1 As If2 Born to Fly3 I Could Not Ask For More4 Perfect5 Cheatin'6 Suds in the Bucket7 Saints & Angels8 You'll Always Be My Baby9 I Keep Looking10 No Place That Far11 Real Fine Place to Start, A12 Love You With All My Heart13 Pray For You14 Some Things Never Change
'Lost music re-born' said the BBC Music Magazine of 'Magister Leoninus 1' issued in 1997. That disc won a Diapason d'Or d'Année and appeared among the BBC's 'Best of the Year' discs. Here is a second CD of austere and beautiful music by this mysterious master from the 12th-century School of Notre Dame, of whose name we are not even sure. Red Byrd's new recording includes compositions for three of the most important feasts in the liturgical year: Christmas, Easter and Pentecost.Music for the office from twelfth-century ParisThe history of late twelfth-century polyphony was first written a hundred years after the event by a monk who may have come from Bury St Edmunds; history has not entrusted us with his name and he is usually referred to by the title he received when his treatise was first published in the nineteenth century: Anonymous IV. Anonymous as he was, he tells us about two of the most important composers of the fifty years either side of 1200: the magistri Leoninus and Perotinus. Leoninus, we are told, wrote a cycle of two-part settings of the most important chants in the liturgical year—Christmas, Easter, Assumption and other feasts; this cycle was called the Magnus liber organi (‘The great book of organum’). Perotinus and his contemporaries played an important role in the careful recasting and elaboration of this repertory. According to the monk from Bury St Edmunds, Perotinus either shortened or edited (interpretations vary) Leoninus’ great book of organum; long sections of almost improvisatory scope were rewritten according to the tighter principles of discant composition that Perotinus himself may have contributed to codifying. Both Leoninus and Perotinus worked at the Cathedral Church of Notre Dame de Paris. While little is conclusively known about the biography of Perotinus, recent fashion has inclined to identify Leoninus with Leo, a canon of Notre Dame in later life and, incidentally, an author of neo-Ovidian homoerotic poetry.Organa of the type that make up Leoninus’ Magnus liber organi are polyphonic settings of plainsong. The original chants employ two musical styles: the solo sections are elaborately melismatic and contrast with the simpler, more syllabic, sections sung by the schola. It is the melismatic solo sections of the chant that are set polyphonically. The result is that a performance of organum involves polyphony and plainsong. Most of the music for the office written by Leoninus and his contemporaries consisted of settings of responsories. A responsory was made up of a respond followed by a verse, followed by a repeat of part of the original respond. The ‘Gloria Patri’ follows, and the work concluded with either the complete responsory or a part thereof, depending on the status of the feast (three of the seven responsories on this recording include a complete repeat). Within each of these main sections are settings of both solo and choral chants. The respond consists of just the first couple of words set in polyphony followed by the rest of the choral chant; the verse is entirely set in polyphony; the partial repeat of the respond is always in plainsong; the ‘Gloria Patri’ is set sometimes in polyphony, and sometimes left as plainsong. In the case of the responsory Sedit angelus, two settings are preserved in the principal manuscript for this repertory, and Red Byrd perform them both. In a liturgical context, only one of these would have been used.Leoninus’ organa dupla of the Magnus liber organi took the plainsong and did one of two things with it: for the more syllabic sections of the chant that he set, he laid out the lowest part (the tenor) in long notes and wrote highly elaborate, rhapsodic lines above it (the duplum); this style of music was called organum per se (medieval terms vary, and theorists took a pedantic pleasure in pointing out the complexities of usage for a term—organum—that could mean a complete piece or a generic style or, as here, a subsection). Alternatively, he took the long melismas of the chant and organized them into repeating rhythmic cells and wrote a correspondingly tight rhythmic duplum above it. The rhythmic organization of this procedure gave rise to what are called the rhythmic modes (this style was called discantus). Both types of music exist within the same composition; the sections