Rihanna( robyn rihanna fenty )
Man down
Lyricist：shama joseph, shontelle layne, theron thomas, timothy thomas
I didn't mean to end his life, I know it wasn't right
I can't even sleep at night, can't get it off my mind
I need to get out of sight 'fore I end up
Behind bars
What started out as a simple altercation
Turned into a real sticky situation
Me just thinking on the time that I'm facing
Makes me wanna cry
'cause I didn't mean to hurt him
Could've been somebody's son
And I took his heart when
I pulled out that gun
Rum, pa, pa, pum, rum, pa, pa, pum, rum, pa, pa, pum
Man down
Rum, pa, pa, pum, rum, pa, pa, pum, rum, pa, pa, pum
Man down
Oh, mama, mama, mama
I just shot a man down
In central station
In front of a big ol' crowd
Oh why? Oh, why?
Oh, mama, mama, mama
I just shot a man down
In central station
It's a 22, I call her peggy sue
When she fits right down in my shoes what do you expect me to do
If you're playing me for a fool, I will lose my cool
And reach for my firearm
I didn't mean to lay him down
But it's too late to turn back now
Don't know what I was thinking now he's no longer living
So I'm 'bout to leave town
'cause I didn't mean to hurt him
Could've been somebody's son
And I took his heart when
I pulled out that gun
Find more lyrics at ※ mojim.Com
Rum, pa, pa, pum, rum, pa, pa, pum, rum, pa, pa, pum
Man down
Rum, pa, pa, pum, rum, pa, pa, pum, rum, pa, pa, pum
Man down
Oh, mama, mama, mama
I just shot a man down
In central station
In front of a big ol' crowd
Oh why? Oh, why?
Oh, mama, mama, mama
I just shot a man down
(will you hear me now?)
In central station
Look, I never thought I'd do it, never thought I'd do it
Never thought I'd do it
Oh, gosh what ever happened to me, ever happened to me
Ever happened to me?
Why did I pull the trigger, pull the trigger, pull the trigger?
And end a nigga, end a nigga life so soon
When me pull the trigger, pull the trigger, pull it on you
Somebody tell me what I'm gonna, what I'm gonna do
Rum, pa, pa, pum, rum, pa, pa, pum, rum, pa, pa, pum
Me say woman down, a wha me say
Rum, pa, pa, pum, rum, pa, pa, pum, rum, pa, pa, pum
When me went downtown
'cause now I am a criminal, criminal, criminal
Oh lord, have mercy, now I am a criminal, man down
Tell the judge please gimme minimal
Run out of town, none a them can save me now, save me now
Oh, mama, mama, mama
I just shot a man down
In central station
In front of a big ol' crowd
Oh why? Oh, why?
Oh, mama, mama, mama
I just shot a man down
In central station
Selasa, 19 Maret 2019
Music Lyric We found love Rihanna( robyn rihanna fenty )
Rihanna( robyn rihanna fenty )
We found love
It's like you're screaming but no one can hear. You almost feel ashamed that someone could be that important, that without them, you feel like nothing. No one will ever understand how much it hurts. You feel hopeless, like nothing can save you. And when it's over and it's gone, you almost wish that you could have all that bad stuff back so you can have the good
Yellow diamonds in the light
Now we're standing side by side
As your shadow crosses mine
What it takes to come alive
It's the way I'm feeling I just can't deny
But I've gotta let it go
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Shine a light through an open door
Love a life I will divide
Turn away 'cause I need you more
Feel the heartbeat in my mind
It's the way I'm feeling I just can't deny
But I've gotta let it go
Find more lyrics at ※ mojim.Com
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Yellow diamonds in the light
Now we're standing side by side
As your shadow crosses mine
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love
It's like you're screaming but no one can hear. You almost feel ashamed that someone could be that important, that without them, you feel like nothing. No one will ever understand how much it hurts. You feel hopeless, like nothing can save you. And when it's over and it's gone, you almost wish that you could have all that bad stuff back so you can have the good
Yellow diamonds in the light
Now we're standing side by side
As your shadow crosses mine
What it takes to come alive
It's the way I'm feeling I just can't deny
But I've gotta let it go
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Shine a light through an open door
Love a life I will divide
Turn away 'cause I need you more
Feel the heartbeat in my mind
It's the way I'm feeling I just can't deny
But I've gotta let it go
Find more lyrics at ※ mojim.Com
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Yellow diamonds in the light
Now we're standing side by side
As your shadow crosses mine
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
We found love in a hopeless place
Song lyrics S&m rihanna( robyn rihanna fenty )
Song lyrics rihanna( robyn rihanna fenty )
S&m
Lyricist：esther dean, mikkel eriksen, tor erik hermansen, sandy julien wilhelm
Na na na, come on
Na na na, come on
Na na na na na, come on
Na na na, come on, come on, come on
Na na na, come on
Na na na, come on
Na na na na na, come on
Na na na, come on, come on, come on
Na na na na
Feels so good being bad
There's no way I'm turning back
Part of the pain is the pleasure
'cause nothing could measure
Love is great, love is fine
Out the box, out of line
Seen the picture
Now the feeling leaves me wanting more
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
Na na na, come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Now come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Love is great, love is fine
Out the box, out of line
Seen the picture
Now the feeling leaves me wanting more
Find more lyrics at ※ mojim.Com
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
Na na na, come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Now come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
S s s and m m m
S s s and m m m
Oh I love the feeling you bring to me
Oh, you turn me on
It's exactly what I've been yearning for
Give it to me strong
And meet me in my boudoir
With my body sayin' ah, ah, ah, I like it, like it
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
Na na na, come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Now come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
S s s and m m m
