#VinylMondays Huge gem I scored this week! Im Nin’alu by Israeli singer Ofra Haza. This song was sampled on Paid In Full by Eric B & Rakim and marked one of the first times world music crossed over into pop chart success! It’s an amazing tune and the lyric translation of the intro is: Even if the gates of the rich are closed, the gates of heaven will never be closed.
#ofrahaza #hebrew #imninalu #shaday #worldmusic #culture #vinyl #records #teldec

Brahms: String Quartet #1 In C Minor, Op. 51/1 - 3. Allegretto Molto Moderato E Comode
  • Brahms: String Quartet #1 In C Minor, Op. 51/1 - 3. Allegretto Molto Moderato E Comode
  • Johannes Brahms
  • Alban Berg Quartet: Brahms & Dvořák String Quarets

The “Allegretto Molto Moderato E Comode” of Johannes Brahms’ “String Quartet No. 1 in C Minor,” Op. 51, as performed by the Alban Berg Quartet, 1976. (From this CD)

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Warner Music Entertainment (Teldec) präsentiert Ella Endlich - Das letzte Einhorn (The Last Unicorn)

Ella Endlich

“Küss mich, Halt mich, Lieb mich” ist der Ausgangspunkt von Ellas Karriere – und damit auch der perfekte Titel für das erste Best-Of-Album der Berliner Sängerin. Am 21. November 2014 erscheint eine tolle Sammlung ihres Schaffens, die alle bisherigen Werke einschließt – von “DA” (2010) über “Meilenweit” (2011) und “Wintercollage” (2012) bis zum aktuellen Album “Die süße Wahrheit”.

Und das ist nicht alles. Neben den großen Hits von Ella Endlich enthält das Album auch 3 bisher unveröffentlichte Songs sowie einen exklusiven Dance Mix des Titels “Was wäre wenn”!

Ein neuer Titel – Das letzte Einhorn – ist im Besonderen hervorzuheben, da er nach jahrelangem Wunsch der Fangemeinde, nun endlich wahr geworden ist. Der Soundtrack zum Zeichentrickfilm Das letzte Einhorn (origi. The Last Unicorn) wurde von Jimmy Webb komponiert und mit der britisch-amerikanischen Rockband America, 1984 zum Erfolg.
Quelle: Warner Music Entertainment (Teldec)

Ella Endlich – Das letzte Einhorn (The Last Unicorn) – Die neue Single aus dem Album Küss mich, Halt mich, Lieb mich – The Best Of

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La Düsseldorf - Koksknödel


Big Balls & The Great White Idiot - Submission to Violence

Music history in bigger cultural context

Booklets of Teldec’s Das alte Werk are (or have been in the past) quite extensive in information, but I love the spread they end with. It shows what was happening in the world at the time the music was composed you are listening to. What a sensible way of putting things into perspective – general history, other music from that period, arts and science in a glance. In no way a complete picture, but it does open up a world in a very easy way – and possibly pulls you in.

Ligeti weekend…

Ligeti in 1968

György Ligeti (1923-2006)

Ten Pieces for Wind Quintet (1968) • London Winds • rec: 1995 (Sony)

Continuum (1968) • Elisabeth Chojnacka (harpsichord) • rec: 1995 (Sony)

String Quartet no 2 (1968) • Arditti Quartet • rec: 1994 (Sony)

Ramifications, for string orchestra or 12 solo strings (1968-1969) • Asko Ensemble/Schönberg Ensemble • Reinbert de Leeuw (conductor) • rec: 2001 (Warner/Teldec)

  • Listen

Big Balls & The Great White Idiot - Rock N’ Roll Madness (from their 1977 self-titled LP on Teldec)

They want me to be a good boy
But I said to mummy, “I’m not your dummy“
They want me to be a good boy

And that’s why I kill little dogs in the park
And that’s why I raped lolitas in the dark

They want me to be a nice guy
But I said, “hey dad, you’re driving me mad“
They want me to be a nice guy

And that’s why I kill little dogs in the park
And that’s why I rape lolitas in the dark

Mozart weekend…

Piano Concerto no 17: A selective discography

Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto no 17 in G major, K453 (1784) • 14 recordings

Kristian Bezuidenhout (fortepiano) • Freiburger Barockorchester • Petra Müllejans (conductor) • rec: 2012 (Harmonia Mundi)

Maurizio Pollini (piano) • Vienna Philharmonic Orchestra • rec: 2005 (DG)

Andreas Staier (fortepiano) • Concerto Köln • rec: 1995 (Warner/Teldec)

Maria João Pires (piano) • Chamber Orchestra of Europe • Claudio Abbado (conductor) • rec: 1993 (DG)

Jos van Immerseel (fortepiano) • Anima Eterna • rec: 1990 (Channel Classics)

Malcolm Bilson (fortepiano) • English Baroque Soloists • John Eliot Gardiner (conductor) • rec: 1985 (DG Archiv)

Géza Anda (piano) • English Chamber Orchestra • rec: 1975 (BBC Legends)

Alfred Brendel (piano) • Academy of St. Martin in the Fields • Neville Marriner (conductor) • rec: 1970 (Decca/Philips)

Robert Casadesus (piano) • Cleveland Orchestra • George Szell (conductor) • rec: 1968 (Sony)

Géza Anda (piano) • Salzburg Mozarteum Camerata Academica • rec: 1961 (DG)

