Tracklista:1. Intro2. Whey Face Down3. Ride the Pine4. Drunk and Disorderlaire5. Crinalyn6. Snifter7. Slow Drip8. Officer Forehand9. 7 and 7 Is (Written By Arthur Lee)10. Dog Piss On Dog
Tracklista: CD 1. Aeroplane 2. Big Bus 3. Cutting Branches for a Temporary Shelter 4. Hemlock Tree 5. In the Atmosphere 6. Late Birds 7. Lock and Key 8. Oh, the Paradise 9. The Plough and the Stars 10. The Roof Is Off, the Stars Are There, and It's Mighty Cold 11. Said and Done 12. A Saint, Restored 13. The Tide Won't Tire 14. Tommy's House 15. Trains 16. Veszprem 17. Written Each Day LP 1. TAG Sale 2. The Ballad of Peggy Oki 3. Perfect North 4. Labyrinth 5. Regrets, I've Had a Few 6. Mansion 7. Jane 8. Cutting Branches for a Temporary Shelter 9. Love Song 10. Centerville 11. Book of Reasons 12. Final Day
Tracklista: 1. Protection Racket 2. Catacombs 3. Coat Hook 4. Genocide Matinee 5. Violent Demeanour 6. Lines Written In Winter 7. House Detective 8. Little Nancy 9. Lord Help My Poor Soul 10. The Shadow Of An Empire
Chwytający za serce akustyczny pop – tak chyba można opisać bardzo przejmującą muzykę wyjątkowego singera-songwritera, Jacka Savorettiego, dla którego równie ważnymi miejscami na świecie są Anglia, w której się wychował, Szwajcaria, w której mieszka, oraz Włochy, skąd pochodzi jego rodzina i które uważa za ojczyznę.Pierwszą płytę, "Between The Minds" wydał w 2007 roku. Wszystko zdawało się rozwijać doskonale, liczące się media zauważyły Jacka Savorettiego i uznały za wielki talent, który niebawem może zawojować świat. Niestety, okazało się, że nie dość, iż sukces nie przyszedł, to artysta wdał się w sądową walkę z byłym menedżerem, która trwała dwa lata i pochłonęła mnóstwo oszczędności. Było rok 2011. Jack miał dość i postanowił zakończyć przygodę z muzyką. Do tego miał żonę, która spodziewała się dziecka. Ale…W przypływie rozpaczy Savoretti napisał parę numerów, które miały być niczym wołanie o pomoc i formą oczyszczenia umysłu. "Zdałem sobie wtedy sprawę, że umiem komponować, umiem wyrażać to, co mam w głowie" – wspomina. Z wołania o pomoc powstała płyta "Before The Storm", która okazała się punktem zwrotnym w karierze Jacka. Dzięki niej poznał i współpracował z Samem Dixonem (Adele, Sia) oraz Mattem Benbrookiem (Paolo Nutini, Jake Bugg, Faithless). Oni oraz gitarzysta z zespołu Jacka, Pedro Vito, plus Seb Sternberg pomogli mu stworzyć album "Written In Scars". Album szczery, ciekawy ze względu na elementy różnych stylów muzycznych w piosenkach. Album opowiadający o walce oraz przezwyciężaniu trudności. Czyli o tym, co Jack Savoretti zna doskonale. Wisienką na torcie jest na płycie przepiękny cover numeru Boba Dylana "Nobody 'Cept You".Na albumie znajduje się 20 utworów, w tym single "Homev, "Written In Scars" i "Catapult", 5 utworów w wersji live oraz remix utworu "The Other Side Of Love".Album podbił serca Brytyjczyków! Uzyskał status Złotej Płyty, a trasa promująca album w większości jest wysprzedana!Tracklista:CD 11. Back To Me2. Home3. Don’t Mind Me4. Tie Me Down5. Broken Glass6. The Other Side Of Love7. Nobody ‘Cept You8. The Hunger9. Written In Scars10. Wasted (with Lissie)11. Fight ‘til The EndCD 21. Back Where I Belong2. Catapult3. Written In Scars (Live In Rome)4. Back To Me (Live In Rome)5. Fight ‘Till The End (Live In Rome)6. Home (Live In Rome)7. Broken Glass (Live In Rome)8. Jack In A Box (with Alexander Brown)(Alexander Brown Version)9. The Other Side Of Love (Alexander Brown Vocal Remix)
"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD).
