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- Unforgettable Hits [2] (Golden Accordion)TRACK LISTINGS
[01]. I Just Called To Say I Love You
[02]. Moonlight Lady
[03]. Island In The Stream
[04]. I Wont Let The Sun Go Down On Me
[05]. Island Is The Sun
[06]. All Night Long
[07]. Sad Songs Say So Much
[08]. Reggae Lover
[09]. Neverending Story
[10]. Canzone Blu
[11]. Honeymoon In Trinidad
[12]. Self Control
[13]. Love Is Blue
[14]. Blue Tango
[15]. Caribbean Sea
[16]. Let It Be
[17]. My Bonnie
[18]. Agnetha Samba
[19]. La Paloma
MP3 VBR kbps including Covers, 2007
HERE
Переслать - Thousand And One Nights: Tales from ScheherazadeTRACK LISTINGS
[01]. N Rimsky Korsakov - Scheherazade the Storie of the Kalender Prince
[02]. Johann Pachelbel - Canon in D Major
[03]. L Van Beeethoven - Sonata Moonlight I Adagio Sostenuto
[04]. Samuel Barber - Adagio for Strings
[05]. Erik Satie - Gymnopedie
[06]. G. Frideric Handel - Water Music Menuet
[07]. Frederic Chopin - 24 Preludes in E Minor Largo
[08]. Alexander Borodin - Nocturne for String Orchestra
[09]. Maurice Ravel - Pavane Pour Une Infante Defunte
[10]. W Amadeus Mozart - Piano Concerto in C Major Theme from Elvira Madigan II Andante
| MP3 VBR kbps | Scans | 80 MB | 2008 |
HERE
Переслать - Soul Of Classical MusicTRACK LISTINGS
[01].Moderato
[02].Waltz
[03].Scherzo
[04].Larghetto
[05].Mosso Allegro
[06].Allegro
[07].Romance
[08].Menance
[09].Rondo
[10].Moon Night And River In Spring (Chinese Classical music)
[11].Moto Perpetuo
| MP3 VBR kbps | Covers | 80 MB | 2007 |
HERE
Переслать - Babys First Classics IITRACK LISTINGS
[01]. Mozart - Symphony No. 40 in G Minir (Allegro Molto)
[02]. Albinoni - Adagio for Organ and Strings in G Minor)
[03]. Chopin - Nocturne No. 8 in D Flat Major Op 27
[04]. Beethoven - Sonata for Piano No. 8 in C. Op 13 Pathetique adagio cntabile
[05]. Debussy-Pavane in E Minor (Arranged for Guitar)
[06]. Mozart - Piano Concerto No. 20 in D Minor 'romance
[07]. Vivaldi -The Four Seasons 'spring' (Allegro)
[08]. Pachelbel - Canon and Gigue for Strings in D Major
[09]. Satie -Trois Gymnopedies
[10]. Tchaikovsky - Andante Cantabile for Violoncello and Orchestra op 11
[11]. Chopin - Nocturne No. 1 in B Flat Minor Op 9
[12]. Bach - Aria De Capo
| MP3 VBR kbps | Covers | 80 MB | 2007 |
HERE
Переслать - Anouar Brahem - Le Voyage De Sahar
Anouar Brahem : The role of the Arabic, lute-like, stringed instrument, the oud, has been revolutionalized through the playing of Anouar Brahem. While used in the past to accompany vocalists, the oud is used by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, "Tunis-Hebdo", wrote, "If we had to elect the musician of the 80s, we would have, without the least hesitation, chosen Anouar Brahem". The British daily newspaper, "The Guardian", that Brahem was "at the forefront of jazz because he is far beyond it". Encouraged by his music-loving father, Brahem began studying the oud, at the age of ten, when he enrolled at the National Conservatory of Music. For nearly a decade, he studied with influential oud player Ali Sitri. By the age of fifteen, he was playing well enough to perform regularly with local orchestras. Although he initially focused on Arabic music, Brahem increasingly incorporated elements of jazz. This was enhanced during the six years that he spent in Paris (1981 -- 1987), performing at festivals and collaborating with choreographer Maurice Bejart on a production, "A Return To Carthage" that received the prestigous "National Award Of Excellence In Music". Returning to Tunis in 1987, Brahem performed at the Carthage Festival in the multi-artist production, "Ligua 85". Shortly afterwards, Braham agreed to become director of the Ensemble Musical De In Ville De Tunis. During the two years that he oversaw the ensemble, Brahem divided the group into smaller of various sizes. Among the productions that he directed were "Leilatou Tayu" and "El Hizam El Dhahbi". In 1990, Brahem resigned to focus on his own career. After