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- Orama: Vassilis Saleas Plays VangelisVasilis Saleas is the foremost clarinet player in Greece. A former accompanist for Mikis Theodorakis, Dionisis Savopoulas, and Stamatis Spanoudakis, Saleas has worked with Greek new age instrumentalist and composer Vangelis Papathanasiou since the early '90s. His debut solo album, Orama: The Music of Vangelis, featured interpretations of Vangelis' compositions. His second solo album, Vasilios Saleas, followed in 2000. Born in Mesedogi in 1958, Saleas moved to Athens the following year. Taught to play the clarinet at the age of nine by his father and uncle, he performed his first club concert two years later. By the age of 14 he had mastered the clarinet and recorded his first disc. ~ Craig Harris, All Music Guide
[01]. Elsewhere
[02]. La Petite Fille De La Mer
[03]. Lovetheme (From Blade Runner)
[04]. The Bounty
[05]. City Of Isabel
[06]. Conquest Of Paradise
[07]. Prelude
[08]. L'enfant
[09]. Missing
[10]. Rachel's Song
[11]. The Mask
[12]. First Approach
[13]. The Will Of The Wind
MP3 320 kbps including Covers
Part One
Part Two
Переслать - La Conquista de Granada - Isabel la Católica
La Conquista de Granada - Isabel la Católica
Las Cortes europeas, los Cancioneros y Musica Andalusi Nazari
Pneuma's La Conquista de Granada: Isabel la Católica featuring Eduardo Paniagua and Música Antigua addresses in detail a number of obscure factors dealing with Spanish history. "Isabel la Católica" was, of course, the Isabella connected in most American minds with Ferdinand and Isabella, who in 1493 paid for Columbus to sail the ocean blue. Relatively few would be aware that her marriage to Ferdinand would have long-reaching implications for the political makeup of the interior of Spain, as it was during her reign that the Moorish kingdoms within were conquered. 1492 was also the year that Granada was overcome and the last Arabs expelled from the Iberian Peninsula.
In order to illustrate the time and circumstances of this period, Paniagua has assembled a free-ranging program culled from a number of sources; instrumental dance music from German, Italian, and Andalusian sources and a couple of lengthy Arabic ballads from text-only sources that have been matched to melodies culled from Spanish lute music written by Luys de Narváez. These are played on a mixture of period instruments including the viola da braccio, gamba, vihuela, oud, recorders, dulcimer, and miscellaneous percussion. The material is so obscure that one might not feel compelled to argue against the authenticity of the program; however, once you get a sense of what Paniagua is up to it is hard not to conclude that some of the historical inferences and musical relationships employed are conjectural. The recording is very well made, but quite loud; the percussion booms and the instruments are very up close in a dark and rather heavy ambience. The Arabic ballads are very long, with many verses, and the singing by Cesar Carazo is okay, but rather bland in a way and wears out one's attention span before long.
The most striking thing about this project is that Paniagua informs us that Milanese composer Joan Ambrosio Dalza, whose lute music is prominently featured in the early editions of Petrucci's Odhecathon, was not Italian but Andalusian. Given Dalza's name and stylistic fingerprints, this is a useful suggestion that has some credibility -- certainly nothing for sure is known about Dalza. Also included in this program is Hans Neusidler's Welscher Tantz -- Wacha Mesa, and although it is a very nice recording, one wonders what the Welsh dance written by the German composer is doing here. While the music is generally good, the scholarly component of Pneuma's La Conquista de Granada: Isabel la Católica seems to reach a bit too far, and this is not helped by the indifferently translated and confusing English liner notes. ~ Uncle Dave Lewis , All Music Guide
Contents:
Anon., Harmonice Musices Odhecaton, O. Petrucci, 1501
1. Dance: Dit le Burguygnon
Hans Newsidler
2. Dance: Washa mesa (Welscher tantz)
Juan del Enzina, Cancionero Musical de Palacio
3. Daca, bailemos, Carillo
Juan Ponce, Cancionero Musical de Palacio
4. Allá se me ponga el sol
Luys de Narvaez, Romance II quarto tono, Delphin de música, Valladolid 1538
5. Paseábase el rey moro
Anon., Música andalusí, trad. Moroccan
Gaybatuk, Btayhi Núba al-Istihlal
Joanambrosio Dalza, Intabolatura de Lauto, Milan 1508
6. Calata 6 a la spagnola
Francisco de la Torre, Cancionero Musical de Palacio, Bibl. Real, Madrid
7. Danza sobre La Spagna: Alta
Francisco de la Torre / Jorge Manrique, Cancionero de Segovia, Archivo de la Catedral
8. Justa fue mi perdición
Conrad Paumann, Fundamentum Organisandi, 1452
9. Mit Ganczem Willen
Juan del Enzina, Cancionero Musical de Palacio
10. Que es de ti desconsolado
Anon., Música andalusí, trad. Moroccan
Btayhi Núba Rasd
Joanambrosio Dalza, Intabolatura de Lauto, Milan 1508
11. Calata 3 a la spagnola
Playing time: 54' 33"
Música Antigua [Cesar Carazo (voice, viola da brassai), Felipe Sánchez Mascuñano (vihuela de mano), Wafir Sheik (arabic lute), Leonardo Luckert (viola da gamba), Alfonso Tomas (flautas a bisel), Eduardo Paniagua (flautas a bisel, kaval, tar, regalia, campanil), David Mayoral (dulcimer, percussions)] - Eduardo Paniagua, dir.
MP3 320 kbps including full scans
HERE
Переслать - Unforgettable Hits (5) (Harmonica)TRACK LISTINGS
[01]. Ben
[02]. The Fool Of The Hill
[03]. Blue Moon
[04]. Sailing
[05]. Johnny Guitar
[06]. One Day I Will Fly Away
[07]. Michelle
[08]. Cavatina
[09]. Emmanuelle
[10]. Evergreen
[11]. If
[12]. Love Story
[13]. Maria Helena
[14]. Aint No Sunshine
[15]. Secret Love
[16]. Chattanooga Choo Choo
MP3 VBR kbps including Cover, 2007
HERE
Переслать - Unesco Collection [14]. Anthology Of Indian Classical Music - A Tribute To Alain DaniélouAs an introduction to Indian classical music, this set served students, libraries and assorted listeners for many years. Today, improved sound fidelity and increased familiarity with world music genres have decreased demand for this release, but I would recommend it very highly to those already acquainted with Indian art music. Why? Because it features some of the earliest recordings (early 1950s) by legendary performers like Ravi Shankar and Ali Akbar Khan as well as rarely-heard musicians such as D. R. Parvatikar. One can note differences in interpretation and improvisation methods employed when dealing with recording time constraints. In addition, this set is a fitting tribute to the pioneering French musicologist Alain Danielou, who collected all this material. His work is comparable to that of Alan Lomax in its excellence and dedication. Therefore, if you are curious about how Indian music sounded half a century ago (and it has changed), these CDs will come as something of a revelation.
This is an exciting compilation from the 50's that includes great musicians like Ravi Shankar and Ali Akbar Khan in their primes, and from south india the great singer DK Pattamal and the hard to find esteemed bamboo flautist T. Vishwanathn (see Nonesuch recording with L. Shankar).
For these last two the CD is worth having alone.
Wonderful music for the serious collector of Indian music
This is an old UN project originally compiled on six LPs, now on three CDs. Half the set is devoted to north India, half to south India. This may have whetted Europeans' appetites when it first came out, but has little to offer today's interested listener. The tracks are largely excerpts from longer recordings; some of the performances are all right but too short to hold any interest. The liner notes are really bad, with much misinformation. Sound quality: so-so - these recordings are decades old, and especially the drum sounds are seriously dated.
The first disc of Hindustani music has some sideshow features. Most bizarre of all are a dismal khyal by the Dagar brothers, who of course were famous and outstanding dhrupad singers - edited together from a longer performance via very ugly cuts - and the beenkar Swami Dattatreya Rama Rao Parvatikar (1916-1990), a "wandering monk" who "observes a vow of silence and never speaks". In point of fact, this figure styled himself the "Veena Maharaj", emperor of veena, and travelled around putting together a "synthesis" of Hindustani and Carnatic classical music, and "experimented" with the "Dattatreya Veena", a combination of veena, sitar and swarmandal. The inane liner notes reveal that his "Gat is a light fantasia". The longest track, Ali Akbar Khan and Ravi Shankar in jugalbandi, is perhaps the best, though still short, at 14 minutes, and marred by ugly cuts.
