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Realism

Realism - A Distinctively 20th Century European Tradition: ab 53.49 €

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Kah-Ming Ng (Dir) // Interpreted by the King's Singers and Charivari Agréable, this selection of Vespers movements written by the organist Johann Pachelbel have in common the distinctively sonorous scoring of four or five-part choir, accompanied by a six-part string orchestra to which is added, at the composer's express request, a bassoon.

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Bob Seger: Guitar Play Along Vol. 18

This fabulous addition to the Guitar Play-along series contains eight of your favourite Bob Seger songs. Originally a hard-driving rocker, Seger developed into one of America's most popular rock and folk-rock singers over the course of the '70s. Combining the charge of rock with hard-edged soul and R&B, he crafted a distinctively American sound. He has a message as well as a voice, he wrote the first anti-war rock song of the Vietnam era. Through extensive touring with his Silver Bullet Band, Se

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Artlogy

JPP - Artology Finland's fiddling stars JPP return with their seventh album, Artology, their first since their previous album String Tease released in 1998. Featuring a front line of four fiddle legends from Finland's fiddle capital Kaustinen, with an equally legendary harmonium and double bass rhythm section, JPP let's loose with another brilliant work of all-original compositions. JPP was formed in 1982 in Kaustinen, Finland, the country's leading fiddle community and have toured all over Europe and USA plus Canada and Asia. Not content to repeat tradition, JPP have invented their own style based on tradition but including elements of classical, jazz and other genres. Original compositions and distinctively twisted arrangements are their trademark, alongside deep traditional roots and stunning technical skills. With these elements, plus compelling live performances, they have subsequently redefined the concept of fiddling tradition in Kaustinen and beyond. In the 21st century, Kaustinen fiddle tradition now proudly features composition and arrangements as primary parts of the whole. Artology is where JPP brings it all into focus: all ten pieces on Artology were composed by fiddler Arto Järvelä.

