Bela Fleck - Perpetual Motion (2001) CD-Rip
Artist: Bela Fleck
Title: Perpetual Motion
Year Of Release: 2001
Label: Sony Classical
Genre: Classical Crossover
Quality: FLAC (image+.cue,log,scans)
Total Time: 57:44
Total Size: 354 Mb
WebSite: Album Preview
Tracklist: Title: Perpetual Motion
Year Of Release: 2001
Label: Sony Classical
Genre: Classical Crossover
Quality: FLAC (image+.cue,log,scans)
Total Time: 57:44
Total Size: 354 Mb
WebSite: Album Preview
1. "Keyboard Sonata In C Major" (K 159, L 104) (Domenico Scarlatti) – 2:19
Bela Fleck – banjo; Chris Thile – mandolin
2. "Two Part Invention No. 13 In A Minor" (BWV 784) (Johann Sebastian Bach) – 1:45
Fleck – banjo; Evelyn Glennie – marimba
3. "Doctor Gradus Ad Parnassum" from Children's Corner Suite (L 113) (Claude Debussy) – 2:25
Fleck – banjo; Joshua Bell – violin; Gary Hoffman – cello
4. Mazurka In F Sharp Minor, Op. 59 No. 3 (Frederic Chopin) – 3:43
Fleck – banjo; John Williams – guitarist
5. "Prelude" from Partitia No. 3 for Solo Violin (BWV 1006) (Bach) – 3:47
Fleck – banjo
6. Etude In C Sharp Minor, Op. 10 No. 4 (Chopin) – 2:13
Fleck – banjo; Hoffman – cello
7. Mazurka In F Sharp Minor, Op. 6 No. 1 (Chopin) – 2:24
Fleck – banjo; Bell – violin
8. Three-Part Invention (Sinfonia) No. 10 (BWV 796) (Bach) – 1:01
Fleck – banjo; Thile – mandolin; Edgar Meyer – bass
9. Melody In E-flat (Peter Tchaikovsky) – 3:15
Fleck – banjo; Meyer – piano
10. "Presto No. 1 In G Minor After Bach" from Five Studies for Piano (Johannes Brahms) – 1:49
Fleck – banjo; Glennie – marimba
11. "Prelude" from Suite for Unaccompanied Cello No. 1 (BWV 1007) (Bach) – 2:17
Fleck – banjo
12. Three-Part Invention (Sinfonia) No. 15 (BWV 801) (Bach) – 1:14
Fleck – banjo; Bell – violin; Glennie – marimba
13. Moto Perpetuo Op. 11 No. 2 (Nicolo Paganini) – 3:40
Fleck – banjo; Meyer – piano
14. Keyboard Sonata In D Minor (K 213, L 108) (Scarlatti) – 4:51
Fleck – banjo; Thile – mandolin
15. Two Part Invention No. 6 (BWV 777) (Bach) – 2:29
Fleck – banjo; Meyer – bass
16. "Adagio Sostenuto" from Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 "Moonlight" (Ludwig van Beethoven) – 5:07
Fleck – banjo; Hoffman – cello; Meyer – bass
17. Two Part Invention No. 11 (BWV 782) (Bach) – 0:55
Fleck – banjo; Glennie – marimba
18. Seven Variations In C On "God Save The King" (Beethoven) – 9:06
Fleck – banjo; Williams – guitar
19. Three-Part Invention (Sinfonia) No. 7 (BWV 793) (Bach) – 2:01
Fleck – banjo; Bell – violin; Meyer – bass
20. Moto Perpetuo Op. 11 No. 2 (Bluegrass Version) (Paganini - arr:James Bryan Sutton) – 2:38
Fleck – banjo; James Bryan Sutton – guitar
Performers:
Bela Fleck - Gibson 1937 style 75 banjo, Gold Star banjo with thick gut strings on Two-Part Invention No. 13
Joshua Bell - Tom Taylor Stradivarius violin of 1732
Gary Hoffman - 1662 Nicolo Amati cello made in Cremona, Italy
Evelyn Glennie - Malletech marimba
Edgar Meyer - Customized 1769 Gabrielli double bass, piano on Melody in E-flat and Moto Perpetuo
Chris Thile - 2000 Lynn Dudenbostel F5 mandolin
James Bryan Sutton - 1996 Bourgeois D150 steel string guitar
John Williams - 2000 Greg Smallman and Sons guitar
Banjo virtuoso Béla Fleck has certainly broken more boundaries than any other picker in recent memory, from his early days performing bluegrass-inspired folk compositions on Rounder in the late '70s to his quirky jazz freak-outs with the Flecktones throughout the '90s. In late 2001, this peculiar innovator released an album of banjo interpretations of classical works by Bach, Chopin, and Scarlatti. Before classical purists roll their eyes, they must remember that the banjo hasn't always been seen as the instrument of choice of backwoods musicians in the Appalachian mountains, but as recently as the 1940s was used as a primary rhythm instrument in all manner of parlor music. That being said, Perpetual Motion is a bright and unique take on several well-known classical pieces (Moonlight Sonata, Bach's Cello Suite No. 1) as well as a number of interpretations of Bach's two-part and three-part inventions. These light and brief inventions act as buffers between the longer, more dramatic pieces, but end up serving as some of the highlights of the album. With Fleck often accompanied by Evelyn Glennie on marimba and Appalachia Waltz musicians Joshua Bell and Edgar Meyer on violin and bass, these short, delicate pieces weave in and out of the album, proving that the banjo can be seen in a different light altogether. Fleck's picking is uniquely unparalleled in that he can so easily dip his feet into so many different genres with an instrument that is so quickly pigeonholed. The album drifts easily into the background, which is not necessarily a detraction but, knowing the fire that Fleck can unleash from his fingertips, it would have been nice to have a few more impassioned numbers on the album. The closest the ensemble comes to really making some noise is the final track, Paganini's Moto Perpetuo (arranged in a bluegrass style), which is not necessarily more forceful, but is certainly faster and louder.
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