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- Terry Riley - The Harp of New Albion
Terry Riley
The Harp of New Albion, 1986
The Harp of New Albion is a transfixing solo piano recording, conceived and performed by world-renowned minimalist composer, the ever-innovative Terry Riley. His inspiration for this work came from a legendary harp, left behind in the New World in 1579, on the shores of Nova Albion, which is now called San Francisco Bay. A Native American medicine man is said to have found the harp and placed it on a cliff where the westerly winds played upon it and temperature and humidity changes created an ever-shifting set of tonalities.
Riley bases the ten movements of The Harp of New Albion on the concept of tonalities. The liner notes enclosed in both the compact disk and cassette explain the complicated ratios Riley devised for tuning his octaves. He says, "The idea of piano as harp influences my method of playing, as does the tuning from which the particular consonances and dissonances determine the emerging energies that flow through both instrument and performer."
Although Riley improvises throughout The Harp of New Albion, each movement is defined by structural or composed elements. Astonishingly, the "halo" of harmonics drifting above his solo piano creates an orchestral sound, complete with horns, reeds, strings and voices. At times, the melodic interplay is ethereal, the micro-tonal relationships within the standing waves of sounds creating a haunting spectrum.
Special note should be taken of the majestic Bösendorfer Imperial grand piano, especially tuned for Riley to play in the acoustically-fabulous Academy of Music in München, Germany.
CD 1
1. The New Albion Chorale/The Discovery
2. The Orchestra Of Tao
3. Riding The Westerleys
CD 2
1. Cadence On The Wind
2. Premonition Rag
3. Return Of The Ancestors
4. Ascending Whale Dreams
5. The Magic Knot Waltz
6. Circle Of Wolves
7. Land's End
320 kbps including full scans
Part 1 | Part 2 | Part 3
Переслать - Jurabeg Nabiev et l'Ensemble Dorrdâne - Tadjikistan. Maqâm Navâ. Maqam d'Asie Centrale 2, Tadjikistan, Tradition de Boukhara
Jurabeg Nabiev et l'Ensemble Dorrdâne
Tadjikistan. Maqâm Navâ. Maqam d'Asie Centrale 2, Tadjikistan, Tradition de Boukhara, 1997
1. Tasnif, Tarji, Gardun
2. Sarakhbâr, suivi de deux tarâna
3. Talqin-i bayât, suivi d'un tarâna
4. Mukhammas-i bayât
5. Nasr-i bayât, suivi de deux tarâna
6. Mogholcha-i navâ
7. Ufar-i mogholcha-i navâ
8. Chapandâz
Jurabeg Nabiev - Vocals
Ensemble Dorrdâne:
Shohrat Naniev - Tanbur
Soltân-Ali Khodâverdiev - Dotar
Sirajeddin Jurayev - Dotar
Bayât Hamrakulov - Rabab
Abdovali Abdorashidov - Rabab
Yusofjân Bâbâjânov - Percussion
Shams Mozafar - Chang
Sirajeddin Khodâmirganov - Oud
Arifa Nisâ'ighafur - Vocals
Nasiba Âmânbâyeva - Vocals
Abdorahmân Hasanov - Vocals
Mohammad-jân Mir-Niâzov - Vocals
Mo'min Mollâyev - Vocals
Part One
Part two
Переслать - Hossein Farjami Plays Santoor - Folkmusic from IranMr. Hossein Farjami was born in Teheran, Iran in 1944. He began to study the Santoor privately at the age of thirteen. When he was nineteen, Mr. Farjami came to live in England, in time becoming a well-known and respected figure within the Iranian community throughout Europe. His works have been performed in England, France and Germany, and are widely appreciated.
Not only does Hossein Farjami specialize on the Santoor, but plays the Middle-Eastern drums, the oud, and also composes. At the moment he produces both instrumental and vocal pieces, completing the arrangements himself. This album is compiled of his own compositions and improvisations other than "pish dar amadeh esfahan", which is by Morteza Ney Davood, one of the greatest Iranian composers.
Hossein Farjami also makes and repairs musical instruments — covering the Middle Eastern range, including santoor, oud, violin and tonbak. The Iranian santoor is an incomplete instrument, to change scales involves moving several bridges. However, Mr. Farjami has produced a santoor on which it is possible to do this quickly and efficiently. This he considers to be the greatest achievement of his career.
The SANTOOR is one of the oldest instruments known in the world, originating in the Middle-East. It is amongst the simplest stringed instruments, belonging to the category of zithers, and is struck with two hammers called "mesrabs". The name Santoor first appears in a poem by an 11th century Iranian Manucheri. The instrument itself, however, was not depicted until a 13th-century drawing. The wall paintings of Chehel Sotun, the "catalogue" of Safavid musical instruments, also depict the Santoor and it is later found in paintings and photographs from the Qasar period. In the 20th-century the Santoor has gained great popularity and is now one of the major instruments in Iran. It is also played in many different countries with only slight variations in form, style or technique.
