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As well as "Love in C Minor", it also featured a cover version of Los Bravos's "Black Is Black" and "Midnite Lady", an instrumental piece. Cotillion Records released the album through Warner distribution in the U.S. The album was released unedited in Canada, using the original master tapes.
Year Title Details Peak chart positions FRA [1]1979 Cerrone In Concert: Released: 1979; Label: Malligator; Recorded in December 1978 at the Pavillon de Paris; 17 1983 En concert – Paris 1983
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After writing Cerrone's "Love in C Minor" (1976), Costandinos was signed to Barclay Records. He released his first album, Love & Kisses in 1977, which featured the hit track "I Found Love (Now That I Found You)". Costandinos went on to release a number of wildly successful records under the prominent American disco label, Casablanca.
Love & Kisses is a 1970s disco group assembled by European producer Alec Costandinos, with a variety of male and female singers. After collaborating on Cerrone 's debut album Love In C Minor (1976), Costandinos assembled Love & Kisses in early 1977, and shortly after the group released their first album, Love and Kisses , which contained just ...
Symphony No. 4 in F minor (1931–34) Symphony No. 5 in D major (1938–43) Symphony No. 6 in E minor (1944–47, rev. 1950) Symphony No. 7 Sinfonia antartica (1949–52) (partly based on his music for the film Scott of the Antarctic) Symphony No. 8 in D minor (1953–55) Symphony No. 9 in E minor (1956–57) Serenade in A minor (1898)
Polonaise in C minor, Op. 40, No. 2 performed by Luis Sarro. The second polonaise's main theme, a contrast to the majestic and joyful one in the first, features an even rhythm of quaver chords in the right hand starting with C minor, and a mournful melody played in octaves by the left, with occasional lines played by the right hand.
In his notes accompanying the full set of recordings of Prokofiev's sonatas by Boris Berman, David Fanning states the following: . Whether the restrained, even brooding quality of much of the Fourth Sonata relates in any direct way to Schmidthof's death is uncertain, but it is certainly striking that the first two movements both start gloomily in the piano's low register.