Tracklista:1. Give Me Some Wheels2. Feeling 'Bout You3. Let's Get Real4. Traveling Light5. Live to Love Another Day6. No Way Out7. Fall8. Saying Goodbye to a Friend9. She Said, He Heard10. Far and Away11. Just Enough Rope12. When I Run13. I Wish Hearts Would Break14. Nobody Love, Nobody Gets Hurt15. Family Tree16. Somebody to Love17. Moonlight and Roses18. Take Me Back19. From Where I Stand20. I Surrender21. Train of Thought
Tracklista:1. Thank God for Sinners2. You're the Doctor3. Inside Your Heart4. The Hill5. Would You Be My Love6. Ghost7. They Told Me Too8. Love Fuzz9. Handglams10. Who Are You11. Gold On the Shore12. There Is No Tomorrow
1. Can't Stop This Feeling I Got2. New Power Generation3. Release It4. The Question of U5. Elephants & Flowers6. Round and Round7. We Can Funk8. Joy in Repetition9. Love Machine10. Tick, Tick, Bang11. Shake!12. Thieves in the Temple13. The Latest Fashion14. Melody Cool15. Still Would Stand All Time16. Graffiti Bridge17. New Power Generation (pt. II)
Tracklista:1. Procul Este Profani2. Janet Terminal Blue3. Pyxis4. Scaled Composites5. I Could Tell You But Then You Would Have to Be Destroyed By Me
Called a ‘symphony’ by its composer, Richard Strauss’ Alpine Symphony is nevertheless a symphonic poem, and as such it is the last in a series of works that includes such masterpieces as Don Juan, Also sprach Zarathustra and Ein Heldenleben. In 1900, when Strauss first mentioned any plans for the work, he spoke of a symphonic poem in two parts that would begin with a sunrise in Switzerland. When he returned to the idea some ten years later, the work soon grew so vast that he decided to be content with one single movement, depicting the ‘worship of eternal glorious nature’. To regard the Alpensinfonie simply as an impression of landscape would be a mistake, however. It does make use of Strauss’ entire repertoire of orchestral pictorialism, but behind it are ideas much less simple: nature is being worshipped in the intoxicated spirit of Nietzsche’s superman, the liberation of the soul is achieved through hard work – the climber’s struggle to gain the mountaintOp.The work is divided into 22 sections that flow in an unbroken sequence, marking the ascent and descent of the mountain, from before sunrise to after sunset. It was scored for the largest orchestra ever used by Strauss for a purely orchestral piece, and he later said that it was in the Alpine Symphony that he had ‘finally learned how to orchestrate’. The experience must in any case have been useful when he composed his next work, the opera Die Frau ohne Schatten, with an even more opulent orchestration. The opera was premièred in 1919, but it wasn’t until 1946 that Strauss, in his 82nd year, returned to the score in order to make his Symphonic Fantasy, based on high points from the opera. These huge, and enormously colourful works are performed here by the eminent São Paulo Symphony Orchestra, whose highly praised recordings of the Choros by Villa-Lobos have been described as ‘an orgy of colours and rhythms’ (Diapason) and ‘an assured blend of lush colours, pulsating rhythms and supple phrasing’ (International Record Review). The orchestra is conducted by Frank Shipway, with fine credentials in late-Romantic Austro-German repertoire.
Tracklista: 1. All I Wanna Do2. Soak Up the Sun3. My Favourite Mistake4. The First Cut Is the Deepest5. Everyday Is a Winding Road6. Leaving Las Vegas7. Strong Enough8. Light in Your Eyes9. If It Makes You Happy10. Run, Baby, Run11. Picture12. C'mon C'mon13. A Change Would Do You Good14. Home15. There Goes the Neighborhood16. I Shall Believe17. Let's Get Free (Bonus Track)
Tracklista:1. DILF_77 Would Like to Chat (7" Mix)2. Fuck the Sun3. Danse Profane4. Back to You5. Oh, to Sing a Happy Song!
