34 Results for : raymonde

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    Raymonde de Laroche - Die erste Pilotin der Welt
    Raymonde de Laroche - Die erste Pilotin der Welt - 1. Auflage: ab 4.99 €
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    Golden Eagle
    Holly Macve: Zehn Songs im zarten Country- und Western-Gewand getragen von einer einzigartigen StimmeDie musikalische Entdeckung von Holly Macve erzählt sich wie ein kleines, modernes Märchen. Simon Raymonde, seines Zeichens Labelchef von Bella Union, entdeckte die 21-jährige bei einem Open Mic-Abend in einer kleinen Kellerbar in Brighton und war sofort begeistert von ihrer Stimme. Wenig später fand sich die Irin zusammen mit Produzent Paul Gregory in einem Studio in Newcastle wieder, um mit der Arbeit an ihrem Debütalbum zu beginnen. Das Talent wurde ihr dabei mit einer musikalischen Familie schon früh in die Wiege gelegt. Zudem fand sie in der Plattensammlung ihrer Mutter mit Bob Dylan, Leonard Cohen und Johnny Cash schon früh erste Inspirationsquellen. Im Rahmen des letztjährigen Reeperbahn Festivals feierte Holly Macve ihre Live-Premiere in Deutschland. Neben der Nominierung zum Anchor Award 2016 trat sie auch bei Ray Cokes Reeperbahn Revue auf und verzauberte alle Anwesenden im Raum.
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    Meditations with Torrey Hall/Classics & Hymns for
    TRACK ONE Clair de Lune is the third movement of Debussy's Suite bergamasque or collection of dances, written in 1890 and published in 1905. It's meaning is "moonlight", though Debussy originally titled it Promenade Sentimentale. Paul Verlaine's poetry, namely "Poems saturniens" influenced the creative process of Debussy in the composition's revision and name change. With vivid colors Mr. Hall recreates with a dazzling display of artistry, the shimmering reflective qualities of orange moonlight cascading through night-time clouds against a backdrop of blackened outer-space, exuding a dreamy and ethereal effect. The light touch and full round tones are reminiscent of Horowitz. TRACK TWO In 1827 Franz Schubert wrote the Opus 90 series of Impromptus, and here for us now, Mr. Hall performs the Opus 90 Number 3 in G flat major. The work is viewed as a variations on a theme, written in a pattern utilized by Beethoven in structure and form. The strong and compelling melody line ushers the listener through a series of ornamental passageways and finally resolving the journey on the other side. Again, the artist displays a commanding gentleness of touch, subtly threading the lines through the needles of structure and dynamic shadings. The colors he paints are a sheer joy to see and behold! TRACK THREE Mr. Hall performs the Andante, the second movement of Mozart's Piano Sonata No 5 K283, written in 1774 during a visit to Munich for the production of his La finta giardiniera. Performing Mozart's piano literature has often been described by artists as akin to a trapeze artist walking the high tight wire in the buff (naked), meaning, "everything shows". The literature is best played by both children, and the most mature keyboard artists. Children find the playfulness in it, and artists recreate that playfulness. All other students of the piano make it sound too much like work! Listen to the subtle use of rubato in Mr. Hall's rendition on this recording, he refuses to give-in to the tilting temptation to play in strict tempo aka metronome. Rubato is rarely used by most performing pianists, due to a lack of understanding it's use. We think Mr. Hall understands it quite well, in fact! TRACK FOUR The piano music of Franz Liszt holds the affections of classical music lovers everywhere. His later music was the result of his personal losses and grief, a creative response to crushing sorrows. CONSOLATION Number #3, is a great example, which Mr. Hall plays with great emotion and color, providing a window into the great composer's heart. Here the artist's own bond with the melancholy is exposed as well. Liszt once told a friend "I carry with me a deep sadness of the heart which must now and then break out in sound." The deaths of his children so close together (Daniel, 1859 and Blandine, 1862) accelerated the rush of heartache upon his soul, and hence, years later, the deaths of friends, colleagues, and note-worthies continued to press the darkness upon him. Desolation, despair and death seemed to be his companions in life, and thus, his work CONSOLATION Number #3, like so much of his piano literature, takes his grief to a level of high art, and in which, as has been said, "a troubled spirit seeks consolation in memories of the past." TRACK FIVE Who among us has not heard those treasured words sung by many, written down so long ago, yet which still speak to the heart! "In the sweet by and by, we shall meet on that beautiful shore." This loved Civil War era hymn, was the result of a brief conversaton which took place between the composer and the lyricist. The former was described by the latter, as having the "melancholy", and so, being his friend, he attempted to raise his spirits by challenging him to compose a new song! The musician, a violinist by the name of Webster, was standing alongside a woodstove when the conversation took place, resulting in this beloved hymn. Bennett, the lyricist (1836 - 1898) asked him "Webster, what is the matter now?!", to which the musician answered dryly "no matter", then adding quietly "it will be alright by and by..........", His comment brought a flash of sunlight to Bennett's mind, who replied "the