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- Omar Faruk Tekbilek - Mystical GardenOmar Faruk Tekbilek continues to delight Western listeners with a vast array of Middle Eastern musical traditions. As the follow up to his debut solo recording Whirling, Mystical Garden combines Faruk's musical mastery, composition and mystical influences creating a soulful and emotional musical journey. Mystical Garden (and the self-titled track) is a variation on a theme. It is the reflection of Faruk's inspiration by "the unity of the Mystical life. The garden is an island surrounded by the ocean of sincerity. Everyone with their sincere hearts chanting God's name in their language. In essence, we are the flowers owned by the one and only Gardener." Mystical Garden places more emphasis on Faruk's writing, featuring five original tracks. And there is a greater emphasis on the stellar musicianship of the players. Egyptian Dance demonstrates traditional Egyptian motives, with variations on the rhythm and the scales. Hu Allah continues to tell Faruk's story in the garden, with his soulful voice over a bed of chanting, nature sounds, and orchestration, along with oud, ney, and bendir. As the last track, this piece leaves the listener in a peaceful trance. To compare Faruk to Western musicians, it would be as if one musician was a master of the drums, percussion, guitar, flute, recorder, oboe, and more. Add to this Faruk's mystical influences, and the listener is in for an extraordinary experience.
Working with longtime producer-multi-instrumentalist Brine Keane, Omar Faruk Tekbilek creates evocative soundscapes of Middle Eastern origin, both original compositions and arrangements of traditional material. Ney, kavala, zurna, baglama, oud, bendir and cumbus are set in a discreet wash of synthesizer drones and percussion parts performed by five members of his ensemble. The tone is light but spiritual, retaining an affinity to his heritage--but with a nod to contemporary New Age sensibilities, especially in the simple arrangements and occasional use of ambient nature sound effects. However, the strength of musicianship and commitment to tradition assures that Mystical Garden stays firmly rooted in the pastures of Allah and not in the organic flower borders of background music. Tekbilek makes original and uplifting music that consistently rewards the listener. --Derek Rath
TRACK LISTINGS
(01) [Omar Faruk Tekbilek] Other Side of the River
(02) [Omar Faruk Tekbilek] Magic of the Evening
(03) [Omar Faruk Tekbilek] Laz
(04) [Omar Faruk Tekbilek] Shashkin
(05) [Omar Faruk Tekbilek] Hasret
(06) [Omar Faruk Tekbilek] Egyptian Dance
(07) [Omar Faruk Tekbilek] Three Last Words
(08) [Omar Faruk Tekbilek] Mystical Garden
(09) [Omar Faruk Tekbilek] Hu Allah
Omar Faruk Tekbilek: Ney, Kavala, Zurna, Baglama, Jura, Oud, Darbuka, Bendir, Tambourine, Davul, Finger Cymbals, Synthesizers & Vocals.
Brian Keane: Guitars, Synthesizers, Arrangements, Basses, Percussion, Cymbals & Drums.
Hassan Isikkut: Kanun & Violin.
Arto Tuncboyaciyan: Frame Drums, Shakers, Bells, Bendirs, Zil, Triangle, Guiro, Davul, Water Bowl, Vocals (tracks 1, 3 & 7) & Percussion (track 2).
Ara Dinkjian: Oud & Cumbus (tracks 3, 5 & 7).
Dan Pickering: Flügelhorn (track 1).
The cover illustration is "Autumn Landscape With Mountains And Trees" circa 1370, and attributed to kar-i mani. It is found today in the Topkapi Museum in Instanbul.