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Remember

The choral selections on this recording cover a wide spectrum in their approach to life and it's inevitable ending. The composers of these pieces have created strong emotional works that can move the listener to tears, but at the same time raise that listener's spirit. Listening to this music is a chance to remember - but that can be experienced in different ways. Five of the compositions are directly related to war. Three of them are based on texts from World War I. Of those, two are set to Laurence Binyon's timeless poem For the Fallen. Canadian composer Eleanor Daley's setting makes evocative use of the trumpet so often associated with military ceremonies. Mike Sammes' composition for male voices is incredibly moving and ends with the piano playing the final notes of The Last Post. It has been sung at every Saskatoon Chamber Singers' Remembrance Day concert as the Act of Remembrance. Many choral compositions have been written to the words of John McCrae's In Flanders Fields. Canadian composer Kirkland Adsett has chosen to use violin and cello to create a melodic and lyrical setting of this famous text. We Remember Them by American composer Donald McCullough (The Holocaust Cantata) has a distinctively sad and melancholy character. The text by Rabbi Sylvan Kamens and Rabbi Jack Riemer is, in many ways, reminiscent of Binyon's poem mentioned above. The text reminds us that we must all remember the terrible things that can happen in the world when hate, prejudice and oppression go unchecked, so we can try to prevent them from happening again. A Soldier's Prayer by Canadian composer Beverly Lewis is set to an anonymous text found by a hospital nurse in the Philippines during World War II. The text begins "Let them in, Peter, for they are very tired" and then goes on to enumerate those things that the dead will never see or do or know. The fallen in war deserve to be given "things they like" and be told that "they are missed." The plaintive sound of the oboe adds to the poignant mood of this piece. Following along the lines of these pieces is Michael Horvit's Even When God Is Silent. The text for this piece was found by Allied troops in Cologne, Germany, written on a basement wall by someone who had been hiding from the Gestapo. It was commissioned by Congregation Emanu-El on the occasion of the 50th anniversary of Kristallnacht. In Ose Shalom, John Leavitt uses clarinet, violin, cello, bass, and piano to accompany the choir in this moving plea for God to create not only peace in the heavens, but also peace for the Jewish people. Four of the selections are more traditionally sung as hymns. There are two settings of O God, Our Help in Ages Past. Paul Christiansen uses chorale-like arrangements of the familiar tune "St. Anne" for verses one, three, and five. The first and fifth are for male voices and the third for mixed voices. Each of these verses is joined by a contrasting verse that creates a sense of tension and despair. Alan Hovhaness wrote his own tune and accompaniment and set only three verses of the text. The first and third are homophonic in nature, the second has the voices entering one after the other, and all are accompanied by organ. Stephen Hatfield's Amazing Grace is a wonderful and innovative setting of this very familiar tune. The actual hymn tune is heard only in the solo oboe, accompanied throughout by a very beautiful counter melody for the choir. My Shepherd Will Supply My Need was arranged by our accompanist, Rod Epp. He has taken the traditional tune associated with this text and created a wonderfully tender and melodic piece. Both British composer William Walton and Canadian composer Jeff Enns have set Phineas Fletcher's poem "Litany" to music. Although Walton seldom wrote church music, A Litany, composed when he was only fourteen, already foreshadows his distinctive style. Jeff Enns' Litany, inspired by Walton's version, is a composition that is both heartfelt and uplifting and full of beautiful melodies and rich harmonies. The text begins "Drop, drop, slow tears." The shedding of tears is a natural part of the grieving and remembering process. Three of the compositions on this recording are better known for their text than the music to which they have been set. Australian composer Graeme Morton chose Tennyson's timeless poem Crossing the Bar, in which the final stages of life are paralleled with the sailor's evening return to port at journey's end. Christina Rossetti's poem Remember is the text used by Canadian composer Stephen Chatman. The sentiments of this poem reflect much of what we are asked to do when we remember: never should we let the pain of memory take away the joy of living. Chatman's piece is reminiscent of chant in that the character and movement of the piece are reliant on the ebb and flow of the words of the text. Canada's senior composer, Healey Willan, has written a sublime piece to a text by Henry Wadsworth Longfellow, How They So Softly Rest. One of Willan's early works, it hints of Russian church music with it's rich chords for both male and female choirs and is typical of his soaring melodic lines. Canadian composer Allan Bevan has written a truly beautiful arrangement of Ave Maria for two soprano soloists and women's voices. This piece won first prize in the equal voices category in the 1999-2000 Association of Canadian Choral Communities' choral composition competition. The beautiful melody and harmonies unite to create a piece that soars majestically to it's conclusion. Another Canadian composer, Stephanie Martin, set to music comforting words from the Eastern Byzantine rite (circa 842). Kontakion, although homophonic in nature and sung with a feeling of chant, creates a sense of peace now that death has come and a sense of jubilation about what is yet to come. The words of the faithfully departed ask that they be given rest with the saints in a place where there is no longer pain, sorrow, or sighing, but only life everlasting. Cellist Pablo Casals composed O Vos Omnes to a short text from Lamentations. At first Casals sets the male voices against the female voices, but soon they come together as one to reflect a united sorrow. I'm Stillen Friedhof by Hugo Wolf is one of his early compositions and was probably written for the Ritterbund, a close group of friends who came together on a weekly basis for music and good company. The sombre mood first set by the opening chords of the piano gives way to a rhapsodic melody that is sung in turn by the four voices before once again returning to the same sombre mood of the opening. The piece asks us to consider the speed with which the body within a grave can be forgotten, since life seems to continue unaffected. Canadian composer Pierre Mercure wrote Cantate pour une joie in 1955. It is a remarkable work of seven movements, six of which depict the horror and savagery and sadness of war and the state of the world. The cantata concludes, however, with a joyous A Cry of Joy in which the opening piano introduction imitates the pealing of bells on some auspicious occasion, and this sense of festivity and celebration continues throughout the piece. Mercure was concerned with the yearning for joy rather than the concept of joy itself. Jeff Enns' God Be in My Head serves as a suitable conclusion or benediction for this CD. Sung in unison, it's simplicity of melody and text calls us back together to do what the title of the CD first asked us to do - Remember.

