Pablo Márquez - Luys de Narváez

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Pablo Márquez
Luys de Narváez - Musica del Delphin, 2007
The ECM debut for internationally acclaimed and multiple prize-winning guitarist Pablo Márquez is also the first solo classical guitar record ever on the label. The recording features music of timeless beauty and vitality - 16th century Spanish composer Luys de Narváez' Seys Libros del Delphin. For his most important work, Narváez (ca. 1500-1550) assembled fantasias, settings of vocal pieces, secular and religious songs and various "diferencias," which are the first compositions in music history to be officially identified as variations. These pieces were originally written for the vihuela, a predecessor of the modern guitar, and Marquez has chosen 17 of the original 40 works for this recording. The homogeneous and approachable program is marked by a remarkably vocal elasticity and melodic warmth. Pablo Márquez was born in Argentina where he studied the guitar with Jorge Martinez Zaráte and Eduardo Fernández before training in Early Music with
Javier Hinojosa in Europe. Among his chamber music partners are several ECM Artists: bandoneonist Dino Saluzzi and his family group, cellist Anja Lechner (with whom he's played duos since 2005) and the Rosamunde Quartett. He also champions new works from South America with the Ensemble Alma Viva. Marquez' continuous involvement with contemporary music lead to several first performances and to close collaborations with composers such as Luciano Berio, György Kurtág and Maurizio Kagel.

Pablo Marquez is an Argentinean classical guitarist whose work garners rave reviews from many areas. He has collaborated with groups such as Ensemble Intercontemporain as well as Argentine traditional groups, a field he has studied with bandoneon master Dino Saluzzi. His involvement with contemporary music has also led him to collaborate with composers such as Luciano Berio, Gyorgy Kurt?and Maurizio Kagel.
Musica Del Delfin is a collection of the music of Luys de Narvaez, a Spanish musician and composer born in 1500. Originally, these instrumentals were written to be played on vihuela, a 16th century guitar-like instrument that many today believe to be a precursor of the classical guitar. Navarez's opus consists of forty works (published in 1580 as Los Seys Libros del Delphi de Musica) where he gathered all kinds of fantasias, setting for vocal pieces, secular and religious songs.
For his recording, Marquez has chosen seventeen out of these forty works. In the liner notes, Marquez states that he has had the deepest respect for Narvarez's work, because it took him twenty years of studying Renaissance music in order to build the necessary facility to play these compositions. One of the goals for Marquez was to show that Renaissance music can be played without vihuela.
The ambience is ruminative and extremely intimate, making Musica del Delphin a ravishingly beautiful document—elegant, lovely, easy on the ear yet offering food for thought. These are not pieces of 16th century wallpaper. The inner-bound, ruminative movements are soulful, even ethereal, and seem to stop time. Each composition is its own abstract, beautiful world that guitarist Marquez brings to life with nearly flawless technique.

Luys de Narváez - Fantasias and other pieces from Los seys libros del Delphin de musica de cifra para taner vihuela

01. Libro I, 1. Primer tono por ge sol re ut 2:50
02. Libro III, 6. Canción del Emperador (Mille Regretz de Josquin) 2:10
03. Libro II, 3. Fantasia del quinto tono 1:46
04. Libro I, 2. Segundo tono 3:09
05. Libro VI, 1. Diferencias sobre Conde claros 3:15
06. Libro I, 3. Tercero tono 2:40
07. Libro II, 6. Fantasia del primer tono 0:54
08. Libro VI, 4. Baxa de contrapunto 1:16
09. Libro I, 4. Quarto tono 2:57
10. Libro IV, 1. Diferencias sobre el himno O Gloriosa Domina 6:56
11. Libro I, 5. Quinto tono de consonancia 2:24
12. Libro III, 9. Je veulx laysser melancolie de Richafort 1:42
13. Libro I, 6. Sesto tono sobre fa ut mi re 3:05
14. Libro III, 3/4. Sanctus y Hosanna (Missa Faisant Regretz de Josquin) 3:13
15. Libro I, 7. Septimo tono sobre ut re mi fa mi 3:20
16. Libro II, 2. Fantasia del quarto tono 1:55
17. Libro I, 8. Octavo tono 2:31

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L'Arpeggiata - La Tarantella. Antidotum Tarantulae

Posted By MiOd On 10:32 PM 0 comments
Les Flemmes d'Enfer / Flames of Hell. Best of Cajun and Zydeco Tradition (Swamp Music, Vol.I), 1989
Alt text
A fascinating, original crossover of folk and classical, with the musicians of the early music ensemble L’Arpeggiata joining the illustrious singers Galeazzi and Beasley, performed on modern and ancient instruments including chitarra battente, lutes, harp, psaltry. It's a mix of traditional songs and composed works form the 17th century, which gives it a unique and uncompromising quality.
With Alfio Antico, Eero Palviainen, Marcello Vitale and many other fine musicians. Includes detailed notes in French and English.

In 1630 a strange disease called “Tarantism” struck Italy. It was attributed to a spider’s bite with alternating symptoms of exaltation and prostration. Tarantella are enchanting songs and dances meant to heal the patient by creating a state of trance.

01. La Carpinese
02. Lu gattu la sonava la zampogna
03. Tarantella Napoletana, tono hypodorico
04. Lu passariellu
05. Lamento dei mendicanti
06. Luna luneda
07. Ah, vita bella!
08. Tarantella del Gargano
09. Pizzicarella mia
10. Silenzio d'amuri
11. Tarantella calabrese
12. Sogna fiore mio
13. Tarantella italiana
14. Tu bella ca lu tieni lu pettu tundu
15. Pizzica ucci
16. Lu povero 'ntonuccio
17. Antidotum tarantulae

Lucilla Galeazzi - chant
Marco Beasley - chant, tamburi a cornice
Alfio Antico - chant, tamburi a cornice
Christina Pluhar - harpe baroque, théorbe, guitare baroque, chitarra battente
Eero Palviainen - archiluth, guitare baroque
Edin Karamazov - colascione, archiluth
Marcello Vitale - chitarra battente, guitare baroque
Eduardo Eguez - guitare baroque, chitarra battente
Elisabeth Seitz - psaltérion
Johanna Seitz - lirone, viole
Paulina Van Laarhoven - lirone, viole
Pierre Boragno - cornemuse
Michèle Claude - percussions

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Ustad Alla Rakha & Ustad Zakir Hussain - Together

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The classical tradition of 'Jugalbanbi', epitomising "Togetherness", reaches its peak when father and son: Ustad Allarakha & Ustad Zakir Hussain perform together. Their closeness and compatibility results in a unique synthesis, a fusion of souls, that adds a new dimension to virtuosity.
This album provides a rare chance for the Western listener a chance to know deeply the sound of the tabla, a traditional instrument from India that consists of two drums. Alla Rakha and Zakir Hussain are extremely skilled players, and have reached a full mastership of the this, playing a duet with various forms of rhytmic patterns. This is a valuable record for anyone who is interested in Indian music, as well as for tabla students.

Ustad Alla Rakha was born as Allarakha Khan on April 29, 1919 at Phagwal village, near Jammu, 80 km. from Lahore (Pakistan). He became fascinated with the sound and rhythm of the tabla at the age of 12, while staying with his uncle in Gurdaspur. The determined young lad ran away from home, became a disciple of and began studying tabla with Mian Kader Baksh of the Punjab Gharana. By doing this, he was initiated into the world of music. He studied voice and Raag Vidya under Ustad Ashiq Ali Khan of the Patiala Gharana. His regimen of practice and dedication were legendary: hours upon hours of hard, disciplined practice, that would later pay off.

