Lista utworów: 1. Continental Op 2. Tattoo’d Lady 3. Don’t Start Me To Talkin’ 4. Ain’t No Saint 5. Follow Me 6. When My Baby She Left Me 7. Off The Handle 8. Out On The Western Plain 9. Wanted Blues 10. The Loop 11. Shadow Play 12. Messin’ With The Kid 13. Loanshark Blues
Live television performance of Lehár's operetta, broadcast in April 1955. Anne Jeffreys plays the role of the widow with the rest of the cast including Brian Sullivan, Edward Everett Horton and Helena Bliss.
This disc, originally made in 1989 and led by early music pioneer Konrad Junghänel, stands up well and was a strong candidate for reissue. The Symphonia Angelica of the title was a printed madrigal collection issued by Hubert Waelrant, who was also a composer and included his own effort, Tra romor tamburi. That piece, and all the others, are Italian madrigals, and the disc provides a fair cross-section of Italian madrigals as they became famous across Europe and in England, where they stimulated the creation of the works still taken up every year by high school choirs and glee clubs. The madrigals are mostly in four or five parts, and Junghänel varies his forces nicely; some are accompanied with viols or his own lute, while others are sung unaccompanied, and the group slightly shifts with each new work -- an eminently reasonable solution. The singers involved aren't virtuosi but blend nicely, with accurate intonation. The repertoire is the most attractive feature of the performance. Centered on romantic and even sexy poetry, the disc features composers -- Giovanni de Macque, Luca Marenzio, Philippe de Monte -- whose chromatic experiments are enshrined in music history books that assumed modernism as a virtue. But these composers wrote all kinds of music, and the lighter pieces heard here would be the ones that became popular -- the more experimental pieces were more in the nature of things to be shared with connoisseurs. One of those is indeed included: the composite Mentre ti fui, with four composers each setting a single verse of the same poem. Texts are given in Italian and English; the last line of Macque's delightful Bacciami vita mia (Kiss me, life of mine) unfortunately comes out as "and then I shall leave my soul between your beautiful ips." The booklet also includes commentary in French and German (but not Italian); beyond the dry observation that "King Philip II of Spain was not exactly in Flanders for the cultural development of the country" it contains mostly specialist information. The average buyer, however, will get what the average buyer of the original book got in 1585 -- a pleasing collection of Italian madrigals. ~ James Manheim, All Music Guide
Following Ensemble Caprice’s first recording of Vivaldi’s sacred music ( Gloria! Vivaldi and his Angels) we return to Vivaldi’s Venice and find ourselves yet again within the confines of the Ospedale della Pietà orphanage where, beginning in 1703, Vivaldi, the Red Priest, not only taught the orphan girls violin and singing (!), but also composed many of his most dazzling concertos as well as a substantial part of his highly inspired corpus of sacred music. To this day, it seems almost unbelievable that these very demanding scores could be successfully performed by young women. However, their concerts must have been of a very high standard, judging from the celebrity status they enjoyed throughout Europe. Of course the picturesque scenario of young women performing in church undoubtedly fired the imagination of countless listeners who would come from far and wide to hear the orphans perform musical miracles in Venice. In 1720 an English traveler, Edward Wright, gives us the following account of those events: Every Sunday and holiday there is a performance of music in the chapels of these hospitals, vocal and instrumental, performed by the young women of the place, who are set in a gallery above and, though not professed, are hid from any distinct view of those below by a lattice of ironwork. The organ parts, as well as those