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発売日: 2021/8/27輸入盤USレーベル: Brilliant Classics収録曲:コメント:Richard Wagner began composing his Wesendonck Lieder during a stay in Zurich between November and December 1857. Originally conceived for female voice and piano alone, the five songs were later orchestrated, first by the Austrian conductor and composer Felix Mottl in 1893, and then later in 1976 by the German composer Hans Werner Henze, in a chamber setting. In fact Wagner had already orchestrated a version of "Traume" to be performed by chamber orchestra (with violin playing the voice part) on the occasion of his wife Minna's birthday in 1857. Later, in 1870, for his second wife Cosima's 33rd birthday, he enacted a similar gesture. Mixing new motifs with themes from his Ring cycle, he composed the Siegfried Idyll and had it performed by a small orchestra as a birthday surprise. Hanz Werner Henze's orchestration of Wagner's Wesendonck Lieder highlights the relationship between the words and the sounds. The agile yet intense scoring for ten wind instruments, harp and small string ensemble appears to be Henze's way of finding an alternative to the original piano without taking the cycle outside the realm of chamber music or altering the lieder's original image. Siegfried and Brunnhilde sing from the depths of their hearts returns here with the grace of a child's nursery. Salvatore Sciarrino's Languire a Palermo (Languishing in Palermo), composed in 2018, is predominantly built around the melody Tempo di Porazzi, a fragment composed by Wagner during a visit to Sicily in late 1881 and early 1882. Sciarrino describes the 'allure of a distant unaccompanied melody, played by someone for their own benefit and entrusted to the wind' and hypothesizes that it may correspond 'to the sounds in Sicily that stimulate and amaze the ears... Mediterranean charm gushes from the throat of every street vendor.'Richard Wagner began composing his Wesendonck Lieder during a stay in Zurich between November and December 1857. Originally conceived for female voice and piano alone, the five songs were later orchestrated, first by the Austrian conductor and composer Felix Mottl in 1893, and then later in 1976 by the German composer Hans Werner Henze, in a chamber setting. In fact Wagner had already orchestrated a version of "Traume" to be performed by chamber orchestra (with violin playing the voice part) on the occasion of his wife Minna's birthday in 1857. Later, in 1870, for his second wife Cosima's 33rd birthday, he enacted a similar gesture. Mixing new motifs with themes from his Ring cycle, he composed the Siegfried Idyll and had it performed by a small orchestra as a birthday surprise. Hanz Werner Henze's orchestration of Wagner's Wesendonck Lieder highlights the relationship between the words and the sounds. The agile yet intense scoring for ten wind instruments, harp and small string ensemble appears to be Henze's way of finding an alternative to the original piano without taking the cycle outside the realm of chamber music or altering the lieder's original image. Siegfried and Brunnhilde sing from the depths of their hearts returns here with the grace of a child's nursery. Salvatore Sciarrino's Languire a Palermo (Languishing in Palermo), composed in 2018, is predominantly built around the melody Tempo di Porazzi, a fragment composed by Wagner during a visit to Sicily in late 1881 and early 1882. Sciarrino describes the 'allure of a distant unaccompanied melody, played by someone for their own benefit and entrusted to the wind' and hypothesizes that it may correspond 'to the sounds in Sicily that stimulate and amaze the ears... Mediterranean charm gushes from the throat of every street vendor.'