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Purpose- Analyze This

TANK aka Jason Lipp began spittin back in the late 80's...Really the hip hop vibe might be said to have been born in him, as he was the dude breakdancing at the kindergarten recital when everyone else was doin somethin else. You could call that hammin up the spot or jus plain ol releasin energy.. Prolly, it's a combination of both that could predict future events. Spittin his way thru cafeteria lines, cafeteria courtyards, English classes, gym classes, science and math classes, TANK LIPP brought hip hop and rap to the high school arena early on. Shortly after the times when he was breakdancin up homecoming dances handin the DJ copies of CRAIG MACKs flava in YA EAR, and spreadin the sounds of MOBB DEEP's Shook Ones thru the hallways of Oviedo High School- TANK aka JASON LIPP- neighborhood knapsacker set up shop to spread his own flava in peoples ears..After recordin his first joints at the age of 13 with Omar Radwan and Fred Hamilton, TANK LIPP put notice out on the streets that he was serious about trying to do this rap thing. In 1997, after polishin up the craft, and maturing wiser in age- TANK LIPP and OMAR RADWAN ( back then- PHAROAH MAGNETIC) linked up with SUPER SCIENTIFIC aka DANNY D. (who is known today as UNKNOWN SUSPECT).. The three dabbled into there explorations on the techniques 1200 and triton keyboards- each finding a niche that they would later contribute to the group.. The three linked up with other emcees FARENHEIGHT and TONY MILLZ ( now TONE DA REFEREE) - forming a group back then known as TEAM EXTRAVAGANT aka TEAM ELEMENTAL aka FIFTH BREED ( which is now reffered to today as (the CALICO SILO).....TEAM EXTRAVAGANT was an immense concoction of raw talent and energy, whom spent cipher pon cipher strengthening skills day n day out, night afta night.//From rockin porches to libraries, school buses and parties, hallways, bathrooms, closets( literally to enhance mic sounds when recordin), smoked out cars, fields and meadows, beaches, the ciphas reigned hott and magnetic always. In fact, there was soo much energy surroundin this group that it was just assumed that after high school an album was gonna be put out, and just a matter of when..Well, 'when', somehow dissipated, and people moved on to different jobs and work and school, and business ventures and a strong fan base in '98 of local oviedo and orlando heads dissipated as they grew into a group that seemed like it might never reunite...The love for hip hop neva died, but the act of makin music temporarily ceased.....With the acception of freestyles TEAM EXTRAVAGANT stopped puttin out mixtapes and rockin the recordin aspects..In 2003, TANK LIPP and OMAR THE RADWAN aka ( DJ 4th Dynasty aka PHAROAH MAGNETIC established new quarters for the ol TEAM to reunite as the CALICO SILO in ( THE CALICO SILO)..Calico SILO was the name given to the studio rebirthed in 2003..The talents joinin in the festivities were TANK aka JASON LIPP, OMAR THE RADWAN aka DJ 4th DYNASTY,TONY MILLZ aka (TONE DA REFEREE) and WARREN ELLIOT.. EGGED ON by fan members such as EWDEGE STEPLORD aka MIKE EVANS and LOU 'ROCK' - the SILO pumped out an EP/ MIXTAPE sort of GIG. It neva was formally pushed into the public, but the select people that it was passed around to got outstanding reviews....From the ill cuts, to the selection of beats spit on, to the mastery of the rhymes, to the stepping up of new productions on the tritons etc.