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- Jean-Paul Bourelly - Boom Bop
Jean-Paul Bourelly
Boom Bop, 2000
The Chicago-born, Haitian-American guitarist Jean-Paul Bourelly has traveled in many musical words: from jazz and rock to world music. On Boom Bop, Bourelly makes African ambient music that's equally at home on the Niger and Mississippi Rivers. Bourelly, a former sideman with Miles Davis, Rod Stewart, and Roy Haynes, is joined by jazz legends tenor saxophonist Archie Shepp, alto sax wizard Henry Threadgill, bassist Reggie Washington, and the Senegalese master drummer and griot Abdourahmane Diop. Beyond the standard jazz- or rock-band breakdown of instruments, though, there's more. Big Royal Talamacus plays "filtered boom bass," Samba Sock plays boograboo, Slaka plays the djembe, and Slam T. Wig hammers on the standard drum kit. Bourelly's Jimi Hendrix-tinted electric guitar lines beautifully counterpoint Diop's impassioned vocals and ancestral rhythms on "New Afro Blu." Elsewhere, Bourelly grooves with funky backbeats, as on "Silent Rain," which is laced wonderfully with Threadgill's lyrical lines, but the guitarist's down-home, acoustic sound isn't lost on this multidimensional session, appearing in full on "Root One" to round out what's likely his most diverse album ever. - Eugene Holley Jr.
01. Gumbe
02. New Afro Blu
03. Three Chambers Of Diop
04. Silent Rain
05. Root One
06. Invisible Indivisible
07. Kinetic Threadness
08. Brother Boom Bap
09. Tara
10. Griot Sunset
320 kbps including full scans
Part One
Part Two
Переслать - Joachim Held - Erfreuliche Lautenlust. Barocke Lautenmusik aus habsburgischen Landen
Joachim Held
Erfreuliche Lautenlust. Barocke Lautenmusik aus habsburgischen Landen, 2005
Joachim Held is one of the foremost lute players of his generation. He captivates his audience with the refinement of his playing and moves the listener with a passion gleaming through his music making. In 2006 Joachim Held is the first lute player ever to receive the renowned German Echo - Klassik Award. This is in the category "Best soloist recording of the year" for his CD "Delightful Lute – Pleasure. Baroque Lute music from the lands of the Habsburgs" (released by Hänssler Classic).
Joachim Held was born in Hamburg in 1963 and studied at the Schola Cantorum Basiliensis as a pupil of Eugen Dombois and the legendary Lute player Hopkinson Smith. Following the graduation with a "Diploma of Period Music" in 1988 he completed his studies under Jürgen Hübscher at the Musikhochschule Karlsruhe with a "Künstlerische Abschlussprüfung".
In 1990 the second prize at the Concours Musica Antiqua of the Flandern Festival in Brügge marked the beginning of his international concert career. Joachim Held is also one of the most sought - after continuo players. Since 1992 he has regularly appeared with world famous orchestras including Il Giardino Armonico (amongst others on their Vivaldi recording with Cecialia Bartoli for Decca), the Freiburger Barockorchester, the Concentus Musicus and the Berlin Philharmonic Orchestra. Amongst the conductors he has worked are Giovanni Antonini, René Jacobs, Claudio Abbado and Nikolaus Harnoncourt. Under Harnoncourt he also participated in the production of Herny Purcell's "King Arthur" at the Salzburg Festival 2004. As a soloist Joachim Held appeared amongst others at the Musikfestival Potsdam-Sanssouci, the International Bach Festival Schaffhausen, the Schwetzinger Festival, the Düsseldorfer Bachtagen, the Bachtage Köthen, the Concerti a San Maurizio in Milan, the Early Music Forum Budapest, the concert series "Hausmusik" of the ORF Vienna, the Lute Society London, the Güldenen Herbst" in Thüringen and the Handel Festival in Halle at the river Saale.
Joachim Held's recordings show a lute player who combines technical perfection with an extraordinary power of imagination. "He deploys those distinctive stylistic traits that are the lifeblood of this music with the utmost taste" wrote the American International Record Review. In 1996 his first Solo-CD, "I grandi liutisti milanesi del Cinquecento", was released on the Symphonia label. His second CD with works of the first part of the sixteenth century was released by the ORF Vienna in 2004.