(01) [Hossein Farjami] Dastgah Shur
(02) [Hossein Farjami] Nagmeh Bayat-E Tork
(03) [Hossein Farjami] Nagmeh Esfahan
(04) [Hossein Farjami] Dastgah Homayun
Hossein Farjami, santoor
Abdollah Horvash, tonbak
Credits to "solaz"
FLAC(EAC Rip): 255 MB | MP3 - 320 kbs: 120 MB | Booklet Scans
FLAC
Part 1 | Part 2 | Scans
OR MP3 320 kbps
HERE
Переслать - Maryam Akhondy - SarmastThe "marvelous voice of Persia" Maryam Akhondy, the foundress and chief of the world-wide unic Iranian woman choir, belongs to the recent generation of the virtuoses of the classical Persian singing. Maryam Akhondy was born 1957 in Teheran; Beginning of the seventies was discovered it by the famous actor Ostad E. Mehrtasch and studied at the academy of the Fine Arts in Teheran. 1986 came she to Germany and worked with different Iranian groups of music. Admits became she here as an outstanding singer from the worldwide knowm German "Schäl Sick Brass Band", with which she could place herselves at the front places of the European World Music Charts. Meanwhile she has her own projects: The ensemble "Barband" and the woman choir "Banu" and tours European-wide.
Sarmast is the Persian word for "intoxicated". Intoxicated is how Maryam Akhondy felt whenever she became engrossed in the poems of the great Persian poets. Thus inspired, Maryam Akhondy set some of these texts to music to, as she says, "express in my own way the feelings of joy when reading." The simple melodies that are derived from the radif (the order and systematics of Persian music) have also helped her to find out more about herself and her spiritual roots: "It was like the entry into a world not really known to me yet." At first glance, many of the songs only seem to describe rather profane things like wine and the accompanying states of intoxication, but in reality, the texts contain hidden meanings and the words and terms used can only be understood in a figurative sense. And: "The contrast between the poetic language of former times and the language of today - that's interesting, that's what fascinated me"
1. Scharab E Talkh Bitterwine
2. Mast E Mast Totally
3. Saki (The Wine-Waiter)
4. Lahzeh (The Moment)
5. Bazar E Botan (The Bazaar Of Idols)
6. Tschaharmesrab
7. Jahan Khahad Bud (The World Will Be)
8. Mastaneh (Drunk)
9. Omr E Javedani (Eternal Life)
HERE
Переслать - Arabian Classic Tune Band 1TRACK LISTINGS
1. Samai Hijazkarkourd
2. Samai Shahnaz
3. Samai Nahawand
4. Balad Al Mahboub
5. Samai Nahawand (2)
6. Ibn Albalad
7. Samai Nawather
8. Azezah
9. Samai Shataraban
Oud : Badri Al Imam
Kanoun : Khayyam Masoumaei
Nay : Hassan Eid
Riq : Ihsan Al Imam
Cello : Bashar Orabi
Rhythm : Illy Baradii
MP3 256 kbps including covers
HERE
Переслать - The Kroumata Percussion Ensemble & Manuela Wiesler, Flute - Play Music by Jolivet, Harrison, Cage & Sandströ
The Kroumata Percussion Ensemble & Manuela Wiesler, Flute
Play Music by Jolivet, Harrison, Cage & Sandström, 1984
THE KROUMATA ENSEMBLE was formed in 1978 by five professional percussionists in Stockholm. They all wanted both to study the growing repertoire for percussion ensemble in greater depth and to play with other instrumentalists, singers, dancers, speakers, choirs and orchestras. Many Nordic composers have written expressly for the Kroumata Ensemble.
When the group threatened to split up the Regional Music Authority stepped in and employed the members who are thus enabled to devote themselves fulltime to percussion music. They have made a succession of tours in the Nordic countries and also in Holland, England, Hungary, Czechoslovakia, Switzerland, Austria and West Germany.
The name Kroumata comes from the ancient Greek and is believed to have been used of percussion music in general. The members of the group are Ingvar hallgren, jan Hellgren, Andres Holdar, Anders Loguin and Leif Carlsson.
André Jolivet - Suite en Concert for flute and percussion 16:22
01. I. Modéré
02. II. Stabile
03. III. Hardiment
04. IV. Calme. Véloce
Lou Harrison - First Concerto for Flute and Percussion 7:47
05. I. Earnest, fresh and fastish
06. II. Slow and poignant
07. III. Strong, swinging and fastish
John Cage - Amores (1943) 9:16
08. I. Solo for prepared piano
09. II. Trio (9 tom-toms, pod rattle)
10. III. Trio (7 woodblocks, not Chinese)
11. IV. Solo for prepared piano
12. Sven-David Sandström - Drums 14:40
Manuela Wiesler - flute
Richard Pilat - prepared piano
The Kroumata Percussion Ensemble conducted by Anders Loguin
Digital recording: May 31 to June 2, 1984 at the Concert Hall Gothenburg, Sweden
320 kbps including full scans
Part One
Part Two
Переслать - Tord Gustavsen Trio - Being There
Tord Gustavsen Trio
Being There, 2007
One of the great success stories of jazz in the last five years, the Tord Gustavsen Trio follows up their first two hit albums with the eagerly-anticipated Being There. The new release finds the trio continually opening up the music in new and lyrical ways. Along with Gustavsen's infectious music (both ballads and up-tempo) drummer Jarle Vespestad and bassist Harald Johnsen make considerable contributions to the new album. Johnsen lends his compositional skills with the graceful tango "Karmosin," and Vespestad is often as much a front-line voice in the music as Gustavsen himself.
