753 Results for : dated

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    Songs by Finzi & his friends
    Clifford Benson (Piano) // When Gerald Finzi died in September 1956 he left some two dozen completed songs. A handful he had just written, others dated from the 1940s, a few back even from the twenties. He had not published them as they were finished because he wanted to wait until he could gather enough for related groups. Finzi was a practical man and knew that a single song, unless the composer's name guaranteed its sale, or it was taken up by a popular singer, could easily be overlooked.
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    Orgelwerke
    At the foot of a manuscript dated around 1700 in which he had copied out pieces by Buxtehude, Reinken and Pachelbel that served as models for his own compositions, the young Johannes Sebastian Bach wrote that he was a pupil of Georg Böhm in Lüneburg. The organ works of this north German master foreshadow the young J.S. Bach's first compositions in many respects, it was also clearly thanks to Böhm that Bach came into contact with the various genres of French music of the period.
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    Frontalknutschen
    Kurz vor ihrem fünfzehnten Geburtstag hat Georgia den neuen Typen an der Schule im Visier: Robbie - ein süßer "Sexgott" und auch noch Mitglied der Band Stiff Dylans. Unglücklicherweise "dated" Robbie Georgias Erzfeindin.
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    Dated Bedroom Ditties
    No description.
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    Power of One
    Contemporary gospel music has often taken flack throughout the years, being criticized as 'cheesy', or having a very 'dated' sound. In many cases this is true, as Christian artists have strived to mimic what's on the radio, rather than carve out a niche all their own. As a result, the genre - for the most part - stays within the confines of the church community. But every so often, an artist emerges to break the mold and be the exception to the rule. Jita is one of those artists that show such promise. On her EP release Power of One, we are given three versions of the album-titled song: contemporary, Spanish, and one with what I would consider as having a Caribbean flare. This is a fun song with a message that can definitely be utilized in a joyous church celebration. The lyrics sound particularly pretty in Spanish. 'Lean On' exemplifies Jita's smooth voice over lush synthesized chord progressions. I could have listened to the song without any drum programming at all. Her voice could have carried the entire track with very light instrumentation. It takes on more of an RnB feel once the drums come in after about a minute in. The lyrical content has both spiritual and emotional implications. With lines like, 'I ran into your arms today. I ran so I could get away - from all the news and all the pain', it's hard for people to not find something to relate to. The real gem of the album, though, is the remix for 'I Need You'. This is house music packed with lots of harmony and soul. A wonderful dance track that competes with the best of them. This song reminded me of the classic house number 'Good Life' from Inner City (which by the way, is a huge compliment). The word that keeps coming to mind when listening to Jita is 'smooth'. Vocally, she stays in her lane, only venturing out when needed. There's no Mahalia Jackson wailing on here, but you'll be hard-pressed to find Jita sing a bad note. I sure would love to see her do some more dance numbers in the vein of the 'I Need You' remix. But, I suppose that would depend on where and how the Spirit leads.
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    Waterflow
    Waterflow erodes, shapes, and carves. It is persistent and inevitable. And like the natural phenomenon, the sophomore album Waterflow by Seattle artist/emcee Tulsi erodes, shapes, and carves. In his follow-up album to Fresh Points on Life, Tulsi again erodes stale hip hop themes by talking about things we care about and things we can relate to. Tulsi shapes Waterflow into what hip hop should be: substance and style, without sacrificing one for the other. Waterflow takes you back to the Golden Age of hip hop without sounding dated, carving and cutting with a simple formula-beats and rhymes. Tulsi rhymes over beats by Confidence, crafting songs that punch and resonate. Tulsi's modus operandi has always been to reproduce the quality of the Golden Age of hip hop with a new school freshness. How many old-timers have you heard say "They don't make 'em like they used to anymore"? Waterflow is made with solid wood. No plastics here. Tulsi again showcases his off-beat sense of humor, his ear for quality, and his knack for saying exactly what we've been thinking all along. Throughout the album he showcases his imagination, technical skill, and ear for what has and hasn't worked in the last 20 years of hip hop. For a sophomore album, Waterflow is one of the rare follow-up efforts that exceeds the first. It's Tulsi's Godfather II or Empire Strikes Back. There's a reason so many sophomore albums disappoint. Under pressure to out-do themselves, artists overthink, overproduce, and overcook their songs. Waterflow is just right. Tulsi's fingerprints are all over Waterflow's beats, production, and obviously, content. He has been showcasing Waterflow the only way a good throw-back emcee would: by performing live shows.
