Tracklista:1. Killer2. Heroes of Heartbreak3. Suckerpunch4. Drama5. Hearts Gone Bad6. Sleeping With a Memory7. Once Upon a Time8. Go Down9. Us Fools10. One for the Road11. Start Your Engine12. Warhoney
Tracklista: CD 1 1. Guide Me O Thou Great Jehovah 2. Love Divine, All Love's Excelling 3. Be Thou My Vision (Slane) 4. How Great Thou Art 5. Abide With Me 6. Dear Lord and Father of Mankind (Repton) 7. Be Still My Soul 8. Ave Maria 9. For the Beauty of the Earth 10. My Song Is Love Unknown (Love Unknown) 11. Thine Be the Glory 12. And Can It Be (Sagina) 13. Crown Him With Many Crowns 14. Jerusalem 15. Now Thank We All Our God (Nun Danket) 16. Lord of All Hopefulness 17. Immortal Invisible God Only Wise 18. Morning Has Broken (Bunessan) 19. All My Hope On God Is Founded 20. Rejoice, the Lord Is King 21. Lead Kindly Light CD 2 1. Amazing Grace 2. Praise My Soul the King of Heaven 3. The Lord's My Shepherd 4. When I Survey the Wonderous Cross 5. All Creatures of Our God and King (Lasst Uns Erfreuen) 6. The King of Love My Shepherd Is 7. The Day Thou Gavest, Lord, Is Ended 8. For All the Saints 9. To God Be the Glory 10. Come Down, O Love Divine (Down Ampney) 11. Praise to the Lord, the Almighty, the King of Creation 12. God So Loved the World 13. Eternal Father, Strong to Save 14. Holy, Holy, Holy (Nicaea) (V.2 Arr. Willcocks) 15. Like a Mighty River Flowing 16. O Come, O Come, Emmanuel 17. O Praise Ye the Lord (Laudate Dominum) 18. O Worship the King 19. Let All the World in Every Corner Sing 20. Light of the World, We Know Thy Praise 21. Soul of My Saviour
Tracklista: CD 1 1. White Night 2. Garden Of Love Light 3. Delightful 4. First Love 5. Meditation 6. The Sun Is Dancing 7. You Got The Soul 8. Saint And The Rascal 9. You Are Love 10. I Need Your Love 11. Better Man 12. Soul Bird 13. I Remember 14. Oneness-Cry CD 2 1. Mango Bop 2. Rainbow-Sky 3. I Cry, I Smile 4. Heaven's Just A Step Ahead 5. So Long 6. Love Me Only 7. I Don't Want Nobody Else (To Dance With You) 8. Give Your Love A Chance 9. They Want The Feeling 10. Awakening Suite Part I (Childhood, The Opening Of The Heart) 11. The Awakening 12. Listen To Me 13. Full & Satisfied 14. Will You Ever Know
Tracklista:1. Mr. Self Destruct2. Piggy3. Heresy4. March Of The Pigs5. Closer6. Ruiner7. The Becoming8. I Do Not Want This9. Big Man With A Gun10. A Warm Place11. Eraser12. Reptile13. The Downward Spiral14. Hurt
Tracklista:1. This Strange Effect2. Left It With the Moon3. Orchids4. Audrey Hepburn5. Tidal Waves6. Rain7. Hands in Your Pockets8. No Surprise9. Strange Boy10. Audrey (Spending All My Time With You)11. No Surprise
Weteran transowych brzmień Talla 2xlc przedstawia 55 edycję kultowej serii składanek "Techno Club". Jako gość tym razem występuje polski DJ, producent i aranżer Tomasz Popielarski znany jako Arctic Moon specjalista stylu uplifting trance. Tracklista: CD 1 1. The Noble Six - Black Lotus (Extended Mix) 2. Alex M.O.R.P.H. - Running For Peace (Club Mix) 3. Madwave* & André Visior - Remote Control (Extended Mix) 4. Paul van Dyk Feat. Plumb - Music Rescues Me 5. Talla 2XLC & Xavian - From Here To Eternity 2018 (Extended Mix) 6. Allen Watts & Talla 2XLC - Equinox (Original Mix) 7. Richard Durand - Skies Above (Extended Mix) 8. Joint Operations Centre Feat. Kate Miles - Behind The Silence (Cold Blue Remix) 9. RAM - Circle Of Life (Amir Hussain Extended Remix) 10. Talla 2XLC & Junk Project - Eternia (Extended Mix) 11. Zyrus 7 - Aurora (Extended Mix) 12. Giuseppe Ottaviani - Slow Emotion 2 (Sean Tyas Extended Remix) 13. Allen Watts & Daniel Skyver - Race Against Time (Extended Mix) 14. Roger Shah* & Aisling Jarvis - Hold Your Head Up High (Aly & Fila Remix) 15. Talla 2XLC - Another Life (Extended Mix) 16. Aly & Fila - Rebirth (Ahmed Romel Extended Remix) 17. Talla 2XLC - World In My Eyes 2018 (Extended Mix) CD 2 1. Renegade System - Stars (Original Mix) 2. R.E.L.O.A.D. - Her Dark Eyes (Extended Mix) 3. Armin van Buuren Pres. Perpetuous Dreamer - The Sound Of Goodbye (Steve Allen Extended Remix) 4. Arctic Moon - Annihilation (Extended Mix) 5. Stoneface & Terminal - Airflow (Extended Mix) 6. Jase Thirlwall - Watching Over You (Original Mix) 7. Arctic Moon - Digital Voices (Extended Mix) 8. Heatbeat - Mortal Kombat (Extended Mix) 9. Adam Ellis - An Ember In The Ashes (Original Mix) 10. Orkidea - Nana (Waio Remix) 11. Simon Patterson - Solo (Extended Mix) 12. Metta & Glyde - Imaginarium (Original Mix) 13. Aly & Fila With Haliene - Breathe Us To Life (Fady & Mina Extended Remix) 14. Niko Zografos - Porto Katsiki (Extended Mix) 15. Liam Wilson - These Eyes (Original Mix) 16. Standerwick - I've Been Thinking About You 17. RAM* & Ciaran McAuley - Serengeti (Arctic Moon Remix) 18. Axel Walters - Warrior (Extended Mix) 19. Solis & Sean Truby - Immortal 20. Kiyoi & Eky With Khairy Ahmed - Little Angel (Extended Mix) 21. Aly & Fila Feat. Jwaydan - We Control The Sunlight (Dan Stone Extended Remix)
Tracklista: 1. Cool Yule2. Christmas Island3. Boogie Woogie Santa Claus4. I'll Be Home for Christmas5. Let It Snow6. Merry Christmas Baby7. Blue Christmas8. Baby It's Cold Outside9. Shake Hands With Santa Claus10. Please Come Home for Christmas11. Go Where I Send Thee
Not a great deal is known about the life of John Taverner. He is thought to have been born around 1490 in Lincolnshire, and is first documented in 1525 as a lay clerk at the collegiate church of Tattershall, a musical establishment of some importance. Later that year he was recommended by Bishop Longland of Lincoln for the new post of Informator (choirmaster) at Cardinal College (now Christ Church), Oxford, founded by Cardinal Wolsey and lavishly endowed with a choir of sixteen choristers and twelve ‘clerkes skilled in polyphony’. After overcoming an initial reluctance to leave the security of Tattershall, he accepted this prestigious invitation in time for the formal opening of the College in October 1526. Its glory proved to be short-lived, however, and after Wolsey’s fall from power in 1529 its fortunes and finances soon began to decline. Taverner resigned the post in 1530. For the next seven years his whereabouts are unknown. Possibly he worked as a freelance musician in London, or perhaps he returned directly to Lincolnshire. From 1537 Taverner was in Boston, maybe employed as an agent for Thomas Cromwell, who had been commissioned by Henry VIII to carry out a survey and valuation of the lesser monasteries and friaries prior to their dissolution. There is no truth in the persistent claim that Taverner was a fanatical persecutor in carrying out these duties. The significance of the often-quoted note in the 1583 edition of Foxe’s Acts and Monuments that Taverner came ‘to repent him very much that he had made songs to popish ditties in the time of his blindness’ may well have been exaggerated; Foxe, an ardent Protestant, was writing some forty years after the composer’s death, and the term ‘popish ditties’ remains open to interpretation. On the contrary, there is documentary evidence that Taverner had genuine concern for the welfare of the monks and friars. The assumption that he ceased to compose after leaving Oxford is based on speculation, since a proportion of his output has probably been lost and what has survived is not always easy to date.Taverner died in 1545 and was buried beneath the famous ‘stump’ of Boston church.As the undisputed master of his generation, Taverner witnessed and greatly contributed to the final phase in the development of the florid style that had dominated English sacred music since the death of John Dunstable in 1453. If the works of Taverner’s immediate precursor, William Cornysh (died 1523), represent the peak of sheer virtuosity, those