S s s and m m m
S s s and m m m
S s s and m m m
S&m
Lyricist：esther dean, mikkel eriksen, tor erik hermansen, sandy julien wilhelm
Na na na, come on
Na na na, come on
Na na na na na, come on
Na na na, come on, come on, come on
Na na na, come on
Na na na, come on
Na na na na na, come on
Na na na, come on, come on, come on
Na na na na
Feels so good being bad
There's no way I'm turning back
Part of the pain is the pleasure
'cause nothing could measure
Love is great, love is fine
Out the box, out of line
Seen the picture
Now the feeling leaves me wanting more
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
Na na na, come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Now come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Love is great, love is fine
Out the box, out of line
Seen the picture
Now the feeling leaves me wanting more
Find more lyrics at ※ mojim.Com
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
Na na na, come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Now come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
S s s and m m m
S s s and m m m
Oh I love the feeling you bring to me
Oh, you turn me on
It's exactly what I've been yearning for
Give it to me strong
And meet me in my boudoir
With my body sayin' ah, ah, ah, I like it, like it
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
'cause I may be bad but I'm perfectly good at it
There's sex in the air I don't care, I love the smell of it
Sticks and stones may break my bones
But chains and whips excite me
Na na na, come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
Now come on, come on, come on, I like it, like it
Come on, come on, come on, I like it, like it
S s s and m m m
S s s and m m m
S s s and m m m
S s s and m m m
Song lyrics Live your life Rihanna( robyn rihanna fenty )
Song lyrics Live your life Rihanna( robyn rihanna fenty )
Ay, this a special what's happenin' to all my, all my soldiers over there in iraq
Everybody right here, what you need to do is to be thankful for the life you got
You know what I'm sayin'?
Stop lookin' at what you ain't got, start bein' thankful for what you do got
Let's give it to 'em, baby girl, hey
You're gonna be a shining star
With fancy clothes and fancy cars
And then you see, you're gonna go far
'cause everyone knows who you are (rihanna, let's get it)
So live your life (hey) ay-ay-ay
You steady chasin' that paper
Just live your life (oh) ay-ay-ay
Ain't got no time for no haters
Just live your life (hey) ay-ay-ay
No telling where it'll take ya
Just live your life (oh) ay-ay-ay
(joss, we did it again homie)
'cause I'm a paper chaser
Nevermind what haters say, ignore 'em 'til they fade away
Amazing they ungrateful after all the game I gave away
Safe to say, I paved the way for you cats to get paid today
You still be wastin' days away now had I never saved the day
Consider them my protégé, homage I think they should pay
Instead of being gracious, they violate in a major way
I never been a hater, still I love 'em in a crazy way
Some say they sold the yay, and no, they couldn't get work on labor day
It ain't that black or white, it has an area the shade of gray
I'm west side anyway, even if I left today and stayed away
Some move away to make a way, not move away 'cause they afraid
I brought back to the hood, and all you ever did was take away
I pray for patience but they make me wanna melt they face away
Like I once made 'em spray, now I could make them put the k's away
Been thuggin' all my life, can't say I don't deserve to take a break
You rather see me catch a case, then watch my future fade away.
You're gonna be a shining star
With fancy clothes and fancy cars
And then you see, you're gonna go far
'cause everyone knows who you are
So live your life (hey) ay-ay-ay
You steady chasin' that paper
Just live your life (oh) ay-ay-ay
Ain't got no time for no haters
Just live your life (hey) ay-ay-ay
No telling where it'll take ya
Just live your life (oh) ay-ay-ay
Find more lyrics at ※ mojim.Com
'cause I'm a paper chaser
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Just livin' my life
I'm the opposite of moderate, immaculately polished with
The spirit of a hustler and the swagga of a college kid
Allergic to the counterfeit, impartial to the politics
Articulate but still'd grab a nigga by the collar quick
Whoever havin' problems with they record sales, just holla t.I.P.
If that don't work and all else fails, then turn around and follow t.I.P.
I got love for the game, but ay, I'm not in love with all of it
Could do without the fame, and rappers nowadays are comical
The hootin' and the hollerin', back and forth with the arguin'
'where you from, who you know, what you makin', what kind of car you in?'
Seems as though you lost sight of what's important when depositin'
Them checks into ya bank account, and you've up out of poverty
Your values is in disarrayed, prioritizin' horribly
Unhappy with the riches 'cause you're piss-poor morally
Ignorin' all prior advice and forewarnin'
And we mighty full of ourselves all of a sudden, aren't we?
You're gonna be a shining star
With fancy clothes and fancy cars
And then you see, you're gonna go far
'cause everyone knows who you are
So live your life (hey) ay-ay-ay
You steady chasin' that paper
Just live your life (oh) ay-ay-ay
Ain't got no time for no haters
Just live your life (hey) ay-ay-ay
No telling where it'll take ya
Just live your life (oh) ay-ay-ay
'cause I'm a paper chaser
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Got everybody watchin' what I do
Come walk in my shoes
And see the way I'm livin,' if you really want to
Got my mind on my money, and I'm not goin' nowhere
So keep on gettin' your paper, and keep on climbin'
And look in the mirror, and keep on shinin'
'til the game end, 'til the clock stop
We gon' post up on the top spot
Livin' the life, my life
In a brand new city, got my whole town wit' me
The life, my life, I do what I wanna do
I'm livin' my life, my life, and I will never lose
I'm livin' my life, my life, and I'm not stopping
So live your life
Ay, this a special what's happenin' to all my, all my soldiers over there in iraq
Everybody right here, what you need to do is to be thankful for the life you got
You know what I'm sayin'?