1. Jugalbandi - Taal Chartaal-Ki-Sawari
2. Jugalbandi - Taal Teentaal
3. Jugalbandi - Solo Taal Rupak

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Kodo - Irodori

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Kodo is a Japanese group that has become an international phenomenon, based on the island of Sado, that has taken the world by storm with their new stylings on semi-traditional taiko drumming. Founded in 1981, the group's name has dual meaning; according to the group, it translates both to "heartbeat -- the primal source of all rhythm," and "children of the drum, a reflection of Kodo's desire to play their drums simply, with the heart of a child." The group spends one-third of an average year touring in Japan, one-third touring the rest of the world, and one-third in rigorous workouts in their village on Sado. They have toured in all continents except Antarctica in their attempts to spread world peace via the messenger of music. Among their projects, aside from straightforward taiko performances, are a collaboration with new age synthesizer genius Isao Tomita for Nasca Fantasy, instructing the über-eclectic Cirque du Soleil in taiko for their own performances, the soundtrack for The Hunted, and a yearly "Earth Celebration" festival on Sado for percussionists from around the world to attend. They are ambassadors of peace through music and the current top bearers of the living art form of taiko drumming. ”

An excelent Kodo album with melodic pieces.

1. Irodori (7:15)
2. Lion (3:52)
3. Kazauta (4:31)
4. Tsuki-No-Sei (8:07)
5. Kairyu (6:59)
6. Monochrome (14:23)
7. Yamauta (7:46)

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Ray Conniff - Happiness is

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An aggressively "happy" album by Ray Conniff and his singers, Happiness Is combines exuberant singalongs, wordless vocals, and instrumentals in a grab-bag album that covers many -- if not most -- of Conniff's bases. A couple of mellow moments don't detract from the overarching sunniness of the album, which lapses into delicious self-parody with "Popsy" and the hilarious title track (co-written by former teen idol Paul Evans). "The Sheik of Araby" is whistled to a shuffling soft-shoe rhythm, and the joyous ba-ba's totally eclipse the inherent loneliness of "Blue Moon." Happiness Is is a fun and very funny album that once again shows Conniff's self-effacing sense of humor.

1. Happiness Is
2. Midnight Lace (Part 1)
3. Miss You
4. Popsy
5. Melodie D'Amour
6. You Stepped Out Of A Dream
7. Jamaica Farewell
8. Blue Moon
9. If I Knew Then
10. The Sheik Of Araby
11. All By Myself
12. Sweet Sue, Just You

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Klezzmates - Reflections

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Klezzmates
Reflections, 2007
Alt text
In January 2005 we decided to form a band whose repertoire could put all our individual music interests and experience together. Each of us had had a contact with klezmer music in its very broad aspect and its beauty and variety grabbed all our attention. For quite a long time we pondered over an idea of the band which would realize our own music ideas. This is how the programme was born. It contains the most characteristic elements of Jewish and Balkan music (scales, rhythm, harmony). Using our former experience we have added jazz and classical touch. The final effect is our concept of klezmer music.
The name of the group originates from the word roommate and means klezmer friends. With a double ‘z’ reminding that klezmer music and jazz have a lot in common.
Our work was appreciated by the jury during the Festival Nowa Tradycja (The New Tradition Festival) in 2005 organized by Polish Radio II. We were awarded The Polonia Channel Award which we consider our greatest achievement so far.
Since the beginning (12.01.2005 – the date of the first rehearsal) there has been only one change. Our original clarinetist Maciek Bosak who started his studies at Julliard School in New York was replaced with a new member – Tomek Polak.

Much has been written about the music of five artists whose next album we can listen to. Their academic music education explains the use of forms, techniques and elements of genres traditionally considered classical music or jazz. However, you can study a few faculties in music and still you won't be able to achieve the effect which you can perceive while listening to the album "Reflections". For this level of art it would be tactless to point to the perfect craftsmanship of all the musicians, to the joy and the need of playing you can feel in every note, to their incredible sensitivity to the tone colour, to their improvising abilities, to the skillful use of composing techniques and many forms they use in their music.
Because it is THEIR music - from the start, from the beginning of the music idea, filled with the soul of Jewish music but without quoting it. The idea which quite clearly builds most of the pieces (1, 2, 7, 10...) but which evolves into many different forms, characters or climates. Klezzmates' manner of form creation is easily distingushed - it is apparent monotony where the harmonic colour of the accordion serves as the background for a few climaxes which are reached with many different means (2, 5, 7...). There is a jazz ballad (4), there are lively pieces which make you want to dance (8, 9...), there is pastiche, Marcin Wiercioch's speciality, which continues, two faces' theme (,Two Faces of Klezzmates') which we know from their first album (6).
This music shows not only, two faces' of the klezmer music but also its great capability to hold many styles, genres and forms its mulitdimensional energy. This music expresses all kinds of emotions which are brought by, nigun' - the Chassid song. Its mystic, swinging, rhytmic, melodic ostinato contains asking, sorrow, rebellion, anger, humility, joy, dance, thanksgiving... prayer.
This multilayer music in its deepest threads seems to be aimed at connoisseurs but also less analytical listeners will surely find it delightful. If you immerse in all its sound it can bring about a few reflections and open a few doors of sensitivity, intellect and imagination. - Wanda Falk

Two years ago I reviewed the debut CD of this Polish klezmer band. At the end of my review I wrote the wish that this band would stay together and record more music for many years, as their debut CD showed a band with great potential. What makes this band so special is the totally different backgrounds of the musicians and their new and fresh approach of Klezmer music. This second cd called Reflections made all my dreams come true and is even better than I expected. In Intro the band immediately catches my full attention with dark, spooky music of high quality. The Klezmattes know exactly how to build up a song. They do this carefully with small changes in both melody and rhythms. Listen to Spring fantasy which is a small masterpiece that takes over seven minutes. It starts so fragile and slowly builds up to an energetic piece of klez-jazz. Almost like music from an ancient sad love movie is All and nothing at all. Such a melancholic sound. Same for the
almost ten minutes song Sad song for D. This song makes a cold wind blowing through my house and gives me the feeling something is on it’s way, something sad or something beautiful, I don’t know. What I do now is that it must be something pure. With Reflections this Polish band issued one of the top CD’s of 2007. I hope that on their next German tour they will visit the lowlands of Holland as well for at least one concert. Preferably on a day I don’t have to work and in a place close to my home, I will be there.

(01). Intro
(02). Spring Fantasy
(03). Klezzy
(04). S.T.a.R.S.
(05). All and Nothing at All
(06). It Happens
(07). Sad Song for D.
(08). Roller
(09). Oil Guts
(10). Outro

Tomasz Polak - Clarinet
Bartek Staniak - Violin
Marcin Wiercioch - Accordion
Krzysztof Kossowski - Drums, Percussion
Jarek Wilkosz - Double Bass

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Joachim Held - Erfreuliche Lautenlust

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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

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Nikhil Banerjee - Sitar

Posted By MiOd On 2:49 AM 0 comments
When Nikhil Banerjee died in 1986, India didn't just lose one of its greatest sitar players, but one of its most influential classical musicians. A former child prodigy who won the All-Bengal sitar competition at the age of nine, Banerjee grew up to earn international acclaim as a highly skilled musician. According to The San Francisco Chronicle, Banerjee's "technique is a phenomenon, faster than cheetahs, more secure than the dollar." Music And Musicians observed that "his improvisations always sound completely natural and spontaneous.." In an obituary published after his death, The New York Times wrote "the extraordinary fluidity and assurance of his rhythmic ideas and phrasing set a standard that would have left the more international 'stars' of Indian music behind."

