Oum Kalthoum - HAGARTAK

Oum Kalthoum - Hajartak, 1959

Composer: Reyad al-Sunbati
Lyrics: Ahmed rami
Genre: Ughniyah
Maqam : Kurd

HERE

Ammar al-Shar'ieh Plays Mohammad Abdul Wahab - Ahwak

1. Gafnuhu

2. Ahwak

3. Ya Wabour Kol Li

4. Itmakhtari Ya Khayl

5. Ah Minka

6. Ana Wu Habibi

7. al-Ameh

8. Abjad Hawaz





HERE

Sabri Brothers - Shikwa Jawab-e-Shikwa

SHIKVAH JAVAB -E-SHIKVAH

Haji Ghulam Farid Sabri & Haji Maqbool Ahmed Sabri

The Sabri Brothers, Haji Ghulam Farid (or Fareed) Sabri (1930-1994) and Haji Maqbool Ahmed Sabri (also born in Kalyana in East Punjab, on October 12, 1945), they were taught music by their father, Ustad Haji Inayat Sen Sabri. The family claims descent from Mian Tansen, one of the greatest and most legendary Hindustani musicians of all time. The musically gifted Tansen was a musician in the court of Akbar and is credited with miraculous powers of musicianship. Maqbool Ahmed Sabri formed his first party of qawwals at the age of 11; soon afterwards in 1956 his elder brother (who had been singing with Kallan Khan's qawwal and party) joined him and the Sabri Brothers proper came about. Their career was marked by brotherly squabbles followed by periods of each doing solo work. The duo created a body of recorded work, consistent in quality, but rather more traditional than Nusrat Fateh Ali Khan's recorded work. Ghulam Farid Sabri's funeral in Karachi was attended by an estimated 40,000 mourners. Haji Maqbool Ahmed Sabri continues to carry the torch. ~ Ken Hunt, All Music Guide



1. SHIKVA JAVAB-E-SHIKVA (Part-1)



Lyrics: Allama Iqbal

Artiste: Haji Ghulam Farid Sabri

Haji Maqbool Ahmed Sabri Qavval & Party

Music: Maqbool Ahmed Sabri



2. SHIKVA JAVAB-E-SHIKVA (Part-2)



Lyrics: Allama Iqbal

Artiste: Haji Ghulam Farid Sabri

Haji Maqbool Ahmed Sabri Qavval & Party

Music: Maqbool Ahmed Sabri



MP3 VBR kbps including Covers



HERE

Paco de Lucía y Ramón de Algeciras en Hispanoamérica

Segundo disco que Paco de Lucía y Ramón de Algeciras dedicaron a la música popular latinoamericana después del disco grabado en 1967 titulado "Dos guitarras flamencas en América Latina".



Paco de Lucía. Francisco Sánchez Gómez. Algeciras (Cádiz), 1947. Guitarist



Perhaps the most universal of flamenco performers. His father was a modest player who never went beyond amateur meetings, although he established the firm purpose of making his sons major flamenco performers so they would never suffer the financial hardships he had to suffer. He achieved this, making them study hard from an early age. Ramón de Algeciras is a prestigious guitarist; Pepe de Lucía has made his career as a singer; María Luisa and Antonio have not become professional performers due to circumstances, although she sings and he was on the way to becoming a good guitarist; and Paco is the genius. He says he could not have been anything else in life: "One is what one was in childhood, and I spent the whole of my childhood surrounded by flamenco performers". He was a thirteen year old boy when he began to work in the dance company of José Greco, at what everyone starts with: accompanying cante and dance; and he did this in an impeccable way, in spite of his extreme inexperience. He met Camarón shortly after and, as Paco has said, fell in love with him for ever. He remembers that stage as the most beautiful in his life. They frequently toured together and the singer and him "played and sung round the clock, whole nights inventing things". And they made records which are now listened to more than ever. Paco de Lucía always admired El de la Isla more, perhaps more than anyone else, because he represented the ideal of what he would have liked to be. "I never wished to be a concert guitarist, because what I had liked from my childhood was to sing. But I was very shy, very fat; I felt very ridiculous and I hid behind the guitar. I am a frustrated singer". At the end of the sixties, the beginning of the seventies, the art of Paco de Lucía was known the world over. His style was already perfectly defined, after the first stage in which Niño Ricardo was his fundamental model, and in a second in which he discovered Sabicas, Mario Escudero and others, to then establish his personal way of playing. In 1975 he gave a concert that made history at the Royal Theater in Madrid, which brought his definitive consecration.



His permanent concern for innovation has earned him the reproach of the guardians of absolute orthodoxy. There was certainly a time in which his constant contributions made him the most revolutionary in flamenco music. He has confessed that he became afraid when he realized that he changed his way of playing relatively frequently, until one day when he realized that "whatever I do, my sound will always be flamenco, because I am who I am". Since then, he has played in a more spontaneous way, allowing himself liberties that he would never have dreamed of before. His attempts at approaching other musics is are noticeable, not only because they enriched his art, but because they had a decisive effect on later flamenco. However, he has assumed that he will never loose his flamenco identity, and precisely that is where his strength lies. He does not know music and has learned everything by intuition. He recognizes he lacks musical technique, although on the other hand, he has resources he has invented himself. "What gives strength and motivates my way of playing is precisely it being flamenco; if it were not flamenco, it would not be me". He has acted in several films.



TRACK LISTINGS



1.Amapola 2.Pájaro Chogüí 3.Yo vendo unos ojos negros 4.Guadalajara 5.Limeña 6.Las Mañanitas 7.Alma, corazón y vida 8.Quizás, quizás, quizás 9.Tico, tico 10.Lamento Borincano 11.Y todo a media Luz 12.La Paloma.



FLAC (EAC Rip): 270 MB | MP3 - 320 kbs: 155 MB | Booklet Scans



Archives have 5% of the information for restoration



FLAC

Part 1 | Part 2 | Part 3



OR MP3 320 kbps

Part 1 | Part 2

Kante Manfila & Balla Kalla - Kankan Blues

Kante Manfila & Balla Kalla
Kankan Blues
KW Out of Africa Series, 1991

This is a stunning record. Ace Afro-Frankfurter Gunter Gretz went to Manfila's hometown of Kankan and recorded him and various relatives, including balafonist Balla Balla. As you'd expect of a family of griots, there's magnificent traditional singing here, along with acoustic and electric guitar and superb balafon. Gretz's notes are both eccentric and very revealing, with a long account of the sundry hazards of field recording. ~ John Storm Roberts, All Music Guide

01. Kankan Blues
02. Baiye Baara Fabara
03. Djeliha
04. Damano
05. Lamagnote
06. Naroumba Conde
07. Djelia
08. N'na
09. Kanakassi
10. Naroumba Conde (Jali Version)

HERE

Kasbek - Russian-style Klezmer. Jewish Music from Eastern Europe

Kasbek
Russian-style Klezmer. Jewish Music from Eastern Europe, 1996/2000

01. Zilberne Khasene 2:15
02. In Odess 3:15
03. Kasbek 3:49
04. Oy Piydu Ya... 4:01
05. Heyser Bulgar 4:21
06. Tshubtshik 3:23
07. Kishinever Bulgar - Shtiler Bulgar 3:43
08. S'is Fintzer In Mayn Gesale 2:49
09. Bulgar N°4 - Malkele 4:25
10. Khosn Un Kaleh 4:03
11. Djankoye 2:44
12. Doyna - Kandels Hora - Odessa Bulgar 8:25
13. Di Mezinke Oysgegebn 3:13
14. Papirosn - Kupite Papirosy 4:28
15. Eti Tshorniye Glaza 3:10
16. Lebedik - Freylekh 2:58
17. Russian Sher 4:05
18. Kolomayer Badkhen - Lebedik Un Freylekh 6:09

Frieder Breitkreutz - violin, vocals
Andreas Karpen - balalaika, vocals
Christian Müller - bass balalaika, vocals
Uwe Sauerwein - guitar, vocals

320 kbps; including full booklet scans

Part One
Part Two

Karin Krog & Dexter Gordon - Some Other Spring

Karin Krog & Dexter Gordon
Some Other Spring, 2000 (1970)

When this album was recorded in May 1970 Dexter Gordon had been a Scandinavian resident on and off for eight years, working regularly at Copenhagen's Montmartre club with pianist Kenny Drew and bassist Niels-Henning Orsted Pedersen. He met Oslo-born Karin Krog - 'a musician first and a vocalist second' - when they shared the bill at the Neptun Jazz Club in Bergen, Norway, 1963, and a deep mutual respect developed from that point on. In 1967 Krog and Gordon worked together on a show for Danish television and it was then that idea for this album was born.
'Some Other Spring' was recorded for the Sonet label in 1970 and was then reissued on the Storyville label in 1971. It has gone on to become a classic album and is now presented for the first time on CD, together with four extra tracks not included on the original release ("Ode To Billy Joe", "Some Other Spring", "Blue Monk", "Shiny Stockings").

01. Some Other Spring 5:05
02. Blue Monk 4:03)
03. How Insensitive 4:41
04. Blues Eyes 4:58
05. Jelly Jelly 5:03
06. I Wish I Knew 5:25
07. Everybody's Somebody's Fool 4:45
08. Shiny Stockings 3:52
09. Ode To Billy Joe 8:22
10. Some Other Spring (Alternate) 4:32
11. Blue Monk (Alternate) 4:08
12. Shiny Stockings (Alternate) 6:54

Karin Krog - vocals
Dexter Gordon - tenor saxophone, vocals
Kenny Drew - piano, organ
Niels-Henning Orsted Pedersen - bass
Espen Rud - drums

flac including full scans

Part 1 | Part 2 | Part 3 | Part 4

Track 2 missing, unfortunately!

