Tracklista:1. In a Mellotone2. Over the Rainbow3. Gone With the Wind4. Someone to Watch Over Me5. C Jam Blues6. Perdido7. Stardust8. Ben's Blues9. My Romance10. Ben's Theme Tune11. Interview With Ben Webster
Tracklista:1. SK-682. Are You Coming With Me?3. Zero4. Aftermath5. Hologram6. The Fear Is Real7. Lucky Us8. Weight of the World9. Signs of Life10. Oxygen11. Kaleidoscope
Winylowe wydanie albumu z największymi przebojami amerykańskiej grupy rockowej REO Speedwagon. Porównywany do Foreigner, The Cars czy Journey zespół złoty okres swojej działalności miał w latach osiemdziesiątych ubiegłego wieku. Tracklista: Side A 1. I Don't Want to Lose You 2. Here with Me 3. Roll with the Changes 4. Keep on Loving You 5. That Ain't Love 6. Take It on the Run Side B 1. Don't Let Him Go 2. Can't Fight This Feeling 3. Keep Pushin' 4. In My Dreams 5. Time for Me To FlyAs heard in the Netflix series Ozark 6. Ridin' the Storm Out (Live)
Gustav Holst was closely involved with choral music throughout his career. As a schoolboy in Cheltenham he helped his father with music for church services and soon became a choirmaster himself at two Cotswold villages. He composed anthems and partsongs which won prizes in competitions organized by The Boy’s Own Paper, and then went to London to study at the Royal College of Music where he continued to write partsongs as exercises for Sir Charles Stanford’s composition classes. In 1896 his Light leaves whisper, to words by fellow-student Fritz Hart, won a prize offered by the Magpie Madrigal Society and was performed at Stafford House – his first important premiere. This was also Holst’s first published composition, and although it is in the conventional Victorian manner, with little trace of the individual character of his later works, it shows that he was developing his ability as a composer and could invent and handle contrasting musical materials with confidence. But his first real demonstration of skill in choral writing was the Ave Maria of 1900, an eight-part setting for double female chorus which evokes archaic styles without descending into pastiche, taking the cori spezzati of the Venetians as a model for the layout of the voices. Despite the evident influence of Verdi, a few personal touches such as unusual shifts of tonality, the use of seventh chords, and the piling up of contrapuntal entries give hints of Holst’s later mature style. He dedicated this moving and tender piece to the memory of his mother, who had died when he was only seven years old. Having earned his living as an orchestral musician for some years after leaving college, in 1904 Holst embarked on a new career as a schoolteacher, adapting his skills to the task of providing suitable music for his pupils. His first appointment was at James Allen’s Girls’ School in Dulwich, South London, for which he wrote settings of words from Tennyson’s The Princess – music which is interesting and effective, yet within the vocal capabilities of schoolgirl singers. Two of these settings include an additional ‘echo’ choir placed in an adjoining room, so that an intervening door could be gradually closed at the words ‘dying, dying …’, an early example of the fade-out which he later used so effectively at the end of The Planets. To this period also belongs the mixed-voice partsong In youth is pleasure to words by Robert Wever (1565), whose conventional writing suggests a ‘potboiler’ produced to supplement his earnings; or perhaps it was intended for one of the adult education evening classes which he taught at this time. During the early 1900s the rediscovery of English folksong by such collectors as Cecil Sharp, Ralph Vaughan Williams and Percy Grainger helped Holst to simplify his style and rid himself of the heavy legacy of the nineteenth century. He became interested in modal scales and flexible metres, which he realized were more appropriate to settings of the English language than the diatonic system and regular rhythms of the Germanic tradition. Vaughan Williams was also working on the music for the new English Hymnal during this period, and besides contributing some of the tunes himself Holst was intrigued by the simple beauty of the plainsong melodies which were included in the collection. These influences began to have an effect on his own music, especially when allied to medieval words, as is evident in such pieces as Jesu, Thou the Virgin-born (No 3 of the Four Old English Carols of 1907) and A Welcome Song (of similar date) with accompaniment for oboe and cello. Another interest of Holst’s in the early years of the century was Sanskrit literature, and he made several settings of his own translations of hymns from the Rig Veda for various combinations of voices. For the Two Eastern Pictures of 1911 for female voices and harp, he chose words from the Spring and Summer cantos of Kalidasa’s poem Ritsusamhara which describes the six seasons of the Indian year, following his usual method of making his own version of the words and then comparing his results against published translations, making any amendments which might be necessary. In 1913, while on a walking tour in Essex, Holst discovered the village of Thaxted with which he was to be associated for the rest of his life. Here he met the vicar, Conrad Noel, a medievalist whose enthusiasm for folk-dancing and church music affected all who came into contact with him. Holst had the idea of organizing a Whitsun festival there, bringing singers and players from St Paul’s Girls’ School and Morley College in London to join with local people in a weekend of musical festivities, and in 1916, once work on composing The Planets was finished, he was able to devote time to writing and arranging music especially for Thaxted. The carols Bring us in good ale (dedicated to Conrad Noel), Lullay my liking and Of one that is so fair and bright originated in this way, together with Terly, terlow which was given an accompaniment of oboe and cello to form a companion piece to the earlier Welcome Song. But his most outstanding achievement was This have I done for my true love (also dedicated to Noel), an evocation of the medieval notion of dancing and religious worship being closely intertwined. The melody of this piece is so lyrical, with a strongly modal character, that many people thought that Holst had used a genuine English