Søgeresultat: vw
Download: Welle: Erdball - Vw Käfer & 1000 Tage

Download: Welle: Erdball - Vw Käfer & 1000 Tage

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Download: Welle: Erdball - Vw Käfer & 1000 Tage
Download: Frank Schröder - Du Und Ich Im Alten Vw

Download: Frank Schröder - Du Und Ich Im Alten Vw

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Download: Frank Schröder - Du Und Ich Im Alten Vw
Charles Mingus Ken Burns Jazz

Charles Mingus Ken Burns Jazz

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Bassist Charles Mingus was known for his hot-headed behaviour and provocative utterances, but those personal foibles are secondary to the magical music he created. This compilation is part of the 22-CD single-artist series that is the audio counterpart to Ken Burns's documentary Jazz. Featuring nine tracks, this is an accurate thumbnail portrait of one of jazz's most complex and gifted musicians. Many will remember the use of "Haitian Fight Song" as the soundtrack to a VW car advertisement, but the sentimental beauty of "Goodbye, Porkpie Hat", the urgency of "Better Get Hit in Your Soul" and the cover of Ellington's "Mood Indigo" reveal a musical portrait that is strikingly broad and beautiful. More varied in his influences than many jazzmen, Mingus drew from such disparate sources as Ellington, gospel, Mexican music, Dixieland, European masters and even politics. Probably the most challenging of hard boppers, Charles Mingus is an iconoclast whose music never lost touch with its roots, even as he continually broke new ground. --Tad Hendrickson
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Charles Mingus Ken Burns Jazz
Vaughan Williams - A London Symphony (original version)

Vaughan Williams - A London Symphony (original version)

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Penned between 1911 and 1913 and first heard in May 1914, Vaughan Williams's A London Symphony was dedicated to the memory of George Butterworth (whose ravishing 1913 idyll The Banks of Green Willow opens proceedings here). It's this original version that Richard Hickox and the LSO champion so eloquently on this sumptuous-sounding Chandos issue--and a very different beast it is from VW's final revision of 1933. For starters, there's more than a quarter-of-an-hour of extra material, much of it genuinely inspired and brimful of wondrous poetry. VW's scoring, too, was never more colourful and it's surely not too fanciful to detect many a foreshadowing of Holst's The Planets in particular. More significantly, the work takes on a darker, tragic dimension (nowhere more potently perhaps than in the slow movement) and there's an astonishing passage in the expanded epilogue that even anticipates the opening movement of the 1921 Pastoral Symphony. In hindsight, VW made all the right decisions (the scherzo's second half, haunting though it is, pales next to the shuddering intensity of the revised coda) but no one should miss the opportunity to experience his original thoughts in all their epic sweep and tingling vitality. Utterly compulsive listening then and a "must buy" if ever there was one. -- Andrew Achenbach
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Vaughan Williams - A London Symphony (original version)
Hickox Conducts Vaughan Williams

Hickox Conducts Vaughan Williams

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This slimline British Composers double-pack from EMI offers stunning value for money, cramming the contents of nearly three Vaughan Williams anthologies from the mid-1980s onto two extremely well-filled CDs--and all at mid-price, too. Performances and production values are consistently first-rate, and the pleasures come thick and fast. Under Richard Hickox's sympathetic and invigorating lead, the 1923 ballet score Old King Cole (still a considerable rarity) creates a delightful impression. There's an engaging contribution from the Sinfonia Chorus both here and in the lovely Five Mystical Songs (which finds baritone Stephen Roberts in rapt, if not perhaps always ideally steady voice). Elsewhere, the Northern Sinfonia's then leader, Bradley Creswick, excels in the bracing Concerto accademico (a title the composer later rejected in favour of the plainer Concerto for violin and strings in D minor) and ravishing The Lark Ascending, while the oboe concerto receives eminently stylish advocacy from soloist Roger Winfield. Not the least of this generous sets many attractions can be found in some of the shorter items such as the perky overture to the 1929 opera The Poisoned Kiss,, the gravely noble prelude to 49th Parallel (VW's first film score dating from 1940-41) and the jaunty Sea Songs. So, if the programme appeals (and it certainly should!), don't hesitate. -- Andrew Achenbach END
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Hickox Conducts Vaughan Williams
Jackson/Maggini Quartet Vaughan Williams - String Quartets Nos. 1 & 2; Phantasy Quintet

Jackson/Maggini Quartet Vaughan Williams - String Quartets Nos. 1 & 2; Phantasy Quintet