Konrad Junghänel - Baroque Esprit. Esaias Reusner, Lute Suites

Konrad Junghänel
Baroque Esprit. Esaias Reusner, Lute Suites, 1992/2002

Suite d-minor
1. I. Präludium
2. II. Paduan
3. III. Allemanda
4. IV. Couranta
5. V. Saraband
6. VI. Gavotte
7. VII. Gigue
Suite c-minor
8. I. Allemanda
9. II. Courant
10. III. Sarabanda
11. IV. Gavotte
12. V. Gigue
Suite D-major
13. I. Sonatina
14. II. Allemanda
15. III. Courant
16. IV. Sarabanda
17. V. Gavotte
18. VI. Gigue
19. VII. Passacaglia
Suite g-minor
20. I. Allemanda
21. II. Courant
22. III. Sarabanda
23. IV. Aria I
24. V. Aria II
25. VI. Ballett
26. VII. Gigue
Suite c-minor
27. I. Paduana
28. II. Allemanda
29. III. Couranta
30. IV. Sarabanda
31. V. Gigue
Suite e-minor
32. I. Allemanda
33. II. Couranta
34. III. Sarabanda
35. IV. Gigue

320 kbps mp3, including full booklet scans

Part One
Part two

Ammar El Sherei Plays Om Kalthom "Nourik Ya Set El Koul"

TRACK LISTINGS

1. Faat el Maad
2. Fakarouny
3. Al Reeda Wel Nour
4. Lessa Faker
5. Ya Sabah el Khir
6. Amal Hayati
7. Nourik Ya Set el Koul
8. Nasra Kawia

HERE

Khupe - Heymisher

Khupe
Heymisher,2003

I'll make it easy for you. No need to waste time reading this review. Head over to your nearest purveyor of fine music and pick up this CD now. It's that good.
This is the year of wonderful, amazing instrumental music. There was Adrianne Greenbaum's "Fleytmuzik". Then Kurt and Anna Bjorling's Duo Controverso in "Gedanken". Now, this second Khupe is more of the same, but, of course, deeply special in its own way. Clarinetist Christian Dawid and accordionist Sanne Möricke have tremendous fun exploring klezmer music and beyond. The joy and energy are apparent from the opening title track, "heymisher", through the more traditional "freylakhs," and onward. This is an album to listen to carefully, or to put on the CD changer when you simply want to feel good.
I could spend ages describing each tune. I am blown away each time I hear "Boibriker" or "Nakhes," building slowly, or "Tsu der khupe" for the intense beauty of the pieces. As a newlywed person, myself, the latter song encompasses not only the music that was played as we walked down the aisle, but all of the seriousness and intensity, followed by glee and joy, that were the event, itself. Meta klezmer as it were :-). Alternately, the wild part of the "Rumeynish" reminds me very much of the music that caused Eastern European friends to exclaim "Romanian" when I played bluegrass for them years ago. To have that slide right into "Yikhes", evoking the Epstein Brothers signature riffs, is a form of perfection.
I guess it's no accident that I keep running into Christian around town, playing with Brave Old World, or filling in wherever someone needs an incredibly expressive clarinet player. Sanne's accordion is nothing to sneeze at, either. As one of the anchors of Sukke, and a frequent member of Frank London's Klezmer AllStars, she, too is delightful. Her own compositions: "Gliner," for instance, are an amazing blend of traditional and contemporary; of klezmer and everything else we listen to. This is an album of duets, two amazing musicians, deeply comfortable with one another, sharing and thrilling together. There is one exception to this. There is a bonus track. It appears to involved overdumming. It also includes participation by two young children, Jascha and Sarah. No Yiddish was mangled in the making of this recording.
As Alan Bern writes in the album notes, "[what] you hear on this CD adds up to something you could call the contemporary klezmer music 'tradition,' starting from the one we've inherited and continuing through to the one we make ourselves by dwelling together in music." Indeed, for an album that you can't dance to--that is perfect for listening, instead, this is very much klezmer placed in this time and place, klezmer played in a way that is different from what has come before, and yet entirely in the mainstream of the best that klezmer sounds like. It's music worth hearing. It's music especially joy-creating to listen to. - Ari Davidow

Christian Dawid enjoys one of the highest profiles in the European klezmer music scene. With Budowitz and Brave Old World, he's a member of two of the most highly prominent international ensembles. In addition to teaching Yiddish music at festivals from Canada to Russia, he has also played as a guest with Frank London's Klezmer Brass Allstars and performed on many stages across Europe and the USA.
Khupe is Dawid's 'chamber music project' together with Sanne Möricke. Currently one of the most sought-after klezmer accordionists, Möricke performs regularly on stages and festivals across the world. She plays accordion with Sukke and has performed as a guest with Frank London's Klezmer Brass Allstars, The Transsylvanians, and the Northern Sinfonia.
Throughout their many years of playing together, they have carefully developed a style which is based on tradition yet continues to develop it, and which allows much room for improvisation and innovation. Khupe is narrative music, a music that is ecstatic and nimble, unadorned and poetic, serious and unsentimental, virtuoso and humorous-a wholly living music full of lightness, warmth and depth, a music that is always growing while remaining true to the music's sources.
Heymisher - the second album from Khupe - was recorded by Ralf Stahn at Studio 341 in January 2003 in Bremen, Germany. A concerted effort was made to record the group as naturally as possible with a minimum of filtering and very few edits. The sound of the recordings is highly transparent, lively, and warm - thus allowing the acoustic intimacy of the duo, their musical flexibility and natural dynamics to emerge wonderfully.

320 kbps including full scans

Part One
Part two

I found out too late that track 17 is faulty. Here's a clean rip:

HERE

Johannes Tappert & Thomas Müller-Pering, Antonio Diabelli - La Gazza Ladra. Guitar Duos

Johannes Tappert & Thomas Müller-Pering
Antonio Diabelli - La Gazza Ladra. Guitar Duos,2006

Anton Diabelli (1781-1858) war ein österreichischer Komponist, Arrangeur, Pädagoge und Musikverleger. Er lebte nach seiner Schul- und Studienzeit, die er hauptsächlich in Bayern verbrachte, als Klavier- und Gitarrenlehrer in Wien. Von 1818 bis 1851 war Diabelli auch als erfolgreicher Verleger tätig.
Von seinen eigenen, unzähligen Kompositionen konnten sich nur wenige dauernd behaupten: Heute noch in Gebrauch sind seine instruktiven Klavierwerke (Sonatinen, vierhändige Sonaten) und die kammermusikalischen Gitarrenwerke. Ein nicht unerheblicher Teil von Diabellis Kompositionen sind Bearbeitungen schlagerähnlicher Melodien, Opernouvertüren und -arien, darunter zahlreiche der sehr populären Ouvertüren Gioacchino Rossinis.
Ähnlich wie bei seinem Zeitgenossen Mertz sind fast sämtliche Gitarrenduos von Diabelli für Terz- und Primgitarre gedacht. Diabelli weist allerdings in verschiedenen Werken ausdrücklich auf die ersatzweise Verwendung einer Primgitarre mit Kapodaster für die erste Gitarre hin. Diabelli verwendete Terzgitarren in seinen Gitarrenduos (und -trios), um das dunkle Timbre der Gitarre nach oben hin aufzuhellen und damit die Werke klanglich durchsichtiger zu machen.
Bei der vorliegenden Aufnahme handelt es sich um Ersteinspielungen von Werken, die lange als verschollen bzw. unbekannt galten. Daß es möglich ist, eine vollständige CD mit "neuen" Werken eines bekannten klassischen Komponisten aufnehmen zu können, ist ein besonderer Glücksfall, der nur der Großzügigkeit von Prof. Olaf Van Gonnissen und Ulrich Wedemeiers zu verdanken ist, die dankenswerter Weise Kopien der Manuskripte zur Verfügung stellten.
Serenade op. 100
Quelle: "Vme Grande Sérénade", Manuskript aus der Sammlung S. G. Holm's, Königliche Bibliothek Kopenhagen und Erstdruck beim Verlag "Steiner et Comp." (zur Verfügung gestellt von Prof. Olaf Van Gonnissen und von Ulrich Wedemeier).
Zunächst folgt die Serenade mit der Marcia als Eröffnungssatz den normalen Gepflogenheiten des Serenadentypus. Wie bei Diabelli üblich, findet hier ein ständiger, gleichberechtigter Dialog zwischen den Instrumenten statt, der mit genauesten dynamischen und artikulatorischen Angaben im Gleichgewicht gehalten wird. Auch das Menuett ist mit der Melodieführung durch die Terzgitarre und nur gelegentlichen Einmischungen der Primgitarre im Rahmen des Üblichen instrumentiert. Im Andantino avec Echo jedoch bricht Diabelli aus den üblichen Schemata aus und bringt einen programmatisch geprägten, besonders effektvollen Satz: die Echos sind in der Kopenhagener Abschrift in kleinen Stichnoten notiert und fordern von ff bis pp vorgeschriebene Kontraste. Dieser Echo-Effekt ist - für die Interpreten sehr faszinierend - mit den Gitarren des 19. Jahrhunderts besser zu realisieren ist, als mit den heutigen Instrumenten. Im Rondo Pastorale bringt Diabelli im Anfangsteil die typische, sanfte Hirtenmelodik, die in der Regel geprägt ist durch geringe rhythmische und dynamische Kontraste. Doch schon bald karikiert er die Form durch stärker werdende Dynamik, später zusätzlich durch harmonische Ausweitungen und kurzfristige, dramatische Effekte. Den Schluß bildet dann wieder ein versöhnend ruhiger, aber überraschender Abgang. Wie in der schon länger bekannten Serenade op. 63 schließt auch op. 100 mit einer Marcia ab. Doch auch hier bricht Diabelli mit den üblichen Gepflogenheiten: im Mittelteil zelebriert er ein massives dynamisches Aufbäumen, verwandelt das Bilderbuch-Marschthema in einen Seufzer und läßt das Werk nicht mit einem traditionell, effektvollen Schluß explodieren, sondern "scemando" (abnehmend) - immer leiser werdend - aushauchen.
Variationen op. 57
Quelle: "Variationen sopra un tema favorito", op. 57: Erstdruck beim Verlag "Giovanni Ricordi, Milano", Bibliothek des Konservatoriums Mailand, Wiederveröffentlichung 1997 beim Musikverlag Zimmermann (ZM 30630).
Zur Quelle des Themas gibt Diabelli keine Informationen. Der relativ große Ambitus und der lebendige Charakter läßt vermuten, daß es sich nicht um ein Volkslied, sondern um eine Opernmelodie handelt. Ganz in der Tradition des 19. Jahrhunderts verdichten sich die ersten drei Variationen durch Beschleunigung: Sechzehntel, Sechzehnteltriolen (gegen Sechzehntel!) und Zweiunddreißigstel. Als Charaktervariationen folgt eine schnelle Marcia (Allegro), die vom ungewöhnlichen Kontrast des strammen Marschrhythmus gegen die perlende Sechzehntelfigur in der zweiten Gitarre und den extremen, flächigen dynamischen Angaben lebt. Den Abschluß bildet, wie es bei Diabelli öfter zu finden ist, eine ruhige Pastorale, die Diabelli mit auffällig genauen dynamischen Angaben versehen hat.
Rossini-Zyklus
Quelle: "Ouverture", "Arien-Zyklus" und op. 8: "Aria dell´opera ‚La gazza Ladra'" - die Arie der Podesta [Marcia]. Die Ouverture wurde als Einzelausgabe und die weiteren Sätze in der Reihe "Orpheus / melodische Sätze / für zwei Guitarren / zur Bildung des Vortrages und Geschmackes" in mehreren Bänden beim Verlag "Cappi und Diabelli" herausgegeben (zur Verfügung gestellt von Ulrich Wedemeier). Op. 8 liegt in einer Abschrift aus der Sammlung S. G. Holm's, Königliche Bibliothek Kopenhagen vor (zur Verfügung gestellt von Prof. Olaf Van Gonnissen) und ist 2003 beim Hofmeister Musikverlag (FH 2837) als Erstausgabe veröffentlicht worden.
Unabhängig davon, wie Gioacchino Rossinis (1792-1868) Ouvertüren heute bewertet werden - vielfach wird ihr künstlerischer Wert in Zweifel gezogen - kann sich kaum jemand ihrem kraftvollen Schwung, dem Reiz der melodischen und rhythmischen Vitalität entziehen. Zu Lebzeiten Rossinis waren sie Schlager und wurden wegen ihrer besonderen Popularität auffallend häufig für die damals gebräuchlichen Kammermusikbesetzungen arrangiert. Unter anderem wurde die Ouvertüre zu "La gazza ladra" (Die diebische Elster) auch von Ferdinando Carulli für Flöte, Violine und Gitarre und von Mauro Giuliani für zwei (Prim-) Gitarren bearbeitet.
Die für die Ouvertüren von Rossini so typische Spannungssteigerung prägen vor allem diejenigen aus der sogenannten frühen Reifezeit von 1813 bis 1817. La gazza Ladra entstand 1817 in Neapel. Die häufigen Selbstanleihen vor allem im thematischen Material schließen für die meisten Ouvertüren einen Bezug zum Material der jeweiligen Oper aus. Die Ouvertüre zu La gazza Ladra ist jedoch sowohl im Charakter als auch in ihrer Thematik programmatisch eng mit der Oper verknüpft. Der Gegensatz zwischen den martialischen Rhythmen und den lyrischen Partien hat direkten Bezug zum dramatischen Geschehen in der Oper, in der Ninette, die einfache Dienstmagd des Gianetto des Diebstahls eines Silberlöffels angeklagt und zum Tode verurteilt wird. Erst kurz vor der Vollstreckung - der Trauermarsch wird bereits gespielt - wird aufgedeckt, daß der eigentliche "Dieb" eine Elster ist.
Diabelli bearbeitete neben der Ouvertüre in weiteren 11 Einzelsätzen die wichtigsten Arien aus der Diebischen Elster und schuf damit ein höchst effektvolles und zum Teil hochvirtuoses Gesamtkunstwerk, das der dramatischen Wirkung des Originals trotz des verhältnismäßig leisen Instrumentariums durchaus gerecht wird.
Für Gitarre ist übrigens außer Giulianis Solo-Gitarrenfassung der Rossini-Oper Semiramide kein weiteres Arrangement eines fast vollständigen Opernzyklus bekannt.
Der versierte Gitarrist Diabelli ist in seiner Instrumentierung an die Grenzen des musikalisch wie technisch Machbaren gegangen. Während man in seinen originär gitarristischen Werken eine instrumental-idiomatische Schreibweise feststellen kann, liegt hier eine kompromißlos programmatische Instrumentalbehandlung vor. Die virtuosen Gesangspartien, die schnellen Orchesterpassagen sind in der Terzgitarre ohne Rücksicht auf instrumentale Schwierigkeiten umgesetzt, während die Primgitarre dem homophonen Charakter der Stücke entsprechend den harmonischen und rhythmisierenden Orchesterpart übernimmt. Die anderen Werke auf dieser CD sind ausgeglichener, klanglich differenzierter und im Zusammenspiel diffiziler instrumentiert.

