustang Down - (previously unreleased)
The long-awaited and much anticipated recording by Tasmin Little of Elgar’s Violin Concerto will be released this November, 100 years after the work’s first performance. In concert Tasmin Little is closely associated with this concerto, having celebrated the 150th anniversary of the birth of Sir Edward Elgar with performances of it on a major tour to Southeast Asia and Australia in 2007; she has also performed the concerto extensively in London: at the BBC Proms in the Royal Albert Hall, with the BBC Symphony Orchestra at the Barbican, and with the Philharmonia Orchestra in the Royal Festival Hall. What makes this recording especially interesting is that she has included the cadenza used in the work’s first recording, made in 1916 with Marie Hall. For that occasion, Elgar, amongst other things, added harps to counter the sonic limitations of the acoustic recording process. For those used to hearing the standard version, also included, the result makes for fascinating listening, and the recording will prove a valuable addition to the Elgar discography. The 1916 version of the cadenza has been tracked separately. Tasmin Little: ‘I have waited a long time to record the Elgar Concerto, a work that I have been playing for twenty years and one which is so close to my heart. In the inspirational Andrew Davis and the RSNO’s commitment, I found exactly the right partnership for this monumental work.’ The Violin Concerto is complemented by another piece for violin and orchestra, the charming Interlude from The Crown of India, as well as the rarely recorded but imposing Polonia, an inventive and colourful work incorporating much Polish melodic material. This was commissioned by the Polish conductor Emil Ml˜ynarski in 1915 and dedicated to Ignacy Jan Paderewski, the pianist-composer and, later, Prime Minister of Poland. Since coming to prominence as a finalist in the string section of the 1982 BBC Young Musician of the Year competition, Tasmin Little has enjoyed an international career, making more than twenty recordings. Highly imaginative in her approach to classical music, she received the 2008 Classic FM / Gramophone Award for Audience Innovation in London for the project ‘The Naked Violin’. Whilst she has made superb recordings of the great popular violin concertos, including those by Bruch, Brahms, and Sibelius, she has made a speciality of recording and performing less familiar repertoire, especially neglected British works. On Chandos, she has released a recording of Finzi’s Violin Concerto to tremendous critical acclaim (CHAN 9888). Sir Andrew Davis is famous for his performances of British music in general, and of the music of Elgar in particular. Last year he had great success with the premiere recording of Elgar’s The Crown of India on Chandos (CHAN 10570(2)). Chandos also has a long association with the Royal Scottish National Orchestra. Over the last thirty years the label, in partnership with the RSNO, has produced a string of award winning CDs, notable among much else for their sound quality. This new CD, recorded in five-channel surround sound, continues that tradition.
1. Good Times Roll 2. My Best Friend's Girl 3. Just What I Needed 4. I'm In Touch With Your World 5. Don't Cha Stop 6. You're All I've Got Tonight 7. Bye Bye Love 8. Moving In Stereo 9. All Mixed Up
Tracklista: 1. Hands Of Gold 2. The Glory And The Scum 3. Suckerpunch 4. The Hurricane 5. Chrysalis- The Last Breath 6. Fire With Fire 7. Pendulum 8. Danse Macabre 9. Scandal (Queen Cover) 10.Turn The Lights Out 11.The Monarch