Stop lookin' at what you ain't got, start bein' thankful for what you do got
Let's give it to 'em, baby girl, hey
You're gonna be a shining star
With fancy clothes and fancy cars
And then you see, you're gonna go far
'cause everyone knows who you are (rihanna, let's get it)
So live your life (hey) ay-ay-ay
You steady chasin' that paper
Just live your life (oh) ay-ay-ay
Ain't got no time for no haters
Just live your life (hey) ay-ay-ay
No telling where it'll take ya
Just live your life (oh) ay-ay-ay
(joss, we did it again homie)
'cause I'm a paper chaser
Nevermind what haters say, ignore 'em 'til they fade away
Amazing they ungrateful after all the game I gave away
Safe to say, I paved the way for you cats to get paid today
You still be wastin' days away now had I never saved the day
Consider them my protégé, homage I think they should pay
Instead of being gracious, they violate in a major way
I never been a hater, still I love 'em in a crazy way
Some say they sold the yay, and no, they couldn't get work on labor day
It ain't that black or white, it has an area the shade of gray
I'm west side anyway, even if I left today and stayed away
Some move away to make a way, not move away 'cause they afraid
I brought back to the hood, and all you ever did was take away
I pray for patience but they make me wanna melt they face away
Like I once made 'em spray, now I could make them put the k's away
Been thuggin' all my life, can't say I don't deserve to take a break
You rather see me catch a case, then watch my future fade away.
You're gonna be a shining star
With fancy clothes and fancy cars
And then you see, you're gonna go far
'cause everyone knows who you are
So live your life (hey) ay-ay-ay
You steady chasin' that paper
Just live your life (oh) ay-ay-ay
Ain't got no time for no haters
Just live your life (hey) ay-ay-ay
No telling where it'll take ya
Just live your life (oh) ay-ay-ay
Find more lyrics at ※ mojim.Com
'cause I'm a paper chaser
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Just livin' my life
I'm the opposite of moderate, immaculately polished with
The spirit of a hustler and the swagga of a college kid
Allergic to the counterfeit, impartial to the politics
Articulate but still'd grab a nigga by the collar quick
Whoever havin' problems with they record sales, just holla t.I.P.
If that don't work and all else fails, then turn around and follow t.I.P.
I got love for the game, but ay, I'm not in love with all of it
Could do without the fame, and rappers nowadays are comical
The hootin' and the hollerin', back and forth with the arguin'
'where you from, who you know, what you makin', what kind of car you in?'
Seems as though you lost sight of what's important when depositin'
Them checks into ya bank account, and you've up out of poverty
Your values is in disarrayed, prioritizin' horribly
Unhappy with the riches 'cause you're piss-poor morally
Ignorin' all prior advice and forewarnin'
And we mighty full of ourselves all of a sudden, aren't we?
You're gonna be a shining star
With fancy clothes and fancy cars
And then you see, you're gonna go far
'cause everyone knows who you are
So live your life (hey) ay-ay-ay
You steady chasin' that paper
Just live your life (oh) ay-ay-ay
Ain't got no time for no haters
Just live your life (hey) ay-ay-ay
No telling where it'll take ya
Just live your life (oh) ay-ay-ay
'cause I'm a paper chaser
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Just livin' my life (ay), my life (oh), my life (ay), my life (oh)
Got everybody watchin' what I do
Come walk in my shoes
And see the way I'm livin,' if you really want to
Got my mind on my money, and I'm not goin' nowhere
So keep on gettin' your paper, and keep on climbin'
And look in the mirror, and keep on shinin'
'til the game end, 'til the clock stop
We gon' post up on the top spot
Livin' the life, my life
In a brand new city, got my whole town wit' me
The life, my life, I do what I wanna do
I'm livin' my life, my life, and I will never lose
I'm livin' my life, my life, and I'm not stopping
So live your life
song lyrics Turn up the music Rihanna( robyn rihanna fenty )
Turn up the music Rihanna( robyn rihanna fenty )
Turn up the music, cause this song just came on
Turn up the music, if they try to turn us down
Turn up the music, can I hear it til the speakers blow
Turn up the music, fill your cup and drink it down
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Oh, oh, oh, oh
Turn up the music
Oh, oh, oh, oh
Turn up the music
Turn up the music
Tu-turn up the...
Turn up the music 'cause I feel a little turned on
Turn up the music, don't you try to turn me down.
Turn up the music can I feel it just a little bow
Turn up the music, fill me up and take me down
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
And turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Oh, oh, oh, oh
Turn up the music
Oh, oh, oh, oh
Find more lyrics at ※ mojim.Com
Save my life (just dance with me)
I can see it in your eyes, baby
You want a piece of me, oh
So let's do tonight
And do whatever it takes to make it right
Don't stop the...
Just turn it up
Just turn it up
Just turn it up
Just turn it up
Just turn it up
Turn it up (just turn it up)
Just turn it up
Just turn it up
I love you, baby (yeah)
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Turn up the music, just turn it up loud (turn it loud)
Turn up the music, I need it in my life, yeah
Leggo!