Die Instrumente:
Beide Gitarren tragen auf dem Label den Namen Johann Georg Staufer. Während das kleinere Instrument sicher ein Original ist, handelt es sich bei der größeren um eine Gitarre, die möglicherweise von einem anderen Instrumentenbauer unter dem Namen des berühmten Kollegen gebaut wurde.
JOHANN GEORG STAUFER, der erfindungsreiche Meister auf dem Gebiete des Instrumentenbaues, geb. 26.1.1778 in der Wiener Vorstadt Weißgärber, gest. 24.1.1853 im Bürgerversorgungshaus zu St. Marx (Wien), wurde 1800 als Geigenmacher Bürger von Wien.
Nach Angaben des Spezialisten für Gitarren des 19. Jahrhunderts Bernd Kresse begann Staufer um 1805 den Gitarrenbau mit einem Modell, das möglicherweise Giuliani oder ein anderer italienischer Spieler nach Wien mitbrachten. Dieses "Italienische Modell" hatte einen schlanken, langen Korpus, eine 65er Mensur, ein Griffbrett auf der Ebene der Decke, einen traditionellen Steg und eine Kopfplatte mit Steckwirbeln. Staufer baute dieses Modell bis in die dreißiger Jahre. Etwa ab 1815 entwickelte er auf Anregung des italienischen Gitarrenvirtuosen Luigi Legnani (1790-1877) das so genannte "Legnani-Modell" mit leicht gewölbtem Boden, schlanker Taille, verstellbarem Hals mit größerem Tonumfang im Diskant, kürzerer Mensur (um 62 cm) und der so genannten "Staufermechanik", bei der die seitenständigen Wirbel auf der linken Seite des Kopfes angeordnet waren.
Staufer war auch sonst sehr experimentierfreudig: er baute z. B. in der Absicht, den Tonumfang der Gitarre zu erweitern sogenannte "Doppelgitarren" und 1823 ließ er seine "Arpeggione", ein Zwitter zwischen Violoncello und Gitarre durch V. Schuster vorführen. Ab 1836 führte sein Sohn Johann Anton die Werkstatt mit dem Vater zusammen, wie verschiedene Instrumentenzettel erweisen: z. B. "Johannes Georgius et Antonius filius..." Etwa aus dieser Zeit stammen die ersten datierten Instrumente der beiden genialen Instrumentenbauer.
Die neuen, kraftvolleren Instrumente Staufers fügten sich gleichberechtigt in Kammermusikensembles mit den zu seiner Zeit gebräuchlichen Instrumenten ein und prägten nicht unwesentlich den eigenen Charakter, der diese Werke der Frühromantik auszeichnet.
Die "kleine Italienerin":
Das schlichte Label "Johann Georg Staufer in Wien", die Mensur von 61cm, die fehlenden Ornamente und die insgesamt sehr schlichte Bauweise lassen für diese Gitarre eine Geburtsstunde aus der Anfangszeit der "italienischen Periode" vermuten -also um 1805. Die Mensur deutet nicht eindeutig auf die geplante Besaitung als Terzgitarre hin, das Instrument klingt auch als Primgitarre besaitet ausgeglichen. Allerdings ergibt sich nur in der Terzstimmung der Eigenschwingungston auf der 5. Saite im 4. Bund, was rund eine Quarte höher als bei den meisten modernen Gitarren und typisch für die Instrumente Staufers ist. Als Stimmton wurden 425 Hz gewählt: Brillanz, Trennschärfe, Lautstärke- und Klangfarbenspektrum erreichen dann ein verblüffendes Niveau und lassen auf die außergewöhnlichen Künste Staufers bei der Klangabstimmung seiner Instrumente schließen.
Die Gitarre wurde Anfang der neunziger Jahre des 20. Jahrhunderts auf einem Dachboden in Österreich in sehr desolatem Zustand gefunden und von Bernd Holzgruber in Velden restauriert.
Das Besondere an dem Instrument sind drei original erhaltene Konus-Stimmwirbel, die ich wegen ihrer Einzigartigkeit "Staufer-Wirbel" getauft habe. Die Holzgriffe sind in einem Doppelkonus aus Messing befestigt, der über eine kleine Flügelmutter den Widerstand und damit die Leichtgängigkeit der Wirbel einstellbar macht; eine große Verbesserung gegenüber traditionellen Holzwirbeln, die in dünnen Kopfplatten zuwenig Angriffsfläche finden und wenig Stimmkomfort bieten. Die drei fehlenden Wirbel wurden durch exakte Kopien ersetzt, die heute auch für Restauratoren ähnlicher Instrumente erhältlich sind (Email: stauferwirbel(at)tappert.de).
Die "große Reife":
Die Herkunft der Primgitarre, mit dem Label "Johann Georg Staufer 1841" ist noch nicht geklärt. Die für Staufer ungewöhnliche Form, das unbekannte Label, eine "Staufermechanik", die anders aussieht als die bisher bekannten und ein Stempel im Inneren der Gitarre (Hlawsa Geigenmacher, Wien, XIV. Mariahilfgasse 225) deuten darauf hin, daß hier eventuell ein anderer Instrumentenbauer von der Verwendung des berühmten Namen profitieren wollte.
Andererseits spricht die außergewöhnliche Qualität des Instrumentes dafür, daß hier ein hervorragender Instrumentenbauer gearbeitet hat, der den Verkauf unter fremden Namen nicht nötig gehabt hätte. Die Form könnte durchaus auch der Experimentierfreude Staufers zugerechnet werden und der Stempel könnte anläßlich einer späteren Reparatur dazu gekommen sein. Bautechnische Details im Inneren des Instruments lassen die Handschrift Staufers erkennen. Das Instrument würde dann aus der letzten Schaffensperiode des Meisters stammen.
Die Ausgeglichenheit zwischen Diskant und Baß, die Trennschärfe der Mittelstimmen, das breite Dynamikspektrum, die spontane tonliche Ansprache und die geradezu verzaubernde Klangschönheit fallen selbst im Vergleich mit guten modernen Instrumenten auf.

Gioacchino Rossini - La Gazza Ladra (arr.: A. Diabelli)
01. I. Ouverture 9:36
02. II. Cavatina des Gianetto 4:53
03. III. Duetto 5:29
04. IV. Cavatina der Ninette 5:41
05. V. Aria des Podesta 4:44
06. VI. Trauermarsch-Andante Mesto 2:58
07. VII. Schlussgesang-Andante Grazioso 3:00
08. Antonio Diabelli - Variationi Sopra Un Tema Favorito Op.57 9:34
Antonio Diabelli - Grande Serenade op.100
09. I. Tempo di Marcia 2:48
10. II. Menuetto, Moderato Cantabile 3:34
11. III. Andantino Avec Echo 3:13
12. IV. Rondo Pastorale 7:41
13. V. Marcia Allegro 2:45

320 kbps including full scans

Part One
Part Two

Japan. Semiclassical and Folk Music

Japan. Semiclassical and Folk Music
Auvidis/UNESCO D 8016, 1989 (1974)

Like the Kabuki theatre, Koto music is dear to the hearts of the Japanese.

So is the Shakuhachi flute, a symbol of Japanese culture known all over the world. But genuinely popular music such as the songs for festivals and village dances, street music and work songs are little known.

Semiclassical Music
1. Naga-Uta - Kanjincho
2. Koto Duet - Godan-Kinuta
3. Shakuhachi Duet - Shika-No-Tone
Folk Music
4. Tsugaru Yama-Uta
5. Awa-Odori
6. Tairyo Utaikomi
7. Hatoma-Bushi
8. Edo Matsuri Bayashi

320 kbps including full scans

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Sabah Fakhri - Au Theatre Des Amandiers

Credits to Fido

Sabah Fakhri (born 1933): is a renowned and venerated singer from Aleppo in northern Syria.

He modified and popularized the then-fading form of traditional Arabic music, Muwashahat and Koodood. He is well known for his powerful and beautiful voice, impeccable execution of Maqamat and harmony, as well as his charismatic performances. To many music admirers around the world, he represents the epitome and essence of authentic Tarab.