of other instruments, are all performed by the young women. They have a eunuch for their master, and he composes their music. Their performance is surprisingly good, and many excellent voices are among them. And this is all the more amusing since their persons are concealed from view. It was both absurd and comical for Wright to assume that the composer was a eunuch, but it shows how the imagination of the male listeners got carried away when hearing those celestial angelic sounds produced by an invisible female orchestra and choir. After having met Vivaldi in Venice in 1739, a French jurist, Charles de Brosse, reports that …about forty girls take part in every concert. I vow to you that there is nothing so diverting as the sight of a young and pretty nun in white habit, with a bunch of pomegranate blossoms over her ear, conducting the orchestra and beating time with all the grace and precision imaginable. Further proof of the incredible quality (and attraction) of these concerts is provided by no less a celebrity than the sophisticated French philosopher (and part-time composer) Jean-Jacques Rousseau, who in 1743 had nothing but praise for the achievements of the young girls: Every Sunday, vocal music for a large chorus with a large orchestra, which is composed and directed by the greatest masters in Italy, is performed in barred-off galleries solely by girls, of whom the oldest is not twenty years of age. One can conceive of nothing as voluptuous, as moving, as this music. Knowing for instance that J.S. Bach only heard his own sacred music sung publicly in church by boys and men and never by women, we can only assume how much the titillation of these exciting rumours about the female choir and orchestra in Venice must have stirred the imagination of music lovers north of the Alps. During the course of the present recording, we move from Vivaldi’s description of war to his musical depiction of the joys of peace. Juditha triumphans Juditha triumphans from 1716 is the best known of the Vivaldi oratorios (of which only four have survived). Subtitled Sacrum Militare Oratorium, it relates the gruesome Old Testament story of Judith, a beautiful widow chosen by God to put an end to the life of the Assyrian general Holofernes – who was out to destroy her hometown – by decapitating him. At the time the oratorio was composed, the Republic of Venice was engaged in its 6th war against the Ottoman Empire and despite its ultimate triumph in 1718, the situation looked rather bleak two years earlier after two successive crushing defeats by the strong Ottoman army. In a typical baroque crossover mingling religious and worldly matters on the same battlefield, the oratorio Juditha triumphans was obviously aimed at strengthening the war efforts of the Venetian Republic. We know that this oratorio was performed at the Ospedale della Pietà, with an all-(young)-woman cast on both vocal and instrumental parts. It could only have added to the already wide range of exotic sensations when the overwhelmed listener heard these young women in nun’s habits engaging in musical warfare. Gloria, RV 588 However, let us not forget that Vivaldi’s talent also radiated its light upon the depiction of peace. The intense plea Et in terra pax (from Gloria RV 588), with its gripping harmonic tensions, serves as a worthy final statement for this recording, where war is gradually replaced by the hope for peace. Psalms, Concertos, Motet On the road towards peace we encounter brilliant psalm settings with powerful rhythms in choir and orchestra (In exitu Israel RV 604, Laudate Dominum RV 606), two virtuoso concertos for multiple soloists (RV 566 and RV 563) and a beautiful solo motet O qui coeli terraeque serenitas RV 631, praising serenity in heaven and on earth. Vivaldi entertained a close relationship with Dresden, the Florence of the Elbe, both as a performing artist and as a composer; indeed, his pieces were frequently performed at court. One of his illustrious colleagues in Dresden, Jan Dismas Zelenka, was obviously inspired by Vivaldi’s sacred music when he composed the heart-rending lament Misera Madre in which Mary’s suffering at the foot of the cross is set for high-voice choir. It becomes quite obvious from the striking dissonances in this piece that the transition from war to peace is not always an easy one… And just as our plea for peace is here put forward with music from the past, we fervently hope that peace will reign in our present time and the future: Et in terra pax! © Matthias Maute, Montreal, 2011
