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- Branko Krsmanovic Group - Music of Serbia & Montenegro
Branko Krsmanovic Group
Music of Serbia & Montenegro, 2005
01. Vlaske igre (Valahian Dances) (trad.) - 5:25
02. Melodije Sumadije (Melodies from Shumadia) (trad.) - 6:10
03. Sopske igre (Shopian Dances) (trad.) - 4:18
04. Bunjevacke igre (Bunjevka Dance) (trad.) - 4:39
05. Srpske igre i melodije sa Kosova (Serbian Dances and Melodies from Kosovo) (trad.) - 8:11
06. Banatski motivi (Motifs from Banat) (trad.) - 4:14
07. Melodije Ponisavlja (Melodies of Ponishavlje) (trad.) - 4:51
08. Sirba (Inspired by the Romanian Sirba) (trad.) - 2:11
09. Simfonijsko Kolo (Symphony Kolo) (trad.) - 2:11
10. 11/8 - Skopsko (trad.) - 2:09
11. Melodije Vranje (Melodies from Vranje) (trad.) - 8:07
12. Oro - Muska igra (Oro - Men's Dance) (Alfred Pordes) - 6:27
13. Rumenka Kolo (trad.) - 1:38
320 kbps including full scans
Part One
Part Two
Переслать - Ueda Junko - L'épopée des Heik
Ueda Junko
L'épopée des Heike, 1990
The well-known Japanese "Epic of the Heike" (sometimes called "The Heike Story") was written around 1200, and relates the story of the Heike Clan at the end of the 12th century. The story is sung, with the singer always accompanied on the biwa, the Japanese lute. Interestingly, the story has had many styles and versions but the singing itself has remained unchanged. The highly talented Junko Ueda is a student of Kinshi Tsuruta, considered one of the greatest Japanese biwa players of this century. Both play the Satsuma-biwa, which is considered more virile and better suited for such an epic. In this particular version, Ueda accompanies herself on the biwa, which is not the case with the other styles. She performs three parts of the epic. Each story alternates with musical interludes on the biwa. The Japanese take pride in honoring and remaining truthful to their traditions, and this CD provides a taste of an 800-year-old unchanged tradition. - Bruno Deschênes
1. Atsumori
2. Nasu No Yoichi
3. Ôhara-Gokô
320 kbps including full scans
Part One
Part Two
Переслать - The Most Relaxing Classical Album in the World...Ever! IIThe Most Relaxing Classical Album in the World...Ever! Volume II is another entry in a time-worn exercise in packaging that programs a number of bits and pieces of classical works in order to achieve a "mood music" sequence conducive to relaxation. There have been (and still are) so many of these compilations around that putting together something that breaks out of the pack is proving quite a challenge to record producers. This one is a little different in that there are some pieces that are on the margin between popular music and classical, such as Toots Thielemans playing the Jean de Florette theme, John Williams' theme to the film Schindler's List, James Horner's theme to Titanic ("My Heart Will Go On"), and an instrumental version of the popular hit "Time to Say Goodbye." Does this make The Most Relaxing Classical Album in the World...Ever! Volume II better than its competition? In a sense, it makes it a little more honest -- after all, such discs are really put together for sale in the popular market rather than targeted to the classical music mainstream. It is a generous (perhaps a mite too generous), two-disc program with some rather dull proceedings and a little depressing. But the provision of excitement is not what this is designed for and as a relaxation disc, it may well fill the bill, if mostly in a "rainy day" kind of way. That's a little at odds with the front cover, which looks like an ad for Claritin. ~ Uncle Dave Lewis , Rovi