-it seemed like the raw talent was still there...The team just needed the time to be alloted and with everyones schedules and separate lives being led, a dope revival of an ol school dope HIP HOP movement -TEAM EXTRAVAGANT - was progressively dissipating again...In October of 2003 TANK LIPP lost his father, and the SILO known AS CALICO SILO temporarily shut down.....The spirit of TANKs' dad was moving TANK and 'O, but between grief and movin on and living life there still seemed like little time to make any dreams happen..The dreams were still there and the talks between em were inspirational and motivational..'O set out for a lil hiyadus in Egypt and when he returned TANK LIPP and OMAR 4th DYNASTY RADWAN, teamed back up with SUPER SCIENTIFIC aka UNKNOWN SUSPECT and went to town on the debut TANK album REINCARNATED which was released last APRIL 2007.. That was a meaninful rebirth on many different avenues for all three of us...The album was a very personal debut TANK album that just happened to feature a great amount of contribution from two of the original members of TEAM EXTRAVAGANT- OMAR THE RADWAN and UNKNOWN SUSPECT..The concept was to show that no matter wut struggles life hands you, that there is always a reason to keep pushin thru, whether it's losing your dad in TAKE ME TO MY DAD, or realizing that there are plenty of fish in the sea after a bad breakup in WHORE, or that every day on earth is a gift and blessing we must cherish in TODAYS A GIFT, or just to hang tough and not give up when running in circles with the same problems in RUNNING IN PLACE..Due to the personal and highly emotional at some points -content of the debut of the REINCARNATED album it was probably a little difficult for people to feel the total energy and fire in this dope TEAM EXTRAVAGANT hip hop movement renewed by TANK...Certainly, the deep insights and writing talents of TANK LIPP were appreciated regardless of the fact that it wasn't really an album packed with numerous BANGERS. The beats were hott too, but it lost some of it's HIP HOP banga swagga due to the somber moods of many of the tracks. Nonetheless it put TANK and crew back on the map, respected, and definately gave a chill supply of audio (13 tracks) fa people to sit back and ponder about life and decisions that are made and the consequences of those decisions- and ultimately that there is always a reason to push on-because what doesn't keep u down at the bottom, only makes u stronger when u rise back to the top... Instinctively realizing that REINCARNATED didn't completely captivate everything that TEAM EXTRAVAGANT always stood for over the years, including ill ass scratching, and more rugged hip hop tracks, the immediate release of REINCARNATED left TANK simultaneously back in the booth firin up new tracks...This time the goal was to simultaneously supply an answer to the 'HIP HOP IS DEAD MOVEMENT' that circulated around the nation instigated by artists such as NAS..The debate was heated and many sides, angles, and opinions to the debate were shared by a variety of well known industry artists-NAS, LUDACRIS etc... TANK had his views too, and invigorated with motivation to show OZONE and the rest of the world the natural HIP HOP fire in him, he didn't want to leave the status quo as personal from just REINCARNATED, but he wanted to embrace the status HEATED wit his own hip hop flare-from more hip hop sounding beats, doper hip hop punchlines, more raw flows and hooks, and tighter rhyme schemes combined with an ever progressive TANK sound which can only be understood if u listen to the distinctive voice that is TANK when he raps...There is a BIG POPPA swag to the voice, wit rhyme scheme mucho PUNN-IAN ( BIG PUN) lol, making TANK a pleasurable sound to underground and commercial listening ears. Unfortunately at the time of this albums recording and production phase the CALICO SILO didn't split apart in spirit and friendship, but in actual physical location-AGAIN. Omar moved back temporarily to the middle east getting high tech over in ABU DABI, and UNKNOWN SUSPECT moved out of ORLANDO and out of state to a location that needs to be left unknown :) ..( yeah that's right the beats to hott and u will want to jack him for the production-so the location can't be disclosed :) ..So the goals of giving the project that TEAM EXTRAVAGANT sound with the ill nasty cuts and scratches wasn't possible...Instead of trying to shop a style that we could distinctively create on our own-with our own scratches, there is minimal scratches on this album..Sorry to disaapoint...W