of Taverner himself seem to proceed along a rather more serene path regulated as much by harmonic considerations as purely melodic ones.The music of the generation before Taverner—for instance the unequivocally medieval florid writing of the Eton Choirbook—is the glorious culmination of a predominantly insular culture, developed and sustained in those great choral institutions which had been founded or substantially expanded in the fifteenth century. Some of Taverner’s music remains firmly in this late-medieval tradition as regards form and aesthetic, even if the style is stripped of some of its florid detail. But in other works (presumably the later ones) there is evidence of a growing awareness of contemporary continental features, particularly in the systematic use of imitation, and a tendency towards clarity of texture and simplification of rhythm and line.The music of Taverner, taken as a whole, represents the final development of the florid late-medieval English style, coupled with the assimilation of new aesthetic and technical features which indicate the growing influence of continental thought and practice. Individual works embody these two facets of Taverner’s music in varying degrees, depending mainly on liturgical form and function, but also, to a certain extent, on their chronological position within the composer’s output.Taverner’s three festal Masses (Gloria tibi Trinitas, Corona Spinea and O Michael) represent a high point in the development of that uniquely English genre. Each is scored for six-part choir with the high trebles so characteristic of English music of this period, and is constructed over a cantus firmus. The occasion for which Corona Spinea was written cannot be identified with certainty, for while its title suggests a connection with the Feast of the Crown of Thorns, such an event is not known to have been widely considered of major importance in the Sarum calendar. The origin of the cantus firmus that provides its structural framework remains obscure, as does its date of composition; unlike Gloria tibi Trinitas, it does not form part of the original layer of part-books compiled for use at Cardinal College in the late 1520s, but was added somewhat later by a subsequent owner, William Forrest, a petty canon at the College. As the longest of Taverner’s settings, it was clearly conceived for an elaborate ceremony involving a large choir with boys of exceptional skill; the treble part is consistently more florid than the others.Corona Spinea conforms with the established English tradition in that it comprises only four movements, a result of the Sarum rite’s custom of performing the Kyrie troped (that is, with the addition of extra words, according to season) to plainchant. Each movement is laid out to approximately the same length, the Sanctus and Agnus Dei containing more extensive melismatic writing than the Gloria and Credo (part of whose text is omitted, again following local convention). The cantus firmus is deployed in the tenor, where it provides the foundation both for a web of constantly shifting vocal colours in the full sections and also for some of the more delicately scored reduced-voice passages. As it invariably moves in longer note values, the cantus firmus often acts as a pedal point for the other voices to decorate with motivic material. While imitative writing plays a role of some significance especially in the more syllabic full sections, many of the intervening duets and trios are characterised by abstract figuration, sequential ostinato patterns that are sustained and unfolded over lengthy spans with a compelling logic unsurpassed by Taverner himself, and rarely to be found outside the works of Josquin.Though the overall compass of Corona Spinea extends over the usual twenty-two notes, the disposition of the six voices differs from that of