Track Listing
-------------
Disc: 1
01. Cantata No. 208, "Was mir behagt," (Hunt Cantata), BWV 208 (BC G1, G3)~ - Bach, Johann Sebast
02. Serenade No. 13 for strings in G major ("Eine kleine Nachtmusik"), K. 5 - Mozart, Wolfgang Am
03. II. Adagio (opening) - Bruch, Max
04. Nocturne for piano No. 2 in E flat major, Op. 9/2, CT. 109 - Chopin, Frédéric
05. Extract - Allegri, Gregorio
06. Theme - Williams, John [Fil
07. Kinderszenen No. 7 ("Träumerei"), for piano, Op. 15/7 - Schumann, Robert Listen
08. La Damnation de Faust, for mezzo-soprano, tenor, baritone, bass, chorus an - Berlioz, Hector
09. Air - Handel, George Frid
10. Symphony No. 9 in E minor ("From the New World"), B. 178 (Op. 95) (firs - Dvorák, Antonín
11. Theme [From Jean De Florette] - Petit, Jean-Claude Listen
12. Lute (Chamber) Concerto, for lute (or guitar), 2 violins & continuo in - Vivaldi, Antonio
13. III. Adagio - Elgar, Edward
14. Liebeslieder waltz No. 15 for piano, 4 hands in A flat major, Op. 52a/1 - Brahms, Johannes
15. The Romance [The Gadfly] - Shostakovich, Dmitr
16. Pavane, for orchestra & chorus ad lib in F sharp minor, Op. 50 - Fauré, Gabriel
17. Woodbrook, for piano - Súilleabháin, Míche
18. Time to Say Goodbye (Con te partirò), song - Quarantotto, Lucio
Disc: 2
01. Violin Concerto, for violin, strings & continuo in E major ("La Primave - Vivaldi Listen
02. Dance of the Blessed Spirits (Melody), arrangement (from "Orfeo ed Euri - Gluck, Christoph Wi
03. Concerto for 2 violins, strings & continuo in D minor ("Double"), BWV 1 - Bach, J. S.
04. Prelude for piano No. 7 in A major, Op. 28/7, CT. 172 - Chopin
05. Cantique de Jean Racine, for 4-part chorus & organ (or orchestra), Op. - Fauré
06. The Opening - Williams, Ralph Vau
07. II. Adagio cantabi - Van Beethoven, Ludw
08. Pie Jesu - Rutter, John
09. Salut d'amour, for violin & piano, Op. 12 - Elgar
10. La fille aux cheveux de lin, prelude for piano, L. 117/8 - Debussy, Claude
11. Coventry Carol (2): "Lully, Lulla, Thou Little Tiny Child" - Traditional
12. Pavane pour une infante défunte, for piano (or orchestra) - Ravel, Maurice
13. Liebesträume, notturno for piano No. 3 in A flat major ("O Lieb, so lan - Liszt, Franz
14. Panis angelicus for tenor, organ, harp, cello & bass - Franck, César
15. II. Andante - Shostakovich
16. Requiem, for orchestra, organ & chorus; for organ & chorus; for small e - Duruflé, Maurice
17. (conclusion) - Mahler, Gustav
18. My Heart Will Go On (from the film "Titanic") - Horner, J
320 kbps including front cover
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Bitrate: 208-218 kbps (VBR) Encoder: LAME 3.98
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Переслать - Best Japan Traditional Music [Box Set]
1CD: Jun Hogaku (covers+booklets+photos)
2CD: Nagauta (songs from kabuki)
3CD: Joruri (music & songs of bunraku)
4CD: Kouta & Hauta (ballad & popular songs)
5CD: Gagaku, Nogaku & Others (court music & ancient chants)
6CD: Minyo & Tsugaru-Shamisen (folksongs)
MP3 320 kbps including full scans [975 MB]
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11
Переслать - SOUTH meets NORTHSOUTH meets NORTH
Sangeetha Kalanidhi Lalgudi G. Jayaraman & Ustad Amjad Ali Khan
Violin & Sarod
India is a musically rich country. She proudly possesses two musical tradition. Hindustani Sangeet Paddhati rules the northern part of India and Carnatic Sangeet Paddhati influences the southern part of India. Here we have tried to make confluence of both the Paddhatis by calling two stalwarts to perform together.
Sanetha Kalanidhi Kalanidhi Lalgudi G. Jayaraman was born in 1930 in Lagudi village in a family blessed by Saint Thyagaraja. He had his training from his father Shri. Gopala lyer. Later on he moved to Chennai and sought recognition as a violin accompanist. However soon he emerged as a soloist. Violin got status as a solo concert instrument because of him. He has won world acclaim for his performancees, He is a composer of dance ballets too. He has staged jugalbandies with several artistes. Today he is the topmost violinist of Carnatic Paddhati of music.
Ustad Amjad Ali Khan was born on 9 October 1945 in Gwalior. He started learning music at the age of five from his legendary father Ustad Hafeez Ali Khan. The instrument Sarod that he has mastered was created by his grandfather by converting a traditional folk instrument called Rabab. Ustadji introduced Khayaal Anga Gaayakee on Sarod. He has created some new ragas called Priyadrashini. Suhag Bhairy Chandradhwani. Mand Sameer. Kiran Ranjani, etc. He is an excellent jugalbandi artise and staged jugalbandies with the artisties of Hindustani. Carantic and Western disciplines of music.
We are happy to present them in a jugalbandi. Here they have played two majestic ragas which are common in both Hindustani and Carnatic disciplines under different names.
