Tracklista:1. Dance With Me2. Sometimesy Lady3. Best Love4. Still in Love6. Somehow We Made It Through the Rain7. Fire in the Funk8. Talk to Me9. Best Love (12" Version)10. Still in Love (Single Version)11. Fire in the Funk (Single Version)12. Dance With Me (12" Version)5. You Blew It
Lista utworów:1. Mind Ecology2. Face To Face3. Come On Baby Dance With Me4. The Daffodill And The Eagle5. Happiness Is Being Together6. Bridge Of Sighs7. Get Down And Sruti8. Peace Of Mind
Tracklista: Side A 1. Nice 'N Easy 2. That Old Feeling 3. How Deep Is The Ocean 4. I've Got A Crush On You 5. You Go To My Head 6. Fools Rush In Side B 1. Nevertheless (I'm In Love With You) 2. She's Funny That Way 3. Try A Little Tenderness 4. Embraceable You 5. Mam
Wytwórnia Wagram przygotowała serię winyli z muzyką 10-ciu legendarnych artystów.Tracklista: Side A 1. I Wanna Be Loved By You 2. My Heart Belongs To Daddy 3. There's No Business Like Show Business (Live) 4. Diamonds Are A Girl's Best Friend 5. Some Like It Hot 6. That Old Black Magic Side B 1. Incurably Romantic (With Yves Montand) 2. River Of No Return 3. Two Little Girls From Little Rock (with Jane Russell) 4. Bye Bye Baby 5. Specialization (With Frankie Vaughan) 6. Heat Wave
4-płytowe wydawnictwo Reel To Reel przedstawia aż 7 oryginalnych klasycznych zremasterowanych albumów kultowej jazzowej piosenkarki Elli Fitzgerald. Są to albumy: "Get Happy","Sings Sweet Songs For Swingers", "Ella Wishes You A Swinging Christmas", "Hello Love", "Ella In Berlin", "Mack The Knife", "Clap Hands Here Comes Charlie Let No Man Write My Epitaph". Cały materiał zawiera aż 84 utwory i został zremasterowany (Digitally Remastered). Opakowano w gustowny, elegancki, rozkładany digipack. Tracklista: CD 1 1. Somebody Loves Me 2. Cheerful Little Earful 3. You Make Me Feel So Young 4. Beat Me Daddy, Eight To The Bar 5. Like Young 6. Cool Breeze 7. Moonlight Becomes You 8. Blue Skies 9. You Turned The Tables On Me 10. Gypsy In My Soul 11. Goody Goody 12. St Louis Blues 13. Sweet And Lovely 14. Let'S Fall In Love 15. Makin' Whoopee 16. That Old Feeling 17. I Remember You 18. Moonlight Serenade 19. Gone With The Wind 20. Can'T We Be Friends 21. Out Of This World 22. My Old Flame 23. East Of The Sun (And West Of The Moon) 24. Lullaby Of Broadway CD 2 1. Jingle Bells 2. Santa Claus Is Coming To Town 3. Have Yourself Merry Little Christmas 4. What Are You Doing New Years Eve 5. Sleigh Ride 6. The Christmas Song 7. Good Morning Blues 8. Let It Snow, Let It Snow! 9. Winter Wonderland 10. Rudolph The Red Nosed Reindeer 11. Frosty The Snowman 12. White Christmas 13. You Go To My Head 14. Willow Weep For Me 15. I'M Thru With Love 16. Spring Will Be A Little Late This Year 17. Everything Happens To Me 18. Lost In A Fog 19. I'Ve Grown Accustomed To His Face 20. I'Ll Never Be The Same 21. So Rare 22. Tenderly 23. Stairway To The Stars 24. Moonlight In Vermont CD 3 1. Gone With The Wind 2. Misty 3. The Lady Is A Tramp 4. The Man I Love 5. Summertime 6. Too Darn Hot 7. Lorelai 8. Mack The Knife 9. How High The Moon 10. Black Coffee 11. Angel Eyes 12. I Cried For You 13. I Can'T Give You Anything But Love, Baby 14. Then You'Ve Never Been Blue 15. I Hadn'T Anyone Till You 16. My Melancholy Baby 17. Misty 18. September Song 19. One For My Baby (And One More For The Road) 20. Who'S Sorry Now 21. I'M Getting Sentimental Over You 22. Reach For Tomorrow CD 4 1. A Night In Tunisia 2. You'Re My Thrill 3. My Reverie 4. Stella By Starlight 5. Round Midnight 6. Jersey Bounce 7. Signing Off 8. Cry Me A River 9. This Year'S Kisses 10. Good Morning Heartache 11. (I Was) Born To Be Blue 12. Clap Hands! Here Comes Charlie 13. Spring Can Really Hang You Up The Most 14. The Music Goes Round And Around