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Complete Works for Cello & Piano

Ludwig van Beethoven Complete Works for Piano and Cello Sonata in F Major, Op. 5 No. 1 Adagio sostenuto - Allegro RONDO: Allegro vivace Sonata in C Major, Op. 102 No. 1 Andante - Allegro vivace Adagio - Allegro vivace Variations on Mozart's "Ein Mädchen oder Weibchen" from Die Zauberflöte, Op. 66 Sonata in A Major, Op. 69 Allegro ma non tanto SCHERZO: Allegro molto Adagio - Allegro vivace Variations on Handel's "See, the Conquering Hero Comes" from Judas Maccabeus, WoO 45 Sonata in G minor, Op. 5 No. 2 Adagio sostenuto e espressivo Allegro molto più tosto presto Rondo: Allegro Variations on Mozart's 'Bei Männern welche Liebe Fühlen' from Die Zauberflöte, WoO 46 Sonata in D Major, Op. 102 No. 2 Allegro con brio Adagio con molto sentimento d'affeto The Florestan Duo - Stefan Kartman, cello and Jeannie Yu, piano Stefan Kartman, cello, and Jeannie Yu, piano, are two brilliant soloists whose passion for chamber music brought them together in 1987 during their studies at the Juilliard School of Music. Like-minded musicians who share the same concept of an ideal sound, musical expressiveness, and excellence, they carry on a tra-dition whose lineage reaches directly back to the romantic period of Johannes Brahms. This tradition is the basis of inspiration for these shared ideals. Their first meeting occurred in the studio of violinist Joseph Fuchs as they studied Mendelssohn's Piano Trio in C minor. They continued to study chamber music with Fuchs and sonatas with cellist Harvey Shapiro and pia-nist Martin Canin until their graduation in 1989. Both members of the Florestan Duo have since earned their Doctor of Musical Arts degrees and have also worked with cellists Bernard Greenhouse and Zara Nelsova and pianists Susan Starr and Ann Schein, among others. Kartman and Yu have performed to critical acclaim in concert halls and educational institutions throughout the United States, Europe, and the Far East. Recordings of their performances have been aired on WQXR in New York, WFMT in Chicago, and WOI in Ames, Iowa. Most recently they have returned from critically acclaimed tours of Korea, Taiwan, Holland, Italy, and China, including solo performances with the Xiamen Symphony and recitals as a duo in Xiamen, Jinmei, Shanghai, Soest, and Verona. Both members of the Florestan Duo are accomplished teachers of chamber music and solo repertoire, having served on the faculties of Drake University, Illinois Wesleyan University, the Wisconsin Conservatory of Music, the MidAmerica Chamber Music Institute at Ohio Wesleyan University, the Alfred University Summer Chamber Music Institute under the artistic directorship of Joseph Fuchs, the Milwaukee Chamber Music Festival, and the Green Mountain Chamber Music Festival under the artistic directorship of Kevin Lawrence. Kartman is associate professor of cello and chamber music at the University of Wisconsin-Milwaukee and Yu freelances in the Milwaukee and Chicago metropolitan areas. Sonata No. 1 in F Major, Op. 5 No. 1 Beethoven's First Cello Sonata begins with a large slow introduction. While it wanders tonally somewhat, it fulfills the essential role of the introduction-to state the main key at the beginning, and to prepare for a return to that key as the Allegro begins. Scholars have pointed to Mozart's Violin Sonata in G major, K. 379, as a pos-sible model for this introduction. To be sure, Mozart's introduction is of similar breadth and tonal plan, and we must remember that Beethoven's principal models for writing cello sonatas-lacking earlier works for cello with a written-out (i.e., not basso continuo) keyboard part-were Mozart's sonatas for violin and piano, which number around twenty. Beethoven's Allegro begins with a long theme, reminiscent to the large theme in the same position in his Septet in E-flat, Op. 20, presented first by the piano and them taken up by the cello. The two sonatas of Op. 5 are vehicles for Beethoven as a young piano virtuoso, written during his stay in