Since 2005 Joachim Held's recordings are released world-wide by Hänssler Classic. The same year the CD "Lute Music of the Renaissance – The Schele Manuskript Hamburg 1619" was co-produced with the Swiss Radio DRS2. The Book of Tablature by Ernst Schele is one of the central manuscripts for six- to eleven - course lutes from the end of the Renaissance period. It is often quoted but almost not scientifically explored. This CD recording represents one of the most beautiful collections of well-known and also less well-know works from the 16th and 17th centuries.
In January 2006, Joachim Held presented his Echo-Klassik award winning recording "Delightful Lute – Pleasure. Baroque Lute music from the lands of the Habsburgs" (released on Hänssler Classic). It is a collection of exquisite works written by Baroque composers from german-speaking countries.
Last June, his most recent CD which was co-produced with the Deutschlandfunk was released by Hänssler Classic: "German Lute Music of the Baroque". As for his previous recordings, it presents a selection of some of outstanding works of the Baroque period. All of these works are rarely heard in public and some of them are recorded here for the first time.
An Interview with the Luteplayer Joachim Held
VT: Next to Maurizio Pollini and Evgeni Kissin, you are receiving one of this year's Echo awards in the category „Best soloist recording of the Year". A remarkable achievement. Congratulations! How did you perceive this news?
JH: To be honest, I was puzzled. The lute is normally not the centre of attention of a wider public. Therefore I could hardly believe that this instrument receives such an award. Of course I also feel extremely honoured to stand next to these titans of piano music. But I think the Echo Klassik is also a wonderful opportunity for people who normally are not in touch with lute music to learn more about this instrument. There has been a growing interest for period music in the past years. People also want to know more about the lute and I would be very happy if this development continued.
VT: Does this award represent the peak of your career?
JH: I don't know. For me it is more of an inspiration and a confirmation that I have taken the right direction. I hope that it is not yet the culmination of what I do but an incentive to continue going my way.
VT: Does the award change any of your plans for the immediate future?
JH: Not at all. The number of recitals I was able to schedule over the past years has been constantly rising. However, I do hope that some aspects of this work will get easier now because the lute is getting this exposure to a wider audience.
VT: Please tell me how you got your great affinity to periodmusic. Did you already learn about this at your parents' house? When did you decide to become a lute player?
JH: During the first years of my childhood, I did hardly listen to any music at all. I was adopted at the age five and brought up by a single parent. My mother loved music but did hardly make any music herself. On the other hand, she was all the more involved with fine arts and literature. Therefore, the desire to make music was very much founded within me. Luckily my mother supported and encouraged me believing that my longing must have an inner reason. However, it was only when I entered high school („Gymnasium") that I started to intensify my interest for music. This is because the music teachers categorically insisted that everybody should learn an instrument. This is what I did and I started to study the piano…
VT: How old were you
JH: … I was ten. Before that I had made some attempts to play the recorder and other instruments. But I did not pursue any of them. When I was thirteen I started to intensively play the guitar. However, one of my class mates played the cembalo and I was fascinated by the
nature and beauty of this music. Shortly after this I took up playing the cembalo myself and was thrilled. I quickly realised, nevertheless, that I am somebody who needs a more direct contact with the source of sound production.
I wanted to touch the cords with my fingers. When I was sixteen or seventeen years old, it was clear to me that it had to be the lute. At that time, of course, the lute was much less widely spread but I was already captivated by this music via transcriptions which I played on the guitar. Without ever having heard a lute, I knew that this instrument would be right for me.
VT: If I understand correctly you grew up in an orphanage during the first years. Wouldn't it have been more natural for a child with this background to play the trumpet or the drums to raise attention? In contrast to this, you chose one of the quietest and most delicate of all existing instruments…
JH: People choose instruments according to their own nature. I think that the lute with all its particularities was my way to articulate my existence. With a trumpet I would have been too loud. It is more natural for me to express myself within a silent world. However, in this small world of lute playing, I am trying to push the boundaries of sound extremely wide. Of course you can never obtain the dynamic range of the piano or the violin, but the expressiveness of the lute takes all these parameters into consideration. Everything is on a much quieter level than we are used to, but the spread of expression is still enormous.