Wydanie winylowe 180 g. Tracklista: LP 1 Side A 1. The Adventures Of Mutt Indiana Jones And The Kingdom Of The Crystal Skull 2. Dry Your Tears, Afrika Amistad 3. The Bfg The Bfg 4. With Malice Toward None Lincoln 5. The Duel The Adventures Of Tintin Side B 1. A New Beginning Minority Report 2–4. Escapades For Alto Saxophone And Orchestra Catch Me If You Can LP 2 Side C 1. Marion's Theme Raiders Of The Lost Ark 2. Hymn To The Fallen Saving Private Ryan 3. Dartmoor, 1912 War Horse Side D 1. Viktor's Tale The Terminal 2. Prayer For Peace Munich 3. Immigration And Building The Unfinished Journey 4. With Malice Toward None Lincoln (Alternate Version)
Reedycja albumu z 1976 roku. Wydanie analogowe 180 gr. Tracklisting: A1 Led Boots (4:02)A2 Come Dancing (5:53)A3 Goodbye Pork Pie Hat (5:29)A4 Head For Backstage Pass (2:42) B1 Blue Wind (5:55)B2 Sophie (6:30)B3 Play With Me (4:08)B4 Love Is Green (2:31)
In his monumental treatise Le istitutioni harmoniche (Venice, 1558), Gioseffo Zarlino recounts an anecdote about his teacher Adrian Willaert (c1490–1562). As the story is indicative of Willaert’s early career, it is worth quoting in full: I shall now relate what I have heard said many times about the most excellent Adrian Willaert, namely, that a motet for six voices, Verbum bonum et suave, sung under the name of Josquin in the Papal Chapel in Rome almost every feast of Our Lady, was considered one of the most beautiful compositions sung in those days. When Willaert came from Flanders to Rome at the time of Leo X and found himself at the place where this motet was being sung, he saw that it was ascribed to Josquin. When he said that it was his own, as it really was, so great was the malignity or (to put it more mildly) the ignorance of the singers, that they never wanted to sing it again.Different things can be said about this story, which was long thought to be apocryphal. What is of course most striking, is the claim that Willaert’s six-voice motet went under the name of Josquin des Prez, the princeps musicorum of his time. Needless to say, this serves to underline the extraordinary quality of the piece, which was first printed in Ottaviano Petrucci’s collection Motetti de la corona (Fossombrone, 1519). Verbum bonum et suave contains a canon between Tenor and Quintus, the melody of which is based on the eponymous plainchant. The motet displays a dense texture that is only interrupted at the beginning of the secunda pars: on ‘Ave, solem genuisti’ (the fourth strophe of the Marian hymn) a duet of upper voices is imitated by the lowest ones. The sudden reduction of the voices, the characteristic rising fourth on ‘Ave’ and the general layout of the melody make one wonder whether this passage was meant as a subtle musical and textual reference to Josquin’s Ave Maria … virgo serena, one of the composer’s most popular and best-known pieces.Another piece on this recording also has a clear connection with Josquin: Willaert’s six-voice Missa Mente tota is based on the quinta pars of the composer’s monumental cycle Vultum tuum deprecabuntur. Josquin wrote these motets during his period of activity in Milan in the 1480s. They can be linked with devotional practices of the Sforza rulers, as they are part of the repertoire of so-called motetti missales, to which other composers such as Loyset Compère and Gaspar van Weerbeke contributed. Such motet cycles were designed to replace the standard items of the Mass (Introit, Kyrie, Gloria, etc). Josquin’s four-voice Mente tota starts with motivic imitation between the voices; from ‘ideo ne despicias’ onwards the contrapuntal texture makes room for homophonic declamation, which guarantees a clear comprehension of the text. The alternation of duets for high and