Tracks 1-4 on disc two continue the Hindustani set; tracks 5-11 are Carnatic. Nandan Prasad's Malkauns bhajan, competently sung, is the only Hindustani item the set presents in entirety, except for Parvatikar's complete veena performance in Suha Kamod, which is of more questionable merit, heh. (He also presents something as far-fetched as a swarmandal solo.) The Carnatic items fare better, with three complete kriti performances. The last, Dixitar's "Ganesha Kumara" played by Budalur Krishnamurty Shastri on gottuvadyam, is especially beautiful.
The last disc is all-Carnatic. A veena duet on Tyagaraja's "Sadhincene" by Devakotai Narayana Iyengar & Kalyana Krishna Bhagavatar shows promise but is faded out after about one minute of the actual kriti. The powerful snippets from Radha Shri Ram's Bharatanatyam ensemble are actually enhanced by the poor recording quality: the mrdangam booms like thunder. Vidya's veena inclusion sounds good, but again, there are today whole CDs full of music as good and better. Otherwise, it is the Pattammal who brings superstar quality to this compilation. Unfortunately, she is not at her best in any of these tracks.
In conclusion, the Indo-curious listener would do much, much better to invest in a number of different CDs of modern recording, such as are readily available today - especially as this anthology, in an attempt to show a wide variety of Indian classical music, actually gathers together such a wealth of semi-classical material that the real classics are kept to a minimum, showcasing nothing of the real breadth in the field. Adding to that the questionable recording quality, musical merit of a considerable portion of the artists, and the fact that the music is obviously much better heard in full length, and the advise can only be to avoid this anthology completely.
Produced under the patronage of Unesco and International Music Council. This record is a tribute to Alain Daniélou, founder of the collection of Unesco traditional music. This is a re-issue of the first recordings made in India by Daniélou himself.
1-1. Raghunath Prasanna ,Durga Prasanna & Katvaru Lal - Le Mode Bhairavi
1-2. Mohin Ud Din Dagar* & Amin Ud Din Dagar* - Khyal
1-3. Ravi Shankar - Le Mode Ahiri-Lalita
1-4. Mishra Shyam Lal & D.K. Chatterji - Le Mode Malkosh
1-5. Narayan Das Mishra & Mishra Shyam Lal - Le Mode Todî
1-6. Svami D.R. Parvatikar* - Gat
1-7. Chaturial* - Tabla Solo
1-8. Ravi Shankar, Ali Akbar Khan & Chaturial* - Sitar, Sarode Et Tabla
1-9. Mohin Ud Din Dagar* & Amin Ud Din Dagar* - Alap
1-10. Ali Akbar Khan - Le Mode Sindhi-Bhairavi
2-1. Raghunath Prasanna & Motilal - Thumri
2-2. Svami D.R. Parvatikar* - Svara Mandala
2-3. Nandan Prasad & Mishra Shyam Lal - Bhajana
2-4. Svami D.R. Parvatikar* - Le Mode Suha Kamode
2-5. Bala Sarasvati Orchestra - Jatisvaram
2-6. P.R. Balasubrahmanyam - Alapana
2-7. K.S. Pichiappa ,K.M. Dakshinamurti , T. Subrahmanya Pillai* & Muthu Kumaram - Alapana
2-8. Kamala Krishnamurti - Kriti
2-9. K. Ganeshan - Tirmana
2-10. D.K. Pattamal* , Tiruvallur Subrahmanyam ,Palghat Kunjumani & Shiva Pattamal - Le Mode Varali
2-11. Budalur Krishnamurti Shastri , Varahur Muthusvami Aiyar & Tinniyam Venkatarama Aiyar - Ganesha Kumara
3-1. Mudi Kondan C. Venkatarama , Vellore Gopalachari , M. Chandrashekharan & Karaikudi Mutha - Pallavi
3-2. T. Visvanathan* & T. Ranganathan - Javali
3-3. Unknown Artist - Pallavi
3-4. D.K. Pattamal*, Kalyan Krishna Bhagavatar & Karaikudi Muttu Aiyar* - Javali
3-5. Kalyan Krishna Bhagavatar, Devakotai Narayana Lyengar & Karaikudi Mutha - Sdhincene
3-6. Radha Shri Ram Orchestra - Varnam
3-7. S. Vidya - Varnam
3-8. Bala Saravasti Orchestra - Varnam
3-9. T. Visvanathan* & T. Ranganathan - Sandehamunu
3-10. Tiruvallur Subrahmanyam ,D.K. Pattamal* , Palghat Kunjumani & Shiva Pattamal - Ninyako
3-11. Muthu Kumaram - Solo De Mridangam
3-12. Radha Shri Ram Orchestra - Jnana Vinayakané
MP3 320 kbps including Covers [380 MB]
Archives have 5% of the information for restoration
Part 1 | Part 2 | Part 3
Переслать - Veretski Pass - Traditional East European Jewish Music
Veretski Pass
Traditional East European Jewish Music,2004
With Eastern European roots that go back centuries, when Jews and Gentiles made music together before anyone thought of calling it "world music", Veretski Pass offers a unique and exciting combination of virtuosic musicianship and raw energy that has excited concertgoers across the world. Between the three members of this band, there are eight instruments on stage; violin, viola, two tsimbls (hammered dulcimer) , 19th century button accordion, bass, bassetl (three stringed bass), basy (three stringed Polish folk cello) and baraban (Jewish style drum).
Playing in an unbound, energetic "village style", this band of veterans plays klezmer music of historical Eastern Europe on original instruments; melodies from Ukraine, Carpathian-Ruthenia, Bessarabia and Rumania. Much of this rare music has been gleaned from field recordings gathered by the musicians themselves in numerous trips throughout Europe. With its colorful instrumentation and unique arrangements, this seminal ensemble carries on the ancient tradition of klezmer musicians, playing music of all kinds, but with a recognizable Jewish sound.
Carefully researched regional styles combined with unrestrainable energy gives this group it's unique sound, which has been called "raw, naked and unashamed". The music is always fresh, because nothing is fixed except the style. Veretski Pass is capturing audiences everywhere with it's spontaneous and explosive renditions of the lost repertoire of Eastern European Jewry.
In exotic Eastern Europe, the roots of World Music go back centuries. Jews, Christians, and Moslems, Rumanians, Ukrainians, and Roma played music together in an atmosphere of sharing, in a multicultural area where professional musicians had to know as many musical styles as the diverse languages of the people with whom they lived and worked.
Confidently crossing the border between mature mastery and village madness, Veretski Pass, an ensemble of veteran klezmer artists Cookie Segelstein, Stuart Brotman and Joshua Horowitz, plays Old Country Music; melodies from Medieval Poland, dances from Bessarabia, Ruthenia, and Bukovina, music with origins in the Ottoman Empire, lands once fabled as the borderlands of the East and the West.
This virtuosic group of musical eccentrics synthesizes raw energy and polished musicianship to produce music of unusual depth and power, with fire and finesse, warmth and wonder, in a variety of traditional sonorities. A full palette of complementary tone colours pours from expertly played violin, viola, bass viol, button accordion, bass drum, and tsimbl.
Whether teaching a workshop, or working their crowd into a frenzy in concert, this trio of vibrant musicians draws rave reviews wherever they appear.
Cookie Segelstein, 19th Century violin and viola, received her Masters degree in Viola from The Yale School of Music in 1984. She is principal violist in Orchestra New England and assistant principal in The New Haven Symphony Orchestra. Cookie teaches klezmer fiddling at Living Traditions' KlezKamp and The Albuquerque Academy, has been on staff twice at Centrum's Festival of American Fiddle Tunes in Port Townsend, Wash., and teaches a klezmer class at Educational Center for the Arts in New Haven, Connecticut. She has performed with The Klezical Tradition, The Klezmatics, Klezmer Fats and Swing with Pete Sokolow and the late Howie Leess, Kapelye, Margot Leverett and the Klezmer Conservatory Band. She is a founding member of The Youngers of Zion with Henry Sapoznik, and has recently joined Budowitz. She has presented lecture demonstrations and workshops on klezmer fiddling all over the country, including at Yale University, University of Wisconsin in Madison, University of Oregon in Eugene, Pacific University and SUNY-Cortland. She was featured on the ABC documentary, "A Sacred Noise", heard on HBO's "Sex and the City", and on several recordings including the Koch International label with Orchestra New England in "The Orchestral Music of Charles Ives", The Klezical Tradition's "Family Portrait" and Adrianne Greenbaum's "Fleytmuzik". She is also active as a Holocaust educator and curriculum advisor and has been a frequent lecturer at the Women's Correctional Facility in Niantic, CT. Cookie lives in Madison, Connecticut.