based on highly melismatic chants that use the rhythmic modes are called clausulae when they are given discrete, self-contained forms. The resulting structure of alternations of plainsong, organum per se and discantus can be illustrated by a transcription of the text of Repleti sunt omnes: Repleti sunt omnes Spiritu Sancto et ceperunt loqui prout Spiritus Sanctus dabat eloqui illis. Et convenit multitudo dicencium. Alleluya. Loquebantur variis linguis apostoli magnalia Dei. Et convenit multitudo dicencium. Gloria Patri, et Filio, et Spiritui Sancto. Alleluya.In this transcription, those parts of the text that are left in plainsong are given in roman type, those in organum per se in italics and passages in discantus are given in bold italics. Full-blown clausulae, where sections in discantus are structured according to pattern are much rarer in the responsory than in the settings of the gradual or alleluya for the Mass (see Red Byrd’s Magister Leoninus: Music for the Mass from 12th-Century Paris, CDH55328), and more often represent digressions from the sustained-tone style of organum per se than carefully patterned clausulae. In the cases of the three processional works—Christus resurgens, Sedit angelus and Advenit ignis—only the verse is set in polyphony, and the antiphon and responds are left in plainsong.Red Byrd’s recording includes compositions from three of the most important feasts in the liturgical year: Christmas, Easter and Pentecost. One of the two Christmas responsories, Descendit de celis is furnished with a prosa, further sections of plainsong that decorate the original chant—in the same way that the organum itself decorates the plainsong. It is not entirely clear whether the liturgy at Notre Dame allowed both the use of a prosa and organum simultaneously, or whether each could be deployed on different occasions. In any case, Red Byrd provide a complete version of the piece including organum and prosae. The responsories recorded here are for either of the two most important offices of the liturgical day: Vespers and Matins. Iudea et Iherusalem is the responsory at First Vespers on Christmas Day (actually sung the night before) and Descendit de celis is the third responsory (out of a total of nine) for Matins on Christmas Day.Three of the works on this recording were composed for processions. Sedit angelus and Advenit ignis are processional responsories, and Christus resurgens is a processional antiphon. Unlike the responsories, which were sung in the choir at Notre Dame, they were sung at various points around the cathedral and its environs. Christus resurgens was written for the procession to the Baptistry of Saint-Jean-le-Rond after Second Vespers on Easter Sunday and Saturday in Easter Week, and Advenit ignis was destined for the procession before Mass on the feast of Pentecost. Sedit angelus was used an astonishing number of times: in the procession after Second Vespers on its return to Notre Dame, on Easter Sunday and Sunday after Easter, in the procession after Terce during the return from Saint-Jean-le-Rond and Saint-Denis-du-Pas, during the Octave of Easter and the Fifth Sunday of Easter, and in the procession on arrival at Saint Marcel, on the second Rogation Day before Ascension. The final work on this recording sets one of the best-known texts in the entire liturgy. Benedicamus Domino was heard at the end of every one of the canonical hours and at the end of the Mass when the ‘Gloria’ was not sung. The principal manuscript for this repertory contains no fewer than eleven settings, of which the one recorded here is the ninth.Performing the duplum lines in organum per se is a skill that is difficult to regain eight centuries after this music was originally conceived. The music notated in the original manuscripts gives a mixture of information: some idea of what the composer’s overall structure might have been, an idea of at least one (and probably more than one) performer’s view of the music—and it has to be remembered that a performer’s ‘view’ of this music would almost certainly have entailed changes to pitch and rhythm, and a sense of what a thirteenth-century editor would have done in trying to copy down and render consistent a wide range of material. So these sections which, in their floridity, resemble late eighteenth- and early nineteenth-century coloratura vocal lines, differ in that they are not just blueprints to be ornamented; they are blueprints that have already been partially ornamented, and the singer of the duplum part treads a very careful path between the slavish