The son of an amateur musician, Banerjee was fascinated by his father's playing. Although he wanted to try his hand at an instrument as early as the age of four, he was discouraged by his father and grandfather. At the age of five, however, they relented and he acquired a small sitar. Banerjee took to the instrument immediately. In addition to winning the All-India sitar competition, he became the youngest musician employed by All-India Radio at the age of nine. He remained a featured radio performer for five years. One of 15 children, Banerjee was greatly influenced by Ustad Amir Khan, who would come to his family home to teach his older sister. Banerjee also studied with Mustaq Ali Khan for three months and Jnan Prakash Ghosh, who taught him to play tabla. His greatest teacher, however, was Baba (Allaudin Khan), with whom he apprenticed, along with Ravi Shankar, from 1947 until 1952. Following Khan's death, Banerjee went on to study with Khan's son, Ali Akbar Khan, for an additional five years. Banerjee subsequently performed an estimated 1,000 concerts in India as Khan's accompanist. Banerjee performed his first concerts outside of India in 1955 as a member of a cultural delegation sent by the Indian government to Poland, Russia, and China. He made his United States debut in 1967. For many years, Banerjee spent three months each summer teaching, performing, and lecturing/demonstrating at U. C. Berkeley.

In 1968, Banerjee was awarded the honorary title Padma Shri. The same year, he was named India's "outstanding musician of the year" by the Sangeet Nagat (music and dance) Academy. ~ Craig Harris, Rovi

1. Raag Des - Gat In Vilambit & Drut Teentaal
2. Raag Mishra Gara
3. Raag Rachna Thumri Ang
4. Raag Rachna Khamaj Thumri

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Heartbeat Drummers Of Japan

Posted By MiOd On 11:20 PM 0 comments

I firmly believe that Taiko drumming is not something one can capture on a recording. It must be heard and FELT live. However, as far as recordings go, this one has a good feel. I also believe the recording technique used for this cd was intentional on the part of the makers--it forces you to turn the volume up to a level which can allow you to appricate the drumming's effect. Traditionally, the softer lower-volume parts are intended to offset the louder parts. Also, the silent gaps are very important and should be appriciated, which is something Westerners are often unused to. I feel this recording is true to the nature of the art.

People have been commenting on the quality of the actual recording when they listen to this CD, and I can understand the negative feedback. On tracks 1 (Miyake) and 5 (Hae), there are sections where volume needs to be adjusted to hear practically anything above a whisper. It does detract from the overall enjoyment to fiddle with the volume knob, but aside from that, it's got a good acoustical feel to it. Miyake has a traditional song just before it, and the harmony of the voices really adds a great touch. Monochrome is on a few other CD's; it's not the easiest thing to listen to - it's a long piece and best served as a blend of visual/audial. The Odaiko piece is powerful - but then again, it always is... Chonlima is a personal favorite, and this time it's played fast, on the edge of amazingly so. Hae is only on this album, but it's got a soothing, relaxed feel even through the build at the end. I'd recommend this for Kodo/Taiko fans, but not for first-time buyers or just the curious. You'll like it better if you know what you're in for.

1. Miyake (Okiage - Fisherman's Song)
2. O-Daiko (Big Drum)
3. Monochrome
4. Chonlima
5. Hae

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Girija Devi - Bahiyan Kyon Marori

Posted By MiOd On 10:17 PM 0 comments
Bahiyan Kyon Marori Girija Devi 2: :
All India Radio Archival Release (Immortal Series)
Girija Devi (Hindi: गिरिजा देवी; IAST: Girijā Ḍhevī) (born 1929) is an Indian classical singer of the Banaras gharana. She performs classical and light classical music and has helped elevate the profile of thumri. Devi performs the purabi ang thumri style typical of the tradition and her repertoire includes the semi-classical genres kajri, caiti, and holi and she sings khyal, Indian folk music, and tappa. The New Grove Dictionary of Music and Musicians states that her semi-classical singing combines her classical training with the regional characteristics of the songs of Bihar and eastern Uttar Pradesh.

RAAG POORVI……28:35
Date of Recording : 19.03.1977

THUMRI MISHRA KHAMAJ…..13:47
NAZUK BAHIYAN KYON MARORI SHYAM
Date of Recording : 19.03.1977

THUMRI BHAIRAVI…..13:48
BABUL MORA NAIHAR CHHOOTO JAAYE
Date of Recording : 19.03.1977

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Japan. Semiclassical and Folk Music

Posted By MiOd On 5:15 PM 0 comments
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

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Inde (Bengale): Kobiyals, Fakirs & Bauls

Posted By MiOd On 2:37 PM 0 comments
India - Kobiyals, Fakirs & Bauls.
Oral Traditions of Bengal, 2001
This is a recording of an annual festival held in Bengal and the performances on this recording are mostly of solo voice and male choruses.

01. Kobi Instrumental Et Question Au Maitre Tamal Sarkar - Kobi Tamal Sarkar
02. Kobi Response Du Maitre Amulya Sarkar - Kabi Amulya Sarkar
03. Nijashaney Atchey Khoda - Halim Fakir
04. Alekh Saharey - Man Kumari
05. Bhaba Parey Jabi Kerey - Ansar
06. Banka Nodi - Paban Das Baul
07. Prem Rasika - Kartick Das Baul
08. Khrisna Anurager Baganey - Nimai Chand Baul
09. Pirer Pirani - Halim Fakir
10. Pakhpanjatan - Fakir Ansar
11. Jat Gelo - Man Kumari
12. Chai Anondo Chai Prem - Paban Das Baul
13. Instrumental Nimai - Nimai Chand

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Hamid Khezri - Le dotar du Khorassan

Posted By MiOd On 11:41 AM 0 comments
Le dotâr du Khorassan, 2005
Alt text
Hamid Khezri, dotar player and singer, is renowned as a versatile musician equally at home in a wide range of musical styles ranging from the folk music of his North Khorassan home, the Sufi music of the South Khorassan deserts and the troubadour traditions of the mountains of North Khorassan to original compositions and a variety of cross-over projects. Whether as a soloist or as a member of various ensemble, he always excels by his virtuosity, high musicality, strong and varied rhythms and moving melodies. Hamid Khezri was born in 1969 in Quchan, the musical centre of North Khorassan Persia. He learned to play the dotar, the most important instrument of the region, and went to study with the great masters of that two-stringed long-necked lute, such as Haji Hossein Yeganeh, Golafruz and Hamrah Bakhshi. Engaging in music-ethnological research, he became familiar with the various traditions and playing techniques not only from the north but also from the south of the province. Owing to his deep knowledge of the music and firmly rooted in tradition, Hamid Khezri was able to develop a playing technique of his own. He thus created his own highly unique style of playing the dotar. Hamid Khezri has toured the US, Canada and Europe together with prominent artists. He currently lives in Germany.

