3,382 Results for : parade
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Fiesta!
Iain Farrington - Fiesta! This recording features four piano works of varying and disparate angles: jazzy, political, pictorial and private. It is music that aims to encompass many contrasting elements, from technical virtuosity to calm simplicity, from tunefully melodic to harshly dissonant, from lightweight fun to melancholic seriousness. Fiesta! Fiesta! Is music about celebrations and merry-making. In seven short movements, the mood is unashamedly joyous, ranging from wild excitement to intimacy. Despite the title, there are no Spanish elements in the music. It was composed and first performed in 2003. Celebration establishes the scene with it's jumpy, knock-about rhythms, and champagne-popping spirit. Lively natterings and gossipings of individuals are heard in Conversations, arguing and laughing about life. To get people on their feet, the Stride Dance launches a lively, bouncing rhythm in a Hammond organ style. A gentle Song relaxes the atmosphere before the pounding, foot-stomping rhythms of Fast Dance. As the festivities draw on, a bluesy Nocturne slackens the pace, with an improvisatory solo at the heart of the movement. Renewed energy is found in the Finale, a carefree fugue that breaks into a frantic dance. The celebrations are nearly brought to a premature conclusion by protestations from the neighbours, but this is a party that could go on and on... Mozart Variations The theme for this set of variations is Figaro's aria Non più andrai, from the end of Act One of Mozart's The Marriage of Figaro. Figaro tells Cherubino that he will no longer be chasing girls, but will be joining the army, marching to victory. The variations are heard as one continuous piece, and exploit the threatening military nature of the aria. Composed at the outbreak of the Iraq war in 2003, the work follows a path from playfulness to swaggering arrogance, through distant fanfares to violence and aggression, culminating in tolling bells and a hollow victory march. Animal Parade Animal Parade is a depiction of ten familiar animals, from the tallest to the fastest, the biggest to the nastiest. It is an affectionate caricature of wildlife, exploring the unusual characteristics of these creatures in an entertaining assortment of organ effects. The work includes an optional narration with verses for each animal by Esther Eidinow. It was composed and first performed in 2007, paired with Poulenc's Babar the Elephant. 1 - Entrance: The stage is set with a lively, rhythmic introduction, capturing a playful mood. 2 - Giraffes: A wide-ranging melody depicts the height and flexibility of the giraffe's long neck. Teetering on fragile thin legs, the piece tiptoes along gingerly. 3 - Barrel organ monkey: Raucous oom-pah off-key music is dispatched on the organ-machine with cold, grim humour. 4 - Hippopotamus: Wallowing in thick muddy water, this is the slow life of a hippo. 5 - Critics: A worthy addition to the menagerie. The music is suitably unoriginal: fatuous fanfares, sarcastic laughter and three distorted quotes from musical masterpieces that received a critical mauling at their premieres. 6 - Blue whale: The gentle heart of the whole set. From the depths of the sea a whale gently rises to the surface for air. 7 - Sparrows: Chirping and darting around the scene, the birds merrily sing to each other. 8 - Penguins: Shaking from the cold, the penguins march along, taking the occasional dive into the sea. 9 - Cheetah: With teeth showing, the cheetah embarks on a wild chase after a hapless prey. 10 - Piranhas: A tense, still atmosphere is interrupted by three bloody feasts. 11 - Alley cats: Slinky and low-down with a bluesy mood, proud cats wander the streets, tails held high. A brief encounter leaves one slightly scratched. 12 - Exit: The opening music is recalled and expanded, providing a happy conclusion to the grand show. Night Journey Night Journey was derived from a request in 2004 to compose some short, relatively simple piano pieces, from Grades 4 to 8 in standard. This grew into 24 miniatures of varying character, still restricted by the original parameters. Although quite straightforward in terms of harmonic and technical difficulty, these pieces explore a wide range of pianistic sounds and textures. The music is often highly expressive and essentially melancholic. It was written not only as a compositional challenge, but also as a way of lifting spirits. The work is loosely based on the key structure of Chopin's Preludes, progressing through each major key and it's relative minor: C major/A minor, G major/E minor, D major/B minor etc. There is also recurring and developed material in movements 1, 7, 13, 19 and 24, giving an overall shape to the work. Iain Farrington has an exceptionally busy and diverse career as