Hindustani Bhopali corresponds to Caranatic Mohanam It is an Odav Raga which creates Shanta and Gambheer Rasas. It uses all shudha notes. It deletes "Ma" and "Ni", "ga" and "Dha" are its Vaadi - Samvaadi notes. It is an early night Raga.
Hindustani Malkauns is known as Caranatic Hindolam It is an Odav Raga which creates Veer and Gambheer Rasas. It uses Komal forms of "Ga", "Dha" and "Ni". It delets "Re" and "pa", "Ma" and "Sa" are its Vaadi - Samvaadi notes. It is a late night Raga.
They have also played two Dhun-like Ragas.
Raga: Pahadi - Sangeetha Kalanidhi Lalgudi G. Jayaraman has played Pahadi a lighter raga from the Hindustani Sangeet Parampara.
Raga: Kirwani - Ustad Amjad Ali Khan has played Kirwani a lighter raga from the Carantic tradition
FLAC (EAC Rip): 360 MB | MP3 - 320 kbs: 170 MB | Scans
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Переслать - Samir Joubran - TamaasSamir Jubran was born in Nazareth in the Galilee in 1973 into a family with a tradition in music. Samir's father Hatem is a prominent "Oud-maker in the Arab world, and his mother is a former Muashahat choir singer.
Samir was first inroduced to the 'Oud by his father at the age of five, and later entered the Music Institute in Nazareth at the age of nine. In 1995. Samir graduated from Muhammad Abdul Wahhab Conservatiore in Cairo, a highly respected musical insititution in the Arab world, specializing in 'Oud.
Jubran has taken part in a number of musical workshops and seminars in several Arab and European countries. He has also given 'Oud classes at a number of institutions and schools.
Samir has performed in a number of international and Arab music festivals either performing solo or with his music band. His music has echoed in numerous recognized halls such as the Opera house in Cairo, Jarash International Festival in Joedan, Muscat Festival in Oman, Palestinian Week in Qatar as well as through perfomances in France, Britain, Sweden, Italy, The United States and Canada.
In addition. Samir has given a number of distictive performances along with the world-renowned Palestinian poet Mahmoud Darwish at several events such as the Palestinian Spring in France 1996.
Besides performing, Samir has composed music for a number of theratical productions and Palestinan films. In 1996 Samir released his first album, "Taqaseem", which was followed by his second production "So Fahm in 2001".
Samir Jubran is the first musician to be awarded a two-year scholarship to Italy Pontedera through the Writers Asylum Program, organized through the International Parliament of Writers of the years 2003-2004.
Wisam Jubran was born in Nazareth in the Galilee in 1983 into a family with a rich tradition in music. Wissam was first introduced to the 'Oud by his brother. 'Oud player Samir Jubran, at a very early age and has participated in numerous local and international festivals, the first of which was the Palestinian Spring Festival in France 1997.
In spite of his young age, Wissam has accumulated extensive experience playing "Oud and acting, through different local theratical productions. Wissam is highly original thanks to his remarkable talent for improvisation and the smooth and intelligent alternation between the different Arabic Maqamat.
Additionally, Wissam is a professional 'Oud manufacturer who has inherited this vocation from his father. To enrich his knowledge in this field. Wissam is currently enrolled at the Antonio Stradivari Institute in Italy to become a master lute maker.
1. Khiyanat Mariha
2. Tamaas
3. Tanaas
4. Sama'e Bayat
5. Khalaas
6. Takaseem
7. Ramallah August 10
8. El Nesf El Akhar - Astoria
FLAC (EAC Rip): 300 MB | MP3 - 320 kbs: 155 MB | Booklet Scans
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Переслать - Sylvestre Randafiso & Jean-Baptiste Ramaronadrasana - Madagascar - Le Valiha
Sylvestre Randafiso & Jean-Baptiste Ramaronadrasana
Madagascar - Le Valiha, 1987
The valiha, a tube zither producing a delightfully sweet, smooth sound, is one of the oldest instruments of Madagascar. It has become the symbol of cultural unity in the island. Since primitive times, it has accompanied cultural events, daily life, and even political situations as a symbol of peace (a valiha player was sent to the adversary as a sign that talks could begin, to avoid bloodshed). On this CD, Sylvestre Randafison and Jean-Baptiste Ramaronandrasana, valihas, play great pieces from the traditional Malagasy repertoire, accompanied by Germain Rakotomavo and David Rabemananjara, guitars.