Oh oh oh oh
Can you turn up the music?
Oh oh oh oh
Turn it up loud
Turn it up (just dance with me)
Turn it up (just dance with me)
Riri turn it up (just dance with me)
Turn it up (just dance with me)
(don't stop the music)
Turn it up (just dance with me)
Turn it up (just dance with me)
Turn it up (just dance with me)
Turn it up (don't stop the music)
Turn up the music, cause this song just came on
Turn up the music, if they try to turn us down
Turn up the music, can I hear it til the speakers blow
Turn up the music, fill your cup and drink it down
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Oh, oh, oh, oh
Turn up the music
Oh, oh, oh, oh
Turn up the music
Turn up the music
Tu-turn up the...
Turn up the music 'cause I feel a little turned on
Turn up the music, don't you try to turn me down.
Turn up the music can I feel it just a little bow
Turn up the music, fill me up and take me down
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
If you're sexy and you know it put your hands up in the air
Put your hands up in the air, girl, put your hands up
And turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Oh, oh, oh, oh
Turn up the music
Oh, oh, oh, oh
Find more lyrics at ※ mojim.Com
Save my life (just dance with me)
I can see it in your eyes, baby
You want a piece of me, oh
So let's do tonight
And do whatever it takes to make it right
Don't stop the...
Just turn it up
Just turn it up
Just turn it up
Just turn it up
Just turn it up
Turn it up (just turn it up)
Just turn it up
Just turn it up
I love you, baby (yeah)
Turn up the music, just turn it up loud
Turn up the music, I need it in my life, yeah
Turn up the music, just turn it up loud (turn it loud)
Turn up the music, I need it in my life, yeah
Leggo!
Oh oh oh oh
Can you turn up the music?
Oh oh oh oh
Turn it up loud
Turn it up (just dance with me)
Turn it up (just dance with me)
Riri turn it up (just dance with me)
Turn it up (just dance with me)
(don't stop the music)
Turn it up (just dance with me)
Turn it up (just dance with me)
Turn it up (just dance with me)
Turn it up (don't stop the music)
Jumat, 21 September 2018
Xenia Löffler / Anna Prohaska / Collegium 1704 / Václav Luks JOHANN SEBASTIAN BACH Oboe Concertos & Cantatas
After the very successful album with the B minor Mass according to the Rheinische Post, the most beautiful recording of this work currently in existence Vaclav Luks and his Collegium 1704 ensemble return to Johann Sebastian Bach. Joined by Xenia Loffler, the solo oboist of AKAMUS Berlin, and the renowned soprano Anna Prohaska, Luks presents a deluxe setup for a programme of concertos and cantatas in which the oboe plays a prominent role. As a soloist, chamber musician, and orchestral musician, Xenia Loffler has gained an outstanding reputation as a baroque oboist over the past several years. Working with ensembles such as the Akademie fur Alte Musik Berlin, where she has been active as a member and soloist since 2001, she has toured throughout the world and has performed at some of the most important music festivals and concert halls.
Liya Petrova / Odense Symphony Orchestra / Kristiina Poska PROKOFIEV Violin Concerto No. 1 - NIELSEN Violin Concerto
After Liya Petrova won joint first prize at the 2016 Carl Nielsen International Violin Competition, jury President Nikolaj Znaider declared he had been 'absolutely blown away by how she had absorbed the Nielsen violin concerto - how it had become hers'. From her debut album on Orchid Classics you can hear just why she made such an impression on those who heard her performance. The Strad praised the 'iron will' Petrova brought to Nielsen's concerto; a fortitude which is matched on this recording by the sensitivity in her approach to the first violin concerto of Sergei Prokofiev.
Hélène Grimaud MEMORY
Music has been described as a means of rescuing that which is lost – a simple yet persuasive idea and one which informs Hélène Grimaud’s working definition of the art form. The French pianist’s latest Deutsche Grammophon recording addresses music’s unique ability to bring images of the past back to life in the present moment, to conjure up vivid evocations of time and place. Memory, set for release on 28 September 2018, explores the nature of recollection through a series of exquisite pianistic miniatures. Grimaud’s choice of repertoire embraces everything from impressionistic reveries by Chopin and Debussy to the timeless, folk-like melodies of Valentin Silvestrov.
Memory and music make perfect partners. Both are fleeting, never fixed, always subject to interpretation. Our identities are formed from memories, just as so many of our most enduring experiences are rooted in music. Hélène Grimaud wanted to explore the universal nature of memory, its place in the lives of us all. Memory, she explains, uses music to probe the many levels of human consciousness.
“Music peels back the layers of time to reveal the essence of experience,” she observes. “Momentary pain, distress, elation, fades – what remains is sensation. Sensation is the resonance of experience in the space of memory. And it is the space where music resonates within each of us – touching us, moving us, bringing us closer to ourselves. In that way, music can also help remind us that for all in our daily lives that is trivial, there’s a place where meaning is stored. And that it is not forgetfulness that is our burden, but the capacity to reflect and remember that is the wonder of being alive.” The pianist’s eloquent discourse on memory touches both the universal and the particular. It reveals, above all, much about her sensibility for music as a natural process, one shaped in the moment of creation and re-creation by instinct and intuition.
Memory follows in the wake of Grimaud’s Water album, a thought-provoking consideration of the world’s most precious resource. Her latest release complements its predecessor, not least by exploring another condition of life all too easily taken for granted until it begins to disappear.