a pianist, organist, composer and arranger. He studied at the Royal Academy of Music, London and at St John's College, Cambridge University. As a composer, Iain has written chamber, instrumental, vocal and choral works. He was a featured artist in Musical Opinion, described as 'a musician of exceptional promise and accomplishment...the melodic and harmonic aspects of his music, allied to a genuine creative character, combine to produce an output that is both modern and attractive.' Among notable successes include his suite Fiesta! Performed in the USA, Australia, New Zealand, Sweden, France, Germany, and across Europe and the UK, with several recordings available. Iain has arranged and performed over one hundred diverse works, from Mozart to Gershwin. He is Arranger-in-Residence for the Aurora Orchestra. His solo piano arrangement of Elgar/Payne Symphony No.3 is published by Boosey and Hawkes, and his transcription of Elgar's Five Piano Improvisations was recently published by Novello. His chamber orchestral version of Dvorák's Rusalka was performed across the UK by English Touring Opera. Iain has performed at the Wigmore Hall, Queen Elizabeth Hall, the Purcell Room, the Royal Opera House, and in Japan, South Africa, Jordan and all across Europe. He performed two solo organ works in the BBC Proms 2007 in the Royal Albert Hall, which the Independent described: "This was his Proms debut, and an exciting one. He's an authentic star, and deserves to have a Prom all to himself." He works with many of the country's leading singers and conductors, including Bryn Terfel, Lesley Garrett, Sir Simon Rattle and Sir Colin Davis. Iain is the accompanist for the London Philharmonic Choir, working regularly with Vladimir Jurowski and Kurt Masur. He gives frequent broadcasts on BBC Radio Three and has recorded numerous CD's as accompanist and soloist. He regularly gives solo piano recitals all across the UK, with his repertoire embracing contemporary, British and light music, and his own Farrington Ensemble has performed in festivals across the UK.- Shop: odax
- Price: 20.06 EUR excl. shipping
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At The Mermaid Parade
Das 2010er-Album der bretonisch-walisischen Sängerin ist ein Popalbum mit Folkwurzeln. Katell Keinegs gewaltige Stimme lässt neue Songs familiär erscheinen und alte (etwa eine Coverversion von Big Stars "Thirteen") fühlen sich neu an. Ihr erstes Album für das Label Honest Jon’s ist ein großes Album, das in einem kleinen Raum entstand. Es ist voll eleganter Exzentrik, ist furchtlos und witzig. Ihr Weg als Songwriterin führte Katell Keineg zunächst nach Irland, dann nach New York, wo sie von Jeff Buckley entdeckt und von Iggy Pop an das Label Electra vermittelt wird. Dort erscheinen 1993 und ’97 zwei Alben mit großen Songs und großen Produktionen. Keineg singt auf Natalie Merchants Debüt "Tigerlily", die wiederum covert einen ihrer Songs, die "New York Times" schreibt über ein großes vergessenes Talent. Keineg tingelt um die Welt, kehrt zurück nach Big Apple, schreibt neue Songs und sieht in Conney Island die Mermaid Parade an sich vorbeiziehen. Mittlerweile lebt sie wieder zu Hause in Wales. Auf "At The Mermaid Parade" erzählt sie uns, wo sie war und was wir verpasst haben.- Shop: odax
- Price: 11.63 EUR excl. shipping
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Vortex
Eine Mischung aus allem, was 1971 zum musikalisch-progressiven State of the Art gehört... Freak-, Prog- , Psychedelic- und natürlich Krautrock, getragen von Orgel- , Synthesizer- und Mellotroncascaden, getrieben von hypnotische Rhythmen , schneidenden Soli und rauem Sound, ohne der heutzutage üblichen Retro-Hochglanz-Politur vieler Produktionen, ganz so als hätten sich alten Yes, Aphrodite's Child, King Crimson, die frühen Kraftwerk und Atomic Rooster zum spontanen Stelldichein im Studio getroffen.Vortex ist das aktuelle Album der Kölner Prog-Kraut-Rockformation mouth. Nach dem Debüt Rhizome (2009) präsentiert das energetische Trio um Chris Koller erneut einen eindrucksvollen Einblick in seine Arbeit - mit einem Album, das es in sich hat. Schon das Cover-Design stellt klar: vortex wurzelt in den 70ern, der golden era des Progressive Rock. Und die wirbelt mouth gehörig auf. Zitate, Sounds und Motive aus der Gabriel-Phase von Genesis, von King Crimson, Gentle Giant, Yes, Aphrodite's Child - aber auch Alternative-Einflüsse. Hier findet vieles zusammen. Aber nicht zu einem angestaubten Museums-Mix. Sondern zu einem groovigen, modernen Meisterwerk. Denn mouth interpretiert das Vergangene unpeinlich, voll eigener Power und mit einem sehr individuellen und authentischen Approach. Das Ergebnis: Eine magische Mischung voller dramatischer, melancholischer und berührender Momente. Mit großer Bandbreite und voller Dynamik. vortex beweist, dass mouth eine eigene Sprache spricht und musikalisch eine Menge zu sagen hat. TRACKS: 1. Vortex 2. March Of The Cyclopes 3. Parade 4. Mountain 5. Into The Light 6. Soon After 7. Epilogue- Shop: odax