発売日: 2021/2/5輸入盤UKレーベル: Bad Reputation収録曲: 1.1 Oh My My My1.2 Sleazy Does It1.3 Lonely Since I Met Ya1.4 Had To Have It1.5 Such Is Life1.6 Feeling Low1.7 Ledz Boogie1.8 I Got It Going On1.9 Bottle In Me1.10 Firecracker Blues1.11 Tongue Tied2.1 Oh My My My2.2 Sleazy Does It2.3 Lonely Since I Met Ya2.4 Had To Have It2.5 Feeling Low2.6 Such Is Life2.7 Ledz Boogie2.8 I Got It Going On2.9 Bottle In Me2.10 Firecracker Blues2.11 Tongue Tieコメント:LIMITED EDITION COLLECTOR 2CDs - 'Wrong Again, Albert... ' is the quirkily titled debut record from West Lothian 6-piece Cosmic Trip Advisors. The Cosmic Trip Advisors are a rock 'n' roll band with a heart of soul. Rock 'n' Soul, if you will. In their world, Iggy can rub shoulders with Keef, Dolly can pinch Jimi on the arse & Macca can launch a goober at Rotten while Gram hums his approval from underneath a dusty old cactus... it's all good in the gumbo soup. The basic tracks were recorded live over a two-day period at Spinroad Studios in Sweden. Overdubs were added at Bad Cat Studios in Scotland. It was produced by Brit Award winner, Pedro Ferreira (The Darkness) and mastered by Ade Emsley at Table Of Tone Mastering ;The band all have similarly off-beat names: Lesbomb (vocals), El Cap (guitars), Tattie (guitars), The P-Man (keys), Mr Herringbone (bass), Pete The Beat (drums). Their true identities are since known : Lesley McGonnal, Mark Thornburn, Ian Tait, Peter Hampton, Herringbone & Peter Forrest. The opening track, Oh My My My! Batters in with some bonesaw-guitar riffage and thumping bass & drums. The sound is fleshed out by smooth organ sounds and the scene is set nicely for vocalist Lesbomb's entrance - and what a voice she has! Reminiscent of New York Queen Of Rock & Roll Sari Schorr in her grit and range - with a touch of Joanne Shaw Taylor's smoky tones in there as well - she owns the track and the whole album with a forceful performance. With the lead vocals continuing to astonish, the band's secret weapon is quickly revealed as the keyboard work of The P-Man. While both guitarists and the rhythm section all deliver great work throughout, The P-Man is the wild card and he brings something to the band's sound that few groups have these days. This digipack edition has a bonus CD with no 2nd takes, no overdubs or sneaky cheats. This is what Wrong Again, Albert... would have sounded like if it was recorded in one hour with six months more rehearsal, a new bass player (Chris Fulton) and a spring in our step. The icing on the cake is Lesley's incediary vocal performance throughout. If you loved her singing on "Wrong again, Albert... ", just wait until you hear what she's pulled out the bag this time. This is our debut album's unintentionally saucy little sister. #you know, the dirty one you wish you'd met first. In short... it's same, same, but oh, so very different. To recap! Unusual band name, unusual band member names, strong album artworks, full booklet with pictures and lyrics, eleven catchy tracks brewed from a slick mix of blues, rock and psychedelia with some standout instrumental performances and a real star turn from the lead vocalist. And a second twin CD, but not so twin.LIMITED EDITION COLLECTOR 2CDs - 'Wrong Again, Albert... ' is the quirkily titled debut record from West Lothian 6-piece Cosmic Trip Advisors. The Cosmic Trip Advisors are a rock 'n' roll band with a heart of soul. Rock 'n' Soul, if you will. In their world, Iggy can rub shoulders with Keef, Dolly can pinch Jimi on the arse & Macca can launch a goober at Rotten while Gram hums his approval from underneath a dusty old cactus... it's all good in the gumbo soup. The basic tracks were recorded live over a two-day period at Spinroad Studios in Sweden. Overdubs were added at Bad Cat Studios in Scotland. It was produced by Brit Award winner, Pedro Ferreira (The Darkness) and mastered by Ade Emsley at Table Of Tone Mastering ;The band all have similarly off-beat names: Lesbomb (vocals), El Cap (guitars), Tattie (guitars), The P-Man (keys), Mr Herringbone (bass), Pete The Beat (drums). Their true identities are since known : Lesley McGonnal, Mark Thornburn, Ian Tait, Peter Hampton, Herringbone & Peter Forrest. The opening track, Oh My My My! Batters in with some bonesaw-guitar riffage and thumping bass & drums. The sound is fleshed out by smooth organ sounds and the scene is set nicely for vocalist Lesbomb's entrance - and what a voice she has! Reminiscent of New York Queen Of Rock & Roll Sari Schorr