duplication of a medieval performer’s view of the work and the complete recreation of Leoninus’ music. In this recording, Red Byrd include a composition that in turn includes a rare example of what medieval theorists called copula, where—for short passages in organum per se—the upper voice adopts the rhythms of discantus in a sequential pattern and then returns to its original style. This is audible in the verse of Iudea et Iherusalem, as the first syllable of ‘Constantes’ changes to the second and after the short passage of discantus on the word ‘estote’.It used to be thought that the sustained notes in organum duplum were to be held relentlessly: a challenge to breath control and the sanity of the singer taking the part. Re-readings of thirteenth-century theory suggest that the tenor is responsible for contributing with great subtlety to the texture of the work by breaking the sound, at the same time as one or more of the upper voices, and this is the procedure that Red Byrd employ in this recording.The editions of the music are taken from the manuscripts Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1 (polyphony) and Paris, Bibliothèque Nationale de France, fonds Latin 15181–2 (plainsong). The music appears in volume 2 of Le Magnus liber organi de Notre Dame de Paris (Monaco: Éditions de l’Oiseau-Lyre, 2003). The English translations were supplied by Leofranc Holford-Strevens, and thanks are also due to Mary Berry and the Schola Gregoriana of Cambridge for their assistance.Mark Everist © 2001
Tracklista: CD 1 1. Creole Belles 2. Young Woman's Blues 3. I Never Knew Just What A Girl Could Do 4. St. Louis Blues 5. The World Is Waiting For The Sunrise 6. Maple Leaf Rag 7. Black Mountain Blues 8. Mississippi Mud 9. Running Wild 10. St. James Infirmary 11. Don't Monkey With It 12. Hoppin' Mad 13. I Hate A Man Like You 14. Reckless Blues 15. I Want A Big Butter And Egg Man 16. Rock Island Line 17. Mama Don't Allow It 18. I Ain't Gonna Give Nobody None Of This Jelly Roll 19. I Want A Girl Just Like The Girl (That Married Dear Old Dad) 20. East Coast Trot 21. Breeze 22. Barnyard Blues 23. I've Got What It Takes 24. I'm Travellin' CD 2 1. Postmans Lament 2. Tuxedo Rag 3. Panama Rag 4. Storyville Blues 5. It's Tight Like That 6. Bury My Body 7. Diggin' My Potatoes 8. Ice Cream 9. Oh Didn't He Ramble 10. I'm Down In The Dumps 11. Frankie And Johnny 12. Struttin' With Some Barbeque 13. On A Slow Boat To China 14. Mezzy's Tune 15. Jelly Bean Blues 16. As Long As I Live 17. New Orleans Stomp 18. The Entertainer 19. If I Ever Cease To Love 20. The Onions 21. Steppin' On The Blues 22. Wolverine Blues 23. Dark Night Blues
Materiał zawiera nagrania z wybitnych musicali ("Jesus Christ Superstar", "Evita", "Cats, Phantom Of The Opera" etc.) skomponowanych przez Andrew Lloyd Webbera w wykonaniu London Philharmonic Orchestra and Singers. Orkiestrą dyryguje Jose Calvario. Nagrania zarejestrowano w Abbey Road Studios in London, 1994. Materiał został zarejestrowany w audiofilskiej technologii SBM (Super Bit Mapping) a płyta jest koloru złotego. Tracklista: 1. Seeing is Believing 2. Come back with the Same Look in Your Eyes 3. Close Every Door 4. With One Look 5. Memory 6. Any Dream Will Do 7. Don't Cry for Me Argentina 8. Tell Me on a Sunday 9. All I Ask of You 10. Starlight Express 11. I Don't Know How to Love Him 12. Music of the Night 13. Love Changes Everything 14. Take That Look Off Your Face
"Swing With The Best Big Bands" to składanka pełna najpopularniejszych utworów i najbardziej znanych wykonawców swingu. Zachwyć się występami takich legend swingu jak: Quincy Jones, Les Elgart, Count Basie, Benny Goodman i wielu innych!
Tracklista:1. Mallory2. Accident3. Escape4. Escape (Al'Tarba Remix)5. We Should Go to Sleep As the Birds Are Singing6. I Want to Run With the Wolves
Tracklista:1. Don't Take This the Wrong Way2. I'm Such a Shallow Person3. Breakable4. Veneer5. Come Fly With Me6. Skin7. Role Model
Tracklista:1. Chills & Thrills2. Boogie Man3. So Devine4. When I'm Gone5. Missing Tyrone6. Just My Guitar and Me7. Compromising for Your Needs8. Black and White9. Serious10. Heart of Saint Paul11. That's Why I'm Crying12. Groove With Me13. Serious (After Hours)