folksong, but in fact it was his own. Although he had made several folksong settings during the pre-War years, at Thaxted his interest revived and he made settings such as Diverus and Lazarus for the festivals and also arranged folksongs for other performers. When his friend W G Whittaker asked for some new music for his Newcastle choir in 1916, Holst hesitated at first, and then some ideas for folksong settings came into his head, resulting in the Six Choral Folksongs, of which the first three are dedicated to Whittaker and the remainder to Charles Kennedy Scott and the Oriana Madrigal Society. He chose five of the melodies from the collections of George B Gardiner and one from Baring-Gould’s Songs of the West. In these arrangements Holst demonstrated his skill in producing a variety of solutions to the problem of how to retain musical interest during several repetitions of a strophic melody, but he later felt that he had virtually exhausted the medium. ‘It’s a limited form of art’, he wrote; ‘when one works so long in a small form mannerisms are almost inevitable.’ He therefore turned to larger-scale choral works such as The Hymn of Jesus and the First Choral Symphony, and operas such as The Perfect Fool and At the Boar’s Head, together with various instrumental and orchestral works. During the 1920s his stature as a composer increased rapidly because of the widespread popularity of The Planets, and he was often invited to musical events in various parts of the country. One of these was at Aberystwyth where Adrian Boult introduced him to the sisters Gwendoline and Margaret Davies, discreet patrons of the arts and other worthwhile causes. Musical weekends at their house at Gregynog attracted many well-known musicians, and in 1930 Adrian Boult asked Ralph Vaughan Williams to make some choral arrangements of Welsh folksongs especially for Gregynog. Because Vaughan Williams was busy with other projects he turned the task over to Holst, who made twelve settings after listening to the singing of Mrs Dora Herbert-Jones. Although Holst’s settings were made on the basis of the English versions of the words which he had asked Steuart Wilson to prepare from Mrs Herbert-Jones’s translations, there is no doubt that the melodies are more effective with the original Welsh words, as is evident from the very opening rhythm of Mae ’nghariad i’n Fenws (‘My sweetheart’s like Venus’). Compared with the English folksongs of 1916, the style of this later set is generally more ‘Holstian’ – lean, sparse, with occasional dissonant harmonic clashes, while remaining firmly in keeping with the basic tonality of the songs. In 1933 Holst once again visited Gregynog for the first of the annual festivals which were to be held there, and he was so impressed by the singing of the choir that at the suggestion of Dora Herbert-Jones he wrote a composition especially for them. For his text he selected lines from the fourth Song of James Elroy Flecker’s poem The Gates of Damascus in which a traveller sets out on a journey of pilgrimage southwards across the desert towards the holy city. Holst’s setting, originally inscribed only with the dedication ‘For Gregynog’ but later known by the first phrase of its words O spiritual pilgrim, treats the journey as a metaphor of life itself, and ends with a quiet evocation of spiritual peace and reassurance. This short composition was to be the last choral work which Holst wrote, as he was already seriously ill. He died less than a year later following a major operation. Michael Short © 1993
Henryk Górecki’s intriguing string quartets, all commissions from the Kronos Quartet of San Fransisco, signified a new creative phase in his music. The stark contrasts that had been at the heart of Górecki’s compositional thinking in the 1950s and 1960s re-emerged in his chamber music of the mid 1980s and are prevalent in these works. Fans of Górecki will be familiar with the compositional devices employed such as open fifths, sustained rocking motifs, and the juxtaposition of dissonance and consonance.In these distinctive quartets both Beethoven and Szymanowski’s well documented influences on the composer are apparent as well as his fascination with the folk cultures of Southern Poland, with the frequent incorporation of folk-derived themes.Following their acclaimed release of the Szymanowski/Rózycki String Quartets (CDA67684) the Royal String Quartet return for their second Hyperion recording. The young Polish Quartet, renowned for the championing of music from their homeland, display an astonishing range of colour, finesse and attack in these intelligent interpretations
At the age of six, Silvius Leopold Weiss (1687-1750) was already proficient enough on the lute to play before the Emperor Leopold I. During a later stay in Italy, his solo playing ‘astonished all the Italians’ according to a contemporary writer. On his return to Germany Weiss became officially engaged at the court of the Elector of Saxony in Dresden, and by 1740 he was well-known throughout Europe as the finest lutenist of his own or any other generation. As well as playing and teaching, Weiss was an extremely prolific composer for his instrument: more than 100 sonatas (or suites) for solo lute, together with around 90 separate movements, survive. On a previous disc, Jakob Lindberg has visited this impressive œuvre in the company of his own unique 16th-century lute, built by Sixtus Rauwolf. That disc was received with great acclaim, for instance in International Record Review: ‘Too good to be true - Lindberg and his lute are symbiotic partners in some of the most intensely personal music-making I've ever been stopped in my tracks by.’ Other reviewers agreed, and the disc was selected ‘Instrumental Choice of the Month’ in BBC Music Magazine. For the present programme, which includes works from a later part of Weiss career, Lindberg has chosen a baroque lute with 13 courses (or pairs of strings) as more suitable. On it he gives us a Sonata in C major in Weiss’s grandest style and an extrovert Sonata in B flat major. Separating the two is Weiss’s most famous work, both in his own lifetime and today. Tombeau sur la mort de M. Comte de Logy is a highly expressive piece which pays homage to the finest of the many excellent aristocratic lutenists from Bohemia, Count Jan Antonin Losy von Losinthal.