low voices with tutti passages not only creates variety, but also highlights the structure of the prayer.Willaert’s Missa Mente tota only survives in manuscripts, which are currently preserved in Rome, Bologna, Treviso and Munich. The earliest of these sources—Vatican City, Cappella Sistina 16—dates from circa 1512 to 1517, which means that this Mass could be one of the composer’s earliest pieces. Willaert might have written it during his stay in Rome (c1514–1515), when he was in the service of Cardinal Ippolito I d’Este. The Vatican choirbook also contains a five-voice Mass by Antoine Févin based on the same model. Willaert’s composition displays a remarkable feature: every section of the Mass contains a double canon, which shows Willaert’s love for complex contrapuntal constructions even at this early age. The Benedictus and second Agnus Dei are for two voices; the Osanna and third Agnus Dei are written in tempus perfectum, thus creating a climactic effect. Zarlino briefly mentions Willaert’s Missa Mente tota in Book III, Chapter 66 of his Istitutioni harmoniche and praises the work for its ‘leggiadria’ (gracefulness).Quid non ebrietas? is another early composition of Willaert’s. Its experimental nature has not only caused lively musicological debate, but the work was already subject to polemic at Willaert’s time. In a letter of May 1524, the Bolognese theorist Giovanni Spataro reports that Willaert had sent the work to Pope Leo X, whose singers had not been capable of deciphering and performing it. Quid non ebrietas? is indeed intended as a musical puzzle. The text is based on a passage in Horace’s Epistulae I, 5 and concerns the ‘miracle of drunkenness’, which ‘unlocks secrets’ (‘operta recludit’) and ‘teaches skills’ (‘addocet artes’). These words seem to have inspired Willaert to a compositional tour de force. The notation suggests that the work ends on a seventh D–E, which would have caused intolerable dissonance. However, Willaert conceived the Tenor in such a way that it runs through the complete circle of fifths via the successive addition of flats. This means that the final note E should actually be sung as E double flat, or D. Willaert’s Quid non ebrietas? can thus be considered a major contribution to the development of equal temperament.O iubar, nostrae specimen salutis was published in Willaert’s Hymnorum musica (Venice, 1542). As the subtitle of this book indicates, the Hymns are arranged in accordance with the church calendar (‘secundum ordinem romanae ecclesiae’). It is thus rather surprising that the collection includes a Hymn for the Holy Shroud. Interestingly, the publication of O iubar took place only a decade after the Shroud had been seriously damaged by a fire in the Sainte Chapelle of Chambéry. After its repair by the Poor Clare nuns, the Shroud was taken to Italy for exhibitions in Turin, Milan and Vercelli. It is possible that Willaert composed the piece for one of those occasions. Although most of the Hymns in the collection are composed alternatim—one stanza being sung in plainsong, the next polyphonically and so on—O iubar is polyphonic throughout. Willaert creates variety by means of the number of voices—from a bicinium (third strophe) to six voices in the final strophe—and the treatment of the pre-existing melody: it can be cited literally in long note values, paraphrased or treated as a canon.Although Willaert spent a long part of his life as chapel master of the Venetian basilica di San Marco, we know that he visited his native Flanders twice. His first visit, in 1542, left a compositional trace: the five-voice Laus tibi, sacra rubens celebrates the Holy Blood, the relic of which is kept in Bruges at the eponymous chapel. The motet is based on a