Proving that sensual, spiritual jazz can come from even icy Norway, the Tord Gustavsen Trio stormed onto the jazz scene in 2003 with their debut recording, Changing Places. 2005's The Ground took the band one step further and even topped the pop charts in Norway, an unprecedented achievement. The restraint of Gustavsen's approach and the allure of his simply drawn melodies has spoken to an audience that does not normally concern itself with improvisation.
01. At Home
02. Vicar Street
03. Draw Near
04. Blessed Feet
05. Sani
06. Interlude
07. Karmosin
08. Still There
09. Where We Want
10. Cocoon
11. Around You
12. Vesper
13. Wide Open
320 kbps including full scans
Part One
Part Two
Переслать - Tenore de Orosei - Amore profundhu. Voches de Sardinna 1
Tenore de Orosei
Amore profundhu. Voches de Sardinna 1, 1998
The Sardinian singing, not to doubt it, establishes, due to its liveliness, one of the most popular polyphonic expressions of the Mediterranean Sea.
U Cuncordu e Tenore, stemming from brotherhoods of Santa Croce, del Rosario and from Sas Animas de Orosei (which hold among others a unique tradition of the directory of the Holy Week), excels at both sacred and profane directories and is recognized as one of the most representative groups of this Sardinian vocal art.
Omnipresent, the singing populates the liturgy as much as it gives rhythm to the peasant holidays, in the borders of the layman and the sacred. We evoke love, death, suffering of the people, beauty of women, enjoyment during good harvests or birth of child.
The voices of five men of the group, with rough accents, seem to extract intestines of the earth... This land of SARDINIA in the oral heritage of a universally inestimable value.
The secular singing "a tenore" expresses himself by a tense throaty voice which gives a stamp vibrating in both parts of harmony: counterpoint and singing.
This technique exists nowhere else in the whole world except in Mongolia!
By carrying their singings through the other parts of the country, the group attempts to protect and to restore this musical wealth.
The emotion, in the listening of these polyphonies, is simple and strong as these men who know so well how to make it share to their public, touched the hollow of the soul.
1. Cara Cantu Ser Bella
2. Dillu
3. Vidu Ndh'appo de Rosa
4. Fin Tantos Cassatores
5. A una Rosa
6. Pruite Cantas Ancora
7. Iscurta Alligra Rosa
8. Muttos
9. Su Puddhu
Mario Siotto
Gianluca Frau
Patrizio Mura
Tore Mula
320 kbps booklet missing
Part One
Part Two
Переслать - Wu Na - One Flower is a WorldThe guqin is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as highlighted by the quote "a gentleman does not part with his qin or se without good reason," as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as "the father of Chinese music" or "the instrument of the sages".
Traditionally the instrument was called simply qin (Wade-Giles ch'in) but by the twentieth century the term had come to be applied to many other musical instruments as well: the yangqin hammered dulcimer, the huqin family of bowed string instruments, and the Western piano are examples of this usage. The prefix "gu-" (meaning "ancient") was later added for clarification. It can also be called qixianqin (lit. "seven-stringed instrument"). The guqin is not to be confused with the guzheng, another Chinese long zither also without frets, but with moveable bridges under each string. Because Robert Hans van Gulik's famous book about the qin is called The Lore of the Chinese Lute, the guqin is sometimes inaccurately called a lute. Other incorrect classifications, mainly from music compact discs, include "harp" or "table-harp".
The guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello. Sounds are produced by plucking open strings, stopped strings, and harmonics. The use of glissando—sliding tones—gives it a sound reminiscent of a pizzicato cello, fretless double bass or a slide guitar. The qin is also capable of a lot of harmonics, of which 91 are most commonly used and indicated by the dotted positions. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.
01. Play the Guqin In the Night
02. Lotus River
03. Enlightenment
04. Ascend to the Heaven
05. Shione Ancient Temple
06. Zen Road and Heart Bridge
07. Transmigration
08. Everything Resonance
09. Bloom Call on Buddha
10. Spirit Pulse
| EAC Rip | Flac, Image + .cue, log-file | 350 MB
Part One
Part Two
Переслать - Unforgettable Hits (4) (Guitar)TRACK LISTINGS
[01]. El Condor Pasa
[02]. Song Sung Blue
[03]. And I Love Her
[04]. Scarborough Fair
[05]. If You Dont Know Me By Now
[06]. How Am I Supposed To Live
[07]. Everything I Do I Do It For You
[08]. Sacrifice
[09]. Send Me An Angel
[10]. Sound Of Silence
[11]. Hello Again
[12]. When You Tell Me That You Love Me
[13]. Bridge Over Troubled Water
[14]. Sorry Seems To Be The Hardest Word
[15]. Love On The Rocks
MP3 VBR kbps including Covers, 2007
HERE
Переслать
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