He enrolled into the Academy of Arabic Music of Aleppo then to the Academy of Damascus, from which he graduated in 1948. Then in Cairo, Egypt, he studied under the music masters of that time, and since then he started performing concerts in Syria. He soon became famous all over the Arab World. He also performed many concerts in Europe and the Americas. His name is enshrined in the Guinness Book of Records for his prowess in Caracas, where he sang for 10 hours without a pause.

He was a member of the Syrian parliament for a period of time as a representative of artists.

Fakhri was awarded the Syrian Order of Merit of Excellent Degree by President Bashar al-Assad in recognition of his achievements in serving and his role in reviving the artistic heritage in Syria.


Sabah Fakhri is the most famous performer of the traditional qudood and muwashahat music types. He was born in Aleppo to a conservative family. He was enrolled into to the Academy of Arabic Music of Aleppo then to the Academy of Damascus, from which he graduated in 1948. Then in Cairo, Egypt, he studied under the music masters of that time, and since then he started performing concerts in Syria. He soon became famous all over the Arab World. He also performed many concerts in Europe and the Americas. His name is enshrined in the Guinness Book of Records for his prowess in Caracas, where he sang for 10 hours without a pause.

Sabah Fakhri : Au Theatre Des Amandiers Vol. I
Sabah Fakhri : Au Theatre Des Amandiers Vol. II

the concert of Sabah Fakhri “Au Theatre des Amandiers” 1985 Bitrate: 200 kbps (VBR) Encoder: LAME 3.98, No Scans.

One of the most beautiful records of this Syrian tenor

HERE

Oum Kalthoum - HA SEEBAK LE AL ZAMAN

Oum Kalthoum - Hasibak lil-zaman, 1957

Composer: Reyad al-Sunbati
Lyrics: 'Abd al-Wahhab Muhammad
Genre: Ughniyah
Maqam : Rahit al-arwah

HERE

Sabri Brothers - Ya Mohammad Nigah-E-Karam

The Sabri Brothers, Haji Ghulam Farid (or Fareed) Sabri (1930-1994) and Haji Maqbool Ahmed Sabri (also born in Kalyana in East Punjab, on October 12, 1945), they were taught music by their father, Ustad Haji Inayat Sen Sabri. The family claims descent from Mian Tansen, one of the greatest and most legendary Hindustani musicians of all time. The musically gifted Tansen was a musician in the court of Akbar and is credited with miraculous powers of musicianship. Maqbool Ahmed Sabri formed his first party of qawwals at the age of 11; soon afterwards in 1956 his elder brother (who had been singing with Kallan Khan's qawwal and party) joined him and the Sabri Brothers proper came about. Their career was marked by brotherly squabbles followed by periods of each doing solo work. The duo created a body of recorded work, consistent in quality, but rather more traditional than Nusrat Fateh Ali Khan's recorded work. Ghulam Farid Sabri's funeral in Karachi was attended by an estimated 40,000 mourners. Haji Maqbool Ahmed Sabri continues to carry the torch. ~ Ken Hunt, All Music Guide



[01]. Ya Mohammad Nigah-e-Karam Kijiye

[02]. Anwar-e-Mohammad Se

[03]. Chalo Banthan Ke Dulhaniya

[04]. Ajmer Ke Zarre Zarre Mein

[05]. Mohabbat Karne Walon

[06]. Mahw-e-Khayal Ruey Jana

[07]. Haqeeqat Mein Agar Tu

[08]. Jiye Shah Noorani

[09]. Mere Khoon-e-Aazoo Ko

[10]. Laaj Mori Rakh Khawaja Piya



MP3 VBR kbps including Covers



HERE

The Best Irish Folk

Track Listings
--------------
[01].Whiskey In The Jar
[02].Bold O'Donogue
[03].The Isle Of Innisfree
[04].The Wild Rover
[05].Muirsheen
[06].The Old Bog Road
[07].Dirty Old Town
[08].I'll Take You Home Again Katheleen
[09].The Black You Home Again Kathleen
[10].The Town I Love So Well
[11].Molly Malone
[12].The Old Oak
[13].Maggie
[14].The Irish Rover
[15].Danny Boy
[16].Mother Machree
[17].When Irish Eyes Are Smiling
[18].Spancil Hill
[19].Red River Valley
[20].Goodnight Irene

| MP3 VBR kbps | Covers | 90 MB | Jun 2007 |

HERE

Jean-Paul Bourelly - Boom Bop

Jean-Paul Bourelly
Boom Bop, 2000

The Chicago-born, Haitian-American guitarist Jean-Paul Bourelly has traveled in many musical words: from jazz and rock to world music. On Boom Bop, Bourelly makes African ambient music that's equally at home on the Niger and Mississippi Rivers. Bourelly, a former sideman with Miles Davis, Rod Stewart, and Roy Haynes, is joined by jazz legends tenor saxophonist Archie Shepp, alto sax wizard Henry Threadgill, bassist Reggie Washington, and the Senegalese master drummer and griot Abdourahmane Diop. Beyond the standard jazz- or rock-band breakdown of instruments, though, there's more. Big Royal Talamacus plays "filtered boom bass," Samba Sock plays boograboo, Slaka plays the djembe, and Slam T. Wig hammers on the standard drum kit. Bourelly's Jimi Hendrix-tinted electric guitar lines beautifully counterpoint Diop's impassioned vocals and ancestral rhythms on "New Afro Blu." Elsewhere, Bourelly grooves with funky backbeats, as on "Silent Rain," which is laced wonderfully with Threadgill's lyrical lines, but the guitarist's down-home, acoustic sound isn't lost on this multidimensional session, appearing in full on "Root One" to round out what's likely his most diverse album ever. - Eugene Holley Jr.

01. Gumbe
02. New Afro Blu
03. Three Chambers Of Diop
04. Silent Rain
05. Root One
06. Invisible Indivisible
07. Kinetic Threadness
08. Brother Boom Bap
09. Tara
10. Griot Sunset

320 kbps including full scans

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Joachim Held - Erfreuliche Lautenlust. Barocke Lautenmusik aus habsburgischen Landen

Joachim Held
Erfreuliche Lautenlust. Barocke Lautenmusik aus habsburgischen Landen, 2005

Joachim Held is one of the foremost lute players of his generation. He captivates his audience with the refinement of his playing and moves the listener with a passion gleaming through his music making. In 2006 Joachim Held is the first lute player ever to receive the renowned German Echo - Klassik Award. This is in the category “Best soloist recording of the year” for his CD “Delightful Lute – Pleasure. Baroque Lute music from the lands of the Habsburgs” (released by Hänssler Classic).
Joachim Held was born in Hamburg in 1963 and studied at the Schola Cantorum Basiliensis as a pupil of Eugen Dombois and the legendary Lute player Hopkinson Smith. Following the graduation with a “Diploma of Period Music” in 1988 he completed his studies under Jürgen Hübscher at the Musikhochschule Karlsruhe with a “Künstlerische Abschlussprüfung”.
In 1990 the second prize at the Concours Musica Antiqua of the Flandern Festival in Brügge marked the beginning of his international concert career. Joachim Held is also one of the most sought - after continuo players. Since 1992 he has regularly appeared with world famous orchestras including Il Giardino Armonico (amongst others on their Vivaldi recording with Cecialia Bartoli for Decca), the Freiburger Barockorchester, the Concentus Musicus and the Berlin Philharmonic Orchestra. Amongst the conductors he has worked are Giovanni Antonini, René Jacobs, Claudio Abbado and Nikolaus Harnoncourt. Under Harnoncourt he also participated in the production of Herny Purcell’s “King Arthur” at the Salzburg Festival 2004. As a soloist Joachim Held appeared amongst others at the Musikfestival Potsdam-Sanssouci, the International Bach Festival Schaffhausen, the Schwetzinger Festival, the Düsseldorfer Bachtagen, the Bachtage Köthen, the Concerti a San Maurizio in Milan, the Early Music Forum Budapest, the concert series “Hausmusik” of the ORF Vienna, the Lute Society London, the Güldenen Herbst” in Thüringen and the Handel Festival in Halle at the river Saale.
Joachim Held’s recordings show a lute player who combines technical perfection with an extraordinary power of imagination. “He deploys those distinctive stylistic traits that are the lifeblood of this music with the utmost taste” wrote the American International Record Review. In 1996 his first Solo-CD, “I grandi liutisti milanesi del Cinquecento”, was released on the Symphonia label. His second CD with works of the first part of the sixteenth century was released by the ORF Vienna in 2004.
Since 2005 Joachim Held’s recordings are released world-wide by Hänssler Classic. The same year the CD “Lute Music of the Renaissance – The Schele Manuskript Hamburg 1619” was co-produced with the Swiss Radio DRS2. The Book of Tablature by Ernst Schele is one of the central manuscripts for six- to eleven - course lutes from the end of the Renaissance period. It is often quoted but almost not scientifically explored. This CD recording represents one of the most beautiful collections of well-known and also less well-know works from the 16th and 17th centuries.
In January 2006, Joachim Held presented his Echo-Klassik award winning recording “Delightful Lute – Pleasure. Baroque Lute music from the lands of the Habsburgs” (released on Hänssler Classic). It is a collection of exquisite works written by Baroque composers from german-speaking countries.
Last June, his most recent CD which was co-produced with the Deutschlandfunk was released by Hänssler Classic: “German Lute Music of the Baroque”. As for his previous recordings, it presents a selection of some of outstanding works of the Baroque period. All of these works are rarely heard in public and some of them are recorded here for the first time.