touring in the United States and Canada, he met and was signed by Manfred Eicher, producer and founder of German record label, ECM. His debut album, "Barzakh", released in 1991, was recorded with Turkish musicians, Bechir Selmi and Lassad Hosni. In a review of the album, German music magazine, "Stereo", wrote, "(Brahem) is an exceptional musician and improviser". Brahem's second album, "Conte De L'incroyable Amour", released in 1992, was recorded with clarinet player Barbaros Erkose. In 1994, Brahem recorded "Madar", with Norwegian saxophonist Jan Garbarek and Pakistani tabla player Shaukat Hussain. Brahem's fourth album, "Khomas", released in 1995, featured improvised interpretations of his compositions for Tunisian film and theater productions and was recorded with accordion player Richard Galliano and violinist Bechir Selmi. With his fifth effort, "Thimar", released in 1998, Brahem collaborated with soprano saxophone and bass clarinet player Jo n Surman and double bass player Dave Holland. Astrakan Cafe was issued three years later. Brahem has composed numerous pieces for such films and musical theater productions as "Sabots En Or", "Bezness", "Halfaouine", "Les Silences Du Palais", "Lachou Shakespeare", "Wannas El Kloub", El Amel", "Borj El Hammam" and "Bosten Jamalek". He collaborated with Maurice Bejart on the ballet, "Thalassa Mare Nostrum" and with Gabriel Yared on the Costa Gravas film, "Hanna K". ~ Craig Harris, All Music Guide
Over the past 15 years, Tunisian oud master Anouar Brahem has assembled a relatively small but profound body of work. A skilled improviser who refuses to be part of the historical authenticity argument, Brahem works from the same trio setting that performed on Le Pas du Chat Noir in 2002, with pianist François Couturier and accordionist Jean-Louis Matinier. The dialogue between these players is, despite the sparseness of the music and the considerable space employed, intense. The deep listening necessary in the improvised sections allows for a natural flow of ideas to emerge from silence. The compositions themselves are skeletal, with repeating, slowly evolving vamps and lyric lines. They offer, on the surface, a contemplative approach, and indeed can be heard that way. However, when dynamics, timbre, and chromatics are listened for, what takes place is rather astonishing. Each player walks to the middle of a composition, steps back and reenters after ideas by the others are introduced, producing a kind of organic improvisation seldom heard. This is not to say that the most structured works here, such as "Vague/E la Nave Va," aren't full of meditative delight as well. They are, and there are vast spaces into which the listener can enter and disappear for a while -- not so much to drift and dream as to be absorbed in their hypnotic and repetitive beauty. "Les Jardins de Ziryab" begins with Matinier's accordion, which is answered by the oud and Brahem's voice, accompanying them both. It unfolds from the center out. "Le Chambre, Var." begins, for this ensemble, at a trot. Couturier's chord voicing and Brahem's percussive approach create a winding musical narrative that Matinier's accordion underscores rhythmically. The keyboard and air pulse create a terrain where intricate melodic lines come out of modal and chromatic tensions. Ultimately, Brahem has given listeners another of his wondrous offerings, full of deceptively simple compositions that open into a secret world, one where beauty is so present that it is nearly unapproachable, and it is up to the listener to fill in the spaces offered them by this remarkable trio. ~ Thom Jurek, All Music Guide
(01) [Anouar Brahem] Sur Le Fleuve
(02) [Anouar Brahem] Le Voyage De Sahar
(03) [Anouar Brahem] L'Aube
(04) [Anouar Brahem] Vague - E La Nave Va
(05) [Anouar Brahem] Les Jardins De Ziryab
(06) [Anouar Brahem] Nuba
(07) [Anouar Brahem] La Chambre
(08) [Anouar Brahem] Córdoba
(09) [Anouar Brahem] Halfaouine
(10) [Anouar Brahem] La Chambre, Var.
