Tracklista:1. Hello New York2. James Dean3. Sold Me Down the River4. Rock Out Claudette, Rock Out5. Only You6. Ace Supreme7. Rolling With My Baby8. Will You Finance My Rock and Roll Band9. Hello New York10. Rock Out Claudette, Rock Out11. Rolling With My Baby12. Bright Light13. 16 and Savaged14. James Dean15. Roll Over Beethoven
Tracklista:1. A Year With No Summer2. 10th April3. Darkness4. The Kandinsky Group5. The Polyarnik6. Black Swan7. Away/absent
Tracklista:1. Cursed2. One Step Away3. Endless Quest4. What It Takes (Feat. Stefano Zeni)5. Nuketown6. Day By Day7. Hero8. Lost in the Dark9. Goodbye (Duet With Davide 'Dave Rox' Barbieri)10. Take Another Shot11. Prisoner12. Goodbye (Acoustic Version Feat. Steve De Biasi)
Tracklista:1. Sweet Little Mystery2. Wishing I Was Lucky3. Strange4. Lonely Girl5. Temptation6. Sweet Surrender7. Goodnight Girl8. Lip Service9. I Can Give You Everything10. Julia Says11. Somewhere Somehow12. Don't Want To Forgive Me Now13. If Only I Could Be With You14. East Of The River15. If I Never See You Again16. Beyond The Sea17. Maybe I'm In Love18. Love Is All Around
Tracklista: 1. Exotic2. Blacksmith3. Walkin' With You4. Windfall5. Ready Freddie6. Fifth Ward7. Sunset Rock8. Room W Vu9. Where You're At10. Cadiwampus
Bas-bariton Klaus Mertens and Tini Mathot on fortepiano share with us famous songs of Franz Schubert. Songs like Erlkönig, An die Musik, Prometheus, Die Forelle, Du bist die Ruh and many more have been selected by the duo and they give us their illuminating vision and version of songs we all know so Well and love so much. The reason why these songs are so timeless is because they have universal emotions and themes and they speak to all of us in every day and age. The songs stay Alive by the performance of superb musicians like Mertens and Mathot. About the works on this cd: Schubert understands the song as a work of art by two independent authors, the poet and the composer. Thus there is hardly a complete Schubert lied manuscript to be found (this is naturally different in sketches and studies) in which the poet is not named and, what is more, immediately with the title of the song. The three fundamental parameters of the song – text, melody, accompaniment – must in principle be of equal status. The text provides the basis, content and form of the song; the melody makes it singable, the accompaniment interprets it. The circumstances of Schubert’s life show a close relationship to poetry. Poets were strongly represented in his circle of friends, evenings of readings (sometimes several times a week) made him familiar with the latest literature. The readings were followed by discussions on questions of poetry. Thus it seems quite natural that no other musical genre interested him so intensively (throughout his entire life) as much as the song. And there were two poets whose works he continually set to music during this time: Schiller (since his early youth) and Goethe (since reading Faust in the autumn of 1814). (From the linernotes written by Walther Dürr) Poetry by Schiller,Goethe and other poets set to music by Schubert on this beautiful cd!
Tracklista:1. Transport2. Mackerel Sky3. Mobile4. 1105. Your Values 3:536. Both Feet On The Ground7. Nature8. Tumbleweed9. 3 Days10. Day Of The Eagle11. Lighten Up12. Touching The Darkness 13. Messin With The Kid Muzycy:Willie Logan - string electric & acoustic guitars, vocals, Electric sitar, keyboards, bassAdam Bond Thomson - drumsLorna Thomas - bassJohn Haimes - bassIan Thomson - darbuka
Composer and conductor Bob Chilcott (born 1955) has been steeped in the British choral tradition since he was a boy chorister. A former member of The King’s Singers, he is now one of the UK’s most prolific and creative choral composers, writing appealingly direct and accessible music with memorable melodies reminiscent of John Rutter at his best. Of his most recent large-scale work, his Requiem (2010), Chilcott says he was initially ‘terrified by the idea’ of writing a work with such a weight of history behind it, but he has certainly risen to the challenge: his Requiem is characterized by a gentle, forgiving atmosphere clearly modelled on Fauré’s Requiem, with a crystalline, reflective Pie Jesu for solo soprano at the emotional heart of the work. This and the other works performed here, all first recordings, are beautifully performed by Wells Cathedral Choir and Matthew Owens, The Nash Ensemble and two superb young soloists.
The case of Hummel is sadly typical of that of many early nineteenth-century composers. Accorded the greatest respect as composer and performer and showered with gifts and honours for most of his life, Hummel fell into near-oblivion soon after his death, his oeuvre largely neglected apart from representations in conservatory curricula. Happily, he and others like him are now beginning to enjoy the popularity they deserve. A most versatile composer, his output embraces all genres with the significant exception of the symphony – unsurprising, perhaps, in view of Beethoven’s ongoing contribution; compare Brahms’s reticence in embarking on his own first essay in the form.
Cantus Cölln under the direction of Konrad Junghänel is one of the most renowned vocal ensembles for Renaissance und Baroque music. Following their long-term partnership with Harmonia Mundi France, the ensemble now presents its first recording for Accent with Bach’s St John Passion (further projects are planned)This recording is distinguished through two special features: firstly, the utilisation of the seldom performed late fourth version of the passion dating from 1749 and, secondly, the ideal sound of the soloist vocal ensemble which performs the entire work as a double vocal quartet. This produces not only a vocal brilliance and immaculate solo sections, but also extreme transparency which also extends to the turba choruses and chorale settings – Cantus Cölln employs a wide emotional spectrum in their performance ranging from breathtaking drama to intense ardency.The St John Passion was performed a last time under the direction of the composer in the year prior to his death in 1750 in a version which on the one hand cast a glance back to the notated musical text of the original version dating back to 1724, but simultaneously looked forward to embrace the subsequent tonal developments in aesthetic ideals since the time of its composition. The instrumental ensemble was considerably extended: the harpsichord was added as an accompanying instrument alongside the organ, the bass register was reinforced by a contrabassoon and the woodwind orchestration in several of the turba choruses was reinforced by the strings. Bach undertook extensive alterations to text and timbre in a number of arias, and the movements 2 to 10 diverge in numerous details from the text of the now customarily performed version based on the revised score from 1739. The seldom performed version on this recording will perhaps provide a welcome opportunity to hear this all too familiar work with completely new ears.