FLAC (EAC Rip): 350 MB | MP3 - 320 kbs: 160 MB | Covers
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Переслать - Oum Kalthoum - GHOLOBT ASALEHOum Kalthoum - Ghulubt asalih, 1946
Composer: Reyad al-Sunbati
Lyrics: Ahmed rami
Genre: Ughniyah
Maqam : Nahawand
HERE
Selected discography
* Aghadan alqak (1971)maqam ajam
* Alif Leila wa Leila ("One Thousand and One Nights").....maqam nahawand (1969)
* Arouh li Meen or Arook Lemeen ("Whom Should I Go To").......maqam rast (1958)
* Al Atlal ("The Ruins")......maqam huzam (1966)
* Amal Hayati"; Sono ("Hope of My Life") (1965)
* Ansak Ya Salam (1961)maqam rast
* Aqbal al-layl (1969)
* Araka asiya al-dam (1964)
* 'Awwidt 'ayni (1957) maqam kurd
* Baeed Anak ("Away From You").......maqam bayyati (1965)
* Betfaker fi Meen ("Who Are You Thinking Of?").....maqam bayati (1963)
* Dalili Ehtar (1955) maqam kurd
* Dhikrayatun (Qessat Hobbi) (1955)
* El Hobb Kolloh ("All The Love").......maqam rast (1971)
* Ental Hobb ("You Are The Love").......maqam nahwand (1965)
* Enta Omri – Sono ("You Are My Life [Time]")........ maqam kurd (1964)
* Es'al Rouhak ("Ask yourself", or "Ask Your Soul")maqam hugaz kar (1970)
* Fakarouni ("They thaught of me to be").......maqam rast (1966)
* Fit al-ma' ad ("It Is Too Late") Sono Cairo.......maqam sikah (1967)
* Gharib' Ala Bab erraja (1955)
* Ghulubt asalih (1946)
* Hadeeth el Rouh ("The Talk of The Soul")......maqam kurd (1967)
* Hagartek or Hajartak ("I Abandoned You") EMI (1959)
* Hasibak lil-zaman (1962)
* Hathehe Laylati ("This is My Night")......maqam bayyati (1968)
* Hayart Albi Ma'ak ("You Confused My Heart")......maqam nahwand (1961)
* Hakam 'alayna al-haw'a (1973)
* Hobb Eih ("Which Love").....maqam bayyati (1960)
* Howwa Sahih El-Hawa Ghallab (1960)
* Kull al-ahabbah (1941)
* La Diva – CD, EMI Arabia, 1998
* La Diva II – CD, EMI Arabia, 1998
* La Diva III – CD, EMI Arabia, 1998
* La Diva IV – CD, EMI Arabia, 1998
* La Diva V – CD, EMI Arabia, 1998
* Leilet Hobb ("Night of Love") (1973)
* Lel Sabr Hedod ("Patience Has Limits")......maqam sikah (1964)
* Lessa Faker ("You Still Remember").......maqam ajam (1960)
* Men Agl Aynayk (1972)
* Othkorene ("Remember Me") (1939)
* Raq il Habeeb ("My Beloved Tendered Back") (1941)
* Retrospective – Artists Arabes Associes
* Rihab al-huda (al-Thulathiyah al-Muqaddisah) (1972)
* Rubaiyat Al-Khayyam ("Quatrains of Omar Khayyám").......maqam rast (1950)
* Sirat el Houb ("Tale of Love").......maqam sikah (1964)
* Toof we Shoof (1963)
* The Classics – CD, EMI Arabia, 2001
* Wi-darit il-ayyam ("And The Days Passed By").......maqam nahwand (1970)
* Ya Karawan (1926)
* Yali Kan Yashqiq Anini (1949)
* Ya Msaharny ("You that keeps me awake at night") (1972)
* Ya Zalemny (1954)
* Zalamna El Hob ("We Have Sinned Against Love") (1962)
Переслать - Jakob Lindberg & John Dowland - Selected Lute Music
Jakob Lindberg
John Dowland - Selected Lute Music, 1994/1996
