Die Hüttenwirtin (2010)

Dwarves - The Dwarves Must Die Redux (2010) {MVDaudio–Greedy Records MVD5026A}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 277 Mb | MP3 @320 -> 82 Mb
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© 2010 MVDaudio / Greedy Records | MVD5026A
Rock / Punk Rock / Hardcore Punk / Noise-Rock / Garage Rock Revival

Deluxe, redux reissue of the Dwarves' 2004 magnum opus, The Dwarves Must Die. Originally released on Sympathy for the Record Industry and long out of print, this reissue compiles the whole album plus two awesome bonus tracks. Full bore punk rock meets noise and garage rock and all the sleaze you fit on a 5 inch piece of shiny plastic. Features guest spots from Dexter Holland from The Offspring, Nash Kato from Urge Overkill, desert rock icon Nick Oliveri, Josh Freese from The Vandals, Spike from Me First and the Gimme Gimmes and more.

Scorpions is a German rock band formed in 1965 in Hanover by Rudolf Schenker. Since the band's inception, its musical style has ranged from hard rock to heavy metal. The lineup from 1978–92 was the most successful incarnation of the group, and included Klaus Meine (vocals), Rudolf Schenker (rhythm guitar), Matthias Jabs (lead guitar), Francis Buchholz (bass guitar), and Herman Rarebell (drums)…

A production of the LA Opera House ground-breaking Recovered Voices project, highlighting the works of composers affected by the Holocaust. Walter Braunfels, a strong advocate of neo-Romanticism, made significant contributions to the world of twentieth-century opera. Yet, he lost his rightful places in twentieth-century opera houses.
His music inhabits a very different world, both geographically and aesthetically, nurtured far from Vienna’s charged, multi-cultural atmosphere. Deeply rooted in German Classicism and Romanticism, he conceals none of his admiration for the inherited past and sees himself as building on its fundamentals. By almost any standard, he was a conservative. The premiere of Die Vögel in Munich in 1920, under the direction of Bruno Walter (who still lauded the work as late as 1950), was a huge public and critical success. The number of productions and performances in the following years was staggering. However, in the post- World War II years of his “rehabilitation,” Braunfels never regained a foothold. Die Vögel was not produced again until 1971 in Karlsruhe and 1994 in Berlin./quote]

A stunning collection of some of the greatest sacred music ever written. From the great Lamentations of Byrd, Tallis and Palestrina, the listener is taken on a remarkable spiritual journey through Bach’s great St Matthew Passion, Purcell’s moving and bleak funeral music for Queen Mary, and Handel radiant Messiah. Pergolesi’s masterful setting of the Stabat Mater and Telemann’s Passions-Oratorium are also to be found here, along with Haydn’s Stabat Mater and his dark and intense masterpiece Die sieben letzen Worte, or The Seven Last Words of our Saviour from the Cross. Finally, Allegri’s hauntingly beautiful Miserere opens this collection – a work that was copied from memory after one hearing by the child Mozart. Prior to that moment the work had only been heard in the Vatican.

Bach composed in Leipzig the biggest part of his cantatas. A cantata is a composition in several parts for one or more voices and instruments, where arias, recitatives and chorusses alternate. Often these were preceded by an instrumental introduction, a sinfonia. In Bach's earliest cantatas these were also called concerto, sonata or sonatina. These instrumental works are collected on this album.

By 1976 Fischer-Dieskau had been performing before the microphone for almost thirty years and was approaching the end of his vocal prime – he turned 51 that year. Yet his mastery of Wolf's intricate, concentrated, turn-on-a-dime idiom was at its height. You can buy any number of individual recitals by him that feature Wolf, and 175 songs on six CDs is a lot to absorb. Nonetheless, this budget repackaging is a must-listen. The singer got a new lease on his artistic life by taking up partnerships with noted pianists like Brendel, Richter, and Barenboim.

The pearl of great price: the German tenor who could make you wish to retract all you ever thought, wrote or spoke about the species, the Mozart tenor who could sound both elegant and manly, the singer who could almost persuade you that Strauss loved the tenor voice as he did the soprano. We hear Wunderlich in this collection additionally as Rossini’s Almaviva, scrupulous with his triplets and almost as careful with his scales. His “Il mio tesoro” drops not a semiquaver and takes the long phrases with confident ease.