Grimaud chose compositions that speak directly to memory, creating a programme of works which through their simplicity can bypass the barriers of rational thinking to unlock powerful moods, feelings and sensations. These miniatures are not weighty structures; rather, they possess what she aptly describes as immaterial qualities. Each of the album’s fifteen tracks suggests fleeting impressions of a thought recollected, a dream reimagined, an experience recalled to mind. Memory, she says, “serves to conjure atmospheres of fragile reflection, a mirage of what was – or what could have been”.
Her artistry flourished in the sacred space of the Himmelfahrtskirche in Munich’s Sendling district. The recording venue, a former beer hall converted into a church a century ago, made a lasting impression on her. “The feeling of being alone in a cavernous, resonant space, a building itself constructed as a vessel for spiritual introspection, was immersive,” she recalls. “I am not necessarily a natural colourist yet to be surrounded by resonance – of the notes and between the notes – profoundly changes one’s concept of producing sound. The music must be so transparent as to allow the poetry to shimmer though.”
For composers, memory plays a central role in transmitting influence. Debussy, for instance, absorbed formative lessons from his studies of Chopin and recalled them later in life when composing pieces such as Rêverie and La plus que lente. His musical language also drew impressions from the harmonies of his friend Erik Satie. The points of coincidence emerge clearly in Memory.
Hélène Grimaud highlights the meditative character of works by all three composers, surrounding the heartfelt nostalgia of Chopin’s Nocturne in E minor Op.72 No.1 with a sequence of Satie’s minimalist miniatures, the first of his famous sets of Gnossiennes and Gymnopédies among them. The pianist also spotlights the common ground between two of Silvestrov’s subtle Bagatelles, products of the early 2000s, and Debussy’s beguiling Arabesque No.1 in E major, an early work inspired by the elegant lines and curves of Nature.
Hélène Grimaud compares Valentin Silvestrov’s keyboard miniatures to the image of ‘breathing light’, a poetic metaphor that might easily stand for the haunting impressions left by Memory. (Deutsche Grammophon)
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Christoph Denoth / London Symphony Orchestra / Jesús López Cobos NOCTURNOS DE ANDALUCÍA
The ever versatile LSO also features on this exceptional album, where the London-based guitarist Christoph Denoth winningly mixes the familiar and the unfamiliar. His account of Rodrigo’s evergreen Concierto de Aranjuez, with the orchestra winningly conducted by the veteran Spanish conductor Jesús López Cobos, is excellent, and can be highly placed in a competitive field. But the real reason for buying this well filled 68-minute album is the fill-ups. Lorenzo Palomo’s Nocturnos de Andalucía is a substantial 40-minute, six movement piece for guitar and orchestra, which revisits the same Spanish themes and moods that so inspired the great late-19th century Spanish guitar virtuoso/composers.
It’s attractive, without ever being too comfortable, and backward looking. It’s very cleverly scored for large orchestra, and will give much pleasure. There’s also a delightful lollipop at the end, with Denoth’s own arrangement for guitar and orchestra of Joaquín Malats’ Serenata Española—4½ minutes of pure joy. (David Mellor)
Kamis, 20 September 2018
Danish String Quartet PRISM I
For its third ECM release, the Danish String Quartet – hailed by the Washington Post as “one of the best quartets before the public today” and as simply “terrific” by The Guardian – inaugurates a series of albums with the overarching title of Prism, in which the group will present one of Beethoven’s late string quartets in the context of a related fugue by J.S. Bach as well as a linked masterwork from the quartet literature. With Prism 1, it is the first of Beethoven’s late quartets, his grand Op. 127 in E-flat Major, alongside Bach’s luminous fugue in the same key (arranged by Mozart) and Dmitri Shostakovich’s final string quartet, No. 15 in E-flat minor, a haunted and haunting sequence of six adagios.For Prism 1, the DSQ convened at the Reitstadel in Neumarkt, Germany, the group applying its lyricism and spirit of ensemble to this interconnected sound world of Bach, Beethoven and Shostakovich. Bach’s fugue in E-flat Major, BWV 876, was one of five pieces that Mozart transcribed for string quartet from his predecessor’s epochal collection of preludes and fugues, The Well-Tempered Clavier. Like Mozart, Beethoven also revered Bach and studied The Well-Tempered Clavier closely, his playing of its pieces noted in press reports on the young performer. Beethoven’s five late string quartets were his ultimate statement in music; the first three of these late quartets were commissioned by a Russian prince, in 1822. Shostakovich’s 15 string quartets constitute the greatest cycle of such works after Beethoven; the rarified example of the German’s late quartets was surely on the Russian composer’s mind as he completed his final – and longest and most intimate – work in the genre, in 1974, the year before his death.The spacious grandeur of Beethoven’s late quartets and, in particular, their epically hymnal slow movements – including that of the Op. 127, marked Adagio, mon non troppo e molto cantabile – were an obvious, powerful influence on the adagios of Shostakovich’s final quartet. Reflecting on the impact of Beethoven’s late string quartets, the DSQ note that “they changed the game. Every composer after Beethoven had to consider these five works and somehow figure out how to carry on the torch. Beethoven had taken a fundamentally linear development from Bach and exploded everything into myriad colors, directions and opportunities.” (ECM Records)
Silvia Márquez CHACONNERIE
Chaconnerie is a recording that deals with repetition. Chaconnerie illustrates that particular principle of Art that seeks to combine elements over and over again to achieve balance and unity. Chaconnerie encourages us to undertake a voyage in which sounds –through the centuries– build upon an insistently repeated, or imaginatively varied, scheme. Repetition has been a major element of humankind’s artistic manifestations and expressions ever since the time of the moais on Easter Island up to the drawings of Max C. Escher. Repetition is rhythm, pulse, and life, and life overflows in the chaconne, a dance whose origin Lope de Vega attributed to the American Indian (“from the Indies to Seville / it has come by post”) and whose character Miguel de Cervantes describes as lascivious and immoral. With its accent on the second beat and its variations on a harmonic scheme, this dancing base – together with sarabandes, folias, and passacaglias – was conducive to improvisation on chordal progressions, a novelty that had a crucial impact on Baroque music in Europe.