Hamid Khezri wurde in Quchan geboren, dem Zentrum der Musik Nord-Khorassans. Dort lernte der Musiker und Sänger vor seiner Auswanderung nach Deutschland das wichtigste Instrument dieser Musiktradition kennen: die Dotar, eine zweisaitige Langhalslaute. Heute gehört der seit 1999 in München lebende Iraner zu den bekanntesten "Ethno-Musikern" in Deutschland. Die Stilrichtungen des vielseitigen Musikers spannen sich von der Folklore seiner Heimat, der Sufi-Musik der Wüsten Süd-Khorassans und der Schamanentradition der Berge Nord-Khorassans, über eigene Kompositionen bis hin zu Cross-Over mit den verschiedensten Musikstilen. Als Solist oder mit seinen musikalischen Begleitern besticht er durch seine Virtuosität, hohe Musikalität, starke, abwechslungsreiche Rhythmik und ergreifende Melodien. In Khorassan hat Khezri die großen Meister der Langhalslaute aufgesucht - unter anderem Haji Hossein Yeganeh, Golafruz und Hamra Bakhshi - und musikethnologische Feldforschung betrieben. So eignete er sich nicht nur die verschiedensten Traditionen und Spieltechniken des Nordens, sondern auch des Südens der Provinz an. Durch die tiefgehende Kenntnis der Musik und die eigene Verwurzelung in der Tradition konnte Khezri auf der Dotar eine eigene Spieltechnik entwickeln und seinen eigenen unverwechselbaren Stil entwickeln. Er gilt heute als einziger Dotarmeister in Europa. Die Dotar wird seit 3000 Jahren von Schamanen und Geschichtenerzählern gespielt. Khezri erzählt die alte Königslegende, die er mit seinen eigenen Worten übersetzt und mit eigenen Kompositionen illustriert. Die Geschichte des Königs Bakram zählt zu den ältesten iranischen Mythen und wurde von dem persischen Nationaldichter Ferdowsi überliefert. Tourneen führten Hamid Khezri mit prominenten Künstlern durch die USA, Kanada und Europa. Neben seinen Auftritten leitet er auch Ferien-Workshops.

(01). Nasihat (maqâm)
(02). Leyli O Leylâne (tarâne)
(03). Ayla Ayesh (maqâm)
(04). Fati Jân (tarâne)
(05). Jeblaq, Dust Mohammad (maqâm)
(06). Ata Margân Shekartchi (maqâm)
(07). Navâ'i (maqâm)
(08). Gerayli (maqâm)
(09). Sakine (tarâne)
(10). Jajoh Khân (tarâne)
(11). Fatme Jân (tarâne)
(12). Armana Susey (tarâne)
(13). Shâh Yuli (maqâm)

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Music of the Whirling Dervishes

Posted By MiOd On 9:59 AM 0 comments
Gulizar Turkish Music Ensemble
Music of the Whirling Dervishes
Alt text
Somewhat longer than many contemporary recordings of Mevlevi music (the hypnotic neys tend to drone on longer than a lot of attention spans do), this album from the Gulizar Turkish Music Ensemble plays a full ayin ceremony, following all of the necessary rules for a proper Mevlevi event. The album opens with this tour de force, plodding through the ecstatic and hypnotic music that accompanies the famous whirling dervishes, beginning with lyrics by Rumi himself, followed by a proper ceremony in maqam bayati (the oldest ayin with a known composer, for that matter, and lyrics from Rumi's master, Shams-I Tabrizi). The flutes are precise, the drums thump properly, and the recitation is spot-on. The music of the Mevlevi however is known for qualities other than sheer excitement. Following this primary piece of music, the album collects a small series of taqsims in various maqam (modes). Many of the bits and pieces played here, in keeping with the proper traditional line, were originally penned either by Rumi and his master, or by Sultan Veled, another important figure in Sufism (and Rumi's son). Again, the ney can become rather lengthy and hypnotic, but these are shorter spells of the droning. Excitingly enough, there's also more exploration of the mode (which, of course, is the goal of a taqsim in general), with fairly good results. Not the most exciting, or necessarily the best album of Mevlevi music out there, but this one isn't bad as a general starting point for the curious newcomer.

1. Naat-i Sherif/Peshrev in Bayati/Mevlevi Ayin in Maqam Bayati 53:26
2. Taqsim in Maqam Segah / Niyaz Ilahisi in Maqam Segah 6:10
3. Peshrev in Maqam Ajem 2:40
4. Taqsim in Maqam Saba / Ilahi in Maqam Saba 4:49
5. Taqsim in Maqam Hijaz / Ilahi in Maqam Hijaz 3:36

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Fateh Ali Khan - Magic of the Day

Posted By MiOd On 7:41 AM 0 comments

Possessing a large collection of North Indian classical music on CDs produced by the two main labels Nimbus and Navras, I was intrigued to sample the Opus 111 series Treasures without frontiers. Ustad Fateh Ali Khan is a foremost master of Muslim classical music. From the admirably informative liner notes (a feature of this series) I learn that to qualify as a 'Ustad' one has to study for at least 30 years, practising thirteen hours a day or more, and studying each raga at its proper time of day! Moreover, the sarangi is so difficult that mastery requires forty years to earn the same accolade, therefore there are few players of this calibre.

This generous programme takes four ragas for different times of day, morning, afternoon, night and midnight and recorded accordingly, so I must presume. The distinctions may elude most of us, but the music iself speaks easily and directly. At 63, Ustad Fateh Ali Khan is at his professional peak, offering creative improvisations with a voice smooth and flexible over three octaves. The liner notes give a great deal of information about kyal performance and the rag system, with the notes in the different scales used, and details of the rhythms, also transcriptions of the poems set upon which the singer builds his fancies. He is echoed closely throughout by the sarangi and harmonium which, together with the tanpura drone, helps to maintain correct pitch. We are ven provided with a brief introduction to Pakistani culture and politics!

In striking contrast with the Indian classical CDs I have reviewed for MotW, this one has an informal feeling as if one is eavesdropping, the singer not close-miked but absorbed into the continuous and quite dense instrumental texture which surrounds him. The venue is a resonant Friary in Lahore, the 'cultural capital' of Pakistan. It is very atmospheric, even though detail is at times blurred, and it is best heard, not played loudly, on equipment with good stereo separation. You may find the tabla unduly prominent at times, and it may be worth adjusting the balance accordingly.

A very worthwhile introduction to a series which ranges as far and wide as Iceland, Russia and Peru, seeking out performances by the greatest masters reflecting rigorous ethnomusicological research. But approached purely for pleasure, this window into the ancient artistry still preserved in Pakistan satisfies well.

Recorded at St. Mary's Friary, Lahore, Pakistan in April 1998. Includes liner notes by Tariq Mahmood.

Recording information: St Mary's Friary, Lahore, Pakis (04/1998).

Personnel: Ustad Fateh Ali Khan (vocals); Ustad Alla Rakha Khan (sarangi); Muhammad Sabir (tanpura); Muhammad Aslam (harmonium); Khalifa Akhtar Hussain (tabla).

1. Rag Jaunpuri
2. Rag Bhim Plasi
3. Rag Bhopali
4. Rag Darbari

Ustad Fateh Ali Khan (singer) with Ustad Alla Rakha Khan, (sarangi) tabla, harmonium & tanpura

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Ilham Al Madfai - The Voice of Iraq

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Ilham Al Madfai - The Voice of Iraq
Ilham al-Madfai (Arabic: إلهام المدفعي‎) (born c. 1942) is an Iraqi guitarist, singer and composer. al-Madfai's synthesis of Western guitar stylings with traditional Iraqi music has made him a revered and popular artist in his native country and throughout the Middle East. Beginning in 1999, al-Madfai released a string of albums on EMI's Arabia label, including the platinum self-titled Ilham al-Madfai (1999), Live at the Hard Rock Cafe (2001), Baghdad (2003) and The Voice of Iraq: The Best of Ilham al-Madfai (2005) and Dishdasha (2009). He has been nicknamed 'the Baghdad Beatle'.

