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WeLove-music
Music of the World speaks of peoples with their unique originality and of Mankind in all its precious diversity. Are you interested in World Music? If so - let's keep in touch!
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Asita Hamidi's Bazaar - Nâfas
Asita Hamidi - electric harp, shinese gu-cheng, vocal Björn Meyer - electric upright bass, bass samples Fabian Kuratli - drums, udu, percussion Don Li - alto sax, bass clarinet, feta flute Guests: Kaspar Rast - udu, Patric Lerjen - acc. guitar Produced & Arranged by Don Li

01. indsha
02. nâfas
03. mohdar
04. intro
05. nora
06. gol
07. gaur
08. jâd
09. intro
10. dochtare
11. alldjun
12. thorn
13. intro
14. cardamon
15. extro

MP3 192 kbps

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Naftali Herstik & Philharmonic Orchestra Brno - Prayers from Jerusalem
Naftali Herstik & Philharmonic Orchestra Brno
Prayers from Jerusalem, 1994

Cantor Naftali Herstik, Chief Cantor of the Great Synagogue of Jerusalem, was born in Salgotarjan, Hungary, and emigrated with his family to Israel at the age of three. Descended from a long line of cantors, he showed early talent as a boy chorister and cantorial soloist. He first studied with his father, then with such other noted cantors as Leib Glantz, Shlomo Ravitz, and Moshe Koussevitzky, and he completed his education at the Royal College of Music in London, where he subsequently served for a number of years as cantor of the Finchley Synagogue. Acclaimed for the refinement and elegance he brings to cantorial art and to prayer, Cantor Herstik has also sung in concert with the London Festival Orchestra, the London Mozart Players, the Jerusalem and Prague symphony orchestras, the Israel Philharmonic and Zurich Chamber orchestras, and many internationally noted choirs. His two historical recordings with Israel's Rinat Choir, documenting the synagogue musical traditions of the former German cities of Konigsberg (now Kaliningrad, Russia) and Danzig (now Gda'nsk, Poland), were critically praised for their artistry and authenticity. His recording Prayers from Jerusalem, with the Brno Philharmonic Orchestra (Czech Republic) conducted by Elli Jaffe, was described by the Jerusalem Post as displaying a "golden voice [that] reaches directly to our heart," giving the feeling of "sitting in a synagogue and being part of a communal prayer in which the cantor transmits the feelings of the individual to God." In 1998 in London, Cantor Herstik sang the lead cantorial solo in Vanished Voices, an oratorio created and conducted by Neil Levin to mark the fiftieth anniversary of Reichskristallnacht; and in 1991 he was the principal soloist at a London concert commemorating Salomon Sulzer (the architect of modern cantorial art), with Levin conducting the English Chamber Choir in the inaugural event of the seven-city international Sulzer Congress, "A Voice for Our Time." Herstik is also a dedicated teacher of hazzanut at Israel's principal cantorial school.

1. B'rosh hashana
2. T'ka - B'shofar
3. Ata. Noten. Yad
4. Shomer - Yisrael
5. U'vyom - Hashabat
6. Sham'ah
7. Elu-D'varim
8. V'lirushalayim

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Sharafat Hussain Khan & Yunus Hussain Khan - Inheritance
Sharafat Hussain Khan & Yunus Hussain Khan
Inheritance, 2005

Sharafat Hussain Khan
1. Anandi - Sughrai
2. Kamod - Bhairavi Dadra
Yunus Hussain Khan
3.-4. Lecture Demonstration: Various Aspects on Kalyan Thaat

320 kbps including full scans

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Fandangos

Although in the beginning it was a cante (style of song) for dancing, at present many of its variations are songs that are only for listening. The themes are usually of a sententious nature, some carrying important socio-political messages or concerning amorous themes. They can be sung with musical accompaniment or "a palo seco" (sung straight, without accompaniment, a capella), that is, striking a table with a closed fist for the first section, and progressively opening out one's fingers, rhythmically, during the next two sections.
The range of fandangos is immense although they can be roughly divided into three main categories:
a) Regional fandangos (from Huelva, from Lucena, from Málaga ...)
b) Personal fandangos, or those created by individuals (the ones of El Gloria, Pérez de Guzmán, Vallejo, Cepero ...).
c) Malagueñas, rondeñas, granaínas and murcianas are derived from fandangos.

Some of its early performers were El Niño de Cabra, Rafael Pareja, Pérez de Guzmán, El Gloria, etc., but it was Pepe Marchena who moved fandango away from its classical regional moulds, earning it generalised popularity. The path that Manolo Caracol followed is different although, like Marchena's, it is of a personal nature, but full of feelings and of gypsy jondura (depth, an attribute to express solemnity, depth of feeling, a primitive or archaic flavour). The coplas (poetic compositions, in verse, used as lyrics) are made up of four or five eight-syllable verses, which sometimes become six due to the repetition of one of them. (www.esflamenco.com/palos)

Listado

[01].Piensa ser buena y honrá-Rafael Farina
[02].Lagrimas mías-Niña de La Puebla
[03].En un huerta de Lora-Pepe Núñez 'El Loreño'
[04].Ha de llegar el momento-La Marelu
[05].Que a los hombres avasallaba-Pepe Pinto
[06].Tu cara en la mia-Niña de los Peines
[07].De que siempre de queria-Niño Mairena
[08].Sue maltraten a su mare-José Palanca
[09].Causa de mi perdicion-José Cepero
[10].La sangre de mis venas-Niña de Antequera
[11].Te encuentras desampara-Niño de Marchena
[12].En un almendro florecido-Porrina de Badajoz
[13].Se queda aqui-El Sevillano
[14].Fue tu carita una rosa-Juanito Valderrama
[15].La vi pasar (Fandangos de Huelva)-Príncipe Gitano
[16].Que yo soy alegre-Niño de la Huerta
[17].Fandangos Militares-Angelillo
[18].Cuando me echabas de menos-Tomás Pavón
[19].A tu puerta bella aurora-Canalejas
[20].Que del nío la cogi-Manolo Caracol

WAV
Part 1
Part 2
Part 3
Part 4

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