Swedish lutenist Jakob Lindberg began his studies on the guitar after being inspired by the music of the Beatles. His guitar teacher, Jörgen Rörby, introduced him to the lute, which he went on to study at Stockholm University and the Royal College of Music in London. His studies with Diana Poulton and Carlos Bonell in London further focused his interests on performing Renaissance and Baroque music on period instruments. Among the rare instruments he uses is one of the few extant lutes by the Augsburg maker Sixtus Rauwolf (ca. 1595). He has made an extraordinary number of recordings for Bis, often presenting lute music that has never before been recorded. The repertoire he has championed includes lute music by Scottish composers; Italian music for the chitarrone; and chamber music by Vivaldi, Haydn, and Boccherini. He is the first lutenist to have recorded the complete solo lute music by John Dowland and he has received critical acclaim for his interpretations of Bach's music for solo lute. In 1985, he formed the Dowland Consort, specializing in music of the Elizabethan and Jacobean periods, particularly that of Dowland and Weiss. Lindberg has performed as a continuo player on the theorbo and arch lute with many of the most active period nstrument ensembles, including the English Concert, Taverner Choir, the Purcell Quartet, Monteverdi Choir, Chiaroscuro, the Orchestra of the Age of Enlightenment, and the Academy of Ancient Music. He is a frequent collaborator with singers such as Emma Kirkby, Anne Sofie von Otter, Nigel Rogers, and Ian Partridge. For the Royal Swedish Opera at the Drottningholm Court Theatre, he has directed several Baroque operas from the chitarrone, including Purcell's Dido and Aeneas in 1995 (where he co-directed the production with Andrew Parrot) and Jacopo Peri's Euridice in 1997. Lindberg made his solo recital debut at the Wigmore Hall in 1978, and since then has toured Europe, Japan, Mexico, Russia, Australia, Canada, and the United States. He teaches at the Royal College of Music in London, where he succeeded Diana Poulton as professor of lute in 1979. Richard Popplewell's Variations on Brigg Fair for solo lute (1988) was composed for Lindberg. ~ Robert Adelson, All Music Guide
01. The Frog Galliard (23a) 2:10
02. Lachrimae (15) 4:59
03. Sir John Smith, His Almain (47) 2:32
04. Resolution (13) 4:31
05. The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard (40) 2:50
06. A Fancy (6) 2:28
07. The Right Honourable The Lord Viscount Lisle, His Galliard (38) 2:30
08. The Shoemaker's Wife (58) 1:07
09. Lady Hunsdon's Puffe (54) 1:24
10. Mrs. Vaux Jig (57) 1:10
11. Mrs. Brigide Fleetwood´s Pavan alias Solus Sine Sola (11) 5:43
12. Mignarda (34) 3:06
13. Orlando Sleepeth (61) 1:10
14. Can She Excuse (42) 1:49
15. Mrs. Winter's Jump (55) 0:59
16. My Lord Willoughby´s Welcome Home (66a) 1:34
17. Melancholy Galliard (25) 2:25
18. A Fancy (73) 3:04
19. A Dream (75) 4:51
20. Walsingham (67) 4:02
21. A Fantasie (1a) 4:14
22. Semper Dowland Semper Dolens (9) 6:59
23. Mr. Knight's Galliard (36) 2:07
24. Farewell (3) 5:21
25. Tarleton's Riserrctione (59) 1:52
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Переслать - Juliane Banse & Andras Schiff - Songs of Debussy and Mozart
Juliane Banse & Andras Schiff
Songs of Debussy and Mozart, 2003
First recorded collaboration between one of the leading sopranos of our time, Juliane Banse, and the incomparable pianist András Schiff. The programme is a fascinating combination of two different worlds of "Liedgesang" - in language as well as musical style and historicity.