Joshua Horowitz, tsimbl and 19th Century accordion, received his Masters degree in Composition and Music Theory from the Academy of Music in Graz, Austria, where he taught Music Theory and served as Research Fellow and Director of the Klezmer Music Research Project for eight years. He is the founder and director of the ensemble Budowitz and has performed with Rubin and Horowitz, Brave Old World, Adrienne Cooper and Ruth Yaakov. Joshua taught Advanced Jazz Theory at Stanford University with the late saxophonist Stan Getz and is a regular teacher at KlezKamp, The Albuquerque Academy and Klez Kanada. His musicological work is featured in four books, including The Sephardic Songbook with Aron Saltiel and The Ultimate Klezmer, and he has written numerous articles on the counterpoint of J.S. Bach. His recordings with Budowitz, the Vienna Chamber Orchestra. Rubin & Horowitz, Alicia Svigals, Adrianne Greenbaum and Fialke have achieved international recognition and he is the recipient of more than 40 awards, including the Prize of Honor for his orchestral composition, Tenebrae, presented by the Austrian government. Beside his work as a musician, he led the first post-WWII music therapy group at the pioneering Beratungszentrum in Graz, Austria. He is currently working on a book of his essays for Scarecrow Press. Joshua lives in Berkeley, California.
Stuart Brotman, bass, basy, and baraban, has been an accomplished performer, arranger and recording artist in the ethnic music field for over 35 years. He holds a B.A. in music from the University of California at Los Angeles, and has taught at KlezKamp, Buffalo on the Roof, the Balkan Music and Dance Workshops and KlezKanada and has been recording, touring, and teaching New Jewish Music with world class ensemble Brave Old World since 1989. Long admired as a versatile soloist and sensitive accompanist in traditional and pop music circles, he has toured and recorded with Canned Heat, Kaleidoscope, Geoff and Maria Muldaur and played cimbalom with Ry Cooder at Carnegie Hall. Stu appeared in the Los Angeles production of Ghetto, the San Francisco production of Shlemiel the First, and performs frequently in ethnic music specialty roles for TV and film. A founding member of Los Angeles' Ellis Island Band, he has been a moving force in the Klezmer revival since its beginning. He produced The Klezmorim's Grammy nominated album, Metropolis. He toured with the Yiddisher Caravan, a federally funded Yiddish folklife show, and has performed with The Klezmorim, Kapelye, Andy Statman, the Klezmer Conservatory Band, Davka, The San Francisco Klezmer Experience, Khevrisa and Itzhak Perlman. Stuart lives in Berkeley, California.
The violin, played by Cookie Segelstein, a 19th C. Maggini copy, remained the representative instrument of klezmer music right up until the beginning of the 20th Century, when it was replaced by the clarinet as the "quintessentially Jewish" instrument. Early documents from the 16th Century even show the icon of a violin as the emblem for a klezmer guild. Older styles of bowing, fingering, phrasing and ornamenting, imititating various gestures of East Ashkenazic synagogue singing, were considered lost and forgotten until just recently. These techniques form an integral part of the unique sound of Veretski Pass.
The viola, also called Groyse Fidl [Yid. Big Fiddle], Sekund, Kontra or Zsidó Bratsch [Hun.], played by Cookie Segelstein, is typically used for the constant playing of chords in a rhythmic style. According to descriptions by Gypsies throughout Romania and Hungary, Jews typically used various types of this chord instrument, with either 3 or 4 strings. The function of string accompaniment fell out of use with the increased inclusion of wind instruments in the klezmer ensembles around the end of the 19th Century, and although still commonly used in the folk music of Hungarian minorities throughout Romania, Cookie Segelstein is the only one to have explored the viola as a solo instrument in klezmer music.
The tsimbl (hammered dulcimer, or cymbalom), played by Joshua Horowitz and Stuart Brotman formed the rhythmic and timbral backbone of klezmer music from the 16th to the late 19th Century. Its ability to play accompaniment as well as melody made it a versatile and necessary member of the klezmer ensemble. The construction and tuning of the tsimbls in Veretski Pass were only made possible after years of detailed research into the iconography, descriptions and early existing recordings of the instrument. The various types of strokes, ornaments and asymmetric phrasings and rhythms used, points to an older, more refined approach of playing, and lends a combination of percussive brittleness as well as a soft ethereal sound cloud to Veretski Pass.
The accordion used by Joshua Horowitz was built in 1889 By Karl Budowitz. It represents the earliest type of fully chromatic button accordion, and formed the basis of the Russian Bayan developed in the early 20th Century. The warm, reedy sound, which at times yields the uncanny illusion of a small wind orchestra, is made possible through the materials used for its construction - bone, wood, goat leather and brass. Its ability to ornament and phrase like the human voice is achieved largely through the smaller, more controllable bellows and the specific fingering techniques used. The earliest recordings of klezmer music on accordion (ca.1913) reveal an identical sound and style to that found in Veretski Pass.
The basy played by Stu Brotman is a small bass played in the Tatra Mountains of Poland. It is now usually made out of a standard 'cello. It has three strings: a D string and two A strings an octave apart, played together as a pair.
The bass, played by Stuart Brotman, made in 1822, is frequently seen in early depictions of klezmer ensembles from the 16th Century, often strapped around the shoulder to enable processional playing. The instrument fell completely out of use by the beginning of the 20th Century - a fact that is difficult to understand, given its versatility. Rather than merely taking over a schematized bass, the bass in Veretski Pass weaves in and out of the bass and tenor role, even interacting abundantly with the melody in the lower octave. It provides the very distinct "moaning" sound typical in klezmer music, through frequent use of glissandi and speech-oriented articulation. The short bow also enables variegated articulation and the three gut strings lend Veretski Pass its unique driving sound.
The baraban, (Yid. drum) was reconstructed by the Remo company under the supervision of Stuart Brotman. It has two heads with a cymbal mounted on its top, which is commonly played by a fork or spoon. The Poik provides the backbeat for dancing tunes. In the hands of a skilled player, it can provide an endless array of sounds, at times mimicking the human voice.
The Carpathian flute played by Stu is known in Romania as the tilinca. It is an end-blown flute without finger holes, a simple wooden tube sharpened on one end to form the mouthpiece. It is blown in such a manner as to produce overtones; the end is opened or closed with one finger to select even or odd harmonics.
Veretski Pass, Traditional East European Jewish Music is a recording by the trio of the same name made up of klezmer veterans Cookie Segelstein, Joshua Horowitz and Stuart Brotman. Much of the music on this recording comes from and near the region of the Veretski Pass (after which the group is named) in the Transcarpathian region of what is now Ukraine, the main crossroads through which the Jews traversed the Carpathian Bow. Some melodies were passed on to Cookie by her father who was born in the town of Nizhni Veretski, at the base of this pass. Others were collected by the members themselves in their travels throughout Eastern Europe. Much of the music on this CD is recorded for the first time. The instruments used on this recording are largely 19th Century versions of the violin, viola, 3 stringed bass, basy (3 stringed polish folk cello), bayan (early chromatic button accordion), tsimbl (Jewish hammered dulcimer) and baraban (Jewish bass drum).
Veretski Pass: Traditional East European Jewish Music by the trio of the same name made up of klezmer veterans Cookie Segelstein, Joshua Horowitz and Stuart Brotman. Much of the music on this recording comes from and near the region of the Veretski Pass (after which the group is named) in the Transcarpathian region of what is now Ukraine, the main crossroads through which the Jews traversed the Carpathian Bow. Some melodies were passed on to Cookie by her father who was born in the town of Nizhni Veretski, at the base of this pass. Others were collected by the members themselves in their travels throughout Eastern Europe. Much of the music on this CD is recorded for the first time. The instruments used on this recording are largely 19th Century versions of the violin, viola, 3 stringed bass, basy (3 stringed polish folk cello), bayan (early chromatic button accordion), tsimbl (Jewish hammered dulcimer) and baraban (Jewish bass drum).