Toyohiko Satoh VIENNESE LUTE MUSIC
On this release, lutenist Toyohiko Satoh plays music from the court of Vienna from around the year 1700. A special discovery included on this album is the suite by Adam Franz Ginter, who was a famous castrato singer in that time, but also composed some pieces for the lute. This recording is a tribute to this largely forgotten musician who most probably had a short and rather sad life. The following suite by Saint-Luc contains a “tombeau for Francois Ginter” and was composed to lament the early death of this extraordinary singer, lutenist and composer. At Rikkyo University in Tokyo, Satoh studied music history with Tatsuo Minagawa and guitar with Kazuhito Ohosawa. He gave his first guitar recital in the Tokyo Bunka Kaikan concert hall in 1965. At Rikkyo, he also began his studies of the lute. Praised for his “intensity and sense of drama” and “electric tension and rhythmic spring,” he has performed and recorded both solo and with many chamber ensembles, and has been actively composing since 1981.
Christoph Denoth TANGUERO
The tango, which Piazzolla liberated from dance, is both extended and tamed by the classical guitar. That’s partly what the Swiss guitarist Christoph Denoth is getting at when he writes that ‘these present recordings aim to express today’s broader definition of tango and exploit the acoustic range of the guitar in order to integrate the tango and its untamed beauty into classical music’.
In all these miniatures – some arrangements, some written for the instrument – there are folkloristic echoes amplified by compelling rhythmic variations, extended harmonies and songlike melodies. Somewhere among this seductive sound world, Denoth finds room for his own style by finding pleasure in the play of opposites – especially the tension between European classicism and the folk traditions of South America.
Denoth’s recital opens with some of Piazzolla’s most widely arranged works, many of which have theatrical origins. The composer’s own favourite, Adios nonino, so full of subtle changes of mood, sits at the centre of a set which alternates between the urgency of pieces like Libertango and Verano porteño and those of a more reflective nature, such as Oblivion and the exquisite Milonga del ángel.
These contrasts are maintained throughout the rest of the programme, with works by other tango legends such as Gardel and those exploring different national styles, like Antonio Lauro with his Venezuelan take on the waltz, and Gismonti’s saudade-saturated Agua y vinho and Dyens’s cheeky ‘fake tango’ Tango en Skaï.
There is little here that hasn’t been recorded before by the likes of John Williams et al. What makes Denoth’s offering a must-have is a musical sensitivity exemplified as much by his curation as by his playing. (William Yeoman / Gramophone)
Vocal Concert Dresden / Cappella Sagittariana Dresden / Peter Kopp FLORILEGIUM PORTENSE
Florilegium Portense - this is the title of a collection of sacred motets from Italy, Germany and the Franco-Flemish region, first printed in Leipzig in 1618. It contains motets by the most famous composers of the time in Europe, such as Hieronymus and Michael Praetorius, Hans Leo Hassler, Orlando di Lasso, and Andrea and Giovanni Gabrieli. It's dissemination was so successful that almost all church choirs, school choirs and court orchestras between Eisenach and Breslau came into contact with it. The motets were compiled by Sethus Calvisius, the cantor of Schulpforte and later Thomaskantor of Leipzig, and edited by Erhard Bodenschatz, his successor in Schulpforte. Exactly 400 years after going to press, the Vocal Concert Dresden and the Cappella Sagittariana under the direction of Peter Kopp honor this important cultural monument with a recording of selected motets and hymns, including several premiere recordings.
Ensemble Marguerite Louise / Gaétan Jarry MARC-ANTOINE CHARPENTIER Les Arts Florissans
At that time, the custom was to allow great exibility in matters of orchestration, which was linked to whatever vital forces were available and depended on when the performance of the works was programmed. Charpentier’s genius lies in the fact that that he had the ability to conceive his scores, even the most minimalist of them as works of a major stature.
Les Arts Florissants and La Couronne de Fleurs are an unquestionable example of this: the two operas became known as much for their subtlety and their intimacy in their original form (small ensemble and chorus of soloists), as for their depth and their density in their augmented form (use of an orchestra and a full choir).
We have therefore chosen to explore the “augmented form”, and thus allow the works to offer a more varied orchestration, to benefit from the full choir), and also offer various theatrical effects such as the use of percussion instruments. Expanded in this way, these miniatures rehabilitate a Charpentier who was denied during his time of the great financial means from which only Lully was able to benefit.