Tracklista: 1. Face It 2. Rawk 'N Roll Hysteria 3. Viva La Paradise 4. Don't Ice Me Out 5. Aim 4 the Heart 6. I Would Be the Wind 7. Love Shouldn't Hurt 8. It's Only Straight from the Heart 9. Too Late to Fall in Love 10. U Can't Fool Love
Tracklista: 1. Shark Ridden Waters2. Honey All Over3. Sensations in the Dark4. Vitamin K5. Take a Sentence6. Conservation Conversation7. Sophie Softly8. Christopher Columbus9. Space Dust #210. At the Heart of Love11. Patterns of Power12. If We Were Words (We Would Rhyme)13. Rubble Rubble
Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus... Every day, all around the world, in places of worship or in the privacy of the home, in various languages and dialects, millions of people repeat this salutation. Some wind a rosary through their fingers as they repeat it; others are lulled by the sound of their own voice, the rhythm of the verse, the inspiration of the words. Appeasement, strength, juxtaposition of biblical text and Christian prayer, it is not surprising that the Hail Mary, or Ave Maria, was integrated into religious services as early as the 5th century. Two centuries later, the “Angelic Salutation” to the Virgin Mary during the Annunciation (Luke 1:28), to which is appended that of Elisabeth during the Visitation, would become a preferred form of personal prayer. While initially, prelates preferred their flocks to focus more on their Credos and Pater nosters, the Ave Maria would become part of children’s religious education starting with the Council of Béziers in 1246. Its definitive form was promulgated by Pope Pius V in 1568. The Ave Maria appeared in the Gregorian Antiphonary and its melody often formed the reciting tone in Ars antique motets and the unifying theme in 16th century masses. However, composers more frequently treated it as an element of the liturgy, as an antiphon or the offertory. The Ave Maria of Josquin des Prez is based on a sequence (chant sung after the alleluia during certain feasts) and develops one trope in particular. (This unofficial amplification of liturgical texts aimed to give them a more solemn character; one of the most well known is the Ave verum, which emerges from the Sanctus. This recording features a version by William Byrd.) The version falsely attributed to Jacques Arcadelt was in fact composed in the 19th century by Pierre-Louis Dietsch, chapel master at La Madeleine in Paris, who freely adapted the 16th-century composer’s three-voice madrigal “Nous voyons que les hommes.” Anton Bruckner revisited the Ave Maria three times during his career. The second, a seven-voice a capella version and the most widely sung today, was premiered in 1861, after his five years of formal study in Vienna, to commemorate the founding of the Liedertagel Frohsinn choir, which he conducted at the time. The three most famous Ave Marias are undoubtedly those attributed to Schubert, Gounod, and Caccini. Franz Schubert’s version was originally a setting of “Ellen’s Third Song” in the German translation of Walter Scott’s epic poem The Lady of the Lake. It was only later that the Latin text replaced the German. When Charles Gounod improvised a countermelody to the first prelude of Bach’s Well-tempered Clavier, his father-in-law, Pierre Zimmermann, transcribed it. Here, too, the familiar Latin text only later replaced the original, Alphonse de Lamartine’s poem “Le Livre de la vie.” The Ave Maria attributed to Giulio Caccini was in fact composed by Vladimir Vavilov about 40 years ago (he first recorded it on the Melodiya label in 1970). After Vavilov’s death, organist Mark Shakhin sent the “newly discovered” work to other musicians to ensure its renown. According to the Gospel of St. Luke, when the Angel informed Mary that she would give birth to the Saviour, her first words were in praise of God: Magnificat anima mea Dominum (My soul doth magnify the Lord). This song, or canticle, transposed into the liturgy of the Vespers, and becoming an integral part of it, would also engender many musical settings. Claudio Monteverdi wrote two versions, published in 1610 in his Vespers for the Blessed Virgin, dedicated to Pope Paul V. The first, in seven voices supported by six instruments and basso continuo, is more grandiose in nature. The second, heard here, is a six-part work with continuo that plays the intimacy card but remains one of the most inspired works of the choral repertoire from any period. Few works have so masterfully united the austerity of Gregorian chant with the virtuosity of festal choral style. In 1989, Arvo Pärt set the same text in a work for solo soprano and a capella choir, divided into verses (the solo voice anchored to one note over a lower melodic line) and tutti sections (in three, four or six voices). Pärt’s Magnificat is a remarkable example of “tintinnabulation,” a style developed by the Estonian composer in which the notes of a root-position chord are treated like three bells, with repetitive musical gestures creating a sensation of timelessness or a continuous present. © Lucie RenaudTranslation: Peter Christensen