(01). Chal Chal Alayea el Rumman ('Pomegranate Tree Has Smothered Me')
(02). Mohamad Bouya Mohamad ('My Dear Beloved Mohamad')
(03). Asghar Be Shama ('Blonde with the Beauty Spot') Izash Remix
(04). Masaal ('Honeyed Tobacco')
(05). Khuttar ('Visitor')
(06). Chathab ('Liar')
(07). Foug el Nakhal ('High Above the Palm Trees')
(08). El Tufah ('Apple')
(09). Allah Alayek ('God Be with You')
(10). Win Ya Galob ('Oh Weep My Heart')
(11). The Bazringosh Song ('Henna Plant Song')
(12). Il Rail Wa Hamad ('Railway and Hamad)
(13). Baghdad Tribute
(14). Mawtini (Iraqi National Anthem)

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Ilham Al Madfai - Collection [Best Of]

Posted By MiOd On 3:18 AM 0 comments
Ilham Al Madfai - Collection [Best Of]
Track Listings
--------------
(01). Mali Chaugal Bil soug
(02). Sharabtak El Maay
(03). Foug El Nakhal
(04). Allah Alayek
(05). Il Rail We Hammad
(06). Baghdad
(07). Khuttar
(08). Chal Chal
(09). Haya Bina
(10). Katra Fe Matar
(11). Ashgar Be Shama
(12). Disaney
(13). Wain Ya Galbi

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Festival In The Desert

Posted By MiOd On 2:46 AM 0 comments

Throwing an enormous Woodstock-style music festival in the middle of the Sahara desert--the gorgeous photos included in the booklet to Festival in the Desert make clear--isn't exactly easy. Held during the last three years in the shifting sands of northern Mali, the Festival in the Desert has brought together a mix of desert nomads and pop stars to play sublimely enchanting music in some of the harshest but most starkly beautiful conditions imaginable. Luckily for us, the 2003 Festival produced this impressive and varied CD, mixing together tracks from Malian superstars like Oumou Sangare and Ali Farka Toure with lesser knowns like the Mauritanian singer Aicha Bint Chinghaly and the desert nomads Tinariwen, who a few years ago traded their rifles in for electric guitars when the civil war in northern Mali abated. The biggest name here, of course, is Robert Plant, who turns in a wailing medley of old blues tunes. But Led Zeppelin-heads who buy the CD just for him--particularly those drawn to the Middle-Eastern strains of Plant's music from "Kashmir" through his recent collaborations with Jimmy Page--are in for quite a pleasant surprise when they hear the rest of the disc. What comes across the most, despite the star power present, is the energy of the live performances in such an extraordinary setting, making the Navajo rock band Blackfire, the gorgeous duet between Italian pianist Ludovico Einaudi and the Malian kora player Ballake Sissoko, the otherworldly collaboration between French rappers Kwal and the Touareg (desert nomad) guitarist and singer Foy-Foy, and the French sisters Lo'Jo's duet with Malian guitarist Django all sound like natural pairings, unfolding together under the Saharan sky.

(01). Super 11 - Takamba Super Onze
(02). Buri Baalal - Afel Bocoum
(03). Tihar Bayatin - Tartit
(04). Win My Train Fare Home - Robert Plant
(05). Ya Moulana - Sedoum Ehl Aida
(06). Jah Kas Cool Boy - So Jo/Django
(07). Wayena - Oumou Sangare
(08). Karaw - Ali Farka Toure
(09). Aldachan Manin - Tinariwen
(10). Politique - Adama Yalomba
(11). Ariyalan - Tidawt
(12). Chameaux - Ludovico Einaudi/Ballake Sissoko
(13). Ihama - Kel Tin Lokiene
(14). Le Juge Mant - Kwal/Foy-Foy
(15). Wana - Tinde
(16). Koultouleili-Khalett La - Aicha Min Chigaly
(17). Oubilalian - Igbayen
(18). Fady Yeina - Bab Salah
(19). What Do You See - Blackfire
(20). Laisse-Moi Dire - Django

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Cheb Khaled - Sahra

Posted By MiOd On 4:11 PM 0 comments

Track List
01 Sahra
02 Oran Marseille (Oran Mix)
03 Aïcha
04 Lillah
05 Ouelli El Darek
06 Detni Essekra
07 Walou Walou
08 Ki Kounti
09 Wahrane Wahrane
10 Haya Haya
11 Mektoubi
12 Hey Ouedi
13 Oran Marseille
14 Sratli
15 Le Jour Viendra

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Sumire Yoshihara - Percussions In Colors

Posted By MiOd On 4:11 PM 0 comments

Track List
Side A: Munari by Munari
Side B: Arrangements (for percussion player)

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Fairuz & Violin فيروز و الكمان

Posted By MiOd On 9:50 AM 0 comments

Track List
01 Salony Alnas
02 Nasem Alina Al Hawa
03 Ala Jesr Al Lawzeh
04 Men A'ez Alnawm
05 Taer El Werwar
06 Akher Ayam Al Saefeia
07 Al Bosta
08 Yama Al Hawa

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Didjeridoo. Musique aborigène d'Australie

Posted By MiOd On 9:33 PM 0 comments
Didjeridoo. Musique aborigène d'Australie, 1996 (1969)
Alt text
Track Listings
--------------
1. The chant of the Port Keats men 10:08
2. Maribata aborigine language 2:09
3. Chants of the old men from Bathurst Island 1:46
4. Chants from Mainor 3:40
5. Jack Chadum sings with his brother Ronnie Bamyli 5:31
6. Music from Korobori 8:02
7. Chants of the Rembaranka tribe 6:36
8. Chants of the Rittarunga tribe 6:48

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Chen Zhong - Chine. Hommage à Chen Zhong

Posted By MiOd On 8:41 PM 0 comments
Chen Zhong
Hommage à Chen Zhong
Chen Zhong (1919-2002) was a great master of Chinese music, a multi-instrumentalist particularly renowned for his skill on the xun and xiao flutes. He first gained international recognition in 1994, at the age of 75, with an overseas tour that included Japan, France and Switzerland. Zhong was recorded by Radio France in 1995 (Ocora C560090) and it was the success of that association that led to the release of these serene and intimate ensemble recordings, previously only available in China

(01). Xun feng qu
(02). Yangguan san die
(03). Gaoshan liushui
(04). Xigong ci
(05). Zhuangtai qiu si
(06). Chu ge
(07). Foshang dian
(08). Guanshan yue
(09). Chu shui lian
(10). Pu'an zhou

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Charlotte Balzereit - Fantasien für Harfe

Posted By MiOd On 7:33 PM 0 comments
Charlotte Balzereit
Fantasien für Harfe, 2003
Charlotte Balzereit, only 22 years old and already solo harpist of the Vienna Philharmonic Orchestra, plays a broad variety of Fantasias composed between 1750 and 2000.