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    New Man
    D.C. Bloom is a new man these days. After suffering a stroke during songwriter's night at the San Marcos, TX music hall Cheatham Street Warehouse in August 2010, Bloom decided to turn over a whole pile of leaves. So nasty old habits were discarded and healthy ones embraced. After he kept hearing friends say, "You sure are a new man," he knew he'd found the title of the album he'd been recording when health issues sidelined him for five months. When D.C. returned to South Austin's Byrd House Studio, he was, indeed, a new man ... with a brand new song. Another Day, the first song he'd written after regaining his fingerpicking touch and singing ability opens New Man. It's a rollicking celebration of life and a thankfulness to have " ... another day to pick and grin, another day to deal me in," as D.C. sings over a joyous amen choir and a gospel wall of saxophone, mandolin, fiddle and banjo sound. It's a newfound perspective grounded in old-time religion. New Man, Bloom's third solo release and coming on the heels of 2010's 5-song EP Cinco de Star-Oh!, finds D.C. bringing an array of styles to the easy way with words that has earned D.C. praise as a unique songwriter who won't be confined ... or easily defined. Bloom's Americana is a broad musical and thematic landscape stretching coast to coast. It's not the same-old, same-old concrete interstate lined with familiar, but boring franchises, it's the memorable scenic route of a two-lane blacktop meandering through the land of heart and hope. From the swinging clarinet-driven ode to donatable footwear, Dusty Wingtip Shoes, and the haunting song of a lover's longing On That Primal Shore, to the swamp rock sound of Oma's Secret Garden, a 'can't we all just get along' desire expressed in Points of View or the 50 ways to waste time watching mindless TV enumerated in a Sitcom world, Bloom's latest release is a fun, yet thoughtful roadtrip that the listener will want to travel time and time again. Joined once again by some of the finest musicians and coolest voices Austin has to offer, New Man features contributions from the likes of Warren Hood on violin and mandolin, Chip Dolan on keyboards and accordion, John Mills on flute, Dave Scherr and Greg Whitfield on lead guitar, LeeAnn Atherton (vocals - Dusty Wingtip Shoes, Yes, Indeedy) Mo McMorrow (duet on Sexual Tension), Jana Pochop (vocals on Fits and Starts) and Elizabeth Wills & Kristin DeWitt (vocals on Sitcom). D.C. BLOOM'S SONGS HAVE AN INTELLIGENT CUTTING EDGE, FROM OUTRAGEOUSLY CLEVER TO POIGNANTLY THOUGHT PROVOKING. HE'S A GREAT ENTERTAINER AND A RECOMMENDED LISTEN. Lloyd Maines LISTEN TO THE SWINGINGLY ECLECTIC NEW MAN AND I DARE YOU NOT TO DIG D.C.'S UNAPOLOGETICALLY UN-P.C. POINTS OF VIEW, DELIGHTFULLY SKEWED WIT AND WIRY WORDPLAY, APPARENT SEXUAL TENSION AND DATED SITCOM ADDICTIONS AND - JUST WHEN YOU LEAST EXPECT IT - DISARMING HEART, SINCERITY, AND OPTIMISM. Richard Skanse, Editor, Lone Star Music.
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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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    Journeys of Soul: From Bach to Balakirev
    Each of these composers takes us on a personal journey with their music. They allow the performer and the listener to enter their private sound world, and they are willing to share their deepest emotions. Inspired by the music of the Italian Vivaldi, Bach composed his 'Concerto in the Italian style' and dedicated it to 'music lovers, to refresh their spirit.' Bach returns to the baroque concerto, imitating it's solo and tutti contrasts. Written originally for a two manual harpsichord, the pianist imitates these contrasting keyboards with their alternating dynamics. There is a sense of joy and triumph throughout, especially in it's opening and closing movements. The middle movement is a touching vocal aria, sung over a moving ostinato bass. The Concerto joyfully concludes with the presto finale- a brilliant and virtuosic tour-de-force. According to Bach, all of his music was written to glorify God. Ravel was thirty years old when he composed his 'little' Sonata. There is an elegance, a purity and a peacefulness to this miniature gem. No sense of struggle here- Ravel knows the pathway he is following. My favorite movement is the 2nd movement Minuet- minimally written- not one note too much or too little- perfection in every way. The last movement is a virtuosic finale and according to Ravel, this movement was much too difficult for him to play. He wasn't a virtuoso like the great Franz Liszt. Liszt struggled all his life with his personal relationship with God, and his Sonata in B minor serves as his spiritual confessional. Since a young child, Liszt was torn as to how best serve the Lord- whether he should enter the church with a life devoted to prayer or whether as an artist he could still serve. He finally resolved this conflict in his fifties when as Abbé Liszt, he took minor orders in the Catholic Church . His Sonata in B minor is one of the masterworks of the entire piano literature and represents his personal journey, running the gamut of emotion. He takes us from birth through life and then to what lies ahead. The ending of this work is extraordinary for Liszt makes us experience in it's last measures the ascension of the soul towards a higher place. We feel it's peaceful acceptance before the final low B- It's quite a journey! For me as a performer, this work is always evolving- every time I perform it, it let's me know exactly where I am- where I've been and where I'm headed- a bit like taking my musical pulse. Scriabin also walked the pathway of discovery. I think if he were alive today, he probably would be dressed