Taverner’s other two festal Masses. Instead of two countertenors, it has two bass parts of slightly different tessitura whose function is more often to support the cantus firmus than to participate fully in the imitative texture. Taverner was able to exploit the contrast between the top and bottom parts to spectacular effect at moments such as ‘Et expecto’ (Credo) and at the opening of the Agnus Dei I. The division of the trebles into two equal parts (a device known as gimel, after the Latin gemellus, twin) in the Benedictus creates an exquisite sonority, only surpassed by the double gimel (divided trebles and means) of Agnus Dei II, which, as in Gloria tibi Trinitas, seems to encapsulate the heart of the work.The function of Marian antiphons such as Gaude plurimum was devotional rather than liturgical; their performance after the end of the office of Compline was written into the statutes of various educational foundations such as Eton College, King’s College, Cambridge, and, in 1525, Cardinal College, Oxford, where antiphons to the Trinity and to St William of York were specified in addition to the customary Marian ones. Judging by the number of sources in which it is preserved, Gaude plurimum was held in especially high regard in the sixteenth century. Drawing on traditions established some decades earlier, Taverner generated a musical structure out of the contrast between passages scored for two or three voices and those for sonorous five-part choir, and thereby lent a sense of direction to this extended and effusive text. Much of the writing is imitative in style and concentrated in manner, with melismas generally being reserved for the conclusion of each section.Taverner’s setting of the Lenten respond for Compline, In pace, is scored for mean, two countertenors and bass: in the copyist’s words, ‘three men and a child’. It is based on the plainchant, which appears in the polyphonic sections as a cantus firmus in the top part.Sally Dunkley © 2000
2nd CD of Austrian lutenist Bernhard Hofstötter (1st by label querstand) Contains four rarely or never before recorded solo lute works by Silvius Leopold Weiss (1687–1750) One of the titans of European Baroque Music, almost forgotten by later generations and only re-discovered in recent centuries Friends with Johann Sebastian Bach Played in Dresden Court Orchestra for more than 30 years and was the best-paid musician there Broadens the typical baroque music structure with additional influences and ideas Taught pupils from all over Europe which led to copies of his works being preserved and currently re-discovered in libraries all over Europe
Znany włoski piosenkarz Zucchero wykonuje swoje największe hity w towarzystwie takich sław jak: Andrea Bocelli, B.B. King, Cheb Mami, Dolores O'Riordan, Eric Clapton, John Lee Hooker, Luciano Pavarotti, Macy Gray, Mana, Miles Davis, Paul Young, Sheryl Crow, Solomon Burke, Sting, Vanessa Carlton. Najbardziej wyjątkową częścią tego albumu jest mieszanka językowa i kulturowa płynnie przeniesione od jednego do drugiego utworu w słodkiej harmonii. Włoska gwiazda przez te wszystkie lata zachęcała do współpracy wielu różnych artystów, a te wokalne duety i inne zespoły zgromadzone są w tej kolekcji, obejmują okres ponad 15 lat. Tracklista: 1. I Lay Down with John Lee Hooker 2. Blue with Sheryl Crow 3. Pure Love with Dolores O'Riordan 4. Baila Morena with Mane 5. Dune Mosse with Miles davis 6. Muoio Per Te with Sting 7. Everybody's Got To Learn Sometime with Vanessa Carlton & Haylie Ecker 8. Like The Sun (From Out Of Nowhere) with Macy Gray & Jeff Beck 9. A Wonderful World with Eric Clapton 10. Hey Man (Sing A Song) with B.B. King 11. Cosi Celeste with Cheb Mami 12. Senza Una Donna (Without A Woman) with Paul Young 13. Diavolo In Me (A Devil In Me) with Solomon Burke 14. Miserere with Luciano Pavarotti & Andrea Bocelli