Madman Across the Water, is the fourth studio album by Elton John, released in 1971 through DJM and Uni Records. Upon its release, Madman Across the Water was almost ignored in John's homeland, barely reaching #41 on the UK Albums Chart and spending only two weeks there. It has been the lowest-charting album of his career to date. The album fared better in North America, peaking at #8 on the U.S. Billboard Top Pop Albums and placing at #10 on the year-end list of 1972. It received Gold by the RIAA in February 1972, achieving $1 million in sales at wholesale value just in the United States. In 1993, the album was certified Platinum, representing shipments of more than 1 million units in the U.S. In 1998, the album was certified Multi-Platinum, representing shipments of over 2 million units in the U.S.
is the self-titled debut by , released in 1973 on the Blue Thumb label. The album yielded the hits and and became a success based on word of mouth after heralded performances at in Los Angeles and the . The album peaked at #13 on the Billboard 200 and reached #3 on the R&B albums chart and was certified Gold by the Recording Industry Association of America in February 1974.
It's a shame Rubinstein didn't record more of Mozart's music, for his obvious affinity for the composer shines through these 1958-1960 stereo recordings of five concertos. Rubinstein's Mozart is forthright–he refuses to sentimentalize by swooning over the music's beauties or to indulge in larger-than-life playing that would rupture its classical framework. Even in the famous Andante of the 21st Concerto, his melting legato traces the curve of the melody without excess. Moderation was his byword, so while there are times one could wish for over-the-top risk taking–a more unbuttoned Allegro of the K. 453, a tad more melodrama in the first movement of the K. 466, some extra sizzle in the outer movements of K. 488–what we have is built to last for the long term. These are performances you can't get tired of. There's a general sense of rightness about tempo choices, and everything, from the singing tone to the exquisite phrasing to the perfectly managed transitions, reflects a master pianist playing music he feels deeply. The accompaniments are fine and the transfers significantly improved over past issues.
Blues at Carnegie Hall is a live album by American jazz group the Modern Jazz Quartet featuring performances recorded at Carnegie Hall in 1966 at a benefit concert presented by The Manhattan School of Music and released on the Atlantic label.
Václav Jan Krvtitel Tomásek wrote numerous songs and short piano pieces, genres in which his works predate those of his rather more famous near contemporary Franz Schubert by some years. Quite why they are so neglected today is a mystery as this enthralling new album from Renata Pokupic' and Roger Vignoles unfolds twenty-eight songs of a rare appeal. Perhaps we should not be surprised: Tomáek was one of the very few composers of Goethe settings to meet with the great poet's (relatively) undivided approval.
Biber's 'Rosary Sonatas' for violin and basso continuo stand alone in the violin literature and in music history, offering a unique combination of programmatic material and the use of scordatura. The cycle consists of fifteen sonatas for violin and basso continuo, and a closing Passacaglia for solo violin, composed c.1687. Through the copper engravings inserted at the head of each sonata in the manuscript depicting key moments in the lives of Christ and the Virgin Mary, the music has become associated with the Catholic Mysteries of the Rosary.