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The second of Vaughan Williams' two-string quartets proves particularly fascinating listening in these marvellously sympathetic and beautifully recorded performances of some unjustly overlooked repertoire. Completed in 1943, it's a searching, formidably taut utterance, whose troubled demeanour points the way forward to the apocalyptic Sixth Symphony of five years later. Only in the hushed final movement do the clouds finally lift, but it's a hard-won serenity that never quite banishes the work's nervy undertow. By contrast, the bracing First Quartet of 1908 is more obviously influenced by folk and often acquires a distinctly Gallic hue--no great surprise, perhaps, given that VW had finished his studies with Ravel in Paris just a few months previously. It's a wonderfully melodious, exquisitely wrought piece, whose comparative neglect down the years continues to baffle, and it's preceded here by the Phantasy Quintet, another prodigiously inventive, raptly lyrical essay, completed in 1912. Throughout, the Magginis respond with exhilarating assurance, irreproachable sensitivity and unstinting dedication; for the lovely Phantasy Quintet they are joined by the excellent Garfield Jackson (violist of the Endellion Quartet). This is yet another remarkable Naxos bargain, in sum, and absolutely not to be missed. -- Andrew Achenbach
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Jackson/Maggini Quartet Vaughan Williams - String Quartets Nos. 1 & 2; Phantasy Quintet
Vaughan Williams/Bliss/Ireland British Film Music, Vol.1

Vaughan Williams/Bliss/Ireland British Film Music, Vol.1

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This album contains recordings made between 1946 and 1948 of music from seven major British films, all originally issued on 78s. The sound is fair to good mono, not exceptional, but in places as clear as some recordings made a decade later. It should be noted that the extracts from Vaughan Williams' Scott of the Antarctic also appear in identical form along with more film music by VW on Pearl's simultaneously issued disc of the composer's Symphony No.6. All this music may be familiar from modern re-recordings, but has generally been unobtainable in original form and so it is a particular pleasure to be able to evoke the vitally imaginative soundworld of Brian Easdale's The Red Shoes--not only the climatic 12-minute ballet but also the memorable prelude. Yet it is only the beginning, the collection also offering the drama of Arnold Bax's Oliver Twist with Harriet Cohen at the piano, and the choral piano concerto "Baraza" from Arthur Bliss' Men of Two Worlds. With John Ireland, Lord Berners and Charles Williams also represented, the programme and the companion Volume 2 demonstrate the importance of some of Britain's most respected mid-20th-century composers for the cinema. -- Gary S. Dalkin
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Vaughan Williams/Bliss/Ireland British Film Music, Vol.1
Charles Mingus Ken Burns Jazz Collection: The Definitive Charles Mingus

Charles Mingus Ken Burns Jazz Collection: The Definitive Charles Mingus

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Bassist Charles Mingus was known for his hot-headed behaviour and provocative utterances, but those personal foibles are secondary to the magical music he created. This compilation is part of the 22-CD single-artist series that is the audio counterpart to Ken Burns's documentary Jazz. Featuring nine tracks, this is an accurate thumbnail portrait of one of jazz's most complex and gifted musicians. Many will remember the use of "Haitian Fight Song" as the soundtrack to a VW car advertisement, but the sentimental beauty of "Goodbye, Porkpie Hat", the urgency of "Better Get Hit in Your Soul" and the cover of Ellington's "Mood Indigo" reveal a musical portrait that is strikingly broad and beautiful. More varied in his influences than many jazzmen, Mingus drew from such disparate sources as Ellington, gospel, Mexican music, Dixieland, European masters and even politics. Probably the most challenging of hard boppers, Charles Mingus is an iconoclast whose music never lost touch with its roots, even as he continually broke new ground. --Tad Hendrickson
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Charles Mingus Ken Burns Jazz Collection: The Definitive Charles Mingus
The Supernaturals A Tune A Day

The Supernaturals A Tune A Day

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The Glaswegian five-piece return with their follow-up to their Top 10 1997 debut, It Doesn't Matter Anymore. Following the same path as their first album, A Tune A Day is full of extraordinarily hum-able, sunshine indie hits. Taking inspiration from Sixties pop bands (the most obvious being The Monkees), one can never quite tell whether The Supernaturals really are so happy, or whether they're being ironic (check out "I Wasn't Built To Get Up" and the "VW Song"). The songs are as innocuous--and catchy--as those that any boy band could produce, but The Supernaturals have the added bonus of indie-pop credibility. If the Manic Street Preachers and Radiohead could just lighten up a bit, this is what they'd sound like. -- John Galilee
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The Supernaturals A Tune A Day
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