Berlin during a concert tour in the spring and summer of 1796. He has given himself, as well as the cellist with whom he was working, Jean Louis Duport, passages of considerable virtuosity. The astute listener will notice pas-sages strikingly similar to portions of Mozart's piano sonatas K. 333 and 570. The movement concludes with a substantial coda which, after the tempo slows to Adagio, turns to a cadenza-like passage, ending with the traditional trill, and reinforcing the virtuoso nature of the work. There is no slow movement. Perhaps the large slow introduction rendered one unnecessary, or perhaps Mozart's several two-movement violin sonatas served as models. The second and final movement, a rondo, begins without stating it's main key clearly, an approach Beethoven also utilized in both movements of the Second Sonata, Op. 5 No. 2 (and Mozart did similarly in the Violin Sonata in C, K. 303, first movement, in the Molto allegro). The writing, again, calls for virtuoso players, and there are marvelous passages in which the cello sustains an open fifth drone while the piano plays an arpeggiated idea. Slower tempos near the end lead to a brilliant conclusion. Sonata No. 4 in C Major, Op. 102 No. 1 "It is so original that no one can understand it on first hearing." So wrote Michael Frey, Hofkapellmeister at Mannheim, about Beethoven's Fourth Cello Sonata. The autograph manuscript of the sonata is dated "toward the end of July 1815," and he titled the work a "free sonata." That it is freer than it's companion, Op. 102 No. 2 (titled simply "sonata"), is evident in the respective layout of the sonatas' movements. While no. 2 is a conventional fast-slow-fast cycle, no. 1 is organized most distinctively. The sonata begins with the cello alone, like the Third Sonata, Op. 69, presenting an idea that comes to take on considerable significance in the totality of the work. The tempo is Andante, and the passage gives way to a concise Allegro vivace in sonata form. Yet the introduction is tonally very unconventional. It ostensibly begins in the home key, though the key of C is not stated explicitly at the beginning. And the introduction ends in the tonic, not the conventional dominant-but the Allegro vivace that follows is in A minor, not C major, and the structure that ensues is in keeping with the traditional treatment of A minor. The music that follows appears initially to be the slow movement. Marked Adagio, it is replete with ornamental gestures, and proves to be more an interlude than a full slow movement. (The only true slow movement in Beethoven's cello sonatas is in the Fifth Sonata, Op. 102 No. 2.) This Adagio, only nine measures long, gives way to a return of the material that began the sonata, a cyclic return of seven measures that leads to the finale, a lighthearted sonata form movement in the home key of C. It's fugal development section might be viewed as a counterpart to the fugal finale of Op. 102 No. 2. Further, the overall shape of the Fourth Sonata, including the cyclic return of it's opening idea, is also to be found in the Piano Sonata in A major, Op. 101, written in the same period, and it has been suggested that the works that comprise Beethoven's Opp. 101 and 102 comprise a trilogy. Variations on Mozart's "Ein Mädchen oder Weibchen" from Die Zauberflöte, Op. 66 Beethoven composed this first of his two sets of variations on a theme from Mozart's Die Zauberflöte in 1796, in the same period when he wrote the two cello sonatas Op. 5, and it was published in Vienna in 1798. The passage from the opera that he selected appears late in the second and final act. It is a catchy, strophic song for Papageno, the bucolic and comic figure of a bird-catcher who is an amusing and gently annoying character during the opera, ever since his initial appearance in the second number of act I ("Der Vogelfänger bin ich ja"). In "Ein Mädchen oder Weibchen," Papageno pines for a girlfriend-and it works, as Papagena enters just as the aria concludes, appearin

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