There is a stunning suite of Crimean Tatar music which is both haunting and virtuosic. The Crimean Tatars are considered one of the three indigenous peoples of the Crimean Peninsula. Hoping to strip the Crimean Tatars of their ethnicity, Stalin eliminated close to half of their population and decimated their cultural institutions. The Tatars therefore viewed the German occupation of Crimea as their last hope of survival. The Nazis in turn saw this as a unique opportunity to turn other Russian minorities against Stalin, so they declared the Tatars a people and recorded their folk music on 78 r.p.m discs. These recordings were made available to Verestki Pass by Prof. Martin Schwartz (from the collection of Dr. Zev Feldman) and reappear here for the first time in a new interpretation.
There is a rare Karaite song, followed by improvisations and a pyrotechnic fiddle song performed on a scordatura violin. The Karaite Jews accept only the written word of the Old Testament and reject the rabbinical Oral Commentaries. As a people, they have also been brutally subjugated by their neighbors and spurned by the Jewish Community at large. Their music has been kept close to their culture.
There are also original compositions, a suite with a bass and viola duet, traditional Jewish and Ukrainian dance tunes all accompanied by booklet with rich photographs and finely wrought essays by each of the members of the trio, making this album a treasure trove of sound and word. This is truly a creative and powerful use of a small group of players who make music reminiscent of raucous and confident village musicians, nothing short of a redefinition of the genre we now call klezmer.
01. Tyachiver Sirba (Ukrainian-Jewish / arr. Segelstein) 2:11
02. Sólyom Pál (Romanian-Hungarian) 2:28
03. Araynfir Introduction (comp. Segelstein) 0:24
04. Kroilid Karaite Song 1:44
05. Fir Strunes Forshpil Four String Prelude (comp. Segelstein) 0:45
06. Fir Strunes Four Strings (arr. Segelstein) 1:48
07. Horowitz Geveyn Horowitz's Lament (comp. Horowitz) 3:01
08. Hershfelds Bulgar (Jewish) 2:01
09. Segelsteins Geveyn Segelstein's Lament (Tatar / arr.Segelstein ) 3:03
10. Lid fun dem Shvartsen Yam Black Sea Song 1:36
11. Tatarisher Longa Tatar Longa 2:00
12. Papir Is Dokh Vays Paper is White (Jewish) 2:05
13. Libus Nign Libu's Melody (Jewish) 0:48
14. Berols Rikudl Berol's Dance (Jewish) 0:44
15. Veretskier Raca (comp. Segelstein/Carpathian Ukraine) 1:10
16. Vinnitser Sher (Jewish-Ukrainian) 4:46
17. Ikh Lig Hinter Grates I Stand behind Bars (Jewish) 1:38
18. Horowitz Forshpil Horowitz's Prelude (comp. Horowitz) 2:22
19. Yosls Terkisher (comp. Moskowitz/Jewish) 2:42
20. Makonovetskiis Skotshne (Jewish) 1:55
21. Hutzulska Pisnia Hutzul Song (comp. Segelstein) 0:16
22. Veretskier Kolomeyke (Ukrainian/arr. Segelstein) 2:43
23. Pizni Vesilni Zvuky Bullets at the Wedding (Ukrainian, arr. Segelstein) 2:43
24. Tyachiver 7:40 (Ukrainian-Jewish) 2:17
25. Dovha Doroha The Long Road (Ukrainian) 0:25
26. Zakarpatska Kozachok Transcarpathian Cossack Dance (Ukrainian/arr. Segelstein)
27. Hora Midor (Jewish) 2:32
28. Tiraspoler Bulgar (Jewish) 1:17
29. Fanfara Suceava (Romanian) 1:19
30. Stanislaver Bulgar (Jewish) 2:13
Cookie Segelstein - violin, viola
Joshua Horowitz - button accordion, tsimbl
Stuart Brotman - bass, basy, baraban
320 kbps mp3, including full booklet scans
Part One
Part Two
Переслать - Le Festival au Désert
Le Festival au Désert, 2003
01. Takamba Super Onze - Super 11 4:46
02. Afel Bocoum - Buri Baalal 5:00
03. Tartit - Tihar Bayatin 3:02
04. Robert Plant & Justin Adams - Win My Train Fare Home 6:03
05. Sedoum Ehl Aida - Ya Moulana 3:19
06. Lo'Jo + Django - Jah Kas Cool Boy 5:01
07. Oumou Sangare - Wayena 3:01
08. Ali Farka Toure - Karaw 4:56
09. Tinariwen - Aldachan Manin 3:38
10. Adama Yalomba - Politique 3:12
11. Tidawt - Ariyalan 2:11
12. Ludovico Einaudi & Ballake Sissoko - Chameaux 3:46
13. Kel Tin Lokiene - Ihama 2:45
14. Kwal + Foy-Foy - Le Juge Ment 4:01
15. Tinde - Wana 3:10
16. Aicha Bint Chighaly - Koultouleili-Khalett La 4:19
17. Igbayen - Oubilalian 2:22
18. Baba Salah - Fady Yeina 2:10
19. Blackfire - What Do You See 3:39
20. Django - Laisse-Moi Dire 2:34
320 kbps mp3; including full booklet scans
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Переслать - U Tin Htoo & Ensemble - Hsaing-Waing of Myanmar
U Tin Htoo & Ensemble
Hsaing-Waing of Myanmar, 1992
01. Salutation Overture
02. Five Fundamental Kinds Of Instruments
03. Panama Tune
04. Improvisation (Hne, Pat-Waing, Si & Wa)
05. La-Sanda
06. Improvisation (Palwe)
07. Wa-Than-Kha-Mhi
08. In Praise Of The King
09. I Shall Have My Beloved Side On A Horse Under The Moonlight
10. To-Bwe-Yodaya (Male Voice)
11. To-Bwe-Yodaya (Female Voice)
12. A Song To Call Back My Beloved
13. In Summer The Snow Melts Away
14. Loving For Snow
15. Tei-Tat
16. Improvisation (Saung)
17. Many Ethnic Groups In Myanmar Shall Be Friend
320 kbps including full scans
Part 1
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Переслать - Ravi Shankar - Portrait of GeniusRavi Shankar has been described as one of the greatest musicians on the planet. This record, one of his classic World Pacific albums, clearly lends credence to that statement. But the thing that makes this record interesting is the fact that it contains a unique fusion of Shankar and his group performing with respected jazz flutist Paul Horn. It's an extremely gratifying combination, and Horn plays with a true jazzman's restraint on the five short selections that open the record. The second half is
devoted to one long (20 minute) traditional raga, "Raga Multani," in which Shankar's awesome ability and stamina is matched only by that of his ensemble, especially Alla Rakha on tabla. Essential for any fan of Shankar or Indian music. Awesome. ~ Matthew Greenwald, All Music Guide
1. Tala Rasa Ranga
2. Dhun
3. Tabla - (with Dhwani)
4. Song From the Hills
5. Tala-Tabla Tarang
6. Gat Kirwani
7. Raga Multani
FLAC (EAC Rip): 250 MB | Front Cover | 1998
Part One
Part Two
Переслать - Ravi Shankar & Ali Akbar Khan - More Flowers Of India
Ravi Shankar & Ali Akbar Khan - More Flowers Of India
Fifty years ago, ambassadors Ravi Shankar and Ali Akbar Khan initiated us into the arcane mysteries of their nation's centuries-old traditions and one cannot understate the impact the music of India has subsequently had on Western culture. Little more than a decade after the first visits of these great masters to Europe and states, the entire map of Western popular music had been compprehensively redrawn.
By the early Seventies, both Shankar and Khan had been spearheaded, the global musical landscape had altered irrevocably. The folk and protest movement spearheaded by Bob Dylan in the early Sixties may have opened rock's eyes to a world beyond the narrow confines of boy-meets-girl, by India gave it the musical means to address the whole universe.