Tracklista: CD 1 1. Relax 2. Blue Monday 3. Tainted Love 4. Love Action (I Believe In Love) 5. Smalltown Boy 6. Fade To Grey 7. To Cut A Long Story Short 8. Dancing With Tears In My Eyes 9. Big In Japan 10. Everything She Wants 11. Living On The Ceiling 12. Rockit 13. I.O.U. (7" Version) 14. Imagination 15. I Can't Wait 16. Party Fears Two 17. Dance Hall Days 18. Temptation 19. It's My Life 20. Don't Leave Me This Way CD 2 1. Vienna 2. Sweet Dreams (Are Made Of This) 3. Don't You Want Me 4. Cars 5. Chant No. 1 (I Don't Need This Pressure On) 6. Girls On Film 7. Take On Me 8. Wouldn't It Be Good 9. The Look Of Love (Part 1) 10. Love & Pride 11. You Spin Me Round (Like A Record) 12. Too Shy 13. Pearl In The Shell 14. Hold Me Now 15. We Close Our Eyes 16. (Feels Like) Heaven 17. Don't Talk To Me About Love 18. Wishing (If I Had A Photograph Of You) 19. Wood Beez 20. Kiss Me CD 3 1. 19 2. Da Da Da (I Don't Love You, You Don't Love Me Aha Aha Aha) 3. Enola Gay 4. Are 'Friends' Electric? 5. Axel F 6. Einstein A Go-Go 7. The Race 8. Close (To The Edit) 9. Obsession 10. Crockett's Theme 11. Waiting For A Train 12. Bette Davis Eyes 13. Steppin' Out 14. You'll Always Find Me In The Kitchen At Parties 15. Safety Dance 16. Hyperactive! 17. Duel 18. The Politics Of Dancing 19. I'm In Love With A German Film Star 20. Avalon CD 4 1. Don't You (Forget About Me) 2. Everybody Wants To Run The World 3. Together In Electric Dreams 4. Souvenir 5. No Regrets 6. Avalon 7. Quiet Life 8. Rio 9. True Faith 10. E=MC2 11. Pull Up To The Bumper 12. Atomic 14. Love Missile F1-11 13. Love Will Tear Us Apart 15. The Walk 16. Golden Brown 18. Kids In America 19. Eyes Without A Face 17. Black Man Ray 20. Life In A Northern Town
Tracklista: CD 1 1. Just for fun 2. My own, my only, my all 3. The lucky old sun 4. Vieni su 5. Rain 6. Zing-a-zig-aboom 7. Im gonna paper all my walls with your love letters 8. Muskrat rmble 9. I don't care if the sun don't shine 10. Choo'n gun 11. Be honest with me 12. I still get a thrill 13. Bye bye blackbird 14. Happy feet 15. Baby obey me 16. I'll always love you 17. Tonda wanda hoy 18. Who's sorry now? 19. Wham! Bam! Thank you, ma'am! 20. The peddler's serenade 21. If 22. Beside you 23. I love the way you say goodnight 24. Your and your beautiful eyes 25. In the cool cool cool of the evening 26. Bonne nuit 27. Luna mezz'o mare 28. Go go go go 29. Aw c'mon CD 2 1. Hangin' around with you 2. Solitare 3. My heart has found a home now 4. Bella bimba 5. The sailor's polka 6. I ran all the way home 7. Meanderin' 8. As you are 9. Blue smoke 10. Night train to Memphis 11. Until 12. Oh boy oh boy oh boy 13. Come-back to Sorrento 14. Never before 15. When you're smiling 16. Won't you surrender 17. All I have to give you is my love 18. Pretty as a picture 19. Oh Marie 20. I passed by your house last night 21. Bet-I-cha 22. You belong to me 23. Kiss 24. What could be more beautiful 25. Little did we know 26. I know a dream when I see one 27. Second chance 28. Hominy grits CD 3 1. There's my lover 2. Till I find you 3. Don't you remember? 4. If I could sing like Bing 5. Love me love me 6. That's amore 7. Your're the rights one 8. If I shouls love again 9. The Christmas blues 10. Hey brother pour the wine 11. Money burns a hole in my pocket 12. That's what I like 13. I'd cry like a baby 14. Belle from Barcelona 15. Sway 16. Under the bridges of Paris 17. The peddlar man 18. Confused 19. One more time 20. Try again 21. I'll gladly make the same mistake again 22. Young and foolish 23. In Napoli 24. The lady with the big umbrella 25. I like them all 26. Chee chee-oo-chee 27. Love is all that matters CD 4 1. Simpatico 2. Ridin' into love 3. Memories are made of this 4. Change of heart 5. Innamorata 6. The Look 7. Mississippi dreamboat 8. Standing on the corner 9. Street of love 10. Watching the world go by 11. The test of time 12. I'm gonna steal you away 13. Bamboozled 14. Give me a sign 15. Captured 16. I know I can't forget 17. I never had a chance 18. Just kiss me 19. Man who plays the mandolino 20. I can't give you anything but love 21. Only trust your heart 22. Beau James 23. Promise her anything 24. The tricche tracche 25. Write to me from Naples 26. Good mornin' life 27. Makin' love ukulele style 28. Return to me 29. Forgetting you 30. Tu sei bella, signorina CD 5 1. Angel baby 2. Your were made for love 3. Once upon a time 4. Outta my mind 5. The Magician 6. Volare 7. Rio Bravo 8. It takes so long 9. On an evening in Roma 10. My rifle my pony and me 11. Sleep warm 12. All I do is dream of you 13. Sogni d'oro 14. You can't love 'em all 15. How sweet it is 16. Humdinger 17. I ain't gonna lead this life no more 18. Love me, my love 19. Buttercup of golden in the head 20. Professor! Professor! 21. In Napoli 22. Career 23. Who was that Lady? 24. Ain't that a kick in the head 25. Just in time 26. Giuggiola 27. Sparklin' eyes 28. All in a nigh's work 29. The Story of life 30. Bella, bella bimbina