An Interview with the Luteplayer Joachim Held
VT: Next to Maurizio Pollini and Evgeni Kissin, you are receiving one of this year’s Echo awards in the category „Best soloist recording of the Year“. A remarkable achievement. Congratulations! How did you perceive this news?
JH: To be honest, I was puzzled. The lute is normally not the centre of attention of a wider public. Therefore I could hardly believe that this instrument receives such an award. Of course I also feel extremely honoured to stand next to these titans of piano music. But I think the Echo Klassik is also a wonderful opportunity for people who normally are not in touch with lute music to learn more about this instrument. There has been a growing interest for period music in the past years. People also want to know more about the lute and I would be very happy if this development continued.
VT: Does this award represent the peak of your career?
JH: I don’t know. For me it is more of an inspiration and a confirmation that I have taken the right direction. I hope that it is not yet the culmination of what I do but an incentive to continue going my way.
VT: Does the award change any of your plans for the immediate future?
JH: Not at all. The number of recitals I was able to schedule over the past years has been constantly rising. However, I do hope that some aspects of this work will get easier now because the lute is getting this exposure to a wider audience.
VT: Please tell me how you got your great affinity to periodmusic. Did you already learn about this at your parents’ house? When did you decide to become a lute player?
JH: During the first years of my childhood, I did hardly listen to any music at all. I was adopted at the age five and brought up by a single parent. My mother loved music but did hardly make any music herself. On the other hand, she was all the more involved with fine arts and literature. Therefore, the desire to make music was very much founded within me. Luckily my mother supported and encouraged me believing that my longing must have an inner reason. However, it was only when I entered high school („Gymnasium“) that I started to intensify my interest for music. This is because the music teachers categorically insisted that everybody should learn an instrument. This is what I did and I started to study the piano…
VT: How old were you
JH: … I was ten. Before that I had made some attempts to play the recorder and other instruments. But I did not pursue any of them. When I was thirteen I started to intensively play the guitar. However, one of my class mates played the cembalo and I was fascinated by the
nature and beauty of this music. Shortly after this I took up playing the cembalo myself and was thrilled. I quickly realised, nevertheless, that I am somebody who needs a more direct contact with the source of sound production.
I wanted to touch the cords with my fingers. When I was sixteen or seventeen years old, it was clear to me that it had to be the lute. At that time, of course, the lute was much less widely spread but I was already captivated by this music via transcriptions which I played on the guitar. Without ever having heard a lute, I knew that this instrument would be right for me.
VT: If I understand correctly you grew up in an orphanage during the first years. Wouldn’t it have been more natural for a child with this background to play the trumpet or the drums to raise attention? In contrast to this, you chose one of the quietest and most delicate of all existing instruments…
JH: People choose instruments according to their own nature. I think that the lute with all its particularities was my way to articulate my existence. With a trumpet I would have been too loud. It is more natural for me to express myself within a silent world. However, in this small world of lute playing, I am trying to push the boundaries of sound extremely wide. Of course you can never obtain the dynamic range of the piano or the violin, but the expressiveness of the lute takes all these parameters into consideration. Everything is on a much quieter level than we are used to, but the spread of expression is still enormous.
VT: Lute recitals are scheduled far too rarely on concert programmes. Do you have an explanation for this?
JH: One of the reasons is certainly the amount of sound which is so quiet in comparison. Also, it is not so well known yet that a lute concert can be deeply moving and have a great emotional effect on the listener. When the hall is good, the lute can be very expressive in a concert. It can truly captivate the listeners and fascinate them in way you wouldn’t expect this because of the quieter dynamic possibilities.
VT: For many instruments the repertory has been well known for a long time and only brings few new surprises. In contrast to this, the lute literature regularly enjoys new discoveries. Do you belong to the group of musicians searching for manuscripts in libraries and truly do research?
JH: I don’t do factual scientific research and think it is good that this is a different field. There are some excellent lute scientists and I always greatly enjoy talking to them. As you correctly mention, interesting manuscript are regularly found. But I am a performer. This is a different aspect of presentation, including in the use of time resources.
VT: Does this mean that some of the works on your CDs can be heard for the first time?
JH: Absolutely, there is a considerable number of works. In an area of repertory which is not as worn out as for example the literature for piano, it is natural that jewels are regularly found and also recorded. I found, for example, a beautiful toccata by Paolo d’Aragona „Siciliano“
in the Schele manuscript. It looks as if this is the only work by this composer. And for „Delightful Lute-Pleasure“ I recorded a suite by Johann Jacob Weiss who I consider to have been the composer. This work was totally unknown before and even the authorship is still unclear.
VT: You studied with the legendary lute player Hopkinson Smiths. How did this influence you?
JH: Hopkinson Smith is without any doubt a great personality. I think that without him the lute music of the twentieth century would be unthinkable. He has an incomparable intensity of dealing with the lute and I admire him deeply. However, I cannot say that I am exactly following him or trying to follow him. I think when you meet such a strong personality you have to try particularly hard to get to know your own possibilities and to deal with your own way. We discussed this often during the studies and it was an important subject between us. I think that he continues to observe what I do.
VT: Let me return to the present. What are your plans for this year?
JH: I am marrying this year which is a great event for me! I am also happy that I will record another solo recital CD for Hänssler Classic. This will be with an Italian programme. This repertory was the centre of my interest in the mid-nineteen nineties. I played it so much at the time and therefore later had to give it a rest for some time. I am delighted to return to this music now.
VT: In Rumania you wish „Casa de piatra“ to bride and groom – a house of stones. My sincere wishes to you! Thank you also for your time and for this good interview.
The interview with Joachim Held was made by Virginia Tutila at the home of the Held family in Rosengarten (near Hamburg) on 14 August 2006.

01. Georg Muffat - Passacaglia di Mons. Mouffat
Wolff Jakob Lauffensteiner - Suite D-Dur
02. I. Ouverture
03. II. Allemande
04. III. Paysanne
05. IV. Courante
06. V. Sarabande
07. VI. Bourrée
08. VII. Menuet
09. VIII. Adagio
10. IX. Menuet
Johann Jacob Weiss - Suite G-Dur
11. I. Phantasie
12. II. Allemande
13. III. Courrente
14. IV. Sarabande
15. V. Menuette
16. VI. Guige
Esajas Reusner - Suite d-moll
17. I. Praeludium
18. II. Paduana
19. III. Allemande
20. IV. Courante
21. V. Sarabande
22. VI. Gigue
Johann A. Losy - Suite F-Dur
23. I. Ouverture
24. II. Allemande
25. III. Courrente
26. IV. Sarabande
27. V. Gavotte
28. VI. Menuette
29. VII. Bourrée
30. VIII. Guige
31. Heinrich Ignaz F. Biber - Passagaglia c-Moll

320 kbps including full scans

HERE

José Miguel Moreno - Luigi Boccherini, Quintetos con Guitarra

José Miguel Moreno
Luigi Boccherini, Quintetos con Guitarra, 2000

Quinteto en Mi menor (G 451)
1. I. Allegro moderato
2. II. Adagio
3. III. Minuetto
4. IV. Allegretto
Quinteto en Re mayor (G 448)
5. I. Pastorale
6. II. Allegro maestoso
7. III. Grave assai. Fandango

La Real Cámara

flac including cover scans - booklet in separate file

Part 1 | Part 2 | Part 3 | PDF

Jordi Maso - Turina, Danzas fantasticas

Jordi Maso
Turina, Danzas fantasticas, 2004

Jordi Masó was born in Granollers (Barcelona, Spain) in 1967. He studied at the Conservatory there with Josep M. Roger, at the Barcelona School of Music with the pianist Albert Attenelle, and at the Royal Academy of Music of London with Christopher Elton and Nelly Akopian, graduating in 1992 with the DipRAM, the highest distinction of the academy. He has won first prizes in many national and international competitions in Spain and has performed extensively in most European countries in piano recitals and chamber music concerts. He is also a regular guest soloist with the most important Spanish orchestras.
Jordi Masó's wide repertoire, covering all periods and styles, with special emphasis on music of the twentieth century, has brought first performances of many piano works written for him by the foremost Spanish composers. He has recorded over twenty discs, acclaimed by the most important publications.
His discography on the Naxos and Marco Polo labels include the 1993 world première recording of the complete works for piano of Roberto Gerhard, four discs with the complete piano music by Federico Mompou, two recordings with music by Josep Soler on Marco Polo, the complete piano works by Joaquim Homs and two discs with works by Déodat de Séverac and Mario Castelnuovo-Tedesco. He is currently recording the complete piano music by Joaquín Turina for Naxos. He has also recorded for other major companies.
Jordi Masó is piano professor at the Granollers Conservatory and at the Esmuc (High Music School of Catalonia), and since 1996 he has been a member of the contemporary music group Barcelona 216.

This disc is part of the valuable “Spanish Classics” series from Naxos. So far this has tended to explore lesser-known composers such as Arambarri, Guridi and Serra (each of whom has one highly recommendable disc) in preference to Albéniz, Falla and Granados (just one disc between them). There is, however, quite an extensive collection of Rodrigo’s orchestral music and this is a third outing for Turina. It nicely complements previous discs of his orchestral music (8.555955) and piano trios (8.second set of five (op.84), in which Falla’s influence can be detected. The two dances on popular Spanish themes were first performed in London. The first is a seguidilla based on local 555870) and is billed as the first of a complete series of his piano music.
All the works on this disc are dances and draw deeply from the musical tradition of the composer’s homeland. It opens with the original piano version of the Danzas fantásticas which is in three movements entitled Exaltation, Fantasy and Orgy. This offers a rather cooler landscape than in the orchestral version which is included on 8.555955. In the three Andalusian Dances which follow there are strong echoes of Albéniz, especially in the opening petenera. The first set of five Gypsy Dances (op.55) was a big success when first performed by José Cubiles, a pianist who championed Turina’s works. This led the composer to produce an orchestral version and a rhythms from Seville where Turina was born. The final work, a suite of five dances from the 19th century, contains several themes which seem familiar, presumably because they have also been used by other Spanish composers.
Turina’s piano music is attractive and inventive but perhaps not quite as imaginative as the works of Albéniz and Granados. Jordi Masó is one of Spain’s leading pianists. His playing is controlled and idiomatic but sometimes lacks the feeling of abandon that Alicia de Larrocha brings to the Spanish piano repertoire. The sound and documentation are good, and this is excellent value. Know and love the Iberia Suite and Goyescas, and hankering for more? This could be the answer. - Patrick C Waller

A dutiful son, Joaquin Turina (1882-1949) began to study medicine but he soon abandoned everything that interfered with music. Thank goodness! It has been customary to regard early 20th-century Spanish music as centered on two pairs of composers: Albéniz and Granados, Falla and Turina. However, any resemblance between the latter two is superficial. Nor is there much of Albéniz in Turina, although some of his works have a relationship with the style of Granados. Despite the picturesque local flavor in some compositions, Turina tried perhaps harder than any of his Spanish contemporaries to write music of a European standard in the conventional major forms. Turina was the only one of the four leading twentieth-century Spaniards to write a symphony. However, when it came to his piano music, or at least much of it, the Spanish flavor was inescapable. He was himself a wonderful pianist, having studied in Paris with Moritz Moszkowski, and his piano music is virtuosic. His music, like Falla's, partakes a bit more of Impressionist gestures. Still, it is colored by a subtle humor, grace and elegance characteristic of his native Seville.
On this disc pianist Jordi Masó plays works based on dance Spanish and/or Gypsy rhythms. Probably Turina's best known works are the 'Danzas fantásticas,' Op. 22. That is partly because he also orchestrated them brilliantly and they have featured on many symphony programs. My own favorite, perhaps of all of his music, is the hypnotic and lovely 'Ensueño' ('Fantasy'), the second of that set. Masó plays it very well, but I will confess that I prefer the orchestral version and for that very much like the recording made by Jesús López Cobos with the Cincinnati SO. Of piano versions, Masó's is as good as any I've heard.
'Three Andalusian Dances' are early pieces, written while he was still in Paris, but it is clear that Turina already had developed his own personal style. I particularly like Masó's performance of the third, 'Zapateado.' There are two sets of 'Gypsy Dances' ('Danzas gitanas'), Opp. 55 and 84, ten characteristic pieces. Particularly effective, for me, are Masó's interpretations of the mysterious (and almost French-sounding) 'Invocación' and the piece that follows it, the lightning-fast 'Danza ritmica' ('Rhythmic Dance') that is over almost before it begins. Following are the rarely heard 'Dos Danzas sobre temas populares españoles' ('Two dances on traditional Spanish themes'), Op. 41. I say they're rarely heard; I suppose what I mean is that I don't recall ever hearing them before. The first, 'Cadena de sequidillas' ('Chain of Sequidillas') is based on Andalusian melodies. The second, 'El arból de Guernica' ('The Tree of Guernica') is based on a Basque dance, the 'zorzico,' and is in 5/8 time. (The piece has nothing to do with Picasso's famous anti-war painting 'Guernica'; it was composed 11 years before the painting was done for the 1937 World's Fair.)
The final work is 'Bailete: Suite de danzas del siglo XIX' ('Dance: Suite of nineteenth-century dances'), Op. 79. It was dedicated to Joaquin Nin y Castellanos, a Cuban composer who was the father, as it happens, of feminist writer Anaïs Nin and of one of my favorite 'unknown' composers, the Cuban-American Joaquin Nin-Culmell, who died precisely a year ago at 95. It comprises five traditional 19th-century dances--Entrada, Tirana, Bolero, Danza de corte, and Fandango. This is a brilliant suite, one I'd never heard before, and the highlight of the disc for me.
If you love Spanish piano music--and who doesn't?--and don't know Turina this is a good place to start. It is budget-priced, the piano is beautifully recorded and Masó plays very nicely. There is a notation that it is 'Volume 1.' Chances are you'll get hooked by this one and have to buy each new issue as it comes out. - Scott Morrison