An assortment of early work from Ravi Shankar -- most of it done before his 60s rise to fame in the US, and with a sound that's very much ahead of its time! The first large part of the CD features spare recordings that were later issued on Columbia and World Pacific -- mostly long trio ragas that feature Ravi's sitar with tabla and tamboura -- on titles that include "Raga Ahir Bhairav", "Raba Yamani Bilawal", "Theme From Pater Panchali", "Raga Marwa", and "Raga Sindhi Bhairavi". One shorter track also features Ali Akbar Khan on sarod with Ravi's sitar -- on "Raga Jhila Kafi" -- and the CD closes with a 15 minute "Raga Darbari", which features Ali Akbar Khan on sarod.
1. Raga Ahir Bhairav
2. Raga Simhendra Madhyamam
3. Raga Sindhi-Bhairavi
4. Raga Bhimpalasi
5. Raga Marwa
6. Raga Yamani Bilawal
7. Theme from the Film "Peter Panchali"
8. Raga Jhila Kafi - Ali Akbar Khan, Ravi Shankar
9. Raga Darbari - Ali Akbar Khan
MP3 VBR kbps, Incl. Covers.
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Переслать - Nayi Osman Dede - Mevlana
NAYI OSMAN DEDE (1652?-1730)
The composer of Turkish religious music, a virtuoso of ney and scientist of music. he was born in Istanbul, Vefa. Nayi Osman Dede was known as the best neyzen and a unique virtuoso of his times and in 1680 he became the master of neyzen in Galata Mevlevihane. He did his work for 18 years and by the Seyh Gaysi Dede, he is appointed to the biggest Mevlevihane in Istanbul as the seyh.
Osman Dede lived in the periods of five sultan from two races Besides being a great virtuoso of ney, he is also a very good calligrapher a poet and a genius composer who has a great place in the world of Turkish music.
MEVLANA CELALEDDIN-I RUMI
(Belh, 1207 - Konya, 1273)
Agreat poet, scientist, Sufi and the founder of Mevlevi Seet. He came and established in Anatolia where he became famous and called "Rumi" (Anatolia) and he gained respects of everyone which made him called as MEVLANA that means "our master".
His father is Bahaeddin Veled who was well known as Sultan ul Ulema (Sultan of the Seintists.)
Bahaeddin Veled felt very uncomfortable because of the fanaticism around Belh and the attacks of the Mongols. After he went to Nisabur, Baghdad and Mecca for pilgrim, he has passed through Anatolia where there was a great toleration on discussing every thought and opinion at those times.
Then he went to Konya with his son in 1928 by the invitation of Seljukian Sultan Alaaddin Keykubat and he died in this city in 1231.
Mevlana took lessons materially and morally from his father and from most efficient scientists in Konya and in the places where he has been. He was able to speak Persian, Arabic, Modern Greek and Hebrew language of the highest degree.
THE MEVLEVI RITE
Being a Mevlevi was established as a seet after the death of Mevlana by his son Sultan Veled who was formed Mevlevi as a religious order according to his fathers thoughts, After that, the people in this way has called as "Mevlevi".
The Mevlevi rites have been being done as a symbol of struggling while setting free of self existence for being in the right was with using right.
The Mevlevi rites are played and sung by the commission of "Mutrip" in the place which is called "Semahane". In this commission, the "Naathan" group who reads the rites is placed together with the players of the Turkish Music instruments especially ney and kudum.
These rites are composed of four main parts which are performed with special costumes by the commission of Mutrip and Semazens and every part of these rites is called "Selam".
In the first selam, lovers set free from all kinds of doubts and they start believing in God. In the second selam, they accept that God is unique.
In the third one, they reach to the level of a great and in the fourth selam, they start to turn around themselves. Seyh is also added to sema in this selam. He symbolizes Mevlana as being in the middle. When Seyh reaches his Post. Sema and Koran is started to read. After that, rites ends with the pray.
(01) [nayi osman dede] Ussak pesrevi
(02) [nayi osman dede] Birinci selam
(03) [nayi osman dede] Ikinci selam
(04) [nayi osman dede] Ucuncu selam
(05) [nayi osman dede] Dorduncu selam
(06) [nayi osman dede] Son pesrev
(07) [nayi osman dede] Son yuruk semai
(08) [nayi osman dede] Son taksim (ney)
APE (EAC Rip): 230 MB | MP3 - 320 kbs: 110 MB | Booklet Scans
Archives have 5% of the information for restoration
APE
Part 1 | Part 2
OR MP3 320 kbps
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Переслать - Ding Chengyun & Fu Lina - Harmonious Qin And SeThe 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".
The se is an ancient Chinese plucked zither (string instrument). It is probably the ancestor of many Asian zithers, including the Chinese guzheng and the Japanese koto. It has 25 strings with moveable bridges and has a range of up to five octaves.
1. Man and God
2. Evening Song of the Drunken Fisherman
3. Three Variations of the Yang-guan
4. Memories of an Old Friend
5. Dialogue between Fisherman and Woodcutter
6. Meditation in Autumn by the Dongting River
7. The Moon on Guan Mountain
8. Mist and Clouds over Xiao and Xiang Rivers
EAC Rip | Flac, image + .cue, log-file | Front Cover
Part One
Part Two
Переслать - Yang Lining - Three Variations on Plum BlossomBorn in Peking (Beijing) in 1960, Yang Lining began music at the age of 9, and Gu Qin cithara at the age of 14. She studied Gu Qin with the greatest masters of this noble instrument. She was awarded as a "Master" by the Central Conservatory of Music of Peking in 2007, the highest distinction for a classic Chinese musician.
Yang Lining starts very early her career of soloist, first in China, then in Japan , finally in Europe , where she moves to Paris in 1987.
She performed many concerts and recordings until the year 2000, when she decided to look at other activities. As she is a tea expert, she decided to open her own tea room in Paris.
The deteriorated former reception rooms of an 18 th century mansion, « Hotel Mazin-La Fayette », located 8 rue d'Anjou, were chosen in connection with the historical background of the place (last residence of General La Fayette) and in connection too with the perfect location in the luxury and business district faubourg Saint-Honore.
The first two rooms, entirely restored, opened in 2001. A restored room opened each year until 2005, then the "1728" took the final appearance we know today: a 450 square meters gastronomic restaurant, gallery and tea room dedicated to 17 th to 19 th century fine arts and Chinese archaeology too (Mrs Yang Lining is an antiques collector).
While she still was a child, Yang Lining lived the end of the "red years" of the Chinese Cultural Revolution; she still remains scandalized by the major destructions and burnings of historical and antiques music instruments and scores. This painful memory stimulated her wish to communicate Chinese culture and classic music to the next generation. In this direction, she has created her own holding and she controls now 100% of the capital. She has been recently nominated C.E.O. of the trust company of the 1728.
In the year 2007, the 1728 realized a 2.2 M€ turnover excluding VAT, and served a little bit more than 30,000 meals (for lunch and dinner). Privatization programmes also provided a 460,000 € turnover excluding VAT for the year 2007.
Yang Lining still works on the project of an institute which purpose will be a bridge between 18 th century French fine arts she loves, and Chinese classic fine arts (Song and Ming periods are her favourites). Her main concert instrument is a 700 years old cithara of the Ming era. This project should appear within three years.
1 Oars Slapping on the Boat
2 Three Variations of the Parting at Yangguan
3 Memories of an Old Friend
4 A Dialogue between the Fisherman and the Woodcutter
5 Water and Mist
6 Three Variations on Plum Blossom
7 The Mantra of Pu'an
8 The Moon over the Guanshan Mountain
9 Wild Geese Descending on the Sandbank
| EAC Rip | APE, image + .cue | 300 MB | Front Cover
Chinese Qin and the Philharmonic Orchestra
Part One
Part Two
Переслать - Sony Classical - Great Performances (1903-1998) [Box Set]
LEGENDARY RECORGINGS FROM THE WORLD'S GREATEST ARTISTS...