The extracts chosen from the Couronne de Fleurs present the pastoral as a sort of logical epilogue to the Arts Florissans, necessarily joining the springtime of the Arts inspired by Louis to that of Nature. (Gaétan Jarry)
Colibrì Ensemble / Alexander Lonquich SCHUMANN - BURGMÜLLER
The lives of Robert Schumann and Norbert Burgmüller intersect in fascinating ways. Both were born in 1810, and both spent significant periods of their lives in Düsseldorf, which is how Schumann came to orchestrate the Scherzo of Burgmüller’s Symphony No. 2 in D major, Op. 11. Acclaimed pianist Alexander Lonquich has long been intrigued by the complex interrelationships between these two composers and their circle of influences. Lonquich brings his unique and scintillating insight to this performance of Schumann’s Piano Concerto in A minor, a work which began life as a Phantasie for the composer’s wife, pianist Clara Schumann, but was later augmented to become an irresistible full-length work.
The conversational principles of the concerto’s first movement are taken even further in the central Intermezzo, in which Schumann creates a sense of intimate dialogue enhanced by the delicate, almost chamber-like treatment of his orchestral forces. We then tumble effortlessly into the finale, which is full of subtle touches that reveal a composer at the peak of his powers: there are no perfunctory finale fireworks, but rather a movement of quirky good humour and perfectly-judged invention.
Burgmüller’s Second Symphony unfolds with charming ease, undulating between genial lyricism and stormier interjections reminiscent of Beethoven’s ‘Pastoral’ Symphony. The work culminates in the Scherzo, a tussle between a refined dance, perhaps representing the civilised aspects of humanity, and sudden torrents of sound reflecting the irrepressible forces of Nature.
Alexander Lonquich is joined on this disc by The Colibrì Ensemble, a chamber orchestra which performs regularly in Pescara, Italy, where it has its own concert season. Founded in 2013 by Andrea Gallo, this vibrant collection of musicians has already forged strong relationships with a host of outstanding artists, including a special connection with Alexander Lonquich, who is now a regular guest each season.
The conversational principles of the concerto’s first movement are taken even further in the central Intermezzo, in which Schumann creates a sense of intimate dialogue enhanced by the delicate, almost chamber-like treatment of his orchestral forces. We then tumble effortlessly into the finale, which is full of subtle touches that reveal a composer at the peak of his powers: there are no perfunctory finale fireworks, but rather a movement of quirky good humour and perfectly-judged invention.
Burgmüller’s Second Symphony unfolds with charming ease, undulating between genial lyricism and stormier interjections reminiscent of Beethoven’s ‘Pastoral’ Symphony. The work culminates in the Scherzo, a tussle between a refined dance, perhaps representing the civilised aspects of humanity, and sudden torrents of sound reflecting the irrepressible forces of Nature.
Alexander Lonquich is joined on this disc by The Colibrì Ensemble, a chamber orchestra which performs regularly in Pescara, Italy, where it has its own concert season. Founded in 2013 by Andrea Gallo, this vibrant collection of musicians has already forged strong relationships with a host of outstanding artists, including a special connection with Alexander Lonquich, who is now a regular guest each season.
Antonio Salguero / Pedro Gavilán CLARINET SONATAS 20th CENTURY
A journey through the most important sonatas written in the 20th century with the clarinet as the protagonist, by five great composers. The Argentine composer Carlos Guastavino (1912-2000) proposes us in his Sonata for clarinet and piano a neoclassical atmosphere in the clear formal definition of his themes and in a certain harmonic freedom, yet he offers a more scholastic work, more solid and resounding that is already clearly evident from the beginning of the work: in the underlying sonata form of the first movement, Allegro deciso. This CD includes a final perspective of the neoclassical conceptual model, offered by the Austrian (later an English citizen) composer and conductor Joseph Horovitz (1926) in his Sonatina for clarinet and piano composed in 1981. Quiet, as if emerging from a dim light, Sonata en re by Nino Rota (1911-1979), composed in 1945, comes to us to finally offer us a musical image brimming with Mediterranean light. Kindness, beauty, simplicity and pleasant repose merge into a piece of scholastic organization in which solid formal structures guarantee the listening and understanding of a fundamentally melodic discourse, always well articulated. Sonata for clarinet and piano by Francis Poulenc (1899-1963), how much tenderness enclosed in the beautiful notes of this score! An irrepressible need to listen carefully, once again, the slow section of the first movement invades all of us who know the work, but its beauty is not only collected in that fantastic moment of 16 bars in which it seems to come together in the most delicate moments of Maurice Ravel’s String Quartet or of Pavane pour une infante défunte by the same author, the simple and naive way of these notes, full of grace, in the Renaissance sense of the word: “as if it was not difficult to write this passage “. A different world, despite the proximity in time, is what Edison Denissow (1929-1996) offers us in his Sonata for clarinet, composed in 1972. We have reserved for the end the comment of the penultimate work of this album this piece which is a very successful work that collects innumerable possibilities of expression of the clarinet, far from those exhibited in the rest of the chosen pieces. Glissandi, quarters of tone, frullati, trills, tremolos, etc.
Mark Padmore / Paul Lewis SCHUBERT Winterreise
The journey begins with ever such a slight whine high in the voice, as with a calm acceptance of pain. The piano abstains from jabbing sforzandi to underline what the chords make plain enough, instead insisting calmly on its left-hand legato. The melting major-key modulation is all affection: no hint of bitterness in the sentiment that his passing footsteps should not disturb the faithless beloved’s sleep. But outside in the open, stillness and turbulence alternate like the moods of the weather-vane. And so throughout much of the trek the self-confiding of the loner holds in check the utterance of emotion as the icy surface of the river conceals the running water beneath. Even so the pain will out, as it does in the last phrase, “ihr Bild dahin”, of “Erstarrung”.