Danzas fantásticas, for orchestra (or piano), Op.22
01. Exaltacion
02. Ensueno
03. Orgia
Danzas andaluzas, for piano, Op.8
04. Petenera
05. Tango
06. Zapateado
Danzas gitanas, for piano, Set 1, Op.55
07. Zambra
08. Danza De La Seduccion
09. Danza Ritual
10. Generalife
11. Sacro-monte
Danzas gitanas, for piano, Set 2, Op.84
12. Fiesta De Las Calderas
13. Circulos Ritmicos
14. Invocacion
15. Danza Ritmica
16. Seguiriya
Danzas sobre temas populares españoles, Op.41
17. Cadena De Seguidillas
18. El Arbol De Guernica
Bailete for piano ("Suite de danzas del siglo XIX"), Op.79
19. I. Entrada
20. II. Tirana
21. III. Bolero
22. IV. Danza De Corte
23. V. Fandango

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Farid El Atrache - Takassim Oud

Track List

01.Takassim Oud

02.Kelmet E'taab



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Omar Faruk Tekbilek - Mystical Garden

Omar Faruk Tekbilek continues to delight Western listeners with a vast array of Middle Eastern musical traditions. As the follow up to his debut solo recording Whirling, Mystical Garden combines Faruk's musical mastery, composition and mystical influences creating a soulful and emotional musical journey. Mystical Garden (and the self-titled track) is a variation on a theme. It is the reflection of Faruk's inspiration by "the unity of the Mystical life. The garden is an island surrounded by the ocean of sincerity. Everyone with their sincere hearts chanting God's name in their language. In essence, we are the flowers owned by the one and only Gardener." Mystical Garden places more emphasis on Faruk's writing, featuring five original tracks. And there is a greater emphasis on the stellar musicianship of the players. Egyptian Dance demonstrates traditional Egyptian motives, with variations on the rhythm and the scales. Hu Allah continues to tell Faruk's story in the garden, with his soulful voice over a bed of chanting, nature sounds, and orchestration, along with oud, ney, and bendir. As the last track, this piece leaves the listener in a peaceful trance. To compare Faruk to Western musicians, it would be as if one musician was a master of the drums, percussion, guitar, flute, recorder, oboe, and more. Add to this Faruk's mystical influences, and the listener is in for an extraordinary experience.

Working with longtime producer-multi-instrumentalist Brine Keane, Omar Faruk Tekbilek creates evocative soundscapes of Middle Eastern origin, both original compositions and arrangements of traditional material. Ney, kavala, zurna, baglama, oud, bendir and cumbus are set in a discreet wash of synthesizer drones and percussion parts performed by five members of his ensemble. The tone is light but spiritual, retaining an affinity to his heritage--but with a nod to contemporary New Age sensibilities, especially in the simple arrangements and occasional use of ambient nature sound effects. However, the strength of musicianship and commitment to tradition assures that Mystical Garden stays firmly rooted in the pastures of Allah and not in the organic flower borders of background music. Tekbilek makes original and uplifting music that consistently rewards the listener. --Derek Rath

(01). Other Side of the River
(02). Magic of the Evening
(03). Laz
(04). Shashkin
(05). Hasret
(06). Egyptian Dance
(07). Three Last Words
(08). Mystical Garden
(09). Hu Allah

Omar Faruk Tekbilek: Ney, Kavala, Zurna, Baglama, Jura, Oud, Darbuka, Bendir, Tambourine, Davul, Finger Cymbals, Synthesizers & Vocals.
Brian Keane: Guitars, Synthesizers, Arrangements, Basses, Percussion, Cymbals & Drums.
Hassan Isikkut: Kanun & Violin.
Arto Tuncboyaciyan: Frame Drums, Shakers, Bells, Bendirs, Zil, Triangle, Guiro, Davul, Water Bowl, Vocals (tracks 1, 3 & 7) & Percussion (track 2).
Ara Dinkjian: Oud & Cumbus (tracks 3, 5 & 7).
Dan Pickering: Flügelhorn (track 1).

The cover illustration is "Autumn Landscape With Mountains And Trees" circa 1370, and attributed to kar-i mani. It is found today in the Topkapi Museum in Instanbul.

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Oum Kalthoum - GHOLOBT ASALEH

Oum Kalthoum - Ghulubt asalih, 1946

Composer: Reyad al-Sunbati
Lyrics: Ahmed rami
Genre: Ughniyah
Maqam : Nahawand

Selected discography

* Aghadan alqak (1971)maqam ajam
* Alif Leila wa Leila ("One Thousand and One Nights").....maqam nahawand (1969)
* Arouh li Meen or Arook Lemeen ("Whom Should I Go To").......maqam rast (1958)
* Al Atlal ("The Ruins")......maqam huzam (1966)
* Amal Hayati"; Sono ("Hope of My Life") (1965)
* Ansak Ya Salam (1961)maqam rast
* Aqbal al-layl (1969)
* Araka asiya al-dam (1964)
* 'Awwidt 'ayni (1957) maqam kurd
* Baeed Anak ("Away From You").......maqam bayyati (1965)
* Betfaker fi Meen ("Who Are You Thinking Of?").....maqam bayati (1963)
* Dalili Ehtar (1955) maqam kurd
* Dhikrayatun (Qessat Hobbi) (1955)
* El Hobb Kolloh ("All The Love").......maqam rast (1971)
* Ental Hobb ("You Are The Love").......maqam nahwand (1965)
* Enta Omri – Sono ("You Are My Life [Time]")........ maqam kurd (1964)
* Es'al Rouhak ("Ask yourself", or "Ask Your Soul")maqam hugaz kar (1970)
* Fakarouni ("They thaught of me to be").......maqam rast (1966)
* Fit al-ma' ad ("It Is Too Late") Sono Cairo.......maqam sikah (1967)
* Gharib' Ala Bab erraja (1955)
* Ghulubt asalih (1946)
* Hadeeth el Rouh ("The Talk of The Soul")......maqam kurd (1967)
* Hagartek or Hajartak ("I Abandoned You") EMI (1959)
* Hasibak lil-zaman (1962)
* Hathehe Laylati ("This is My Night")......maqam bayyati (1968)
* Hayart Albi Ma'ak ("You Confused My Heart")......maqam nahwand (1961)
* Hakam 'alayna al-haw'a (1973)
* Hobb Eih ("Which Love").....maqam bayyati (1960)
* Howwa Sahih El-Hawa Ghallab (1960)
* Kull al-ahabbah (1941)
* La Diva – CD, EMI Arabia, 1998
* La Diva II – CD, EMI Arabia, 1998
* La Diva III – CD, EMI Arabia, 1998
* La Diva IV – CD, EMI Arabia, 1998
* La Diva V – CD, EMI Arabia, 1998
* Leilet Hobb ("Night of Love") (1973)
* Lel Sabr Hedod ("Patience Has Limits")......maqam sikah (1964)
* Lessa Faker ("You Still Remember").......maqam ajam (1960)
* Men Agl Aynayk (1972)
* Othkorene ("Remember Me") (1939)
* Raq il Habeeb ("My Beloved Tendered Back") (1941)
* Retrospective – Artists Arabes Associes
* Rihab al-huda (al-Thulathiyah al-Muqaddisah) (1972)
* Rubaiyat Al-Khayyam ("Quatrains of Omar Khayyám").......maqam rast (1950)
* Sirat el Houb ("Tale of Love").......maqam sikah (1964)
* Toof we Shoof (1963)
* The Classics – CD, EMI Arabia, 2001
* Wi-darit il-ayyam ("And The Days Passed By").......maqam nahwand (1970)
* Ya Karawan (1926)
* Yali Kan Yashqiq Anini (1949)
* Ya Msaharny ("You that keeps me awake at night") (1972)
* Ya Zalemny (1954)
* Zalamna El Hob ("We Have Sinned Against Love") (1962)

HERE

Jakob Lindberg & John Dowland - Selected Lute Music

Jakob Lindberg
John Dowland - Selected Lute Music, 1994/1996

Swedish lutenist Jakob Lindberg began his studies on the guitar after being inspired by the music of the Beatles. His guitar teacher, Jörgen Rörby, introduced him to the lute, which he went on to study at Stockholm University and the Royal College of Music in London. His studies with Diana Poulton and Carlos Bonell in London further focused his interests on performing Renaissance and Baroque music on period instruments. Among the rare instruments he uses is one of the few extant lutes by the Augsburg maker Sixtus Rauwolf (ca. 1595). He has made an extraordinary number of recordings for Bis, often presenting lute music that has never before been recorded. The repertoire he has championed includes lute music by Scottish composers; Italian music for the chitarrone; and chamber music by Vivaldi, Haydn, and Boccherini. He is the first lutenist to have recorded the complete solo lute music by John Dowland and he has received critical acclaim for his interpretations of Bach's music for solo lute. In 1985, he formed the Dowland Consort, specializing in music of the Elizabethan and Jacobean periods, particularly that of Dowland and Weiss. Lindberg has performed as a continuo player on the theorbo and arch lute with many of the most active period nstrument ensembles, including the English Concert, Taverner Choir, the Purcell Quartet, Monteverdi Choir, Chiaroscuro, the Orchestra of the Age of Enlightenment, and the Academy of Ancient Music. He is a frequent collaborator with singers such as Emma Kirkby, Anne Sofie von Otter, Nigel Rogers, and Ian Partridge. For the Royal Swedish Opera at the Drottningholm Court Theatre, he has directed several Baroque operas from the chitarrone, including Purcell's Dido and Aeneas in 1995 (where he co-directed the production with Andrew Parrot) and Jacopo Peri's Euridice in 1997. Lindberg made his solo recital debut at the Wigmore Hall in 1978, and since then has toured Europe, Japan, Mexico, Russia, Australia, Canada, and the United States. He teaches at the Royal College of Music in London, where he succeeded Diana Poulton as professor of lute in 1979. Richard Popplewell's Variations on Brigg Fair for solo lute (1988) was composed for Lindberg. ~ Robert Adelson, All Music Guide