Tracklista:1. Help Me Make It Through the Night2. For the Good Times3. Loving Her Was Easier (Than Anything I'll Ever Do Again)4. Me and Bobby McGee5. Nobody Wins6. Why Me7. Sunday Morning Coming Down8. Jody & the Kid9. Please Don't Tell Me How the Story Ends (With Rita Coolidge)10. The Taker11. Stranger12. Help Me13. Put It Off Until Tomorrow (With Dolly Parton)14. Breakdown (A Long Way from Home)15. Hello in There (With Joan Baez)16. The Pilgrim (Chapter 33)17. From the Bottle to the Bottom18. Somebody Nobody Knows19. I'd Rather Be Sorry (With Rita Coolidge)20. Once More With Feeling21. We Must Have Been Out of Our Minds (With Rita Coolidge)22. Come Sundown23. Kiss the World Goodbye
Tracklista:1. In the Shade2. Clean Money3. Sunflower Eyes4. You Woke Up the Wrong Man5. Break With Me6. Man and the Moon7. Someone's at the Door8. I Used to Run9. Rest Your Skin10. Sleepy Head
Zgodnie z obietnicą Jimmy Page kontynuuje odkrywanie na nowo dyskografii grupy Led Zeppelin. Do kolekcji reedycji katalogu formacji trafia następne arcydzieło, płyta „Physical Graffiti".Album, zawierający kompozycje takie jak „Kashmir” czy „The Rover”, został wznowiony z okazji 40-lecia premiery. Szósty studyjny materiał Led Zeppelin miał premierę 24 lutego 1975 roku i równo cztery dekady później, 24 lutego 2015 roku, ponownie trafia do sprzedaży w wersji deluxe. Za remastering utworów z oryginalnych analogowych taśm odpowiada oczywiście Jimmy Page. Legendarny muzyk pogrzebał też w swoich przepastnych domowych archiwach i znalazł wcześniej niepublikowane kompozycje z "Physical Graffiti", które umieścił na towarzyszącym regularnej, podwójnej płycie dodatkowym dysku.Tracklista:LP 1Side A:1. Custard Pie2. The Rover3. In My Time Of DyingSide B:1. Houses Of The Holy2. Trampled Under Foot3. KashmirLP 2 Side C:1. In The Light2. Bron-Yr-Aur3. Down By The Seaside4. Ten Years Gone Side D:1. Night Flight2. The Wanton Song3. Boogie With Stu4. Black Country Woman5. Sick AgainLP 3: BonusSide A:1. Brandy & Coke (Trampled Under Foot - Initial Rough Mix)2. Sick Again (Early Version)3. In My Time Of Dying (Initial Rough Mix)Side B:1. Houses Of The Holy (Rough Mix With Overdubs)2. Everybody Makes It Through (In The Light Early Version/In Transit)3. Boogie With Stu (Sunset Sound Mix)4. Driving Through Kashmir (Kashmir Rough Orchestra Mix)
Tracklista: 1. Jingle Bells 2. Boogie Woogie Santa Claus 3. Winter Wonderland 4. Blue Christmas 5. Santa Claus Is Back In Town 6. Baby It's Cold Outside 7. The Nutcracker Suite 8. (Everybody's Waitin' For) The Man With The Bag 9. Sleigh Ride 10. Run Rudolph 11. Cactus Christmas 12. So They Say It's Christmas 13. O Holy Night 14. The Amens
Tracklista:1. Aggression2. Cold Heart (Warm Blood)3. Better Chemicals4. Fall5. Let Down6. Dark7. Through Hell8. Memories9. Hard Feelings10. Dancing With Demons11. Personal
Tracklista:1. Sabre Dance 00:02:26 2. Dance of the Girls 00:02:31 3. Dances of the Boys 00:02:18 4. Lullaby 00:05:16 5. Choosing the Bride 00:03:04 6. Gayane and Giko 00:02:51 7. Dance of the Comrades 00:01:51 8. Gayane's Adagio 00:05:00 9. Adagio of Spartacus and Phrygia 00:08:34 10. Dance of a Greek Slave 00:02:24 11. Adagio of Aegina and Harmodius 00:06:49 12. Variation of Aegina and Bacchanalia 00:04:18 13. Scene and Dance with Crotala 00:03:25 14. Dance of the Gaditanae - Victory of Spartacus 00:06:48 15. Dance of an Egyptian Girl 00:03:56 16. Waltz 00:04:20 17. Nocturne 00:03:53 18. Mazurka 00:02:47 19. Romance 00:03:12 20. Gallop 00:03:09