in her grit and range - with a touch of Joanne Shaw Taylor's smoky tones in there as well - she owns the track and the whole album with a forceful performance. With the lead vocals continuing to astonish, the band's secret weapon is quickly revealed as the keyboard work of The P-Man. While both guitarists and the rhythm section all deliver great work throughout, The P-Man is the wild card and he brings something to the band's sound that few groups have these days. This digipack edition has a bonus CD with no 2nd takes, no overdubs or sneaky cheats. This is what Wrong Again, Albert... would have sounded like if it was recorded in one hour with six months more rehearsal, a new bass player (Chris Fulton) and a spring in our step. The icing on the cake is Lesley's incediary vocal performance throughout. If you loved her singing on "Wrong again, Albert... ", just wait until you hear what she's pulled out the bag this time. This is our debut album's unintentionally saucy little sister. #you know, the dirty one you wish you'd met first. In short... it's same, same, but oh, so very different. To recap! Unusual band name, unusual band member names, strong album artworks, full booklet with pictures and lyrics, eleven catchy tracks brewed from a slick mix of blues, rock and psychedelia with some standout instrumental performances and a real star turn from the lead vocalist. And a second twin CD, but not so twin.

発売日: 2020/11/20輸入盤USレーベル: Brilliant Classics収録曲:コメント:From Javanese gamelan to Mozart, from nursery rhymes to passionate outbursts, from primitive percussion to the cafe chantant, Francis Poulenc gathered up almost all the formative influences on his style in his Concerto for Two Pianos of 1932. Aside from Mozart, there is also an evident allusion to Ravel, in particular to the two piano concertos, which were published and performed in the same year. Yet the originality of the concerto is never in doubt; the deep feeling and light touch of the central Larghetto bear Poulenc's fingerprints as clearly as the final gallop home. Much less familiar is the Scottish Ballad composed in 1941 by Benjamin Britten as a free fantasy for two pianos and orchestra based on a number of Scottish tunes, including 'Dundee', 'Turn Ye to Me' and 'Flowers of the Forest'. A lamenting funeral march is followed by a flamboyant Highland fling, in which Britten parodies 'Scottish' music in a display piece of great wit and vitality. This unique compilation concludes with a two-piano piece in which the orchestra is 'silent': the Premiere Suite written with orchestra in mind by Debussy in his early 20s. However, the orchestral score was lost for many years - even this two-piano version was only published in 2008 - and it's four movements show Debussy's language in the act of formation: unmistakably French, and harmonically novel for it's time, but still working in self-contained forms - a toccata, a ballet, a shimmering nocturne and a tumultuous final bacchanale.From Javanese gamelan to Mozart, from nursery rhymes to passionate outbursts, from primitive percussion to the cafe chantant, Francis Poulenc gathered up almost all the formative influences on his style in his Concerto for Two Pianos of 1932. Aside from Mozart, there is also an evident allusion to Ravel, in particular to the two piano concertos, which were published and performed in the same year. Yet the originality of the concerto is never in doubt; the deep feeling and light touch of the central Larghetto bear Poulenc's fingerprints as clearly as the final gallop home. Much less familiar is the Scottish Ballad composed in 1941 by Benjamin Britten as a free fantasy for two pianos and orchestra based on a number of Scottish tunes, including 'Dundee', 'Turn Ye to Me' and 'Flowers of the Forest'. A lamenting funeral march is followed by a flamboyant Highland fling, in which Britten parodies 'Scottish' music in a display piece of great wit and vitality. This unique compilation concludes with a two-piano piece in which the orchestra is 'silent': the Premiere Suite written with orchestra in mind by Debussy in his early 20s. However, the orchestral score was lost for many years - even this two-piano version was only published in 2008 - and it's four movements show Debussy's language in the act of formation: unmistakably French, and harmonically novel for it's time, but still working in self-contained forms - a toccata, a ballet, a shimmering nocturne and a tumultuous final bacchanale.