VT: Lute recitals are scheduled far too rarely on concert programmes. Do you have an explanation for this?
JH: One of the reasons is certainly the amount of sound which is so quiet in comparison. Also, it is not so well known yet that a lute concert can be deeply moving and have a great emotional effect on the listener. When the hall is good, the lute can be very expressive in a concert. It can truly captivate the listeners and fascinate them in way you wouldn't expect this because of the quieter dynamic possibilities.
VT: For many instruments the repertory has been well known for a long time and only brings few new surprises. In contrast to this, the lute literature regularly enjoys new discoveries. Do you belong to the group of musicians searching for manuscripts in libraries and truly do research?
JH: I don't do factual scientific research and think it is good that this is a different field. There are some excellent lute scientists and I always greatly enjoy talking to them. As you correctly mention, interesting manuscript are regularly found. But I am a performer. This is a different aspect of presentation, including in the use of time resources.
VT: Does this mean that some of the works on your CDs can be heard for the first time?
JH: Absolutely, there is a considerable number of works. In an area of repertory which is not as worn out as for example the literature for piano, it is natural that jewels are regularly found and also recorded. I found, for example, a beautiful toccata by Paolo d'Aragona „Siciliano"
in the Schele manuscript. It looks as if this is the only work by this composer. And for „Delightful Lute-Pleasure" I recorded a suite by Johann Jacob Weiss who I consider to have been the composer. This work was totally unknown before and even the authorship is still unclear.
VT: You studied with the legendary lute player Hopkinson Smiths. How did this influence you?
JH: Hopkinson Smith is without any doubt a great personality. I think that without him the lute music of the twentieth century would be unthinkable. He has an incomparable intensity of dealing with the lute and I admire him deeply. However, I cannot say that I am exactly following him or trying to follow him. I think when you meet such a strong personality you have to try particularly hard to get to know your own possibilities and to deal with your own way. We discussed this often during the studies and it was an important subject between us. I think that he continues to observe what I do.
VT: Let me return to the present. What are your plans for this year?
JH: I am marrying this year which is a great event for me! I am also happy that I will record another solo recital CD for Hänssler Classic. This will be with an Italian programme. This repertory was the centre of my interest in the mid-nineteen nineties. I played it so much at the time and therefore later had to give it a rest for some time. I am delighted to return to this music now.
VT: In Rumania you wish „Casa de piatra" to bride and groom – a house of stones. My sincere wishes to you! Thank you also for your time and for this good interview.
The interview with Joachim Held was made by Virginia Tutila at the home of the Held family in Rosengarten (near Hamburg) on 14 August 2006.
01. Georg Muffat - Passacaglia di Mons. Mouffat
Wolff Jakob Lauffensteiner - Suite D-Dur
02. I. Ouverture
03. II. Allemande
04. III. Paysanne
05. IV. Courante
06. V. Sarabande
07. VI. Bourrée
08. VII. Menuet
09. VIII. Adagio
10. IX. Menuet
Johann Jacob Weiss - Suite G-Dur
11. I. Phantasie
12. II. Allemande
13. III. Courrente
14. IV. Sarabande
15. V. Menuette
16. VI. Guige
Esajas Reusner - Suite d-moll
17. I. Praeludium
18. II. Paduana
19. III. Allemande
20. IV. Courante
21. V. Sarabande
22. VI. Gigue
Johann A. Losy - Suite F-Dur
23. I. Ouverture
24. II. Allemande
25. III. Courrente
26. IV. Sarabande
27. V. Gavotte
28. VI. Menuette
29. VII. Bourrée
30. VIII. Guige
31. Heinrich Ignaz F. Biber - Passagaglia c-Moll
320 kbps including full scans
Part One
Part Two
Переслать - José Miguel Moreno - Luigi Boccherini, Quintetos con Guitarra
José Miguel Moreno
Luigi Boccherini, Quintetos con Guitarra, 2000
Quinteto en Mi menor (G 451)
1. I. Allegro moderato
2. II. Adagio
3. III. Minuetto
4. IV. Allegretto
Quinteto en Re mayor (G 448)
5. I. Pastorale
6. II. Allegro maestoso
7. III. Grave assai. Fandango
La Real Cámara
flac including cover scans - booklet in separate file
Part 1 | Part 2 | Part 3 | PDF
Переслать - Jordi Maso - Turina, Danzas fantasticas
Jordi Maso
Turina, Danzas fantasticas, 2004
Jordi Masó was born in Granollers (Barcelona, Spain) in 1967. He studied at the Conservatory there with Josep M. Roger, at the Barcelona School of Music with the pianist Albert Attenelle, and at the Royal Academy of Music of London with Christopher Elton and Nelly Akopian, graduating in 1992 with the DipRAM, the highest distinction of the academy. He has won first prizes in many national and international competitions in Spain and has performed extensively in most European countries in piano recitals and chamber music concerts. He is also a regular guest soloist with the most important Spanish orchestras.