01. The Frog Galliard (23a) 2:10
02. Lachrimae (15) 4:59
03. Sir John Smith, His Almain (47) 2:32
04. Resolution (13) 4:31
05. The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard (40) 2:50
06. A Fancy (6) 2:28
07. The Right Honourable The Lord Viscount Lisle, His Galliard (38) 2:30
08. The Shoemaker's Wife (58) 1:07
09. Lady Hunsdon's Puffe (54) 1:24
10. Mrs. Vaux Jig (57) 1:10
11. Mrs. Brigide Fleetwood´s Pavan alias Solus Sine Sola (11) 5:43
12. Mignarda (34) 3:06
13. Orlando Sleepeth (61) 1:10
14. Can She Excuse (42) 1:49
15. Mrs. Winter's Jump (55) 0:59
16. My Lord Willoughby´s Welcome Home (66a) 1:34
17. Melancholy Galliard (25) 2:25
18. A Fancy (73) 3:04
19. A Dream (75) 4:51
20. Walsingham (67) 4:02
21. A Fantasie (1a) 4:14
22. Semper Dowland Semper Dolens (9) 6:59
23. Mr. Knight's Galliard (36) 2:07
24. Farewell (3) 5:21
25. Tarleton's Riserrctione (59) 1:52

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Juliane Banse & Andras Schiff - Songs of Debussy and Mozart

Juliane Banse & Andras Schiff
Songs of Debussy and Mozart, 2003

First recorded collaboration between one of the leading sopranos of our time, Juliane Banse, and the incomparable pianist András Schiff. The programme is a fascinating combination of two different worlds of "Liedgesang" - in language as well as musical style and historicity.

On this disc are Debussy settings of verse by Verlaine, Mallarmé, and others; the poetry is evocative to begin with and the music further highlights the sense of a scene appearing before one's eyes. The fecundity of the composer's imagination is underscored by the inclusion of two versions of "Clair de lune" - each seems perfect, yet they are subtly different in mood and effect. The Mozart selections splendidly complement the Debussy pieces. ... Banse has an interesting and richly textured voice with a confident top. It's a flexible instrument, as manifested by the trills of "Pierrot" or the gorgeous melismatic passages of "Pantomime." The singer is clearly capable of power but knows when to scale back to suit the material. She sings with an extraordinary sensitivity to the texts. ... Schiff, of course, functions here as far more than a mere "accompanist" - he's an equal partner. The piano parts for the Debussy songs are nearly as remarkable as the composer's much better known solo keyboard pieces, and Schiff is fully responsive to the possibilities. - The Absolute Sound

Debussy and Mozart seem a strange pairing, but this program works thanks to the high quality of the music itself and the perceptive interpretations of Juliane Banse and her partner, Andras Schiff—"accompanist" doesn’t begin to describe Schiff’s important role here. Banse’s beautiful lyric soprano, technically secure, expressive, and warm, is the perfect instrument for these songs. It captivates immediately in Debussy’s early songs which begin the disc, including a ravishing "Claire de lune." Schiff shines as well, as heard in his pellucid pianism in "Fantoches" and in the countless details too often lost in other performances of both composers’ songs. The pair are best in the Mozart selections, where Banse’s German diction is clearer. The duo exude a sense of fun in "Das Veilchen" and are outstanding in the songs that require emotional depth, such as the late "Abendempfindung." Transparent engineering, but the lavish packaging doesn’t include texts and translations, available only at ECM’s website. – Dan Davis

Claude Debussy
01. Beau soir
02. Clair de lune
03. Pierrot
04. Apparition
05. Pantomime
Claude Debussy - Fêtes galantes, 1er livre
06. En sourdine
07. Fantoches
08. Clair de lune
W.A. Mozart
09. Dans un bois solitaire
10. Oiseaux, si tous les ans
11. Warnung
12. Der Zauberer
13. Das Veilchen
Claude Debussy - Ariettes oubliées
14. C'est l'extase langoureuse
15. Il pleure dans mon cœur
16. L'ombre des arbres
17. Chevaux de bois
18. Green
19. Spleen
W.A. Mozart
20. Sehnsucht nach dem Frühlinge
21. Als Luise die Briefe ihres untreuen Liebhabers verbrannte
22. Abendempfindung

For the song texts see http://www.ecmrecords.com/Songtexts/Song_Texts_N1772.php

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Iara Behs - Ernesto Nazareth - Tangos, Waltzes and Polkas

Iara Behs
Ernesto Nazareth - Tangos, Waltzes and Polkas, 2005

I 'discovered' Ernesto Nazareth about 8 years ago while surfing the internet. I found him in a composer alphabet: N is for Nazareth, the only entry under N. I always have my eye out for Brazilian music because of fond connections there. Further, Nazareth was billed as the 'King of Brazilian Ragtime' (or some such grandiose title). I play rags (please don't call me a ragtime piano player), and I have come to object to Nazareth's music being considered 'ragtime'. Nazareth's music is unique music with complex influences of which ragtime is not one. Nazareth's music is a cousin of ragtime; both are rooted in Gottschalk. It is uniquely Brazilian music- and influenced even Villa Lobos as such. It is fun, lively, witty, teasing; Nazareth makes Joplin seem very serious. Yet, the moods of Nazareth are deep. I call the music 'Nazareth'.
Iara Behs gives us a delightful sampler, showing off Nazareth's range of moods, styles, & influences in a spirited- very Brazilian- performance. The notes she writes are as touching as her piano performances, and it is worth the price just to read her sensitive description of the man and his music. I once read a review complaining that for all that Nazareth wrote everyone records the same stuff. Iara's CD is a great blend of new and familiar recordings. Her selections demonstrate thoughtfulness and purpose. However, I wish she would have played 'Fon-Fon' as it always gives me saudades for Rio de Janeiro traffic, and only Cariocas play it right.
The CD is well-recorded, faithfully replicating piano and music. If possible, I would have chosen 4.5 stars (near-excellent) rather than 5 (excellent). While Iara's brilliant expression offsets any technical error, I find some expression- specifically some ritenutos- distracting (subtract 1/2 star).
Anyone interested in piano music of any genre should enjoy this CD. If you do not yet know Nazareth, buy this CD as a treat. If you do know Nazareth, you need to buy it.

Pianist Iara Behs writes in the booklet that, until a few years ago, no serious pianist would dare to include Nazareth in their repertoire but that she never met anyone who did not like his music. To me he sounds like a Brazilian Chopin. Although Nazareth's music frequently sounds carefree, this does not reflect his troubled life. Born in Rio de Janeiro, he worked as a pianist in cinemas and there was a protest when his works were included in a concert at the National School of Music. Eventually, in 1933 he was committed to a psychiatric hospital after the death of his wife and daugheter, but he escaped and drowned himself. Most of his music was for the piano and in the form of a dance. The seventeen pieces on this disc cover a wide range of themes and emotions. The Whirlwind of Kisses is my favorite song on the cd. Iara Behs playing is very beautiful and her comments in the booklet included with the cd on the music are insightful. If you like Chopin and good piano playing I think you will really enjoy this cd.

01. Espalhafatoso (Boisterous) 2:27
02. Brejeiro (Mischievous) 2:00
03. Confidencias (Confidences) 7:05
04. Escovado (Cunning) 4:10
05. Nene (Baby) 3:21
06. Ameno Reseda 2:32
07. Turbilhao de Beijos (Whirlwind of Kisses) 6:55
08. Gaucho 2:43
09. Plangente (Lamenting) 5:11
10. Topazio Liquido (Liquid Topaz) 3:16
11. Ouro Sobre Azul (Gold on Blue) 3:16
12. Sarambeque 2:58
13. Eponina 5:48
14. Escorregando (Going Down Well) 2:35
15. Tenebroso (Gloomy) 3:19
16. Odeon 3:07
17. Apanhei-te Cavaquinho (I Have Grabbed You, Cavaquinho!) 2:29

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Hans-Martin Linde & Konrad Ragossnig - Music for Two. New Music for Recorder and Guitar

Hans-Martin Linde & Konrad Ragossnig
Music for Two. New Music for Recorder and Guitar, 1988

Blockflöte und Gitarre - der Kontrast von geblasenem und gezupftem Klang hat durch alle Zeiten hindurch seinen speziellen Reiz behalten. Unser Duo war eines der ersten Ensembles dieser Art in unserer Zeit. Mit Vergnügen haben wir barocke und (mit der Querflöte) klassisch-romantische Werke in zahlreichen Konzerten und Aufnahmen musiziert. Aber auch die Musik unserer Tage hat einen festen Platz in unseren Programmen. Die vorliegende Aufnahme enthält heutige Musik gänzlich unterschiedlicher Richtungen. Mehrere der eingespielten Werke wurden für uns geschrieben oder eingerichtet. (H.-M. Linde)

Hans-Martin Linde - Music for Two
01. I. Exercise (Giocoso)
02. II. Remembrance (Andante triste)
03. III. Julieta's Ground (Tranquillo/ Moderato)
04. Dimitri Terzakis - Fthorai
05. Reginald Smith-Brindle - Hathor at Philae

Karlheinz Stockhausen - Tierkreis
06. Wassermann
07. Zwillinge
08. Jungfrau
09. Steinbock

Friedrich Zehm - Serenade
10. I. Molto moderato / Allegro moderato
11. II. Largo sostenuto / Piu mosso e capriccioso
12. III. Introduktion (Pantomime) Tempo ad libitum / Allegro con moto (á la valse)
13. Robert Suter - Small Talk
14. Daniel Kaiser - Ritournelle

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HERE

Fairuz - Damascus Festival 1966

THIS RECORDING FEATURES AN EARLY PERFORMANCE BY THE RENOWN LEBANESE DIVA, FAIRUZ, PRESENTED AT THE DAMASCUS FESTIVAL, 1966.

Born and educated in Beirut, Fairuz (Fayrouz, Fairouz) began her musical career as a chorus member at the Lebanese Radio Station. In the late 1950s her talent as a singer became fully acknowledged. Met with unprecedented enthusiasm, Fayrouz's early songs featured the singer's distinct vocal timbre and lyrics expressing romantic love and nostalgia for village life. They meshed with a delicate orchestral blend in which certain Arab instruments figured prominently but which also subtly incorporated European instruments and European popular dance rythms.

She also sometimes sang adaptations of Arab folk tunes. By the early 1960's Fairuz was already one of the main attractions of the annual Baalbeck Festivals and a celebrity not only in Lebanon but throughout the Arab world.

During most of her singing career, Fairuz was part of a three-member team which included the two Rahbani brothers. Generally, her lyrics were written by Mansour Rahbani, and the tunes were composed and arranged by his brother 'Assi, Fayrouz's late husband. Fairuz's songs owe a great deal to the musical and poetic genius of these two Lebanese artists. In recent years they have also reflected the composing talent of Ziad Rahbani, Fayrouz's son. In addition, they testify to Fayrouz's broad musical background, which traditions of Arab music.