Friedrich Gulda (piano) • Friedrich Gulda und Sein Klassisches Orchester • Paul Angerer (conductor) • rec: 1960 (Vanguard)

Rudolf Serkin (piano) • Columbia Symphony Orchestra • George Szell (conductor) • rec: 1955 (United Archives)

Géza Anda (piano) • SWR Sinfonieorchester Baden-Baden und Freiburg • Hans Rosbaud (conductor) • rec: 1952 (Hänssler)

Edwin Fischer (piano) • Orchestra • rec: 1937 (Warner/EMI)

This is arguably Mozart’s most perfectly balanced concerto. Even the great concertos of 1786 (with the exception of K491 which, like this concerto, concludes with a very ambitious set of variations) are slightly weighted towards the first movement, with the slow movement, however affecting or enchanting it may be, acting as an interlude, a pause. Not so here. This Andante is unusually eventful and weighty. It has the breadth of some of Haydn’s late slow movements. Mozart would never write anything like this again, which can be said, also, for the Finale. These variations are as far removed from the tough, tragic, symphonic variations of the C minor concerto as anything could possibly be. This movement is like the finale of an opera buffa (you could set words to it, it would work brilliantly). But for all its playfulness and high spirits it is, again, a weighty movement—weighty, ambitious and serious in intent (and in that respect, again, not unlike Haydn).

It’s striking how many excellent recordings there are of this particular concerto. My favourite is probably Staier (fortepiano), but Pollini’s old-school account has an intimacy and a true sense of give and take that is very special (this is Pollini’s finest Mozart recording by a mile). And I’ve always had a soft spot for Anda’s way with this concerto (that’s why all three of his recordings are included—overkill, I know). Fischer’s 1937 account has some terrible cuts, but is nonetheless a lovely performance (his first movement is taken at quite a lick, which is against the norm, and very refreshing), as is the infinitely more disciplined and highly poetic and alert Pires/Abbado.

Brendel’s account with Marriner has, rather surprisingly, more character than his remake with Mackerras (the incomplete Brendel/Mackerras series as a whole I find too “clean” and generally uninspired—dull, in fact—Mackerras handling of the orchestra too grand and uncharacteristically faceless).

Immerseel’s and Bilson/Gardiner’s period versions are both highlights of their respective surveys. Neither of them, though, can match the vitality and imagination of, on the one hand, Staier (who, like Immerseel, leads from the keyboard) and Bezuidenhout with the amazing Freiburgers under Petra Müllejans on the other (a great recording!).

It’s instructive comparing Serkin and Casadesus (both with Szell, who was an outstanding accompanist in Mozart), two completely different but great and unique Mozartians. This time I prefer Casadesus. Serkin seems a bit off now and then, but he and Szell are still worth hearing.

And then there’s Gulda, who, I think, didn’t know how to have an off day. He even manages to inspire the usually not very interesting Angerer/Orchestra X combo. An ear-opening, wonderfully insightful and fun account.

See also…

Survey: Piano Concerto no 24

Survey: Piano Concerto no 25

Ligeti weekend…

A declaration of love

György Ligeti (1923-2006)

Lux Aeterna (1966) • Kammerchor Stuttgart • Frieder Bernius (conductor) • rec: 1996 (Carus)

Two Studies for Organ: Harmonies (1967); Coulée (1969) • Zsigmond Szathmáry (organ) • rec: 1995 (Sony)

Double Concerto, for flute, oboe and orchestra (1972) • Jacques Zoon (flute) • Heinz Holliger (oboe) • Asko Ensemble/Schönberg Ensemble • Reinbert de Leeuw (conductor) • rec: 2002 (Warner/Teldec)

Études pour piano, Book 1 (1985) • Pierre-Laurent Aimard (piano) • rec: 1995 (Sony)

Violin Concerto (1989-1993) • Patricia Kopatchinskaja (violin) • Ensemble Modern • Peter Eötvös (conductor) • rec: 2011 (Naïve)

Ligeti weekend…

György Ligeti (1923-2006)

Violin Concerto (1989-1993) • 5 recordings





1993 Saschko Gawriloff (violin) • Ensemble Intercontemporain • Pierre Boulez (conductor) (DG)

1999 Christina Åstrand (violin) • Danish National Radio Symphony Orchestra • Thomas Dausgaard (conductor) (Chandos)

2001 Frank Peter Zimmermann (violin) • Asko Ensemble/Schönberg Ensemble • Reinbert de Leeuw (conductor) (Warner/Teldec)

2011 Patricia Kopatchinskaja (violin) • Ensemble Modern • Peter Eötvös (conductor) (Naïve)

2012 Benjamin Schmid (violin) • Finnish Radio Symphony Orchestra • Hannu Lintu (conductor) (Ondine)

Of the five recordings to date, Gawriloff/Boulez and Kopatchinskaja/Eötvös are required listening. The others are fine too, but not as distinctive. Kopatchinskaja, in particular, jumps right out at you.

Ligeti weekend…

The works for orchestra

György Ligeti (1923-2006)

San Francisco Polyphony (1973–74)

Melodien* (1971)

Lontano (1967)

Atmosphères (1961)

Apparitions (1958–59)

Concert Românesc (1951)

Berlin Philharmonic Orchestra • *Schönberg Ensemble • Jonathan Nott (conductor) • *Reinbert de Leeuw (conductor)

Rec: *2000; 2001