» Materiały dla 23.11.2020 » Strona 4

Tracklista: 1. Black/White White/Black 2. Wheatland Wyoming 3. Talking Winks 4. Criminal Girlfriend 5. Cavalcade Of Stars 6. Plumbing 7. Ghost Of Owls 8. You Fly In My Brain Like An Airplane 9. Noise Circus 10. Air Or Wind 11. Chris The Nasty Boy 12. Big Buddy 13. Postal Nexus 14. Man In The Trunk 15. Tiffany Lounge 16. No Title Available  


  • Wykonawca Starship Beer
  • Data premiery 2001-05-28
  • Nośnik CD
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"Where The River Goes" kontynuuje historię dobrze przyjętego "Rising Grace", nagrania Wolfganga Muthspiela z 2016 roku. Austriacki gitarzysta ponownie łączy tutaj siły z Bradem Mehldau, Ambrosem Akinmusirem i Larrym Grenadierem, uzupełniając skład o wybitnego perkusistę Erica Harlanda. Grupa jest czymś o wiele więcej, niż tylko zbieraniną gwiazd. Gra jako zespół o wyraźnej własnej odrębnej tożsamości. Nagrany w Studio La Buissonne w lutym 2018 roku i wyprodukowany przez Manfreda Eichera album zawiera sześć kompozycji Wolfganga Muthspiela i jedną Brada Mehldau oraz improwizację grupową. Wydany na formatach CD i winylowych. Tracklista: Side A 1. Where The River Goes 2. For Django 3. Panorama 4. Descendants Side B 1. Clearing 2. One Day My Prince Was Gone 3. Blueshead 4. Buenos Aires


  • Wykonawca Mutshpiel Wolfgang , Akinmusire Ambrose , Grenadier Larry , Mehldau Brad , Harland Eric
  • Data premiery 2018-10-05
  • Nośnik Płyta Analogowa
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Tracklista: CD 1 1. Piano Concerto No. 1 in C Minor, Op. 35 2. Andante 3. Allegro 4. Piano Concerto No. 1 in C Minor, Op. 35 5. Andante 6. Menuetto 7. Piano Concerto No. 1 in C Minor, Op. 35 8. Allegro Ma Non Troppo 9. Andante 10. Scherzo (Allegretto) 11. Allegro Giusto CD 2 1. Moderato 2. Andante Un Poco Mosso 3. Scherzo (Allegro Vivace) 4. Rondo (Allegro Vivace) 5. Allegro 6. Con Moto 7. Scherzo (Allegro Vivace) 8. Rondo (Allegro Moderato) CD 3 1. Molto Moderato E Cantabile 2. Andante 3. Menuetto (Allegro Moderato) 4. Allegretto 5. Allegro Giusto 6. Andante 7. Allegro Vivace CD 4 1. Allegro 2. Adagio 3. Menuetto (Allegro) 4. Allegro 5. Molto Moderato 6. Andante Sostenuto 7. Scherzo (Allegro Vivaco Con Delicatezza) 8. Allegro Ma Non Troppo CD 5 1. Allegro 2. Andantino 3. Scherzo (Allegro Vivace) 4. Rondo (Allegretto) 5. Allegro Ma Non Troppo 6. Allegretto Quasi Andantino 7. Allegro Vivace