Fayrouz has performed in many US cities including Washington DC, New York and most recently Las Vegas.

[01]. Khuzni Beaynayk
[02]. Koltelha
[03]. Wakefly
[04]. Sketch Mereh
[05]. Katabna ou Ma Katabna
[06]. Barda Barda
[07]. Ya Mal Esham
[08]. Al Lala Oul Lala
[09]. Souk El Hamediyye
[10]. Ya Leyl Essab
[11]. Sketch El Beyah
[12]. Telly Ou Henne Al Oushak
[13]. El Aan Ou Leyss Ghadan

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SABRI BROTHERS & AZIZ MIAN - VOICES & ECHOES "MAIKHANA"

The Sabri Brothers, Haji Ghulam Farid (or Fareed) Sabri (1930-1994) and Haji Maqbool Ahmed Sabri (also born in Kalyana in East Punjab, on October 12, 1945), they were taught music by their father, Ustad Haji Inayat Sen Sabri. The family claims descent from Mian Tansen, one of the greatest and most legendary Hindustani musicians of all time. The musically gifted Tansen was a musician in the court of Akbar and is credited with miraculous powers of musicianship. Maqbool Ahmed Sabri formed his first party of qawwals at the age of 11; soon afterwards in 1956 his elder brother (who had been singing with Kallan Khan's qawwal and party) joined him and the Sabri Brothers proper came about. Their career was marked by brotherly squabbles followed by periods of each doing solo work. The duo created a body of recorded work, consistent in quality, but rather more traditional than Nusrat Fateh Ali Khan's recorded work.~ Ken Hunt, All Music Guide



SABRI BROTHERS & AZIZ MIAN - VOICES & ECHOES "MAIKHANA"



[01]. Main Sharabi Sharabi

[02]. O'Sharabi Peena Churh

[03]. Haye Kambkhat Tune



MUSIC: AZIZ MIAN & MAQBOOL AHMED SABRI



HERE

Hans Lüdemann & Trio Ivoire - Touching Africa

Hans Lüdemann & Trio Ivoire
Touching Africa, 2006

Born in 1969 in Abidjan (Ivory Coast) and raised in Mali, balafon player Aly Keyta comes from a Malinké family that has been keeping to the musical tradition of the "Griots." Keita discovered jazz in the eighties and soon started to adapt his self-constructed diatonic instruments to diverse modern styles. He and his brothers also built the biggest balafon of the world. Virtuoso Keita has performed in Africa, Europe and the USA with players like Pharoah Sanders, Paco Sery and Lukas Ligeti. In 1999 he met well-known German jazz pianist Hans Lüdemann who toured West Africa in commission of the Goethe Institutes and the German Foreign Office. A jazz professor in Cologne, Lüdemann has worked with Jan Garbarek, Mark Feldman, Paul Bley and many others and released several CDs with his band Rism. The black and white keys of his piano and the wooden bars of Keita's balafon connected immediately and the first concert together became a great success. So Lüdemann prepared some new music and he and Keita decided to add Steve Argüelles as the third man in this project. An experimental musician and composer, Argüelles is an important part of the London jazz scene but also very active in France where he has been living since 1992. A rather bizarre ensemble, Trio Ivoire gives us a new transcontinental vision far beyond the stereotypes of world music.

Trio Ivoire was finally founded in Germany with the support of the WDR radio who co-produced this recording. During the studio sessions kora master Tata Dindin from Gambia came by and joined the trio on two pieces. He is best known for exploring contemporary music on the kora and for leading the Gambian electric band "Salam." The music on this CD is an original mixture of polyrhythmic textures and motivic improvisation displaying the virtues of West African tradition, American jazz, European classical and minimal music. Some tunes keep within the limits of harmonic traditions, others go into polytonality and throw a totally new light on the balafon. In turn, the African instrument adds a dark and earthy timbre to the piano. The percussionist completes the colors with his rhythmic fire and strange ideas. Trio Ivoire made its live debuts in 2000 in Abidjan upon the 30th anniversary of the Goethe Institute and in Hannover at the EXPO 2000. And that was only the beginning.

Im TRIO IVOIRE verschmelzen persönliche Wurzeln aus den Traditionen von Jazz, europäischer und afrikanischer Musik. Die Verbindung des afrikanischen Balafons mit Klavier, Schlagzeug und Elektronik schafft einen zeitgenössischen Sound ohne Vergleich. Das hat weniger mit traditioneller Musik als damit zu tun, künstlerische Ausdrucksmöglichkeiten in einer globalisierten Welt zu finden. Einerseits geht es darum, traditionelle afrikanische Instrumente in die moderne Welt zu transportieren um auf der anderen Seite neuen Farben für das Klavier zu entdecken.
Hans Lüdemann ist Komponist, Pianist und Kopf des TRIO IVOIRE. Er gilt als "einer der eigenwilligsten und ausdrucksstärksten europäischen Pianisten" (Jazz Podium) oder schlicht "einer der grossen Pianisten des deutschen Jazz" (Frankfurter Rundschau). Im TRIO IVOIRE bringt er seine "erkennbar eigene Sprache" (FAZ) auf dem Klavier in Verbindung mit Aly Keita, dem "Magier des Balafons" aus Elfenbeinküste/Cote d`Ívoire. Dessen Spiel ist an Energie und Ausstrahlung kaum zu überbieten. Mit ihm und Hans Lüdemann haben sich zwei verwandte Geister über kulturelle Grenzen hinweg gefunden. Der niederländische Schlagzeuger Chander Sardjoe verbindet die musikalischen Welten durch den warmen Klang seines höchst individuellen Schlagzeug-Spiels. Die von Lüdemann sparsam eingesetzte Elektronik erweitert oder kontrastiert die akustischen Instrumente.
Gemeinsam entsteht eine eigene Art von Musik jenseits der Klischees - ein lustvolles Spiel dreier außergewöhnlicher Musikerpersönlichkeiten zwischen Traditionen, Visionen und Experimenten. Besonders dort, wo afrikanische Polyrhythmik und europäische Polyphonie sich verbinden, oder wo die Gegensätze betont werden, entstehen die kreative Energien der Gruppe. Die musikalische Magie des TRIO IVOIRE verbindet Jazz zurück nach Afrika, in einer subtilen Balance zwischen reichen und komplexen rhythmischen und formalen Strukturen und einer emotionalen Tiefe "hinter den Tönen", die berührt - sie zielt direkt in das Herz des Zuhörers.
Im Gegensatz zur ersten CD des TRIO IVOIRE, die unter dem unmittelbaren Eindruck afrikanischer Konzertreisen entstand ("Trio Ivoire"/ENJA Records 2002), berührt die neue Veröffentlichung "Touching Africa" ( RISM-Edition 2006) den Kontinent aus einer Distanz. Es geht um persönliche Erlebnisse auf einem langen gemeinsamen Weg der Musiker, die in den Stücken verarbeitet wurden. Davon erzählt das energetische Stück "Wenn Du weite Wege gehst" von Hans Lüdemann ebenso wie das besinnliche "Ha Iri" von Aly Keita. Auch die unterschiedlichen Blickwinkel der Musiker können ein Thema sein wie in "Doublé", wo ein zwei-Halbe-Takt in einen 15/8 und zurück "morpht". Manchmal macht die Gruppe sehr einfache, liedhafte Statements wie in "Maniamba", manchmal nimmt die Musik sehr komplexe Formen von klassisch anmutender Architektur an. Gast auf der CD und häufig auch bei Konzerten ist Tata Dindin, der Sänger und Koraspieler aus Gambia, den eine lange Zusammenarbeit mit Lüdemann verbindet.
Ivoire - Elfenbein ist ein wertvolles Material. Eine besondere Verwendung findet es als Material für die Tastatur hochwertiger Flügel. Elfenbeinküste - Cote d`Ivoire heißt das Geburtsland Aly Keitas und des Trios. Diese Bezüge finden sich im Namen der Gruppe ebenso wie das Spiegelung der Buchstaben (T) r i o (I v) o i r (e)- ein Sinnbild für das Spiel der Musiker mit den Tönen. Und auch der "Fluss", das "Sehen", der "Aufruhr" sind im Bandnamen versteckt. Französisch ist die gemeinsame Sprache in der Gruppe.
Hans Lüdemann tastet schon lange nach Afrika. Er lässt sich in seinen Kompositionen und Improvisationen von afrikanischer Musik inspirieren.
1999 machte er im Rahmen seiner Goethe-Instituts-Tournee durch Westafrika auch in der Elfenbeinküste ("Cote d'Ivoire") Station. In Abidjan traf er in einem Projekt des Goethe- Instituts Aly Keita. Ihre Premiere im Frühjahr 1999 wurde ein rauschender Erfolg. Eine weitere Einladung Lüdemanns nach Abidjan und damit die Fortsetzung der Zusammenarbeit folgte. Ende 1999 gründeten Lüdemann und Keita dann in Deutschland das "Trio Ivoire" und spielten eine Rundfunk- und CD-Produktion für den WDR ein. Als dritten im Bunde des äußerst rhythmisch angelegten Trios wählten sie den in Paris lebenden Briten Steve Argüelles. Dort, wo die Idee für dieses außergewöhnliche Musikprojekt geboren wurde, hatte das "Trio Ivoire" auch seinen ersten großen Erfolg: Die drei Musiker spielten im Juni 2000 in Abidjan aus Anlass des 30jährigen Bestehens des Goethe-Instituts und wurden euphorisch gefeiert. Der Fernsehmittschnitt des Konzerts wurde mehrfach in Cote d'Ivoire und auch im französischen Fernsehen gezeigt.
Auf der Expo 2000 stellte sich das "Trio Ivoire" dem deutschen Publikum unter dem Motto "Europa trifft Afrika" im Deutschen Pavillon vor. Die erste CD des Trios ist 2002 beim internationalen Label ENJA erscheinen. Seither folgten Konzertreisen in Europa und Afrika, mit Auftritten u.a. bei den Leverkusener Jazztagen, dem Music Meeting Nijmegen, dem Münchener Klaviersommer und zuletzt im Rahmen der Fussball-WM 2006 in Deutschland. Der niederländische Schlagzeuger Chander Sardjoe spielte mit dem TRIO IVOIRE erstmalig im Jahr 2003. Seit 2007 ist er der neue Schlagzeuger der Gruppe. Auf einer Tournee durch West- und Südafrika im April/Mai 2007 sorgte die Gruppe in dieser neuen Besetzung für Furore. Ausverkaufte Konzerte und standing ovations waren Reaktion auf die starken, erneuerten Energien des TRIO IVOIRE.

01. Turning Points
02. Maniyamba
03. Wenn Du weite Wege gehst
04. Ha Iri
05. Der weiche Mond
06. Himizo
07. Tatu
08. Bandiagara Blue
09. Doublé
10. Three Characters

Hans Lüdemann - piano, clavichord, electronics
Aly Keita - balaphon, sanza
Steve Arguelles - drums, percussion, electronics
Tata Dindin - vocals, kora (2,4,7,8)

320 kbps including full scans

Part One
Part Two