(11) [Anouar Brahem] Zarabanda
(12) [Anouar Brahem] Été Andalous
(13) [Anouar Brahem] Vague, Var.
Anouar Brahem (Oud), François Couturier (Piano), Manfred Eicher (Producer), Jean-Louis Matinier (Accordion), Sascha Kleis (Design), Luca d'Agostino (Photography), Stefano Amerio (Engineer), Lara Persia (Assistant), CF Wesenberg (Photography), Thomas Wunsch (Cover Photo)
APE (EAC Rip): 260 MB | MP3 - 320 kbs: 175 MB | Booklet Scans
Archives have 5% of the information for restoration
APE
Part 1 | Part 2 | Part 3
OR MP3 320 kbps
Part 1 | Part 2
Переслать - Stein-Erik Olsen - Sonata mongoliana
Stein-Erik Olsen
Sonata mongoliana, 2000
Stein-Erik Olsen was educated at the Bergen Conservatory of Music and the Norwegian State Academy of Music, his post-graduate teachers have included Alexandre Lagoya, at the Concervatoire National Superieur de Musique de Paris, and the Czech pianist Jiri Hlinka.
His international career began in 1974, when he represented Norway in the Expo Norr Festival in Sweden, since when he has been invited to many other international festivals and has toured extensively, giving concerts - including concerto performances (among these, of course the Concierto de Aranjuez), appearing on radio and television throughout Europe, Great Britain, India and Korea.
In 1986 his debut recital in the Wigmore Hall, London, was rewarded with undiluted praise from the critics and his recordings have been similarly well received. Stein-Erik Olsen has had works written for him by eminent contemporary composers; Those by Ketil Hvoslef, Olav Berg, John Duarte, Nikita Koshkin and Stepan Rak are featured in his recordings for Simax.
Following his London debut Music & Musicians magazine commented: "He is a master of his craft and a genuine artist " and writing of his first recording Alice Artzt (New York) wrote: "The world of music must welcome him with open arms". Following his last solo recording the American critic William Zagorski (Fanfare) wrote: "I would install him in the pantheon of guitar greats somewhere near Julian Bream."
Stein-Erik Olsen, now a truly international guitarist of distinction currently teaches (Ass. Prof.) at the Grieg Academy, Department of Music, University of Bergen, returning full circle to his "Alma matar" to teach others who hope to follow in his footsteps.
http://www.seolsen.com/en/index.htm
"It is rare enough to find a guitarist with both a fluent and clean technique and an elegance of style, but to find this coupled with a beautiful feel for tone color and touch and a considerable sensitivity of phrasing is so rare that the world of music must welcome him with open arms. Stein Erik Olsen has shown on his first recording that he is such a player. A most impressive recording." - Alice Artzt
"Stein-Erik Olsen belongs to the elite group of guitarists who can be called not only guitarist but also musicians. His mastery is based on the flawless technique which serves deep and impressive musicality and clear sense of beauty. His skill is like the electricity which appears between the music and the listener. The playing of Stein Erik Olsen is always artistic and he is absolutely convincing in Bach, romantic music or avant-garde. His personal charm warms his playing and brings the friendly atmosphere to each of his recitals." - Nikita Koshkin
01. Paolo Bellinati - Jongo
Stepan Rak - Three Russian Waltzes
02. I. St. Petersburg
03. II. Kaygorod
04. III. Voronezh
Domenico Scarlatti
05. Sonata K. 380
06. Sonata K. 208
07. Sonata K. 149
08. Stepan Rak - Sonata mongoliana
Carlo Domeniconi: Koyunbaba
09. I. Moderato
10. II. Mosso
11. III. Cantabile
12. IV. Presto
13. Stepan Rak - Temptation of the Renaissance
14. Nikita Koshkin - Usher Waltz
320 kbps mp3; including full booklet scans
Part One
Part Two
Переслать - Sénégal / Senegal
Sénégal / Senegal, 1991
A country of western Africa on the Atlantic Ocean. The coast was settled by Wolof and other West Atlantic peoples, while the interior formed part of the medieval empires of Ghana, Mali, and Songhai. Coastal trading posts were established by the Portuguese (mid-15th century) and by the Dutch and the French (17th century). Senegal was awarded to France in 1815 by the Treaty of Paris and became a French colony in 1895 as part of French West Africa, with full independence being won in 1960. Senegal joined with Gambia in the short-lived confederation of Senegambia (1981-1989). Dakar is the capital and the largest city.