- Price: 17.86 EUR excl. shipping
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Boppin' Hit Parade-1940/50s Hillbilly & Rockabilly
No description.- Shop: odax
- Price: 10.82 EUR excl. shipping
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Four By Four - Stars Of The Hit Parade
Original recordings-100-Tracks- 4CD Box Set Packed in Gatefold Digifile- Shop: odax
- Price: 11.54 EUR excl. shipping
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Five Classic Album Plus
"Kitty Wells Country Hit Parade", "Lonely Street", "Dust On The Bible," "Kitty's Choice" und "Heartbreak U.S.A". Kitty Wells war eine US-amerikanische Country-Sängerin. Die "Queen of Country Music" wurde 1952 mit dem Song It Wasn¿t God Who Made Honky Tonk Angels bekannt. Sie gilt als erster weiblicher Superstar der Countrymusik. Ihr wurde 1952 vom Decca-Produzenten Paul Cohen angeboten, It Wasn¿t God Who Made Honky Tonk Angels als feministisch ausgerichteten Antwortsong auf Hank Thompsons The Wild Side of Life einzuspielen - dieser Song enthielt die Zeile "I Didn¿t Know God Made Honky Tonk Angels". Die Single wurde zu einem der größten Country-Hits der fünfziger Jahre und hielt sich sechs Wochen an der Spitze der Charts. Zum ersten Mal hatte eine Sängerin Platz Eins der Country-Hitparade erreicht. Dieser Erfolg ebnete den Weg für zukünftige Stars wie Patsy Cline oder Loretta Lynn. Auch ihre nächste Single, Paying For That Backstreet Affair (ein Antwortsong auf Webb Pierces Back Street Affair), schaffte es in die Top-10. Kitty Wells war damit endgültig in der Country-Szene etabliert. Ihre Erfolgssträhne hielt bis weit in die sechziger Jahre hinein an. Insgesamt konnte sie 23 Top-10-Hits verbuchen, darunter 1955 Making Believe, 1956 Searching, 1958 Jealousy, 1961 Heartbreak USA.- Shop: odax
- Price: 9.60 EUR excl. shipping
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Old Simplicity
Review Jim Perkins and Ronan Burke and take their name from the unmanned, technology-laden US rocket which should have guided itself to the moon, but instead missed it's target by 36,000km and spiralled off into space, losing contact with the Earth. This self-deprecating nod to their own technology-laden folk sound shows an unnecessary modesty. Their debut album, 'Old Simplicity' hits it's target so firmly that it would be quite reasonable for them to shout it from the rooftops. But, I guess, it would be difficult for someone brimming with arrogance to come up with such intricate and beautiful music as this. Using a plethora of folk instruments, the duo create rich sounds, which are often cut up and rearranged, providing astonishing backing for Ronan's layered vocals. Stand out tracks, 'Pendulum' and 'Old Simplicity' are prime examples of how the duo construct songs. On the former, cut up and pitched up vocal sounds act in contrast to Efterklang-esque, choral melodies over music that slowly builds to a rumbling crescendo. The title track may once have been a traditional folk song, and in many ways it still is, although the guitar part has been pulled apart note by note and put back together in a different order. Such heavy editing is not always used, though. The duo know when something is better left alone and these tracks show a gentler side and unearth more subtleties in their songwriting. This album is an astonishing feat of musical ability and studio skill. Ranger3 manage to give folk an excitingly modern twist, without losing the warmth at it's heart -- Andy Malt CMUMusicNetwork 'A great album needs to feel complete as well as experimental, and Old Simplicity manages this balance brilliantly...... a thoroughly enjoyable album that succeeds through being different' - Tom Slater, Spiked-online.com 'Sense of Direction is a gem reminiscent of Schneider tm in slow mo' - Cian Ó Cíobhán, RTE radio Ireland, It's recently been released on the 'An Taobh Tuathail vol 2' compilation alongside artists such as Murcof, Mice parade and Colleen. 'If We Were Ready' and 'A Step Too Far' all sound immaculate' - Edwin McFee, Hot Press 'Technically complex and extremely musical' - Mark Norton, PRS About the Artist Ranger3 are an Anglo Irish duo formed in 2005 in Camberwell, London. Named after the highly successful technology laden US Rocket whose mission was to land on the moon, but which actually missed the moon by 36,000 km and spiraled off into space, losing contact with the earth. Jim Perkins is an English composer, arranger and producer who specializes in combining acoustic and electronic instruments and sounds. Ronan Burke is a songwriter with a fondness for electronica, krautrock and folk songs about romance and death.- Shop: odax
- Price: 15.90 EUR excl. shipping