(01). Jacques Ibert - Fantaisie from "Six Pièces"
(02). Albert Zabel - Fantasie Über Gounods Faust Op. 12
Wolfram Buchenberg - 5 Phantastereien (2001)
(03). I. Hirngespinst
(04). II. Traumgesicht
(05). III. Spleen
(06). IV. Flüchtige Erscheinung
(07). V. Petite Danse Pour ChaBa
(08). Carl Philipp Emanuel Bach - Fantasia Wotq 58
(09). Camille Saint-Saens - Fantaisie Op. 95
(10). Berthold Hummel - Gregorianische Fantasie Op. 97b
(11). Louis Spohr - Fantasie c-moll Op. 35

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Ravi Shankar & Ali Akbar Khan - Ragas

Posted By MiOd On 6:33 PM 0 comments
A less-than-perfect recording, this double-album is still an impeccable document of inspired raga duets by the masters Ravi Shankar and Ali Akbar Khan.
This 1973 release presents some precious collaborative music from the mid-'60s by India's greatest sitar player, Ravi Shankar, and master sarod player Ali Akbar Khan, for an insightful snapshot of Indian classical music in America during the 1960s. If it's possible to "jam" on the sitar and sarod, that's what these two masters do on the first two tracks while drone and tabla dance in and out of their soulful, somewhat improvised, vignette. "Ragas Ramdar Dalhar" takes its sweet time in unfolding, sprinkling glorious tones like raindrops before jumping into waves of ecstatic sound when the tabla furiously chimes in. "Raga Malika" is a steady, melodious piece, churning on with lively tabla and vibrant sarod. The CD's sound quality, while not up to late-1990s standards, is certainly free of crackling and distortion. Very listenable and a wonderful slice of history.

1. Raga Palas Kafi
2. Raga Bilashkani Todi
3. Raga Ramdas Malhar
4. Raga Malika

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Caravasar - La Ruta de la Seda

Posted By MiOd On 12:40 PM 0 comments
Caravasar
La Ruta de la Seda (The Silk Road)
1998
The Spanish ensemble brings the music of North Africa, the Mediterrannean and the Middle-East together into a vibrant, wholly original acoustic music, based on rhythm and melody rather than ambient "mood" (the death of most of what passes for 'world fusion' these days). It is subtle, yet still compelling and potent, with echos of folk, intimations of jazz and delivered with virtuoso performances.

(01). Estambul
(02). Atlas
(03). Tunicia
(04). Rajastan
(05). Chang`an
(06). Rif II
(07). Esfahan
(08). Anatolia
(09). Konia
(10). Rif I
(11). Alejandría
(12). Sueño de Caravasar

Musicians:
Joaquín Rodero - lutes (saz, oud, etc) & percusión
Ignacio Gil - saxes & flutes
Chiqui García - guitar, lutes & percusión
Álvaro Garrido - percussion

320 kbps including Covers

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Burundi - Music from the Heart of Africa

Posted By MiOd On 8:05 AM 0 comments
Burundi. Music from the Heart of Africa, 2002 (1974)
Alt text
Burundi, located in the heart of central Africa, is an overcrowded, rugged, mountainous country where eking out an existence has never been easy; it is also a land steeped in tradition and courtly ritual. Burundians traditionally regarded their king, or mwami, as a fertility priest, whose health and sexual prowess they linked symbolically with the fertility of their land. Indigenous religious beliefs and practices have persisted, even though 65% of the population converted to Catholicism under colonial rule.
For centuries, Burundi was ruled by aristocrats of the legendary Watusi – more correctly, the Batutsi, or Tutsi – warriors, renowned for their graceful dancing. The vast majority of Burundi’s populace, however, belong to the Hutu ethnic group, which comprises 85% of the population. In contrast to the tall, slender Watusi, the Hutu tend to be short in stature and less martial; the Watusi live on a diet of cow’s milk curdled with blood drawn from their lyre-horned cattle, while the Hutu dietary staple is beans. During the days of the monarchy, the aristocratic Watusi subjugated the Hutu majority, forcing them to provide service and tribute – often in the form of beer brewed from fermented bananas or sorghum. And in group gatherings, drinking large quantities of this beer, Burundians sought to forget the harshness of their existence through singing. Most lyrics were composed extemporaneously, for the people of Burundi are natural poets. On state
occasions, or when a major dignitary was being entertained, skilled Hutu drummers in flowing red togas beat out rhythms in honor of these guests. When the king or a provincial chief visited, he often would bring along his own drummers. Watusi youths known as intore reenacted famous battle and victory scenes in dance form, gracefully leaping and shaking their heads, a short spear balanced delicately between three fingers in each hand.
Burundi was conquered by the Germans at the end of the 19th century; it came under Belgian control during World War I. Until 1948, Belgium administered the territory as part of a League of Nations Mandate and after that as a United Nations Trusteeship Territory. In July 1962, the Kingdom of Burundi regained independence, but its existence since then has been scarred by increased ethnic hostility between the ruling Watusi minority and the Hutu majority. When Burundi’s predominantly Watusi army overthrew the monarchy in 1966, Captain Michel Micombero – a Tutsi from southern Burundi – seized authority (there were no elections) and became the first president of the new republic. In many ways, he is treated by the people like the mwami he deposed: the first lines in several of the songs on this record extol his virtues, and two songs are almost entirely devoted to his glorification.
Despite the seemingly carefree lyrics and vitality of the music heard here, Burundi’s recent history has been tragic. The ethnic fighting that broke out again in 1972 and 1973 resulted in the death of more than 200,000 Burundians, and more than 80,000 Hutu have fled the country. The selections and artists represented in this recording are from northwest Burundi, an area heavily inhabited by Hutu, and many of these performers may well have been among the victims of this latest strife. - Warren Weinstein, 1974

(01). Yes I Love Micombero
(02). Bernadette
(03). Bees
(04). Shepherd's Flute
(05). Walking Tune
(06). Hail to Micombero
(07). Bernadette II
(08). Take Me Back to Mabayi
(09). Warriors Of The Drum
(10). Master Alois
(11). Walking Troubadour
(12). Praise for Micombero

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Abdulrahman Surizehi & Javid Afsari Rad - Karvan

Posted By MiOd On 6:51 AM 0 comments
Abdulrahman Surizehi & Javid Afsari Rad
Karvan. Where the Music Traditions from Baluchistan, Persia and India Meet, 2001
The group Karvan plays music that is a meeting with the Persian and the Baluchi regions. Two of the five musicians comes from the cultural city Esfahan in Iran, two are from Baluchistan which include South-East Iran, South Afghanistan of South-West of Pakistan and on from Karachi in Pakistan. Abdulrahman Surizehi is considered a world-leading virtuoso on Benju. Sufi trance music from Baluchistan is their main expression but with a strong mixture with Persian classical music on Santour. Accompanied by percussion instruments like Tombak, Doholak, Tanburag and Tabla.

Abdulrahman Surizehi is widely regarded as one of the world’s finest musical ambassadors for Balochistan, a region that spans an area covering parts of eastern Iran, western Pakistan and southern Afghanistan.
A virtuoso on his instrument, the benju, Surizehi first came to Norway in 1987 and has since established himself as a solo performer and a vital contributor to Norwegian acts such as Karvan and Combonations. 2005 saw the release of Surizehi’s first proper release, ‘Love Songs and Trance Music from Balochistan’ (EM), an album that in addition to rave reviews earned Surizehi the prestigious German award ‘Preis der deutschen Schallplattenkritik’ for best world music album. 2006 saw Surizehi receiving the coveted Folkelarm Awards in the ‘open class’.