Jordi Masó's wide repertoire, covering all periods and styles, with special emphasis on music of the twentieth century, has brought first performances of many piano works written for him by the foremost Spanish composers. He has recorded over twenty discs, acclaimed by the most important publications.
His discography on the Naxos and Marco Polo labels include the 1993 world première recording of the complete works for piano of Roberto Gerhard, four discs with the complete piano music by Federico Mompou, two recordings with music by Josep Soler on Marco Polo, the complete piano works by Joaquim Homs and two discs with works by Déodat de Séverac and Mario Castelnuovo-Tedesco. He is currently recording the complete piano music by Joaquín Turina for Naxos. He has also recorded for other major companies.
Jordi Masó is piano professor at the Granollers Conservatory and at the Esmuc (High Music School of Catalonia), and since 1996 he has been a member of the contemporary music group Barcelona 216.
This disc is part of the valuable "Spanish Classics" series from Naxos. So far this has tended to explore lesser-known composers such as Arambarri, Guridi and Serra (each of whom has one highly recommendable disc) in preference to Albéniz, Falla and Granados (just one disc between them). There is, however, quite an extensive collection of Rodrigo's orchestral music and this is a third outing for Turina. It nicely complements previous discs of his orchestral music (8.555955) and piano trios (8.second set of five (op.84), in which Falla's influence can be detected. The two dances on popular Spanish themes were first performed in London. The first is a seguidilla based on local 555870) and is billed as the first of a complete series of his piano music.
All the works on this disc are dances and draw deeply from the musical tradition of the composer's homeland. It opens with the original piano version of the Danzas fantásticas which is in three movements entitled Exaltation, Fantasy and Orgy. This offers a rather cooler landscape than in the orchestral version which is included on 8.555955. In the three Andalusian Dances which follow there are strong echoes of Albéniz, especially in the opening petenera. The first set of five Gypsy Dances (op.55) was a big success when first performed by José Cubiles, a pianist who championed Turina's works. This led the composer to produce an orchestral version and a rhythms from Seville where Turina was born. The final work, a suite of five dances from the 19th century, contains several themes which seem familiar, presumably because they have also been used by other Spanish composers.
Turina's piano music is attractive and inventive but perhaps not quite as imaginative as the works of Albéniz and Granados. Jordi Masó is one of Spain's leading pianists. His playing is controlled and idiomatic but sometimes lacks the feeling of abandon that Alicia de Larrocha brings to the Spanish piano repertoire. The sound and documentation are good, and this is excellent value. Know and love the Iberia Suite and Goyescas, and hankering for more? This could be the answer. - Patrick C Waller
A dutiful son, Joaquin Turina (1882-1949) began to study medicine but he soon abandoned everything that interfered with music. Thank goodness! It has been customary to regard early 20th-century Spanish music as centered on two pairs of composers: Albéniz and Granados, Falla and Turina. However, any resemblance between the latter two is superficial. Nor is there much of Albéniz in Turina, although some of his works have a relationship with the style of Granados. Despite the picturesque local flavor in some compositions, Turina tried perhaps harder than any of his Spanish contemporaries to write music of a European standard in the conventional major forms. Turina was the only one of the four leading twentieth-century Spaniards to write a symphony. However, when it came to his piano music, or at least much of it, the Spanish flavor was inescapable. He was himself a wonderful pianist, having studied in Paris with Moritz Moszkowski, and his piano music is virtuosic. His music, like Falla's, partakes a bit more of Impressionist gestures. Still, it is colored by a subtle humor, grace and elegance characteristic of his native Seville.