On this disc are Debussy settings of verse by Verlaine, Mallarmé, and others; the poetry is evocative to begin with and the music further highlights the sense of a scene appearing before one's eyes. The fecundity of the composer's imagination is underscored by the inclusion of two versions of "Clair de lune" - each seems perfect, yet they are subtly different in mood and effect. The Mozart selections splendidly complement the Debussy pieces. ... Banse has an interesting and richly textured voice with a confident top. It's a flexible instrument, as manifested by the trills of "Pierrot" or the gorgeous melismatic passages of "Pantomime." The singer is clearly capable of power but knows when to scale back to suit the material. She sings with an extraordinary sensitivity to the texts. ... Schiff, of course, functions here as far more than a mere "accompanist" - he's an equal partner. The piano parts for the Debussy songs are nearly as remarkable as the composer's much better known solo keyboard pieces, and Schiff is fully responsive to the possibilities. - The Absolute Sound
Debussy and Mozart seem a strange pairing, but this program works thanks to the high quality of the music itself and the perceptive interpretations of Juliane Banse and her partner, Andras Schiff—"accompanist" doesn't begin to describe Schiff's important role here. Banse's beautiful lyric soprano, technically secure, expressive, and warm, is the perfect instrument for these songs. It captivates immediately in Debussy's early songs which begin the disc, including a ravishing "Claire de lune." Schiff shines as well, as heard in his pellucid pianism in "Fantoches" and in the countless details too often lost in other performances of both composers' songs. The pair are best in the Mozart selections, where Banse's German diction is clearer. The duo exude a sense of fun in "Das Veilchen" and are outstanding in the songs that require emotional depth, such as the late "Abendempfindung." Transparent engineering, but the lavish packaging doesn't include texts and translations, available only at ECM's website. – Dan Davis
Claude Debussy
01. Beau soir
02. Clair de lune
03. Pierrot
04. Apparition
05. Pantomime
Claude Debussy - Fêtes galantes, 1er livre
06. En sourdine
07. Fantoches
08. Clair de lune
W.A. Mozart
09. Dans un bois solitaire
10. Oiseaux, si tous les ans
11. Warnung
12. Der Zauberer
13. Das Veilchen
Claude Debussy - Ariettes oubliées
14. C'est l'extase langoureuse
15. Il pleure dans mon cœur
16. L'ombre des arbres
17. Chevaux de bois
18. Green
19. Spleen
W.A. Mozart
20. Sehnsucht nach dem Frühlinge
21. Als Luise die Briefe ihres untreuen Liebhabers verbrannte
22. Abendempfindung
For the song texts see http://www.ecmrecords.com/Songtexts/Song_Texts_N1772.php
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Переслать - Iara Behs - Ernesto Nazareth - Tangos, Waltzes and Polkas
Iara Behs
Ernesto Nazareth - Tangos, Waltzes and Polkas, 2005
I 'discovered' Ernesto Nazareth about 8 years ago while surfing the internet. I found him in a composer alphabet: N is for Nazareth, the only entry under N. I always have my eye out for Brazilian music because of fond connections there. Further, Nazareth was billed as the 'King of Brazilian Ragtime' (or some such grandiose title). I play rags (please don't call me a ragtime piano player), and I have come to object to Nazareth's music being considered 'ragtime'. Nazareth's music is unique music with complex influences of which ragtime is not one. Nazareth's music is a cousin of ragtime; both are rooted in Gottschalk. It is uniquely Brazilian music- and influenced even Villa Lobos as such. It is fun, lively, witty, teasing; Nazareth makes Joplin seem very serious. Yet, the moods of Nazareth are deep. I call the music 'Nazareth'.
Iara Behs gives us a delightful sampler, showing off Nazareth's range of moods, styles, & influences in a spirited- very Brazilian- performance. The notes she writes are as touching as her piano performances, and it is worth the price just to read her sensitive description of the man and his music. I once read a review complaining that for all that Nazareth wrote everyone records the same stuff. Iara's CD is a great blend of new and familiar recordings. Her selections demonstrate thoughtfulness and purpose. However, I wish she would have played 'Fon-Fon' as it always gives me saudades for Rio de Janeiro traffic, and only Cariocas play it right.
