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Name: Greatest Hits / Biggest Hits (IMPORT)
SKU: a426d27d16384a79979812400c38811b
Price: 20.99 USD
Availability: InStock

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The two albums twinned in this collection might cause slight confusion by their titles. Why have a "Biggest Hits" in 1985 when a "Greatest Hits" came out three years earlier? But the releases, with different recordings, simply prove the immense success of this singer as she quickly piled one hit upon another. Born 26th March 1956 native Tennessean Charlotte Denise McClain's country music preferences blended in well with the rock, jazz and blues sounds that surrounded her as she grew up in Memphi

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Greatest Hits / Biggest Hits (IMPORT)

Discover the ultimate collection of chart-topping tracks with the Greatest Hits / Biggest Hits (IMPORT) album. This exclusive import features a carefully curated selection of the most iconic songs from legendary artists, spanning various genres and decades. Perfect for both long-time fans and new listeners, this album brings nostalgia and joy with every play.

Whether you're hosting a party or enjoying a quiet evening, these timeless hits will elevate your mood and keep you singing along. Don't miss out on this must-have addition to your music library!

Catherine Dubois - Piano Quintet - COMPACT DISCS [CD]

Album Tracks 1. James Friskin, Quintet in C minor 2. James Friskin, Phantasie for String Quartet 3. James Friskin, Elegy for Viola and Piano 4. James Friskin, Phantasy (For Piano Quintet)

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$23.43

Sivelov / Sivelov,Niklas - Piano Music - COMPACT DISCS [CD]

The Swedish pianist Niklas Sivelöv (b. 1968, Stockholm) joins the ranks and continues the great tradition of the pianist-composer with this first-ever recording dedicated to his own compositions. His 24 Preludes, written 2010-14, takes it's place in the tradition established by Chopin, Scriabin and Shostakovich. This recording presents some of Mr. Sivelöv's early work and some of his most recent, completed earlier in 2015, with music colored by a range of influences, from Bach to jazz. The composer supplies the booklet essay himself, explaining what he was trying to achieve in each piece. Album Tracks 1. Allegro Con Brio 2. Andante Fugato 3. Moderato Con Moto 4. Vivace 5. Adagio Con Dolore 6. Scherzando 7. Quasi Marcia 8. Andante 9. Allegro Di Molto 10. Adagio Mesto - Attacca 11. Andante 12. Allegro Misterioso 13. Allegretto Dolce 14. Allegro 15. Ben Colorato 16. Vivace - Attacca 17. Moderato Con Anima 18. Con Spirito 19. Allegro Molto, 'Fanfare' 20. Andante Maestoso 21. Allegretto 22. Lento Triste 23. Allegro Molto 24. Allegro Con Brio 25. No. 1 26. No. 2 27. Toccatina Feroce 28. No. 1 29. No. 2 30. Jeux de Cordes

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$23.71

Georg Handel Friedrich - Handel: Sonatas for Violin & Piano, Op. 1 - COMPACT DISCS [CD]

A composition, as a phenomenon or an act of creation, can be understood as a reflection of the time in which it was written. An improvisation, in some sense, is also an act of creation, a kind of composition, and it also reflects it's time. Performing transcriptions, InchborrowingsInch (even of whole pieces), remakes, and quotations was a common thing at the time of George Frideric Handel (1685-1759). Handel himself, as the first cosmopolitical composer in the world, was open to various styles and cultures and would quote and remake his own works. He was a Great Master, undoubtfully equal to Johann Sebastian Bach, but he was not a purist, which may explain some of the solutions we used on this album. Handel was a star and a celebrity of his times. He would compose, understand, and love the genre of opera, which, out of all kinds of art, is closest to the man (with his issues, traumas, and challenges); a genre that is full of life and InchvenousInch like a human body. He was perfectly at ease in the world of theatre, stage, and entertainment. All the above can be easily heard in the harmony and melodies of his sonatas. In some way, we are following this way of thinking - being fascinated by the music of the Great Master, we allow ourselves some surprising (in our opinion) differentiations and modifications. We are doing this here and now, drawing on the past eras (classicism and especially romanticism [sic!]). We are also not afraid to refer to different forms of popular music such as jazz or even pop music. We are doing it, because the music of our time, i.e. popular music, is all around us and sneaks into our minds. We are being impregnated with it beyond our conscience and will, since it is Incheverywhere we listenInch, i.e. in restaurants, shops, on our way to work. Although this aspect of entertainment stands out a bit on our recording, we decided not to remove it