1. Djeli Keba Kouaté - Improvisation sur des themes Malinkés
2. Fodé Drame & Bana Sissoko - Suite de themes pour deux kora
320 kbps mp3, including cover scans
Part One
Part Two
Переслать - Sylvie Courvoisier Ocre - Y2K
Sylvie Courvoisier Ocre
Y2K, 2000
Sylvie Courvoisier is among today's most original and promising musicians and composers. Born in 1968 in Lausanne/Switzerland, she studied piano, composition and conducting at the conservatories of Montreux and Lausanne until 1994. In 1995 and 1996, she performed at the renowned New Jazz Meetings in Baden-Baden along with Enrico Rava, Marc Ducret, Dominique Pifarély, and Tomasz Stanko. Sylvie received a Swiss Young Creators Award in 1996. Her performances were hailed highlights both at Willisau Jazz Festival and Donaueschingen New Music Festival in 1997. A virtuosic pianist and daring composer, she has been influenced by modern classical composers like Ligeti, Varese, Schönberg, Schnittke or Takemitsu as well as such jazz pianists as Bill Evans and Thelonious Monk. Led by her inner visions, Sylvie's music combinates cleverly composed construction and improvisational freedom - a strong and unmistakably personal mixture of expressionistic, minimalistic, polyphonic and modern jazz languages.
Following her successful 1997 ENJA album "Ocre" (ENJ-9323 2, Stereo: *****, Jazzman: ****), Sylvie's new album "Y2K" uses the barrel organ (orgue de barbarie) as the organic center of her trio. Born in 1943 in Lyon/France and a graduate of Lyon conservatory, Pierre Charial discovered this mechanical instrument in the early seventies and started to open it up for music from composers as diverse as Bach, Mozart, Beethoven, Berio, Xenakis, Ligeti, Nancarrow, Chick Corea, Martial Solal and many more. Usually it takes him about two days to punch just one minute of music into the cards that control his instrument. In Sylvie's trio, the barrel organ serves as a living sound machine providing the structural frames for the musical interaction between the pianist and Michel Godard, today's leading innovator and soloist on both tuba and serpent. Born in 1960 near Belfort/France and a former student at the conservatories of Besançon and Paris, Godard worked with the Orchestre National de France, Orchestre Philharmonique de Radio France, Ensemble Intercontemporain, Musique Vivante and others. He could also be heard with Orchestre National de Jazz, Rabih Abou-Khalil, Samul Nori, Michel Portal, Henri Texier, Ray Anderson, and other living composers and improvisers. A concentrated musical adventure, state of the art.