poem by Stephanus Comes which was published in the collection Sylvula carminum, non minus docta quam iucunda (Bruges, 1544). The text is written in elegiac distichs and offers a brief survey of the history of the Holy Blood, from Christ’s crucifixion to its arrival in Bruges. It is a very expressive poem, both in terms of content and word-sound. In his setting, Willaert intensifies these qualities by effective musical means.Creator omnium, Deus was published in 1554 by the Leuven music printer Pierre Phalèse as part of the Liber sextus cantionum sacrarum. The motet is based on the apocryphal biblical text Maccabees—the passage in question marks the beginning of the prayer of Nehemias (‘Creator of all things, God, dreadful and strong and just and merciful’). Willaert’s six-voice piece contains a canon at the lower fifth between Tenor primus and Tenor secundus, who quote the plainsong melody in long note values, thus clearly distinguishing the canon from the other voices. From ‘Da pacem, Domine’ onwards, the canonic voices use smaller note values and merge rhythmically with the other voices. Willaert’s Creator omnium, Deus was the model for a motet by Orlandus Lassus, which is also for six voices and carries a canon at the lower fifth.When Willaert died in December 1562, he had served the Venetian basilica di San Marco for 35 years. During this time, the institution had gained a strong international reputation. It is therefore not surprising that Willaert’s death was lamented by no fewer than five composers: Giovanni Battista Conforti and Lorenzo Benvenuti each composed a madrigal, whereas Andrea Gabrieli and Willaert’s nephew Alvise lamented his death with a greghesca (a curious genre, the text of which is based on a mixture of Venetian dialect with Greek words). With his five-voice motet Concordes adhibete animos, Cipriano de Rore—Willaert’s fellow countryman and successor at Saint Mark’s—left a particular musical monument.Although Rore’s motet carries the heading ‘in mortem Adriani Willaert’, nowhere in its text is grief for the loss of the deceased composer mentioned. The spirited exclamation ‘Vive Adriane decus Musarum, vive Adriane’ that stretches the length of the composition as a soggetto ostinato seems equally at odds with the stated occasion in the composition’s heading. Above all, the piece ends with a ‘joyful’ passage in tempus perfectum, which praises Willaert’s native region: ‘Felix quae hunc genuit Flandria in orbe virum’. Concordes adhibete animos should thus be interpreted as a posthumous panegyric rather than a lamento in the strict sense of the word. The style of Rore’s motet clearly suggests that he wished to uphold the memory of Willaert’s achievements and to guarantee the survival of his music.Katelijne Schiltz © 2010
Tracklista:1. Bright Eyes2. Breakaway3. I Believe (When I Fall in Love, It Will Be Forever)4. Disney Girls5. Miss You Nights6. She Moved Through the Fair7. Scissors Cut8. Since I Don't Have You9. Watermark10. What a Wonderful World11. When a Man Loves a Woman12. Looking for the Right One13. I Only Have Eyes for You14. Crying In The Rain (Duet with James Taylor)15. Another Lullaby16. 99 Miles from L.A.17. A Heart in New York18. Saturday Suit19. Why Worry20. Crying in My Sleep
Tracklista:1. It's My Thing (Pt. 1)2. It's My Thing (Pt. 2)3. Things Got to Get Better4. What Kind of Man5. If You Love Me6. In the Middle7. Unwind Yourself8. You Got to Have a Job9. I'll Work It Out10. Get Out of My Life11. I'm Tired I'm Tired I'm Tired12. Shades of Brown13. I Made a Mistake Because It's Only You (Pt. 1)14. I Made a Mistake Because It's Only You (Pt. 2)15. What Do I Have to Do to Prove My Love to You16. He's the One17. This Girl's in Love With You18. Sunny