Tracklista: 1. Unfastened2. Maddy3. Little Darling4. After the Love5. Echoes of Dreams6. Little Bee7. Little Sparrow8. Mary Mary9. My Love10. Unfolding11. Man in Your Eyes12. I Miss You13. Imagine (Feat. Mwezi) [written By John Lennon]14. The First Time I Ever Saw Your Face (Written By Ewan MacColl)
Tracklista:1. The Hills I2. Sunset Tower3. The Place Goes Quiet4. Backlot Detail5. Written in the Wind6. Rock's Detail7. Mountain of Song8. PCH Detail9. Out of Work Jazz Singer10. Lookout Point11. Moon's Detail12. The Hills II
Disc 11-3 Sonata No. 1 op. 12 No. 1 (24'32)4-6 Sonata No. 2 op. 12 No. 2 (20'15)7-9 Sonata No. 3 op. 12 No. 3 (21'48)10-12 Sonata No. 4 op. 23 (26'14)13-16 Sonata No. 5 op. 24 "Spring" (27'52)Frühlings-Sonate - Le Printemps17-19 Sonata No. 6 op. 30 No. 1 (26'23)20-23 Sonata No. 7 op. 30 No. 2 (29'14)Disc 21-3 Sonata No. 8 op. 30 No. 3 (21'58)4-6 Sonata No. 9 op. 47 "Kreutzer" (46'15)Kreutzer-Sonate - A Kreutzer7-10 Sonata No. 10 op. 96 (32'22)Anne-Sophie Mutter, violinLambert Orkis, piano11 A Life with Beethovena documentary Film written and directed by Reiner E. Moritz
Tracklista:1. Into the Murky Water2. Dust On the Dancefloor3. Our Hearts Burn Like Damp Matches4. You Could Keep Me Talking5. Although We All Are Lost6. This Phantom Life7. The Hungry Years8. I Shall Forever Remain an Amateur9. Better Written Off (Than Written Down)10. Just Like the Knife
Leutgeb, Ass, Ox and Jester...Mozart‘s instrumental concertos did not result from a random desire to compose, they were always composed to mark an occasion. Mozart wrote them either for personal use in concert, as was the case with his piano and violin concertos, or for at the behest of renowned and excellent soloists. Thus three of his four horn concertos and his Rondo in E flat were also tailor-made for the virtuoso and his instrument: Joseph Leutgeb (1732-1811) had played the French horn in the Salzburger Hofkapelle until 1777, and was already friendly with Mozart at the time. In 1781, the composer and the virtuoso met again in Vienna, where Leutgeb ran a lucrative cheese business alongside his musical activities. The relationship between the two of them must have been rather unusual, as is demonstrated by remarks such as "Wolfgang Amadé Mozart has taken pity on Leitgeb, ass, ox and jester in Vienna, May 27, 1783", which Mozart wrote in the manuscript of the concerto, which gave cause to this assumption. Was Leutgeb then truly naive, as has often been written; or, perhaps, does not the quality of the composition written by Mozart for Leutgeb prove that the relationship was characterised by artistic respect?Due to its rather modest musical capacities, the horn of the time was not a first choice for a solo instrument. As it did not yet have any valves, its tonal range was restricted to natural harmonics. Not until halfway through the 18th century was it possible, by means of so-called "stopping" (i.e. by inserting a hand in the bell of the instrument), to manipulate the pitch, which made it possible to play the notes in between the harmonics and thus diatonic scales in the lower reaches. Considering the numerous high demands made by Mozart of the soloists in his concertos, it is clear that Leutgeb must have virtually mastered this technique. Only a few years ago was it possible to pinpoint a relatively unambiguous period of composition for the horn concertos. All the works were written during the last decade of Mozart‘s life. The solitary Rondo in E flat, K. 371 (completion and cadenza by Alan Civil) dates from March 21, 1781. It is possible that it was really meant as the last movement of a further horn concerto, of which no more than a sketch for an introductory movement (K. 370b) has been preserved. The Concerto in E flat, K. 417 – from which manuscript the above-quoted "dedication" was taken – dates from May 27, 1783 and, despite the usual three-movement form, contains some unusual features. Thus for example the Rondo-Finale deviates to the realm of the minor key – most unusual for Mozart – and it also surprises the listener shortly before the end with a practical joke, which forces the musicians to make two new starts. On June 26, 1786 Mozart completed his Concerto in E flat, K. 495, the score of which he wrote in multi-coloured ink. Did he perhaps want to throw the "naive" Leutgeb, or perhaps – as is more likely – emphasise individual voices and thematic lines, and also mark subtle differences in dynamics? The relationship between K. 495 and its predecessor K. 417 has been discussed by numerous authors. Einstein even speaks "of a duplicate, though on a higher level, due to the fact that Mozart wrote it three years later ". In addition, echoes can be found of his Piano Sonata K. 497 and Cantata "Die Maurerfreude" K. 471. Although at first it was dated earlier, the Concerto in E flat, K. 447 is now believed to date from the year 1787, and is considered by connoisseurs and soloists alike to be the most important of the horn concertos. The complex structures confirm this most impressively. The two-movement Concerto in D, K. 386b with its Allegro K. 412 and the final Rondo K. 514 was only written the year Mozart died – 1791 – and was not completed. Neither is the definite version of the Rondo by Mozart, but by his pupil, Franz Xaver Süßmayer.