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$24.73

Jeremy Siepmann - Piano Quintet (Trout): Introduction to Schubert - COMPACT DISCS [CD]

Album Tracks 1. Introduction, Origins 2. Imagery, Analogy and the Shape of the Things to Come; the Opening Flourish 3. The Unusual Presence of the Double-Bass 4. A Palette of Tone Colours and the Emergence of a Theme 5. Trouble Getting Off the Ground, But the Key Is Not in Doubt 6. Jumping the Quene Schubert Takes a Lesson from Mozart 7. Mozart Demonstrates a Traditional Transition 8. Destination Clarified 9. Mozart Confirms Our Arrival 10. A Schubertian Shocker from a Later Work 11. Rejoining the InchTroutInch, with a Reminder 12. The Piano Joins the Strings with Yet a Third Variant of the Theme 13. A Rhythmic Motto The InchTriplet MotifInch 14. We Get It Here 15. We Get It There 16. We Find It Everywhere, Even in the Double-Bass 17. The Strings' Answer to the Piano's Opening Flourish 18. The Two-Part Structure of the 'Answering Motif' 19. ... But Scarcely Ever the Same Way Twice 20. The Piano and Strings Now Share the Material for the First Time 21. Conversation As the First Principle of Chamber Music 22. Opening (Introductory) Section Heard Complete 23. The Violin and Double-Bass in Partnership 24. The Violin and Piano Swap Roles 25. Transition to Second Main Theme; Triplets Now Everywhere 26. On the Threshold of the New Theme 27. Second Main Theme (A 'Love Duet'), Shared By Cello and Viola 28. The Abandonment of Octaves in the Piano Changes the Tone Colour 29. A Surprising Change of Tone and a Premonition 30. A Return to Lyricism, But the Cello Jumps the Gun 31. A Buoyant, Skipping New Theme Is Given to the Solo Piano 32. Re-Entry of the Strings As the Violin Takes Up the New Theme 33. A Transitional Theme, and Another Schubertian Key-Jump 34. We Sense the Imminent Arrival of the Closing Theme 35. A Sudden, Hushed Key-Change Introduces Part Two of the Closing Theme 36. The Exposition Co

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$28.08

Legendary Guitar of James Burton

Completely redesigned and with many innovative additions and newly-recorded introductions by leading musicians, these DVD versions of classic Hot Licks titles are far more than simple reissues.

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$24.95

Chopin / Oh-Havenith - Piano Revolution - COMPACT DISCS [CD]

Having discovered Chopin for yourself - that sounds like nothing unusual. It is more unusual, however, to discover Louis-Moreau Gottschalk, he is unknown to most and has written a very special kind of music. Reading Chopin's biography and Gottschalk's diary, I was surprised at the actual connection between the two, which, if you only know their music, is hard to imagine. Her life stories are at the same time full of contrasts and parallels. That's why I included these composers in one program. Chopin wrote revolutionary music that had it's roots in Polish folk music. And that at a time when Europe was still looking for Beethoven. Gottschalk was also revolutionary, entering a world of music that was spurned, the music of slaves, shaped by Creole and African-Caribbean rhythms. Two brave people in very different ways, and both wrote InchMusic for Pianists. InchThe living conditions in Europe at Chopin's time were hard, grim and dangerous. Political unrest, bitter poverty, poor hygiene and poor medical care shaped everyday life. In America, the Inchbird of paradiseInch Gottschalk traveled through areas marked by civil war and robbery - not as a InchgunslingerInch but as a musician. How were they able to reconcile everyday life and their genius? What force did they have in their short lifespan? They did not become old. Chopin left the world at age 39, Gottschalk at age 40, both abroad. Two very contrary composers who have left us this beautiful music.Inch (Oh-Havenith)

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$20.65

Mi-Joo Lee - Piano Sonata Op 14: Second Version - COMPACT DISCS [CD]

Album Tracks 1. Allegro 2. Scherzo. Molto Comodo 3. Scherzo. Vivacissimo 4. Quasi Variazioni. Thema Andantino de Clara Wieck. Variation 1 (I). Variation 2 (A). Variation 3 (I 5. Prestissimo Possibile

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$26.52

Life in Prism: Guitar Notes from Inside

Mellow and lively solo guitar instrumentals, fiddle tunes, harp tunes, pipe tunes, and folk songs, arranged for fingerstyle guitar. This album also contains four clawhammer guitar instrumentals and several tunes that have never before been arranged for fingerstyle guitar. Three duets with Dennis Cahill, Robin Bullock and Nina Gerber.

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$22.43

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