80 CLASSIC TRACKS OVER 4 HOURS OF MUSIC
This 4 CD set not only contains some of the best performances of the last century, but also works as a comprehensive review of some of the finest musical literature spanning from the Baroque period to Modern Avant-Garde. Some of the earlier recordings are better for nostalgia purposes due to the poor mediums of the times, but the performances for the most part are professional. Only complaint: Some of the best works (Wagner's "Die Walküre", for example) are only provided in excerpt form to showcase a certain performer or section of the piece. Otherwise a worthy investment for the price and amount of quality music that is presented.
Giuseppe Campanari (Performer), Max Hediguer (Performer), Edgar Meyer (Performer), Hector Console (Performer), Leonard Rose (Performer), Yo-Yo Ma (Performer), Benny Goodman (Performer), Gioachino Rossini (Composer), Henryk Wieniawski (Composer), Bela Bartok (Composer), Ludwig van Beethoven (Composer), Heitor Villa-Lobos (Composer), Felix [1] Mendelssohn (Composer), Camille Saint-Saens (Composer), Giuseppe Verdi (Composer), Niccolo Paganini (Composer), Maurice Ravel (Composer), Samuel Barber (Composer), Johann Sebastian Bach (Composer), Kurt Weill (Composer)
Sony Classical Great Performances, 1903-1998 (Disc:1)
Largo al factotum from Il barbiere di Siviglia
Composer: GIOACCHINO ROSSINI (1792-1868)
Artists: Charles Adams Prince;Giuseppe Campanari | Giuseppe Campanari - Baritone (Vocal) | Charles Adams Prince - Piano 2:33
02.
Mazurka No. 1 in G Major, "Obertass", Op. 19, No. 1
Composer: HENRI WIENIAWSKI (1835-1880)
Artists: Camille DeCreus;Eugene Ysaye | Eugene Ysaye - Violin | Camille DeCreus - Piano 2:07
03.
II. Piheno (Relaxation) from Contrasts for Violin, Clarinet and Piano
Composer: BELA BARTOK (1881 - 1945)
Artists: Benny Goodman;Béla Bartók;Joseph Szigeti | Béla Bartók | Joseph Szigeti - Violin | Benny Goodman - Clarinet 4:31
04.
IV. Allegro - Prestissimo from String Quartet in C minor, Op.18, No. 4
Composer: Ludwig Van Beethoven (1770-1827)
Artist: Budapest String Quartet 4:15
05.
Aria - Cantilena from Bachiana brasileira No. 5
Composer: HEITOR VILLA-LOBOS (1887-1959)
Artist: Bidu Sayao
Conductor: Hector Villa Lobos 7:02
06.
III. Allegretto non troppo - Allegro molto vivace from Concerto for Violin and Orchestra in E minor, Op. 64
Composer: FELIX MENDELSSOHN (1809-1847)
Artists: Bruno Walter;New York Philharmonic | Bruno Walter | Nathan Milstein - Violin | New York Philharmonic
Conductor: Bruno Walter 5:22
07.
La donne è mobile from Rigoletto
Composer: GIUSEPPI VERDI (1813-1901)
Artists: Emil Cooper;Metropolitan Opera Orchestra | Richard Tucker - Tenor (Vocal) | Metropolitan Opera Orchestra | Emil Cooper
Conductor: Emil Cooper 1:56
08.
II. Prestissimo, con sordino from String Quartet No. 4
Composer: BELA BARTOK (1881 - 1945)
Artist: Juilliard String Quartet 2:49
09.
Fossils from Carnival of the Animals
Composer: Camille Saint-Saens
Artists: Andre Kostelanetz;Andre Kostelanetz & His Orchestra;Noël Coward | Jascha Zayde - Piano | André Kostelanetz | Leonid Hambro - Piano | Andre Kostelanetz And His Orchestra | Noel Coward
Conductor: André Kostelanetz 1:55
10.
III. Rondo: Allegro spirituoso from Concerto No. 1 for Violin and Orchestra, Op. 6
Composer: Niccolo Paganini (1782-1840)
Artists: Eugene Ormandy;The Philadelphia Orchestra | Zino Francescatti - Violin | The Philadelphia Orchestra | Eugene Ormandy
Conductor: Eugene Ormandy 5:43
11.
I. Prélude from Le Tombeau de Couperin
Composer: Maurice Ravel
Artist: Robert Casadesus 2:46
12.
X. The Desire for Hermitage from Hermit Songs, Op. 29
Composer: SAMUEL BARBER (1910-1981)
Artists: Samuel Barber;Leontyne Price | Samuel Barber - Piano | Leontyne Price 3:19
13.
Variation 30 a 1 Clav. Quodlibet
Composer: JOHANN SEBASTIAN BACH (1685-1750)
Artist: Glenn Gould 0:49
14.
Aria da capo
Composer: JOHANN SEBASTIAN BACH (1685-1750)
Artist: Glenn Gould 2:11
15.
Mack the Knife from The Three Penny Opera
Composer: Kurt Weill (1900-1950)
Artist: Lotte Lenya
Conductor: Roger Bean 3:04
16.
III. Menuetto - Trio from Symphony No. 36 in C Major, K. 425 "Linz"
Composer: Wolfgang Amadeus Mozart (1756-1791)
Artists: Bruno Walter;Columbia Symphony Orchestra | Bruno Walter | Columbia Symphony Orchestra
Conductor: Bruno Walter 4:25
17.
III. Allegro vivace assai from Concerto No. 21 for Piano and Orchestra, K. 467
Composer: Wolfgang Amadeus Mozart (1756-1791)
Artists: Alexander Schneider;Columbia Symphony Orchestra | Columbia Symphony Orchestra | Rudolf Serkin - Piano | Alexander Schneider
Conductor: Alexander Schneider 6:25
18.
V. Rondo (Allegro) from Symphonie Espagnole in D minor, Op. 21
Composer: EDOUARD LALO (1823-1892)
Artists: Eugene Ormandy;The Philadelphia Orchestra | Isaac Stern - Violin | The Philadelphia Orchestra | Eugene Ormandy
Conductor: Eugene Ormandy 6:48
19.
Battle Hymn of the Republic
Composers: P. Wilhousky | Traditional
Artist: The Mormon Tabernacle Choir | The Philadelphia Orchestra
Conductor: Eugene Ormandy 4:41
Sony Classical Great Performances, 1903-1998 (Disc: 2)
Danse sacrale (L'Elue) from The Rite of Spring
Composer: IGOR STRAVINSKY (1882-1971)
Artists: Igor Stravinsky;Columbia Symphony Orchestra | Igor Stravinsky | Columbia Symphony Orchestra
Conductor: Igor Stravinsky 4:35
02.
VIII. Ritual Fire Dance from El Amor Brujo
Composer: MANUEL DE FALLA (1876-1946)
Artists: Leopold Stokowski;The Philadelphia Orchestra | Leopold Stokowski | The Philadelphia Orchestra | Shirley Verrett - Mezzo-Soprano (Vocal)
Conductor: Leopold Stokowski 3:23
03.
Hoe-Down. Allegro from Rodeo (Four Dance Episodes)
Composer: Aaron Copland
Artists: Leonard Bernstein;New York Philharmonic | Leonard Bernstein | New York Philharmonic
Conductor: Leonard Bernstein 3:09
04.
Fugue in G minor, BWV 578
Composer: JOHANN SEBASTIAN BACH (1685-1750)
Artist: E. Power Biggs 4:05
05.
Prelude in C Major, BWV 846 from "The Well-Tempered Clavier, Book I"
Composer: JOHANN SEBASTIAN BACH (1685-1750)
Artist: Glenn Gould 2:22
06.
II. Allegretto scherzando from Symphony No. 8 in F Major, Op. 93
Composer: Ludwig Van Beethoven (1770-1827)
Artists: Pablo Casals;Marlboro Festival Orchestra | Marlboro Festival Orchestra | Pablo Casals
Conductor: Pablo Casals 3:43
07.
No. 8 in G minor (Presto) from Slavonic Dances, Op. 46
Composers: George Szell | Antonin Dvorák
Artists: George Szell;The Cleveland Orchestra | George Szell | The Cleveland Orchestra
Conductor: George Szell 4:04
08.
IV. "Urlicht" - Sehr feierlich, aber schlicht from Symphony No. 2 in C minor "Resurrection"
Composer: Gustav Mahler
Artists: Leonard Bernstein;New York Philharmonic | Jenny Tourel - Mezzo-Soprano (Vocal) | Leonard Bernstein | Lee Venora - Soprano (Vocal) | Collegiate Chorale | New York Philharmonic
Conductor: Leonard Bernstein 2:51
09.