Born in Isfahan, Iran, Javid Afsari Rad began studying the Santur and the traditional Persian Radif at the age of sixteen with Parviz Meshkatian and master musician Faramarz Puyvar. His studies led him to Norway, where he later graduated from the University of Oslo in the field of Musicology. Javid’s illustrious career includes solo performances in notable world music festivals in Bayreut, Germany, India, Brazil, South Africa and Holland as well as ensemble work with world known musicians, Pt. Hariprasad, Dr. L. Subramaniam and Chourasia among others. In Norway, where he has lived since 1986, Javid is known as an innovative performer and an ingenious composer. His highly acclaimed work in 2002 included the album COMBONATIONS featuring well known musicians from Iran, India, China, Morocco, Senegal, Gambia and Brazil and the album CARAVAN with musicians from Iran and India. In the same year, Javid conceived and composed the music for the live concert,
ASIATIC CARAVAN featuring musicians and dancers from Iran, China and India, which was performed on tour in Norway. Javid has appeared with Zarbang in numerous prestigious festivals throughout Europe. Through his affiliation with a number of Norwegian Arts Organizations, Javid has composed soundtracks for film and theater.

(01). Shervandi zahirig baho, ballok ordok
(02). Kordi zahirig zemol kar zahirig vesal (trad baluchi)
(03). Damali - leyro (baluchi trance music)
(04). Dastgah nava avaz and composition in 4/4 beat
(05). Damali (baluchi trance music)
(06). Karvan - free improvisation on santur and benju
(07). Ghazal - improvisations on baluchi folksong
(08). Tabla solo (trad)
(09). Tombak solo (trad)
(10). South indian folk melody 3,43 (trad indian) charmezrab mahoor (trad persian)

Javid Afsari Rad - Santor
Abdulrahman Surizehi - Benju, Soroud
Jamil Ahmad Magsi - Doholak, Tabla
Ghulam Muhammad - Tanburag
Majid Hesabi - Tombak

320 kbps including Covers

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Baladi Plus: Egyptian Dance Music

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Baladi is the true dance of Egypt. The word means: "of the country, my country, urbanised folk music, the dance of Egypt." On this album Hossam captured many styles of urbanised folklore. He plays pieces that will help you practising the dance. Baladi Plus was put together as a follow- up to "Introduction to Egyptian Dance Rhythms" with music added, as well as some new ideas that comprise Baladi ... plus.

1.Night Foal
2.Arabian Knights
3.Mashalla
4.Alla Hai
5.Baladi we Hetta (Baladi Plus)
6.Wahda We Bas
7.Malfuf Ala Westi (Wrapped around my hip)
8.Roah Albi (Soul of my heart)

WAV (EAC Rip): 580 MB | MP3 - 320 kbs: 140 MB | Covers

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Said Murad - ElectrOriental

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Track Listings
--------------
[01]. Dabkeh in da house
[02]. Lebanon
[03]. You know soul
[04]. Bint El Shalabiya
[05]. Fog El Nakhel
[06]. Salam (Soufi Track)
[07]. Oriental Lament
[08]. Crying Man
[09]. Inspiration
[10]. The Trumpet track
[11]. Bonus Track: 1001 Nights 2009 Electro Remix

HERE

Sufi Superstars

Posted By MiOd On 6:34 PM 0 comments
A new compilation of sufi pop songs, mostly by Pakistani singers like Junoon, Fuzon and Mekaal Hasan Band, and Indian singers including Kailash Kher and Rabbi Shergill

[01]. Sayonee (Azadi)
[02]. Bulla Ki Jaana (Rabbi)
[03]. Saiyyan (Jhoomo Re)
[04]. Woh Lamhe (Aadat)
[05]. Mora Saiyaan (Saagar)
[06]. Dhaani (Dhaani)
[07]. Dosti (Dosti)
[08]. Neend Na Aaye (Journey)
[09]. Ya Ali (Sampooran)
[10]. Naino Sey (Full Circle)
[11]. Aadat (Aadat)
[12]. Bulleya (Parvaaz)
[13]. Aankhon Ke Saagar (Saagar)
[14]. Sajan (Sampooran)

MP3 320 kbps including full scans

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The Best Irish Folk

Posted By MiOd On 5:44 PM 0 comments

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 |

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Omar Faruk Tekbilek - Mystical Garden

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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.

FLAC (EAC Rip): 350 MB | MP3 - 320 kbs: 160 MB | Covers

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Mozart L'Egyptien 2

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Hughes de Courson spent his childhood years in Spain, and was later brought up in Paris. He wrote his first songs sitting at a desk in the Henri IV School in Paris, together with future novelist Patrick Modiano. Several of these songs were sung by Françoise Hardy, and others by Régine or Hugues Auffray.

In 1973, with Gabriel Yacoub, Hughes de Courson founded the group Malicorne that very successfully paved the way for a new musical trend of folk music from all over Europe. A few years later he set up his own label “Ballon Noir” and signed a large number of artists such as Dan Ar Braz, Kolinda, Akendengué and La Bamboche. After Malicorne broke up, ten years after its debut, Hughes de Courson started working on a series of compositions for choreographers: 22 pieces for Philippe Decoufflé, Karine Saporta, François Raffinot, José Besprosvany, Marceline Lartigue and others.

In 1992 he was awarded the Leonardo da Vinci Prize, which granted him a bursary from the French Foreign Ministry. This gave him the opportunity to travel around the Mediterranean for three years, taking him to Egypt, Israel, Yemen, Syria, Turkey, Bulgaria, Greece, Albania and Macedonia. The tour enabled him to compose and bring to performance an oratorio for 150 Arab and Classical musicians. “Yam” was presented in 1993 in Nazareth and Jerusalem, and later performed at the Cairo Opera, with his group Spondo and Nouba Beshtakeia. In 1994 Hughes de Courson wrote the music for the opening ceremony of the Mediterranean Olympic Games (which was staged by Jérôme Savary) and composed the CD Lambarena with Pierre Akendengué.

In 1997 he composed Mozart in Egypt (with Nasredine Dalil), released world-wide on Virgin Classics. Lambarena and Mozart in Egypt featured in major concert halls at the Marseilles Festival and the Abbey of Saint Denis. In 1999, along with Songs of Innocence (also on Virgin Classics), Hughes de Courson wrote “Lagrimas de Cera” for the flamenco singer El Lebrijano, and composed the music for the musical “Belle à mourir” (to a text by Thomas Buntzig), which was staged in Brussels in September. In 2000, Hughes de Courson produced “Ilmatar” by the Finnish group “Värttina”, and in 2001, “Maren” for the Basque accordionist Kepa Junkera. Autumn 2001 saw the release, again on Virgin Classics, in the same cross-over trend as Lambarena and Mozart in Egypt, of O’Stravaganza, a “Fantasy on Vivaldi and the Celtic music of Ireland”. And in 2003, after having released Lux Obscura, an ‘electro-mediaeval’ album, inspired by sacred music of the 12th century, Hughes de Courson composed the music to Philippe Découflé’s show’ Tricodex’, performed at the Opéra de Lyon, the Théâtre du Châtelet, in Paris, and later toured in the USA. In 2005, Hughes de Courson released on Virgin Classics a sequel to the best-seller Mozart in Egypt, and has recently been commissioned to write rearrangements on the national anthem of Qatar.

Mozart in Egypt, devised by Hughes de Courson, was at its release in 1997, considered in the musical spheres world-wide as a true musical phenomenon and acted as meteorite. Indeed the musical encounter which brought together Mozart and Egypt together was unexpected and explosive! The much awaited Mozart in Egypt 2 features more than 200 musicians & singers, bringing together peoples from Europe and the Middle-East.