Tracklista: CD 1 1. Baby Love 2. Dancing in the Street 3. Reach Out, I'll Be There 4. Uptight (Everything's Alright) 5. Do You Love Me 6. My Girl 7. You've Really Got a Hold On Me 8. My Girl 9. Where Did Our Love Go? 10. I Can't Help Myself 11. The Tracks of My Tears 12. My Guy 13. (Love Is Like A) Heatwave 14. Needle in a Haystack 15. It's the Same Old Song 16. Get Ready 17. Stop! In the Name of Love 18. How Sweet It Is (To Be Loved By You) 19. Take Me in Your Arms (Rock Me a Little While) 20. Nowhere to Run 21. Shotgun 22. It Takes Two 23. This Old Heart of Mine (Is Weak for You) 24. You Can't Hurry Love 25. (I'm A) Road Runner 26. Standing in the Shadows of Love 27. Just My Imagination (Running Away With Me) 28. Heaven Must Have Sent You CD 2 1. I Heard It Through the Grapevine 2. Jimmy Mack 3. You Keep Me Hangin' On 4. The Onion Song 5. Got to Be There 6. What Becomes of the Brokenhearted 7. Reach Out and Touch (Somebody's Hand) 8. You're All I Need to Get By 9. Reflections 10. My Cherie Amour 11. There's a Ghost in My House 12. Too Busy Thinking About My Baby 13. The Happening 14. It's a Shame 15. Ain't No Mountain High Enough 16. Ben 17. Someday We'll Be Together 18. Ain't Too Proud to Beg 19. I'm Still Waiting 20. I'll Be There 21. What's Going On 22. For Once in My Life 23. Stoned Love 24. ABC 25. The Tears of a Clown 26. The Love You Save CD 3 1. Let's Get It On 2. Signed, Sealed, Delivered (I'm Yours) 3. I Want You Back 4. Papa Was a Rollin' Stone 5. River Deep, Mountain High 6. War 7. Stop Look Listen (To Your Heart) 8. Help Me Make It Through the Night 9. Touch Me in the Morning 10. Machine Gun 11. Don't Leave Me This Way 12. Love Machine 13. You Are Everything 14. One Day in Your Life 15. Theme from Mahogany (Do You Know Where You're Going To) 16. Easy 17. Keep On Truckin' (Part 1) 18. The Night 19. Let's Get Serious 20. Got to Give Up 21. Love Hangover 22. Brick House CD 4 1. Three Times a Lady 2. With You I'm Born Again 3. All Night Long (All Night) 4. Upside Down 5. Super Freak 6. Somebody's Watching Me 7. Still 8. Endless Love 9. Being With You 10. Hello 11. Nightshift 12. Treat Her Like a Lady 13. I'm Coming Out 14. Don't Look Any Further (Feat. Siedah Garrett) 15. Let It Whip 16. Dancing On the Ceiling 17. I Love Your Smile 18. Rhythm of the Night 19. My Destiny 20. I'll Make Love to You
Tracklista: CD 1 1. Remember 2. Dexter's Deck 3. Jim's Jams 4. Bag's Groove 5. When Your Lover Has Gone 6. Help! 7. Groove Street 8. I Found A New Baby 9. Sweet Lorraine 10. Gettin' Into It 11. Talkin' 'Bout J CD 2 1. Testifying 2. When I Grow Too Old To Dream 3. Exercise For Chihuahuas 4. Falling In Love With You 5. Some Thorny Blues 6. Wee Dot 7. Flamingo 8. Young Blues 9. A Midnight Angel 10. African Blues 11. Minor Dream 12. Something New, Something Blue 13. Nica's Dream
Tracklista: 1. Walk With Scars2. Walk With Scars (Remix)3. Walk With Scars (Diskonnekted Remix)4. Walk With Scars
Tracklista:1. Too Early2. Revolution3. I Call Bullshit4. Mexico5. Hail of Bullets6. Out of Order7. Egomaniac8. Uranium Heart9. Stick With You10. Outro