On we go, lulled and tormented by the magic music-box of “Frühlingstraum”, till the tragic chord before “so elend nicht” in “Einsamkeit” brings a dreadful reality into focus. The deceptive sweetness of “Die Krähe”, the giddy disorientation of “Letzte Hoffnung”, the subdued feverish excitements of “Täuschung” find an almost holy stability in “Das Wirtshaus”, but still the external world exists, felt as almost an intrusion in “Mut”. And soon we meet the organ-grinder. And his secrets must on no account be revealed by reviewer or arts-gossip. And the listener must wait, out of respect to this marvellous partnership of Mark Padmore and Paul Lewis, until time can be taken for it, alone and uninterrupted, to accompany them on the journey through to its unearthly end. (John Steane/ Gramophone)
Mark Padmore / Kristian Bezuidenhout SCHUBERT Winterreise
Only a few months after Florian Boesch’s second recording of Schubert’s great wintry song-cycle (Hyperion, A/17), here’s a second bite at the bitter cherry from another singer, albeit a very different one. With Mark Padmore at least there’s been a longer intervening period: it’s nine years since the release of his previous Winterreise, a 2010 Gramophone Award-winner, also on Harmonia Mundi. And there’s a major difference here, too, in that not only is Paul Lewis replaced by Kristian Bezuidenhout but a modern concert grand is switched for a Graf fortepiano.
As with the earlier recording, there’s a wealth of interest to be found at the keyboard. Here the instrument itself is beautifully mellow, with an especially tender con sordini sound as well as some brightness in the tone when required – not often, admittedly, in this most subdued of cycles. I love the hazy twang Bezuidenhout produces at the start of ‘Der Lindenbaum’, the wild clanging of the ‘Wetterfahne’ and the real sense he gives in ‘Die Krähe’ of the bird swirling ominously about. The melody of ‘Frühlingstraum’ is imbued with so much hope, that of ‘Der Leiermann’ with so little, its opening drone, played much as Lewis plays it, resembling less notes than just a pained, numb sound.
Bezuidenhout spreads his chords occasionally and offers a light sprinkling of ornaments, as does Padmore. And in the later stages of the cycle, in particular, the tenor offers singing of remarkable patience, control and concentration (listen to how he builds up ‘Das Wirtshaus’). The final songs are moving, and Padmore’s intelligence and seriousness are never in doubt, his interpretation always probing.
One notices, however, that the voice has lost some juice: he struggles to offer warmth to counter the blanched tone he employs elsewhere, while the lower register is underpowered. His German, too, is strangely affected, with vowels self-consciously opened up and consonants over-deliberate. The earlier recording, five minutes slower, features many of the same interpretative touches and characteristics, but they are more worrying here, less convincing. Matters are not helped, either, by engineering that places the voice in a strange quasi-ecclesiastical halo.
Padmore’s fans will no doubt snap his new recording up, but I’d otherwise recommend sticking with the earlier one, featuring Lewis’s warm, deeply human contribution at the keyboard. And if fortepiano’s what you need, head to Christoph Prégardien and Andreas Staier for something altogether more grounded, satisfying and idiomatic. (Hugo Shirley / Gramophone)
Rabu, 19 September 2018
Mark Padmore / Britten Sinfonia / Jacqueline Shave BENJAMIN BRITTEN Serenade for Tenor, Horn & Strings - Nocturne GERALD FINZI Dies Natalis
Tenor Mark Padmore has an ideal voice for these two Britten song cycles written for Peter Pears. He has the kind of musical sensitivity and attentiveness to textual subtleties that characterized Pears' singing. His voice is essentially light in the way that Pears' was, but his is infinitely more attractive. Its tone is clear and pure, with none of Pears' nasal quality, and can be sweet without sounding precious. Padmore's technique seems absolutely secure and while his instrument is not large, he can produce an impressive range of dynamics. He and horn player Stephen Bell deliver a terrific performance of the Serenade for tenor, horn, and strings, and Jacqueline Shave's leadership of the Britten Sinfonietta is energetic and nuanced. Padmore's phrasing is shapely and expressive and he can spin out the seamless legato most of these songs require. In "Hymn," he and Bell sing and play with nimble fleetness that seems thrillingly close to the edge of spinning out of control but that ultimately lands safely. The performance of "Dirge" is charged with darker-than-usual sinister energy; the running string figures that follow the canon seem here more like a demonic dance than a dirge, to wonderful, scary effect. There is no lack of topnotch recordings of the Serenade, but this is a version that anyone who loves the piece will want to hear. In Nocturne, Padmore again excels in bringing intelligent and sensitive, sometimes soaring musicality to the songs. Finzi's cycle Dies Natalis is something of a novelty, but it fits well with the Britten. His harmonic language is eloquently post-Romantic, solidly in the English pastoral tradition, and his text setting relatively conventional, but the cycle is a lovely, lyrical, entirely successful exemplar of that tradition. Serenade, written about five years after Dies Natalis, demonstrates by contrast the daring individuality of Britten's handling of texts and the rich originality of his melodic gift. The sound of Harmonia Mundi's SACD is immaculate and detailed, with a gripping sense of presence. (Stephen Eddins)
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