[01]. Al Bedaya
[02]. Mozart In Egypt
[03]. Al Sahm Al Taeh
[04]. Alatul Concerto For Kaval & Flute
[05]. Al Sahara
[06]. Al Maghfera
[07]. Ninna Nam
[08]. Al Raqs
[09]. Ya Shady Symphony
[10]. Alexandria Quintet
[11]. The Queen Of The 1,001 Nights
[12]. Egyptian March
[13]. Layla Misariya
[14]. The Quarrel In The Seraglio
[15]. Nubian Prayer (Mawal)

MP3 320 kbps including full Covers

HERE

Mozart L'Egyptien

Posted By MiOd On 11:44 AM 0 comments
Hughes De Courson - Mozart In Egypt

The album features Mozart compositions interpolated by Egyptian instruments and singers as well as tracks of Mozart's music recorded in the traditional Western manner but with overlaid tracks of Egyptian percussion and instrumental music that matches the tempo, rhythms and key context of the Mozart original.
Mozart in Egypt, devised by Hughes de Courson, was at its release in 1997, considered in the musical spheres world-wide as a true musical phenomenon and acted as meteorite. Indeed the musical encounter which brought together Mozart and Egypt together was unexpected and explosive! The much awaited Mozart in Egypt 2 features more than 200 musicians & singers, bringing together peoples from Europe and the Middle-East.

There are problems, of course, in trying to marry Mozart and Egypt. Western music takes pride in the vertical arts of harmony and counterpoint. Arabic music is linear, one event following another. The result then is what the producers describe as a "crazy diagonal." And yet it works. Mozart sounds just fine on the oud [ancestor of the lute], and its way of decorating a melodic line is not at all dissimilar to the Western approach. Best of all is hearing the piano and oud together, when one player takes the melodic line, the other harmony.

Works on This Recording

1. Mawwall by Traditional
Performer: Ragab Sadek (Daf), Nabil Diab (Darabukka), Mohammed Mostafa (Rebab),
Mustafa Abd Al'-Aziz (), Reda Shiha (Voice), Ibrahim Shahin ()
Written: Egypt
Language: Egyptian
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Arrangers: Hughes De Courson; Nasredine Dalil.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

2. Ikhtitaf fi Assaraya (Die Entfürung aus dem Serail) by Hughes De Courson
Performer: Jim Cuomo (Clarinet), Ragab Sadek (Daf), Nabil Diab (Darabukka),
Ibrahim Shahin (), Mohammed Mostafa (Rebab), Mustafa Abd Al'-Aziz (),
Nasredine Dalil (Flute), Hassan el Meghannawaty (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Notes: On this selection Mustafa Abd Al'Aziz plays arghul; and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

3. Mahdiyat by Hughes De Courson
Performer: Samira Donya (Voice), Alain Aubin (Voice)
Period: 20th Century
Written: 1997
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This selection is sung in Egyptian and German.

4. Concerto for Oud & Piano no 23 by Hughes De Courson
Performer: Mario Angelov (Piano), Henri Agnel (Oud)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Notes: On this selection Mustafa Abd Al'Aziz plays arghul; and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

5. Double Quartet in E Flat, K. 374 by Hughes De Courson
Performer: Mustafa Abd Al'-Aziz (), Mohammed Mostafa (Rebab), Nabil Diab (Darabukka),
Ibrahim Shahin (), Ragab Sadek (Daf), Jim Cuomo (Clarinet),
Ivan Péev (Violin), Elka Zacharieva (Cello), Dimiter Stankov (Viola)
Period: 20th Century
Written: 1997
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

6. Lamma bada yatathenna (Symphony no 40) by Hughes De Courson
Performer: Mohammed Fouda (Ney), Ashraf Essam (Rik), Mostafa Abdel Naby (Violin),
Abdou Dagher (Violin), Prof. Maged Serour (Qanoun), Mamdouh El Gebaly (Oud),
Safwat Sourour (Darabukka), Rabah Dalil (Darabukka)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Language: Arabic
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This work was written in collaboration with Nasredine Dalil.

7. Double Quartet in F by Hughes De Courson
Performer: Ibrahim Shahin (), Mohammed Mostafa (Rebab), Dimiter Stankov (Viola),
Ivan Péev (Violin), Elka Zacharieva (Cello), Mustafa Abd Al'-Aziz (),
Nabil Diab (Darabukka), Ragab Sadek (Daf), Jim Cuomo (Clarinet)
Period: 20th Century
Written: 1997
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

8. Hamilu lhawa tahibou by Hughes De Courson
Performer: Prof. Maged Serour (Qanoun), Mamdouh El Gebaly (Oud), Abdou Dagher (Violin),
Mostafa Abdel Naby (Violin), Mohammed Fouda (Ney), Safwat Sourour (Darabukka),
Nasredine Dalil (Voice), Ashraf Essam (Rik), Alain Aubin (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This selection is sung in Arabic and German.

9. Yaman hawa by Hughes De Courson
Performer: Mamdouh El Gebaly (Oud), Abdou Dagher (Violin), Mostafa Abdel Naby (Violin),
Mohammed Fouda (Ney), Safwat Sourour (Darabukka), Rabah Dalil (Darabukka),
Ashraf Essam (Rik), Prof. Maged Serour (Qanoun)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Language: Arabic
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

10. Ouzat al Kahira "L'Oca del Cairo" by Hughes De Courson
Performer: Alain Aubin (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Language: Italian
Notes: Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

11. Egyptian Symphony no 25 in G minor by Hughes De Courson
Performer: Rabah Dalil (Darabukka), Mohammed Mostafa (Rebab), Mustafa Abd Al'-Aziz (),
Ragab Sadek (Daf), Rabah Dalil (Rik), Nabil Diab (Darabukka),
Ibrahim Shahin ()
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)

12. Dhikr/Requiem/Golgotha by Hughes De Courson
Performer: Sheikh Mohamed Al Helbawy (Voice)
Conductor: Milen Natchev
Orchestra/Ensemble: Bulgarian Symphony Orchestra
Period: 20th Century
Written: 1997
Notes: On this selection Mustafa Abd Al'Aziz plays arghul, and Ibrahim Shahin plays kawal.
Cairo, Egypt (1997); Bulgarian Radio Studios, Sofia, Bulgaria (1997)
This selection is sung in Arabic, Bulgarian, Coptic, Greek and Latin.

Composer: Traditional, Hughes De Courson

Performer: Ragab Sadek, Nabil Diab, Mohammed Mostafa, Mustafa Abd Al'-Aziz, Reda Shiha,
Ibrahim Shahin, Jim Cuomo, Nasredine Dalil, Hassan el Meghannawaty,
Samira Donya, Alain Aubin, Mario Angelov, Henri Agnel,
Ivan Péev, Elka Zacharieva, Dimiter Stankov, Mohammed Fouda,
Ashraf Essam, Mostafa Abdel Naby, Abdou Dagher, Prof. Maged Serour,
Mamdouh El Gebaly, Safwat Sourour, Rabah Dalil, Sheikh Mohamed Al Helbawy

Credits
Choir [Chidren] - Radio Sofia Sinfonic Orchestra
Orchestra - Bulgarian Symphony Orchestra , Radio Sofia Sinfonic Orchestra

APE (EAC Rip): 340 MB | MP3 - 320 kbs: 165 MB | Scans

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HERE