01. Y2k 04:40
02. Too Suite 08:44
03. Abra 05:17
04. La Valse Des Fromages Blancs 02:56
05. La Cigale Ivre's Envoie En L'Air 04:26
06. Mutant 08:16
07. Sarajevo 03:25
08. Crasse Tignasse 05:46
09. Machines A Sons 06:40
10. Fluxus 08:55
Sylvie Courvoisier - piano, prepared piano
Michel Godard - serpent, tuba
Pierre Charial - barrel organ
320 kbps including full scans
Part One
Part Two
Переслать - Unforgettable Hits (1) (Clarinet)Unforgettable Hits (Clarinet)
[01]. Only You
[02]. Are You Lonesome Tonight
[03]. Blue Bayou
[04]. Bright Eyes
[05]. Something
[06]. Petite Fleur
[07]. Stranger On The Shore
[08]. Three Coins In The Fountain
[09]. So In Love
[10]. Smoke Gets In Your Eyes
[11]. Words
[12]. Greensleves
[13]. Amazing Grace
[14]. Im In The Mood For Love
[15]. Cry Me A River
[16]. Georgia On My Mind
MP3 VBR kbps including Covers, 2007
HERE
Переслать - Putumayo Presents: Sahara LoungeAs its evocative title suggests, Sahara Lounge is a crossroads of cultural communication and sonic exploration. Its geographical range spans from Morocco and Iran to the U.K. and America, but its guiding principal is to interweave traditional instrumentation and grooves with the tools of modern electronica. Just as electronic music draws freely on disparate sources, the artists on Sahara Lounge often find inspiration on a global level. Lebanese duo Soap Kills layer elements of trip-hop, scratchy dub reggae, and their country's own melodies for their track, "Dub4me," while Ilhan Ersahin's breezy, sultry "Fly" incorporates Turkish lyrics, jazz guitar soloing, and a backdrop of chillout beats. Soap Kills vocalist Yasmine Hamdan returns for a collaboration with Absolut Orchestra's Toufic Farroukh -- "Lili S'en Fout" features hushed French vocals over a wash of Arabic melody, synthetic percussion, and Farroukh's warm and mischievous sax. Putumayo understands its demographic, and to that end it keeps Sahara Lounge tethered to the signpost where experimental longitude intersects accessible latitude. Despite their exploration of varying cultural rhythms, the album's 12 tracks flow effortlessly into one another, united by a pleasant mid-tempo beat similar to so many of the downtempo comps on the market. At the same time, Putumayo has never positioned itself as a sonic pioneer -- it doesn't so much discover the music as it encourages it. And Sahara Lounge does that as well as any of the label's collections, including informative biographies for each of its artists, helpful pronunciation keys, and insightful descriptions of the instrumentation used. The album might not be adventurous enough for some sonic thrill seekers. But for the casually and culturally curious, Sahara Lounge is a great place to hang. ~ Johnny Loftus, All Music Guide
The electrification of acoustic Middle-Eastern music dates from the 1980s, when Algerian rai superstar Cheb Khaled (now known simply as Khaled - the dropped honorific meant "kid" or youth) released his groundbreaking masterpiece, Kutche. It is now commonplace to hear melodies and instruments as old as the desert sands juxtaposed against languid, trippy vocals, while a relentless 4/4 beat is pounded home via sampled, backbeat-driven snares and weighty bass lines. However, the 12 artists on this set for the most part manage to have their fun without bruising the delicate, mysterious beauty of the original traditions. Songs from Iran, Lebanon, Morocco, Lebanon, Algeria, Turkey, Egypt, United Arab Emirates, and a couple of Western locales emerge transformed by clubby synth vamps and anchored by feisty, two-ton bottoms. The treatments come across as sexy, droll, playful, startling and/or tragically hip, and just about any listener will certainly find something to enjoy. --Christina Roden
[01]. Sharif - Shiraz (Iran-USA)
[02]. Nabiha Yazbeck - Astahel (Lebanon)
[03]. Bahia El Idrissi - Arhil (Morocco)
[04]. Maya Nasri - Khallini Biljao (Lebanon)
[05]. Ya Rayah [Sonar Remix] - Dahmane el Harrachi (Algeria)
[06]. Soap Kills - Dub4me (Lebanon)
[07]. Cleopatra in New York [Zim Zam Mix] - Carol C., Nickodemus (USA)
[08]. Yasser Habeeb - Elama (United Arab Emirates)
[09]. Ilhan Ersahin - Fly (Turkey)
[10]. Hanina [Jasmon Mix] - Jasmon, Mohamed Mounir (Germay-Egypt)
[11]. Justin Adams - Desert Road (UK)
[12]. Toufic Farroukh; Yasmine Hamdam - Lili S'en Fout (Lebanon)
FLAC tracks (EAC Rip): 320 MB | MP3 - 320 kbs: 115 MB | Covers