On this disc pianist Jordi Masó plays works based on dance Spanish and/or Gypsy rhythms. Probably Turina's best known works are the 'Danzas fantásticas,' Op. 22. That is partly because he also orchestrated them brilliantly and they have featured on many symphony programs. My own favorite, perhaps of all of his music, is the hypnotic and lovely 'Ensueño' ('Fantasy'), the second of that set. Masó plays it very well, but I will confess that I prefer the orchestral version and for that very much like the recording made by Jesús López Cobos with the Cincinnati SO. Of piano versions, Masó's is as good as any I've heard.
'Three Andalusian Dances' are early pieces, written while he was still in Paris, but it is clear that Turina already had developed his own personal style. I particularly like Masó's performance of the third, 'Zapateado.' There are two sets of 'Gypsy Dances' ('Danzas gitanas'), Opp. 55 and 84, ten characteristic pieces. Particularly effective, for me, are Masó's interpretations of the mysterious (and almost French-sounding) 'Invocación' and the piece that follows it, the lightning-fast 'Danza ritmica' ('Rhythmic Dance') that is over almost before it begins. Following are the rarely heard 'Dos Danzas sobre temas populares españoles' ('Two dances on traditional Spanish themes'), Op. 41. I say they're rarely heard; I suppose what I mean is that I don't recall ever hearing them before. The first, 'Cadena de sequidillas' ('Chain of Sequidillas') is based on Andalusian melodies. The second, 'El arból de Guernica' ('The Tree of Guernica') is based on a Basque dance, the 'zorzico,' and is in 5/8 time. (The piece has nothing to do with Picasso's famous anti-war painting 'Guernica'; it was composed 11 years before the painting was done for the 1937 World's Fair.)
The final work is 'Bailete: Suite de danzas del siglo XIX' ('Dance: Suite of nineteenth-century dances'), Op. 79. It was dedicated to Joaquin Nin y Castellanos, a Cuban composer who was the father, as it happens, of feminist writer Anaïs Nin and of one of my favorite 'unknown' composers, the Cuban-American Joaquin Nin-Culmell, who died precisely a year ago at 95. It comprises five traditional 19th-century dances--Entrada, Tirana, Bolero, Danza de corte, and Fandango. This is a brilliant suite, one I'd never heard before, and the highlight of the disc for me.
If you love Spanish piano music--and who doesn't?--and don't know Turina this is a good place to start. It is budget-priced, the piano is beautifully recorded and Masó plays very nicely. There is a notation that it is 'Volume 1.' Chances are you'll get hooked by this one and have to buy each new issue as it comes out. - Scott Morrison
Danzas fantásticas, for orchestra (or piano), Op.22
01. Exaltacion
02. Ensueno
03. Orgia
Danzas andaluzas, for piano, Op.8
04. Petenera
05. Tango
06. Zapateado
Danzas gitanas, for piano, Set 1, Op.55
07. Zambra
08. Danza De La Seduccion
09. Danza Ritual
10. Generalife
11. Sacro-monte
Danzas gitanas, for piano, Set 2, Op.84
12. Fiesta De Las Calderas
13. Circulos Ritmicos
14. Invocacion
15. Danza Ritmica
16. Seguiriya
Danzas sobre temas populares españoles, Op.41
17. Cadena De Seguidillas
18. El Arbol De Guernica
Bailete for piano ("Suite de danzas del siglo XIX"), Op.79
19. I. Entrada
20. II. Tirana
21. III. Bolero
22. IV. Danza De Corte
23. V. Fandango
320 kbps mp3; including full booklet scans
Part One
Part Two
Переслать - Farid El Atrache - Takassim Oud
Track List
01.Takassim Oud
02.Kelmet E'taab
Download HERE
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