I. Psalm 108 (verse 2) & Psalm 100 (complete) from Chichester Psalms for Chorus and Orchestra
Composer: LEONARD BERNSTEIN (1918-1990)
Artists: Leonard Bernstein;New York Philharmonic | Leonard Bernstein | Camerata Singers | John Bogart - Alto (Vocals) | New York Philharmonic
Conductor: Leonard Bernstein 3:34
10.
III. Scherzo: Allegro leggierissimo from Octet in E-flat Major, Op. 20
Composer: FELIX MENDELSSOHN (1809-1847)
Artists: Marlboro Festival Octet | Arnold Steinhardt - Violin | Jaime Laredo - Violin | John Dalley - Violin | Alexander Schneider - Violin 4:26
11.
Étude in C-sharp minor, Op. 2, No. 1
Composer: ALEXANDER SCRIABIN (1872-1915)
Artist: Vladimir Horowitz 3:11
12.
Étude in A-flat Major, Op. 72, No. 11
Composer: MORITZ MOSZKOWSKY (1854-1925)
Artist: Vladimir Horowitz 1:31
13.
I. Allegro con spirito from Concierto de Aranjuez for Guitar and Orchestra
Composer: Joaquin Rodrigo
Artists: Eugene Ormandy;Members of the Philadelphia Orchestra | Members of the Philadelphia Orchestra | Eugene Ormandy | John Williams (Guitar) - Guitar
Conductor: Eugene Ormandy 5:57
14.
III. Alla marcia from Karelia Suite, Op. 11
Composer: JEAN SIBELIUS (1865-1957)
Artists: Eugene Ormandy;The Philadelphia Orchestra | The Philadelphia Orchestra | Eugene Ormandy
Conductor: Eugene Ormandy 4:34
15.
Canzon Septimi Toni No. 2
Composer: GIOVANNI GABRIELI (c.1554/57-1612)
Artists: The Philadelphia Brass Ensemble;The Chicago Brass Ensemble | The Philadelphia Brass Ensemble | Robert Boyd - Trombone | Thomas Wohlwender - Trumpet | Myron Bloom - French Horn | Gilbert Johnson - Trumpet | Mason Jones - French Horn | Seymour Rosenfeld - Trumpet | The Chicago Brass Ensemble | Bernard Adelstein - Trumpet 2:47
16.
Fanfare For The Common Man
Composer: Aaron Copland
Artists: Aaron Copland;London Symphony Orchestra | London Symphony Orchestra | Aaron Copland
Conductor: Aaron Copland 3:16
17.
Beau Soir
Composers: Claus Ogerman | CLAUDE DEBUSSY (1862-1918)
Artist: Barbra Streisand | Columbia Symphony Orchestra
Conductor: Claus Ogerman 2:38
18.
Baroque and Blue from Suite for Flute and Jazz Piano
Composer: Claude Bolling
Artists: Jean-Pierre Rampal;Claude Bolling;Marcel Sabiani;Max Hédiguer | Max Hédiguer - Bass (Vocal) | Claude Bolling - Piano | Marcel Sabiani - Drums | Jean-Pierre Rampal - Flute 5:15
19.
III. Rondo. Allegro assai from Concerto No. 20 in D minor for Piano and Orchestra, K. 466
Composer: Wolfgang Amadeus Mozart (1756-1791)
Artists: Murray Perahia;English Chamber Orchestra | Murray Perahia - Piano | English Chamber Orchestra
Conductor: Murray Perahia 7:15
20.
Danse générale from Daphnis et Chloê
Composer: Maurice Ravel
Artists: Pierre Boulez;New York Philharmonic | Pierre Boulez | New York Philharmonic | Camerata Singers
Conductor: Pierre Boulez 4:20
Sony Classical Great Performances, 1903-1998 (Disc: 3)
Eubie's Classical Rag
Composer: EUBIE BLAKE (1883-1983)
Artist: Eubie Blake 3:48
02.
Intermezzo in B minor, Op. 119, No. 1
Composer: Johannes Brahms
Artist: Rudolf Serkin 4:25
03.
III. Allegro from Concerto No. 2 in D Major for Cello and Orchestra, Hob.VIIb, 2
Composer: Joseph Haydn
Artists: Jose Luis Garcia;English Chamber Orchestra | English Chamber Orchestra | Jose-Luis Garcia
Conductor: Jose-Luis Garcia 4:23
04.
Behind the Gardens - Behind the Wall - Under the Tree (Including: Red - Dark Blue - Yellow)
Composer: Andreas Vollenweider
Artist: Andreas Vollenweider 7:19
05.
Perhaps Love
Composer: John Denver
Artists: John Denver With Placido Domingo Plácido Domingo | John Denver - Guitar | John Denver With Placido Domingo Plácido Domingo | Placido Domingo - Tenor (Vocal)
Conductor: Lee Holdridge 2:56
06.
"FAÇADES" from GLASSWORKS
Composer: Philip Glass
Artists: Philip Glass Ensemble | Philip Glass | Sharon Moe - French Horn | Jack Kripl - Clarinet | Larry Wechsler - French Horn
Conductor: Michael Riesman 7:21
07.
O mio babbino caro from Gianni Schicchi
Composer: GIACOMO PUCCINI (1858-1924)
Artist: Kiri Te Kanawa | The London Philharmonic Orchestra
Conductor: Sir John Pritchard 2:26
08.
Passo pel prat
Composer: JOSEPH CANTELOUBE (1879-1957)
Artists: Antonio De Almeida;Royal Philharmonic Orchestra | Antonio de Almeida | Royal Philharmonic Orchestra | Frederica von Stade (mezzo) - Mezzo-Soprano (Vocal)
Conductor: Antonio de Almeida 3:39
09.
III. Allegro from Concerto in E-flat Major for Trumpet and Orchestra, H.VIIe, 1
Composer: Joseph Haydn
Artists: Raymond Leppard;National Philharmonic Orchestra | Wynton Marsalis - Trumpet | National Philharmonic Orchestra | Raymond Leppard
Conductor: Raymond Leppard 4:27
10.
I. Allegro from Flute Concerto in D Major, RV 428 "Il gardellino"
Composer: Antonio Vivaldi
Artist: Claudio Scimone | Jean-Pierre Rampal - Flute
Conductor: Claudio Scimone 3:54
11.
Promenade (Walking The Dog)
Composer: George Gershwin
Artists: Michael Tilson Thomas;Los Angeles Philharmonic | Michael Tilson Thomas - Piano | Los Angeles Philharmonic
Conductor: Michael Tilson Thomas 2:54
12.
III. Allegro fugato from Sonata No. 5 in D Major for Cello and Piano, Op. 102, No. 2
Composer: Ludwig Van Beethoven (1770-1827)
Artists: Emanuel Ax;Yo-Yo Ma | Yo-Yo Ma | Emanuel Ax 4:45
13.
VII. Turangalîla II - Un peu vif, bien modéré from Turangalîla-Symphonie
Composer: OLIVER MESSIAEN (1908-1992)
Artists: Esa-Pekka Salonen;The Philharmonia Orchestra | Paul Crossley - Piano | The Philharmonia Orchestra | Esa-Pekka Salonen
Conductor: Esa-Pekka Salonen 3:58
14.
IV. Rondo alla zingarese. Presto from Quartet No. 1 in G minor for Piano and Strings, Op. 25
Composer: Johannes Brahms
Artists: Isaac Stern;Jaime Laredo;Yo-Yo Ma;Emanuel Ax | Jaime Laredo | Isaac Stern - Violin | Emanuel Ax - Piano | Yo-Yo Ma 8:03
15.
Mazurka No. 3 in C minor, Op. 56
Composer: Frederic Chopin
Artist: Vladimir Horowitz 5:06
16.
II. Vivace from String Quartet in D minor, Op. 56 "Voces intimae"
Composer: JEAN SIBELIUS (1865-1957)
Artists: Juilliard String Quartet | Joel Smirnoff - Violin | Robert Mann - Violin 2:37
17.