The CD is well-recorded, faithfully replicating piano and music. If possible, I would have chosen 4.5 stars (near-excellent) rather than 5 (excellent). While Iara's brilliant expression offsets any technical error, I find some expression- specifically some ritenutos- distracting (subtract 1/2 star).
Anyone interested in piano music of any genre should enjoy this CD. If you do not yet know Nazareth, buy this CD as a treat. If you do know Nazareth, you need to buy it.
Pianist Iara Behs writes in the booklet that, until a few years ago, no serious pianist would dare to include Nazareth in their repertoire but that she never met anyone who did not like his music. To me he sounds like a Brazilian Chopin. Although Nazareth's music frequently sounds carefree, this does not reflect his troubled life. Born in Rio de Janeiro, he worked as a pianist in cinemas and there was a protest when his works were included in a concert at the National School of Music. Eventually, in 1933 he was committed to a psychiatric hospital after the death of his wife and daugheter, but he escaped and drowned himself. Most of his music was for the piano and in the form of a dance. The seventeen pieces on this disc cover a wide range of themes and emotions. The Whirlwind of Kisses is my favorite song on the cd. Iara Behs playing is very beautiful and her comments in the booklet included with the cd on the music are insightful. If you like Chopin and good piano playing I think you will really enjoy this cd.
01. Espalhafatoso (Boisterous) 2:27
02. Brejeiro (Mischievous) 2:00
03. Confidencias (Confidences) 7:05
04. Escovado (Cunning) 4:10
05. Nene (Baby) 3:21
06. Ameno Reseda 2:32
07. Turbilhao de Beijos (Whirlwind of Kisses) 6:55
08. Gaucho 2:43
09. Plangente (Lamenting) 5:11
10. Topazio Liquido (Liquid Topaz) 3:16
11. Ouro Sobre Azul (Gold on Blue) 3:16
12. Sarambeque 2:58
13. Eponina 5:48
14. Escorregando (Going Down Well) 2:35
15. Tenebroso (Gloomy) 3:19
16. Odeon 3:07
17. Apanhei-te Cavaquinho (I Have Grabbed You, Cavaquinho!) 2:29
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Переслать - Hans-Martin Linde & Konrad Ragossnig - Music for Two. New Music for Recorder and Guitar
Hans-Martin Linde & Konrad Ragossnig
Music for Two. New Music for Recorder and Guitar, 1988
Blockflöte und Gitarre - der Kontrast von geblasenem und gezupftem Klang hat durch alle Zeiten hindurch seinen speziellen Reiz behalten. Unser Duo war eines der ersten Ensembles dieser Art in unserer Zeit. Mit Vergnügen haben wir barocke und (mit der Querflöte) klassisch-romantische Werke in zahlreichen Konzerten und Aufnahmen musiziert. Aber auch die Musik unserer Tage hat einen festen Platz in unseren Programmen. Die vorliegende Aufnahme enthält heutige Musik gänzlich unterschiedlicher Richtungen. Mehrere der eingespielten Werke wurden für uns geschrieben oder eingerichtet. (H.-M. Linde)
Hans-Martin Linde - Music for Two
01. I. Exercise (Giocoso)
02. II. Remembrance (Andante triste)
03. III. Julieta's Ground (Tranquillo/ Moderato)
04. Dimitri Terzakis - Fthorai
05. Reginald Smith-Brindle - Hathor at Philae
Karlheinz Stockhausen - Tierkreis
06. Wassermann
07. Zwillinge
08. Jungfrau
09. Steinbock
Friedrich Zehm - Serenade
10. I. Molto moderato / Allegro moderato
11. II. Largo sostenuto / Piu mosso e capriccioso
12. III. Introduktion (Pantomime) Tempo ad libitum / Allegro con moto (á la valse)
13. Robert Suter - Small Talk
14. Daniel Kaiser - Ritournelle
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