01. Afindrafindrao
02. Sento
03. Mahagaga
04. Takariva Diavolana
05. Falifaly
06. Angola
07. Ny Lanitra Mangamanga
08. Milalao Ny Ankizy
09. Hafatra
10. Torapo
11. Apela Mataho-Drango Mavo
12. Tsara Tsodrano
13. Lehilahy Mody
14. Maneritery Loha
15. Izahay Sy I Malala
16. Somambisamby
17. Mifohaza Rabetorimaso
320 kbps including full scans
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Переслать - Premkumar Mallik - In Praise of the Goddess. Devotional Songs from North India
Premkumar Mallik
In Praise of the Goddess. Devotional Songs from North India, 2006
In no other living religious tradition of the world is the veneration of goddesses - or rather, different aspects of the mother goddess - as important as in India. Since its earliest beginning, a major part of the Indian pantheon consists of females who play a special role in transmitting values which cannot be reciprocated by their male counterparts, reaching from graceful and nourishing aspects to the darker and more dangerous realms of the human psyche. The Mallik family - founded by the saintly singers Rashakrishna and Kartaram in the second half of the 18th century - has an unbroken history of venerating the mother goddess in all her different aspects. The songs featured on this CD - examples of a vast body of compositions transmitted in the family - provide ample proof of this long-lasting tradition.
The collection of songs on this CD is centered on Durga, the most venerated goddess in the Hindu Pantheon. She is regarded as the Shakti, the essence and counterpart of all the male divinities. When the buffalo demon Mahisasura threatened to destroy the world, Durga was born from the fire emanating from the mouths of the gods. Due to her slaying of the demon which earned her the title of Mahisasuramardani, she is regarded as the saviour of the universe. All other aspects of the primeval mother goddess are born from her. Usually she is represented surrounded by Karttikeya, the god of war, Ganesha, the lord over all obstacles, Saraswati, the goddess of music and learning, and Lakshmi, the goddess of wealth. Her festival, the Durga Puja, is celebrated all over India for nine days during autumn in the month of Ashvin.
This recording, and Goddess: Divine Energy (13266-2) were inspired by and produced for GODDESS: divine energy - A major exhibition exploring the myriad imaginative expressions of divine female power in the art of India and the Himalayas at the Art Gallery of New South Wales in Sydney (13 October 2006 - January 2007) in cooperation with Radio Berlin Brandenburg (RBB), Berlin Germany.
The Mallik family's musical history starts with the two brothers Radhakrishna and Kartaram who arrived at the court of Darbhanga in what is nowadays Northern Bihar, close to the Nepalese border, around 1775. The Mallik's, one of only two families who have managed to keep alive dhrupad, the most ancient and austere style of North Indian music, are famous for their unique, very rhythmically accentuated style of dhrupad singing and their rich repertory of compositions, including rags which are sung exclusively by their own family.
They have toured Europe and the United States and thanks to a new generation of curious listeners and the growing interest of contemporary composers who were fascinated by the subtleties of intonation, dhrupad came back into the concert halls. Their particular skills have made the family famous among Western scholars and lovers of North Indian vocal music. Not wanting to distinguish between 'higher' and 'lower' styles, as they did not want to differentiate between richer and poorer patrons of their art, they performed with equal willingness and grace in the biggest concert halls and in the most modest temple or private house when they felt their music was received with love, singing dhrupad and all the other styles of North Indian music - khyal, tarana, thumri and bhajan, the musical forms you can hear on this CD - with equal competence and ease.
Premkumar, the youngest son, teaches vocal music at the University of Allahabad. Prem, the first part of his name, means 'love'; Kumar is a title given to a person of noble descent.
1. Rag Durga - Chota Khyal in Drut Ektal
2. Rag Gurjari Todi - Vilambit Ektal & Chota Khyal in Drut Teental
3. Rag Bilaskhani Todi - Chota Khyal in Madhyalaya Teental
4. Rag Adana - Sultal
5. Rag Bhairavi - Bhajan in Jhaptal
Premkumar Mallik - Voice, Harmonium, Tabla
Prashant Mallik - Voice
Nishant Mallik - Voice
Priyanka Mallik - Voice & Tanpura
Ravishankar Upadhyaya - Tabla & Pakhawaj
Rashmi Mallik - Tanpura
320 kbps including full scans
Part One
Part Two
Переслать - Ballaki Sissoko, Driss El Maloumi, Rajery: 3MAGiven the choice of listening for the first time to new albums by two unknown artists, one instrumental, the other vocal, I instinctively opt for the one with words. Days or weeks later, finally succumbing to the silent reproach of the still unheard instrumental album, I give it a chance to make its case. Most often, prejudice is reinforced, as virtuosos prove their dexterity without breaking new ground. But every now and then there's a surprise, the discovery of a group of musicians whose aim is not to impress but to connect, both with each other and with the unseen listener. For reasons I can't quite get to the bottom of, the line-up that seems most likely to achieve this balance is a trio without a drummer.