in flowing robes and beads, and be living and seeking truth somewhere in an ashram in India. I adore his early Etudes, we can hear Chopin's influence but we also can feel Scriabin's Russian romantic soul. He wrote his Etude, Op. 2 No. 1 when he was only fifteen and it's a beauty. In his Etude, Op. 8, No. 10 in double thirds, we are reminded of Chopin's Etudes but also combined with lots of Lisztian virtuosity. With the Etude, Op. 42 No. 5, the passion and sense of forward momentum that Scriabin creates is just dazzling. Scriabin studied to be a pianist and while practicing Balakirev's Islamey, injured his right hand. That's why he wrote the Nocturne for the left-hand alone. Hard to imagine that only one hand is responsible for this beautiful composition. We conclude with the virtuosic showpiece of Balakirev, Islamey. Balakirev was basically self-taught and became one of the leaders of the 'Russian Five.' This group of composers wrote music linked to their homeland- nationalistic music inspired by Russian folklore and history. In this 'Fantasy-Orientale' Balakirev includes the folk songs of Central Asia. You might recognize the middle section tune that we know as 'Stranger in Paradise.' The piece might sound a bit dated nowadays but it is fun for the pianist to play and entertaining to hear occasionally. From Bach to Balakirev- it's been quite a trip!! "Nissman's opening movement raptures me out and tells me something new about Ravel's music. Nissman shows the passion and the 'lovely bones' beneath. She plays the second-movement minuet so beautifully, it stops your breath. This may be the finest recording of the Sonatine I've heard, at least equaling my benchmark, Gieseking." "She also provides the bonus of bringing clarity to Liszt's complex textures and made me realize how truly contrapuntal the work is. There's plenty of excitement and genuine tenderness in her account. She also shares with Argerich a spontaneity. I can't predict how she will finish a phrase or what subtle adjustments in tempo and dynamics she will make to a line, but it nevertheless sounds not merely individual, but right." "Since Nissman plays Chopin so beautifully, she turns each of these Scriabins into gems. She actually makes Scriabin sound as natural as breath, like Fred Astaire dancing." 'an impressive series: brilliant, technically and musically. Lifelike sound and totally satisfying discs." "A true transcendental performance. In her journey to the spiritual, technique, intellectual structure and dramatic structure have all been transcended."
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    Singlezero
    Singlezero was conceptualized, written and recorded as a concept album to express how different world cultures (new, old and ancient) and life experiences have touched my life and left their indelible impressions in the fabric of my soul. With the use of old and new technologies, I've attempted to fuse many different types of cultures, sounds, instruments, rhythms, emotions and 'soundscapes' into the eight songs on Singlezero. It covers the full audio spectrum too, so sit down, turn it on, and enjoy. If you've got a subwoofer, you'll be able to experience the full depth as well as the width of this CD. **** REVIEWS **** Dave Madden - May 5, 2003 SPLENDID eZine 'Singlezero was written and recorded as a concept album to express how different world cultures (new, old and ancient) and life experiences have touched my life.' says Singlezero mastermind Dick Schalk of his self-titled debut, and a very accurate and concise a description is. Schalk mixes old and new instruments in a collage that feels like the backdrop to an Aboriginal village one minute, only to emote the atmosphere of an alien spacecraft the next. He's generally very tasteful, blending all of these elements into something that's both engaging and exploratory, as far as his palate of sounds is concerned. Some of his more exciting endeavors are the backbeat funk and acid-laced 'The Starting' and the jazz-tip under a bed of scratches and kitchen-sink percussion of 'Oops'. Some of these songs feel a bit dated because of the instrumentation and a few of styles that Schalk chooses to emulate. The funky clavinet of 'What's the Skinny' has that draggin'-the-beat tempo that plagued many early-nineties jazzers who were trying to crossover to other genres (i.e. Miles's 'Doo-Bop'), and the R&B sax of 'Lookin Up' suffers the same fate. However, these are minor details that don't necessarily diminish the quality of the songs or detract from his message. Not too much, anyway. It would not surprise me to see Schalk's name listed among the composer credits of a Discovery Channel documentary or a big-name Playstation game, as his music is a journey that would suit both genres. For now, however, Singlezero offers a suitable soundtrack for your commute or cross-country road-trip, and makes great ear-candy for your living room stereo. **** REVIEWS from GARAGEBAND.COM **** 'Quality Beat' I like this, I really do... The production sounds excellent to me... I can't really comment further. The sound is good, the quality mixing and mastering here really make the tune stand out. But the real treat here is the beat, a lot of energy in this track, and the humming (or whatever that would be called) goes well with it all, along with all the other subtlties layered ontop of one another to create quite a pleasing tune... Reviewed by: Solus from Waterloo, Ontario, Canada 'Big Soundtrack Material...' Nice big sound into the body of the piece. I like the vocal style, and it's well mixed. Nice production skills... reminds me of Peter Gabiel... very nice in and out... good work here! Reviewed by: Alienrhythm from Brooksville, Florida.
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