sweet by and by.......", and it was at that point, that Bennett penned the words, handing them to the musician moments later to read himself. The violinist picked up his instrument and immediately began playing a melody to the words his friend had just written. Thus, in the space of a half-hour, this hymn tune, which has found it's place in American folk music, raised to a higher prominence than that of Stephen Foster, was born! Mr. Hall plays this using nothing but two fingers, one on each hand, the result of his own musical genius! This hymn, like the others on the album, is solely Mr. Hall's own arrangement, and is played as simply as possible, so as to not distract from the message of the hymn. If this doesn't reach your soul, nothing will. TRACK SIX This Nocturne was written by the French composer Francis Poulenc (1899 - 1963), who was without doubt, the most recent composer whose music is performed by Mr. Hall. The term "nocturne", from the Latin "nocturnus", refers to a musical composition that is inspired and redolent of the night. The great Polish composer Chopin wrote many nocturnes, and perhaps, almost without question, it seems to be a characteristic of both composers and musicians, to be "night owls". It is no secret that Poulenc's personal life was a paradox, full of conflicts and contradictions. Raised in the Roman Catholic Church, he attempted to walk the fence between homosexuality and doctrinal orthodoxy, which flew in the face of his scriptural and theological injunctions. It would appear he chose the former over the latter, if his comment to a friend was taken literally: 'You know that I am as sincere in my faith, without any messianic screamings, as I am in my Parisian sexuality.' (At one point, Poulenc planned to marry a young woman by the name of Raymonde Linossier, but whose sudden death removed all possibilities). Though he never acknowledged it publically, it is believed that he fathered a daughter (Marie-Ange), whose mother ('Freddy') was the dedicatee of two of his works. Nocturne Number #1, performed by Hall, is deceptive in it's simpleness of harmony and melody line, as it requires a certain keyboard technical prowess not possessed by amateur pianists or students. The work includes hair-pin turns for the driver (pianist), without slowing down (maintaining the same speed rounding the corners as driving along the straight stretches). Mr. Hall plays this nocturne at a brisk but steady pace of tempo, holding the melody line in high relief, while shading abrupt passages dynamically aka pianissimos and fortes. As with most of Poulenc's piano literature, this Nocturne Number #1 requires the pianist to have a master's control over finger movement and weight, resulting in quick turns without smearing the colors in this beautiful musical painting. TRACK SEVEN Written in 1929 (published in '32) by Albert Brumley, the song I'LL FLY AWAY was in part, the result of influences (as with other hymn tunes) by an earlier secular ballad. This song holds the bragging rights to 'the most recorded gospel song', and is sung by millions, crossing denominational lines but all within the boundaries of Christiandom. The tune has become part of American folk music, and is often performed or sung at bluegrass music events, and of course, many funerals, given it's message of hope beyond the grave. The whole idea for the song came to the composer, while working on his father's cotton farm in Oklahoma one day. To help pass the hours of work, he began singing the words to a popular ballad.....'if I had the wings of an angel, over these prison walls I would fly.....', It immediately came to him that the seed for growing a great musical crop (gospel song) was found, and he would plant it! It was three years later, that the song was completed, with
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    Kin
    Das Album des Londoner Quartetts um Liela Moss, die auch UNKLE am Mikrofon unterstützt, wurde produziert von Simon Raymonde (Bella Union / Cocteau Twins). Mit Gästen wie Mark Lanegan, Terry Edwards (PJ Harvey/Gallon Drunk) und Sam Windett (Archie Bronson Outfit). The London 4-piece return with an album brimming with new sounds amid a vibrant energy, flecked with sublimely delicate, intimate spaces and recorded by Simon Raymonde (Bella Union / Cocteau Twins). At the core is a deep respect for the frailty of life and the nobility that can be observed in death. Sonar, a highly emotional Liela Moss vocal, delivers a poignant goodbye to a loved one, framed by a magnificent circular guitar hook around which organs, bass and drums carry prayer and eulogy. There are some maverick guest appearances throughout the record, Mark Lanegan, Raymonde himself, longterm DS collaborator Terry Edwards (PJ Harvey/Gallon Drunk) and old friend Sam Windett from Archie Bronson Outfit is here also to duet with Liela on the wiry post-punk vibes of Side By Side. One of the many standouts on the album is Pacific, a hyper vigilant and introspective tale of travel and self-discovery, of the realisation that often silence is a better way to communicate than with words. Adding to the tension, a force that pulls you in deep throughout the album, is a beautiful melody at the start of the song played on the saw by Mara Carlyle who also lends her effortlessly fluid voice to this and Sonar. Despite these cameos, this is about The Duke Spirit, who in ten glorious songs, have resurfaced effortlessly and quietly, with one of the most exhilarating albums of this year.
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