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Part 1 | Part 2 | Part 3
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Переслать - Sheikh Ahmad Al Tuni - The Sultan of All Munshidin
Sheikh Ahmad Al Tuni
The Sultan of All Munshidin, 2000
Ahmad Al-Tuni comes from the village of Hawatka, near Assiout, and is one of the last great munshidin (singers of the inshad dini, the islamic sacred song or hymn) of Upper Egypt. Beneath the starry sky of the nights without end when the sufis celebrate their rituals in the villages of the Upper Nile region, all is dusty and dimly lit; then, as the night lengthens, its penetrating chill gradually seeps through the air, mingling with the fervent clamour of the devout. From the midst of this somewhat chaotic expression of faith, the munshid's voice rises forth and induces via the dhikr (literally a memory or remembrance) the state of trance common to sufi ritual. On Egyptian soil, the dhikr - where the name of god is recited according to some special breathing techniques - takes on the aspect of an ancient rite where all and sundry take part and indeed, where no-one can avoid entering into the trance-like state, as if there were no need to belong to any particular brotherhood (tariqa). It includes the hadra, that moment of collective spirituality, where the common man can enter into the presence of the divine; this is an open, creative event where a whole range of emotional behaviour is expressed. No matter whether one is a disciple of Ahmad Al-Badawi, the founder of the Egyptian way known as the Ahmadiyah, or a member of the Shadhiliyah, the brotherhood created by Abu Al-Hasan Al-Shadili from Fez in Morocco, or a member of Ahmad Al-Rifa'i'rifa'iyah brotherhood, founded in Southern Irak in the 12th century, everyone flocks towards the sound of the munshid's voice. he is the true master of ceremonies, he will throw forth several spirited phrases guaranteed to charm and win over his public in exactly the way he wants.
The inshad or sacred chant is the central pillar of organisation here. In this context, where there are absolutely no authoritarian or religious sanctions from on high banning music and emotion, it is the munshid who controls everything, and and as a result the inshad is both freer and all the richer in musical terms.
Generally speaking, the religious singing of today recalls Arab music in urban style from before the 30's. This fact has been drawn to our attention by Michael Frishkopf. A small mixed instrumental group (the takht) in which each instrument is allowed to keep its individuality and express it in richly ornamented style, a flexibility of form that can include vocal and instrumental improvisations, the inclusion of some deliciously sensual modulations that float from one mode (maqam) to another, the whole punctuated with melodic rhythms (qafla-s): these are the traits that give this particular style its inherent richness.
So little by little the munshid has built up his ensemble and its musical potential. Thus we find the instruments originally linked to this type of singing the daf, the naqrazan (a percussive copper drum to be struck with sticks) the raq (a little tambourine with tiny cymbals attached) or the qawal (the flute) this is the instrumentation still used by Shaykh Barrayn but others have started to make a timid appearance, too: the Egyptian tabla, for instance, the kamantcha (the oriental violin), the 'ud and even occasionally the qanun. the musicians who perform on these instruments are not necessarily great virtuosi in the classical or strict sense of the term, but rather than being masters of a technique, one senses their devotion, their desire to amplify and serve the voice of the singer.
The great Egyptian munshid Ahmad Al-Tuni, a master of the inshad, chants almost in the manner of an actor from earlier times declaiming his lines. He holds his sipa (the muslim rosary) in one hand and accompanies his poetry with expressive gestures and mime; his body moves nervously to and fro, from side to side, as if to mark the violently forceful rhythms of the daf and the Egyptian tabla. he recalls better than anyone those singers of former times known as the mutrib, literally "one who creates tarab", the singers who produced the ideal blend of emotion from the mingling of words and voice.