  • Data premiery 2011-10-17
  • Nośnik CD

Johann Sebastian Bach’s six suites for solo cello are well-known and beloved works that are central to the repertoire of any cellist or violist. However, they are also works fraught with uncertainties, ranging from the circumstances of their composition to performance practices. It is not known when, why or for whom the suites were composed, or even for exactly which instrument they were intended. Further questions bedevil performance choices. What did Bach intend in the way of bowings and articulation? Did he have French or Italian bowing practices in mind?The first surviving copy of the suites, by Johann Peter Kellner, was made in 1726, so the suites must have been composed before then. It seems reasonable to assume that Bach wrote them around 1720 in Cöthen, at about the same time as the six sonatas and partitas for solo violin, but there is no hard evidence to support this. Anner Byslma speculates that the suites might have been composed earlier, and there is no compelling reason to assume that all of the suites were composed at the same time. Even the seemingly straightforward designation of suites as being for “violoncello” is problematic. The word “violoncello” could refer to instruments of different sizes and playing techniques in the early 18th century. The cello as we now know it emerged in Italy around the 1660s, with its size standardized by Stradivarius at the beginning of the 18th century. In Bach’s day, “violoncello” could refer to the older, larger instruments or to the smaller instruments on the Stradivarius model, as well as to the so-called violoncello da spalla (or viola da spalla), an instrument slung over the shoulder and played with something closer to violin technique than to cello technique. Furthermore, not all of the suites are intended for the same instrument. The Sixth Suite requires a five string instrument, which could either be a five-string cello held between the legs (perhaps a violoncello piccolo), or a five-string violoncello da spalla. Bach included prominent parts for a “violoncello piccolo” in a number of his cantatas written in Leipzig between 1724 and 1725. For some of these cantatas, the violoncello piccolo lines are either written in treble clef, or contained in the first violin part, suggesting that they were played by a violinist, on a cello slung from the shoulder. As Mark M. Smith argues, it seems quite possible that the Sixth Suite was written at the same time (possibly for the same player and instrument), and also intended be played on a shoulder-slung instrument.Any attempt to guess the circumstances under which the suites were composed is contingent upon the above uncertainties. If Bach did compose the suites around 1720, and if he did intended them (or at least the first five of them) for a cello held between the legs, then, as David Ledbetter suggests, he might very well have composed them for Christian Bernhard Linike, an excellent cellist who arrived in Cöthen shortly before Bach did. If they were intended for a shoulder cello, then perhaps Bach, who played violin and viola, played them himself.In addition to these problems, no doubt the most troubling circumstance for the performer is that we have no manuscript for the suites in Bach’s own hand. All published editions are based on some combination of 18th century copies. The sources differ significantly in terms of bowings and articulations, and occasionally even disagree about pitches. The copy with the most biographical authority is that made by Anna Magdalena Bach, sometime between 1727 and 1731, but she was not a string player, and a comparison between her copy of the solo violin sonatas and partitas and Bach’s own manuscript shows her to have been neither precise nor unambiguous in her labors.These are suites for some sort of cello, but, as Bylsma points out, it is entirely possible that Bach played them for himself on the viola. Bylsma even finds some chords and string-crossings that fit the hand of a violist better than that of a cellist. The cello suites have been part of the viola repertoire since the beginning of the 20th century. In 1916 G. Schirmer published a viola transcription edited by Louis Svecenski (principal violist of the Boston Symphony Orchestra, and violist of the Kneisel Quartet), following it with another edition by Samuel Lifschey (principal violist of the Philadelphia Orchestra for thirty years) in 1936. Although she did not publish an edition of the Bach Suites, Lillian Fuchs was instrumental in making the suites part of the standard concert and pedagogical repertoire for violists through her advocacy as a performer and as a teacher, much as Pablo Casals had done for cellists. A number of other transcriptions followed after the Second World War, including one by Milton Katims who had worked with Casals at the Prades Festival. Until fairly recently, viola editions were heavily edited, with bowings and dynamics added liberally to facilitate expressive performances in the Casals and Fuchs manner.Helen Callus plays from the critical edition prepared for Peters by Simon Rowland-Jones, but has made her own decisions about articulations, dynamics and ornamentation based on the original sources. She plays the Fifth Suite with the scordatura tuning requested by Bach, tuning her top string down from A to G (this suite can be played with a normally-tuned instrument, but at the expense of leaving some notes out of Bach’s chords and of different timbres for some notes). Callus plays the Sixth Suite in G major, rather than Bach’s D major. Although this involves changing Bach’s key, it also means that the viola version is closer in tessitura to Bach’s original than it would be in D major (a fourth higher rather than an octave), and it allows for more of Bach’s effects with open strings to be preserved.Recorded on September 19, 21 and 23, 2010 at: Salle Francoys-Bernier, Domaine Forget


  • Wykonawca Callus Helen
  • Data premiery 2011-03-01
  • Nośnik CD
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Tracklista: 1. The Smell 2. Panties In A Jumble 3. Diamonds 4. The Aura 5. Dalai Lama Slang 6. Tiger Bone 7. Duffles 8. Avant Garde 9. Deep In The Casket 10. Fire 11. Speak Volumes 12. Pain 13. Get Back 14. Nine Steamin' 15. You Love Me  


  • Wykonawca Apollo Brown , Planet Asia
  • Data premiery 2018-02-09
  • Nośnik CD
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Półwiecze od premiery debiutanckiej, imiennej płyty legendarnej formacji The Doors, wypada w 2017 roku. Dla uczczenia tego jubileuszu ukazuje się w zremasterowanej formie na dwóch płytach kompaktowych wspaniały zestaw singli, jakie ukazały się na rynku amerykańskim. "The Singles" zawiera w sumie 44 piosenki, w tym również wersje mono oraz nagrania koncertowe. Na kompilacji znajdują się utwory z wszystkich sześciu studyjnych płyt The Doors, w tym wszystkie evergreeny zespołu, z "People Are Strange", "Love Her Madly", "Riders On The Storm, "Hello, I Love You", "Touch Me", "Light My Fire". Składanka zawiera też parę singlowych kompozycji, wydanych już po śmierci charyzmatycznego frontmana The Doors, Jima Morrisona. (np. "Tightrope Ride"). Tracklista: CD 1 1. Break On Through (To The Other Side) 2. End Of The Night 3. Light My Fire 4. The Crystal Ship 5. People Are Strange 6. Unhappy Girl 7. Love Me Two Times 8. Moonlight Drive 9. The Unknown Soldier 10. We Could Be So Good Together 11. Hello, I Love You 12. Love Street 13. Touch Me 14. Wild Child 15. Wishful Sinful 16. Who Scared You 17. Tell All The People 18. Easy Ride 19. Runnin’ Blue 20. Do It 21. You Make Me Real 22. Roadhouse Blues 23. Love Her Madly 24. (You Need Meat) Don’t Go No Further 25. Riders On The Storm 26. The Changeling CD 2 1. Tightrope Ride 2. Variety Is The Spice Of Life 3. Ships W/ Sails 4. In The Eye Of The Sun 5. Get Up And Dance 6. Treetrunk 7. The Mosquito 8. It Slipped My Mind 9. The Piano Bird 10. Good Rockin’ 11. Roadhouse Blues (Live) 12. Albinoni: Adagio 13. Gloria (Live) 14. Moonlight Drive (Live) 15. Hello, I Love You (Mono Radio Version) 16. Touch Me” (Mono Radio Version) 17. Wishful Sinful (Mono Radio Version) 18. Tell All The People (Mono Radio Version)  


  • Wykonawca The Doors
  • Data premiery 2017-09-15
  • Nośnik CD
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