"Ch'ella mi creda libero e lontano,..." from La fanciulla del West (The Girl of the Golden West)
Composer: GIACOMO PUCCINI (1858-1924)
Artists: Mara Zampieri;Placido Domingo;Juan Pons | Placido Domingo - Tenor (Vocal) | Juan Pons | Mara Zampieri - Soprano (Vocal) 2:06
Sony Classical Great Performances, 1903-1998 (Disc: 4)
Main Theme from Star Wars
Composer: John Williams (Guitar)
Artist: John Williams (Guitar) | Skywalker Symphony Orchestra
Conductor: John Williams (Guitar) 5:50
02.
Andante from Concerto in D minor for 2 Mandolins
Composer: Antonio Vivaldi
Artists: Yo-Yo Ma & Bobby McFerrin | McFerrin, Bobby | Yo-Yo Ma 4:00
03.
Salut d'amour, Op. 12
Composer: EDWARD ELGAR (1857-1934)
Artists: Midori;Robert McDonald | Robert McDonald - Piano | Midori 3:11
04.
"Minuet" from String Quintet No. 1 in E Major, Op. 13 No. 5, G. 275
Composer: LUIGI BOCCHERINI (1743-1805)
Artists: Bobby McFerrin;The Saint Paul Chamber Orchestra | The Saint Paul Chamber Orchestra | McFerrin, Bobby
Conductor: McFerrin, Bobby 3:39
05.
Bagatelle in A minor for Piano, WoO 59, "Für Elise"
Composer: Ludwig Van Beethoven (1770-1827)
Artist: Murray Perahia 2:52
06.
Appalachia Waltz
Composers: MARK O'CONNOR (b. 1961) | Edgar Meyer (b. 1960)
Artists: Yo-Yo Ma;Mark O'Connor;Edgar Meyer | Edgar Meyer | Mark O'Connor | Yo-Yo Ma 5:45
07.
Rhapsody in Blue -- Opening Section
Composer: George Gershwin
Artists: Robert Sadin;Orchestra of St. Luke's | Robert Sadin | Marcus Roberts - Piano | Orchestra Of St. Luke's
Conductor: Robert Sadin 9:54
08.
All the Delights of the Season
Composer: PATRICK DOYLE (b.1953)
Artists: Robert Ziegler;Tony Hymas;Patrick Doyle | Robert Ziegler | Robert Hill - Clarinet | Patrick Doyle | Tony Hymas - Piano | Jonathan Snowdon - Flute
Conductor: Robert Ziegler 1:14
09.
Steam Engine
Composer: PATRICK DOYLE (b.1953)
Artists: Robert Ziegler;Tony Hymas;Patrick Doyle | Tony Hymas - Piano | Patrick Doyle | Jonathan Snowdon - Flute | Robert Hill - Clarinet | Robert Ziegler
Conductor: Robert Ziegler 1:19
10.
Summon the Heroes
Composer: John Williams (Guitar)
Artists: John Williams;The Boston Pops Orchestra | The Boston Pops Orchestra | John Williams (Guitar)
Conductor: John Williams (Guitar) 3:35
11.
Prélude from Unaccompanied Cello Suite No. 1 in G Major, BWV 1007
Composer: JOHANN SEBASTIAN BACH (1685-1750)
Artist: Yo-Yo Ma 2:22
12.
Brünnhilde's Battle Cry from Die Walküre "Hojotoho"
Composer: Richard Wagner
Artist: Jane Eaglen | Orchestra of the Royal Opera House, Covent Garden
Conductor: Mark Elder 2:16
13.
Sonata in A Major, K 537
Composer: DOMENICO SCARLATTI (1685-1757)
Artist: Murray Perahia 2:58
14.
The Murder from Psycho: A Suite for Strings
Composer: BERNARD HERRMANN (1911-1975)
Artists: Esa-Pekka Salonen;Los Angeles Philharmonic | Los Angeles Philharmonic | Esa-Pekka Salonen
Conductor: Esa-Pekka Salonen 1:00
15.
Flight of the Bumblebee (Interlude from The Tale of the Tsar Saltan)
Composer: NICOLAI RIMSKY-KORSAKOV (1844-1908)
Artist: Arcadi Volodos 1:33
16.
I. Preludio from Partita No. 3 in E Major, BWV 1006
Composer: JOHANN SEBASTIAN BACH (1685-1750)
Artist: Hilary Hahn 3:30
17.
Libertango
Composer: ASTOR PIAZZOLLA (1921-1992)
Artists: Yo-Yo Ma | Antonio Agri - Violin | Hector Console - Bass (Vocal) | Leonardo Marconi - Piano 3:08
18.
Angel (Lust) [Edited version]
Composer: JOE JACKSON (b. 1954)
Artists: Mary Rowell;Allison Cornell;Sue Hadjopoulos;Dawn Upshaw;Suzanne Vega;Joe Jackson | Joe Jackson | Mary Rowell - Violin | Sue Hadjopoulos | Suzanne Vega | Dawn Upshaw | Allison Cornell 4:28
19.
Theme from Schindler's List
Composer: John Williams (Guitar)
Artists: John Williams;Itzhak Perlman | John Williams (Guitar) | Itzhak Perlman | Pittsburgh Symphony Orchestra
Conductor: John Williams (Guitar) 3:33
20.
Song of Peace
Composer: TAN DUN (b. 1957)
Artists: Tan Dun;Hong Kong Philharmonic Orchestra | Hong Kong Philharmonic Orchestra | Yip's Children's Choir | Tan Dun
Conductor: Tan Dun 4:02
EAC rip | Flac(tracks) - Cue - Log | 1.24 GB | Full Covers
Archives have 5% of the information for restoration
CD 1: Part 1 | Part 2
CD 2: Part 1 | Part 2
CD 3: Part 1 | Part 2
CD 4: Part 1 | Part 2
Переслать - The Shin - EgAri
The Shin
EgAri, 2006
The Shin formed in 1998 in Germany where Zaza Miminoshvili and Zurab J. Gagnidze have been living since the end of the 20th century. In the early 21st century, Mamuka Ghaghanidze hurried to join them. Since then, The Shin has been on their musical mission as a trio.
The group members are well known even in their Georgian homeland as leading composers and musicians. They have scripted pieces for productions at the Tbilisi State Theater, numerous film, TV, and radio projects, have participated in various festivals and have won several prizes in recognition of their work.
Amazingly, The Shin are able to smoothly combine Georgian folk melodies with jazz, native polyphonic singing with scat, and in general the music of the near Orient with the modern sounds popular in the West today.
The Shin, in their search for a sound that is definitively Georgian, has created a trans-regional fusion of various Georgian styles. Their project EgAri is based on Georgian instrumental music, traditional polyphonic vocals, and folk dance, and unites for the first time these quite separate segments of Georgian culture. It is an unusual, and highly non-traditional combination of archaic and modern, Caucasian and non-Caucasian instruments, elements of Georgian harmonies with diverse jazz threads. The Shin are not iconoclasts, however. Only what continues to evolve will remain — in that spirit, The Shin see themselves as safe keepers of Georgian traditions, not its destroyers.
EgAri brought together the best musicians on the national scene, in particular virtuosos of the archaic instruments. EgAri is the reinitiation of a peaceful dialog between East and West, old and new, "Ours" and "Not-Ours", that has been characteristic of Georgian culture for centuries. This dialog is recognizable in the poetry of Rustaveli, the paintings of Pirosmani, the architecture of Tbilisi, the choreography of George Balanchine (Georgi Balanchivadze), the films of Otar Ioseliani, and yes... …the music of The Shin.
01. Take this morning
02. Old friend
03. Chips on the water
04. What then?
05. Swanny waltz
06. Born in the saddle
07. Grass & asphalt
08. On tiptoes
09. Standard lullabby
10. Grandma's blessing
Zaza Miminoshvili - guitars, panduri
Zurab J. Gagnidze - bass, vocals
Mamuka Gaganidze - vocals, percussion
Mamuka Chichinadze - vocals, bass
Guivi Bakuradze - Gesang
Alexander Hizanhishvili - chonguri, duduki, salamuri, chiboni, chuniri
Hvicha Hvitisiashvili - panduri, duduki
Zviad Totiauri - solo duduki
David Shirtladze - doli
320 kbps including full scans
Part One
Part Two
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