The first drummer-less trio to knock me sideways were the Jimmy Giuffre Trio with 'The Train and The River' back in 1957. Jimmy blew breathy clarinet into a seemingly endless loop of picked guitar and plucked bass notes. Rhythmic, melodic, full of air and space, it became an underground secret that hooked a few of us into believing we were jazz fans for a while, until we discovered that there was nothing else quite like it, in jazz or anywhere else.
This album by three African string-pluckers follows in that tradition, satisfyingly unclassifiable. It has the same sense of musicians listening to each other with ears wide open, taking turns to play the leading melody before dropping back to provide the rhythmic pulse while the others trade phrases. There are a lot of strings attached, but they never compromise each other.
Visually, the three instruments could hardly be more different. The valiha is a simple bamboo pole with 20 strings running its length, usually made from unwound bicycle brake cables. Although it requires great dexterity, the Malagasy musician Rajery set out to become its master despite having had his right hand amputated. He has already made outstanding albums under his own name, and here proves to be a match for Ballaké Sissoko, one of Mali's most respected players of the 21-stringed kora. More elaborate than the valiha, it is still a home-made instrument, with nylon fishing line for strings. By contrast, the 11-string oud is made by professional craftsmen from highly polished wood; the least well-known of the three musicians, the Moroccan Driss El Maloumi is clearly another master.
Among the fascinations is playing the string detective, working out which musician is playing which sound. I've guessed who I think is doing what on each track, but am probably wrong half the time.
The heart of the album runs from 'Kouroukanfouga' to 'Toufoula', offering majestic melodies that soon become familiar. 'Rania' sounds remarkably like that US children's song 'Short'nin' Bread', and 'Toufala' is so authoritative, it feels like it might become the album's equivalent of 'The Train and the River'. --Charlie Gillett, The Observer.
01. Anfass
02. Awal
03. 3MA
04. Kouroukanfouga
05. Rania
06. Vero
07. Mainte
08. Toufoula
09. Kadiatou
10. Morengy
11. Taxi Brousse
12. Bonus
FLAC tracks (EAC Rip): 320 MB | MP3 - 320 kbs: 130 MB | Covers
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Переслать - Mohamad Al Qassabgi 3\5
Unfortunately Track 8 has about one minute gap, and Tracks: 9,10,11,12 are missing
Bitrate: 223 kbps (VBR) Encoder: LAME 3.98
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Переслать - The Music of India 2CDs
CD 1
1- Raga Hameer: Alap Gat I, Gat Ii, Taal Tintal - Ravi Shankar
2- Chhap Tilak Sab - Abida Parveen
3- Bulle Noon Sajhavan - Abida Parveen
4- Le Chala Jaan - Abida Parveen
5- Raga Bhairvi - Pandit Bhimsen Joshi
CD 2
1- Madya Laya Teen Taal - Ustad Amjad Ali Khan
2- Rada Nand Kunwar Saihaye - Shoba Gurtu
3- Raga Bageshwari Aalap - Pandit Hariprasad Chaurasia
Bitrate: 224-241 kbps (VBR) Encoder: LAME 3.98
CD 1 - CD 2
Переслать - Mohamad Al Qassabgi 2\5
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Переслать - Mohamad Al Qassabgi 1\5
From Wikipedia, the free encyclopediaMohamed el-Qasabgi (محمد القصبجي; pronounced [in the Egyptian dialect] el-Asabgi) (1892 - March, 1966) as an Egyptian musician and composer, and is regarded as one of the five leading composers of Egypt in the 20th century. Most of his credits went to Umm Kulthum, Asmahan, and Layla Murad who sang most of his great works and scores. Until today, most critics classify Mohamed El Qasabgi as the master of the oud due to his great abilities and skills which he had during his time.
In most of his tunes, there is a real sensation of the pure Oriental spirit, mixed with European musical techniques and taste. This was mostly seen in songs like Ya Toyour, Raa' El Habeeb, Ana Albi Daleeli.
In the above mentioned songs and many others, he was widely recognized by most musicians and critics at that time as the leader of development of Oriental music and mixing it with newest musical techniques, such as influenced brought in from Western classical traditions of his time.
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