The texts tell the story of the prophets, they recount their exploits and their devotion, their wisdom, too; the voice in turn models these words like a craftsman, forming and deforming them, modulating or shaping them as if they were palpable matter, as indeed they are in terms of sound. These words are the light and shade of life itself, of mystical love, ecstatic bliss, desire and sweet or bitter passion. they tell of suffering, the suffering caused by separation, the anguish in the absence of the beloved, the body and all corporality abandoned these are what the munshid recounts in his chanting.
The ibtihalat (a supplication in free poetic form) the tawashih diniya (religious poetry based on a musical exchange between the soloist and the choir) the qisas diniya (stories on religious themes) and the sufi inshad are the various steps along the musical way to the state of saltana, the bliss of listening.
The first time Ahmad Al-Tuni came to France to sing at the theatre de la ville in 1999, everyone was surprised by how easily he managed to transpose his art to the setting of a stage in a western theatre. With the particular power one always finds in oriental trance music one has only to recall the Qawali from Pakistan he weaves his vocal arabesques around poetic maxims from some of the great masters such as Al-Hallaj or Ibn Al-Farid. In this context the maxims become mere shivers of sound, a resonance of notes lost in the emotion of the moment.
Ahmad Al-Tuni's charisma is such that he stands out as one of the last truly great singers of his kind, those of another era where lyricism and the voluptuous sensuality of the words had their place, where the voice alone could provoke mystical love, desire, passion and the feeling of leaving the body. - Alain Weber
CD 1
1. Qulub al ashqine (The hearts of lovers)
2. Al qalima al qadima (The original word)
CD 2
1. Allah mahabba (God is love)
2. Alam (The name of the creator)
Sheikh Ahmed Al-Tuni - vocals
Salah Sharawu Abdel Sayyed - vocals
Atta Mohammed Ali - kamanga
Rachidi Rjamis Rachidi - reqq
Abdel Rahuf Inrahim Ahmad - naqrazan
Sayed Abdel Zaher - oud
Masser Abdel Hmid Ahmad - tabla
320 kbps including full scans
Part 1 | Part 2 | Part 3
Переслать - Rusen Yilmaz & Ferhat Cellali - Ud ve Kanun Taksimleri
Rusen Yilmaz & Ferhat Cellali
Ud ve Kanun Taksimleri, 2001
01. Nihavent Makami
02. Rast Makami
03. Ussak Makami
04. Muhayyer Kürdi Makami
05. Hicaz Makami
06. Hicazkar Makami
07. Sultan-i Yegah Makami
08. Kürdili Hicazkar Makami
09. Suzinak Makami
10. Acemarisan Makami
11. Sehnaz Buselik Makami
320 kbps including full scans
Part One
Part Two
Переслать - Richard Stone & Tempesta di Mare - Silvius Leopold Weiss, Lute Concerti
Richard Stone & Tempesta di Mare
Silvius Leopold Weiss, Lute Concerti,2004
Silvius Leopold Weiss was the greatest lutenist of the 18th century. His ensemble compositions have remained hitherto obscure because they are all incomplete. Only the lute tablature part remains in the known manuscripts. Richard Stone has reconstructed the flute and bowedstring parts heard on this recording.
Lute Concerto in C major
01. I. Allegro 4:51
02. II. Andante 2:29
03. III. Tempo di minuetto 2:34
Lute Concerto in D minor
04. I. Largo 2:59
05. II. Allegro 4:50
06. III. Largo 3:24
07. IV. Allegro assai 4:08
Concerto for Lute and Flute in F major
08. I. Adagio 1:28
09. II. Allegro 2:15
10. III. Amoroso 3:20
11. IV. Allegro 4:40
Concerto Grosso in B flat major
12. I. Allegro 4:59
13. II. Largo 2:55
14. III. Allegro 4:19
Lute Concerto in F major
15. I. Largo 2:35
16. II. Allegro 4:23
17. III. Largo 3:09
18. IV. Allegro 4:30
Concerto for Lute and Flute in B flat major
19. I. Adagio 2:51
20. II. Allegro 4:05
21. IV. Grave 1:58
22. IV. Allegro 3:22
320 kbps including full scans
Part One
Part Two
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