Olli Mustonen - Balakirev, Tchaikovsky, Mussorgsky

Olli Mustonen
Balakirev, Tchaikovsky, Mussorgsky, 1992

Olli Mustonen has a unique place on today’s music scene. As a pianist, he has challenged and fascinated audiences with his brilliant technique and startling originality. In his role as conductor, he founded the Helsinki Festival Orchestra and as a composer he forms part of a very special line of musicians whose vision is expressed as vividly in the art of re-creative interpretation as it is in their own compositions. Born in Helsinki, he began his studies at the age of five with Ralf Gothoni. He subsequently studied piano with Eero Heinonen and composition with Einojuhani Rautavaara. As a soloist, Mustonen has worked with most of the world’s leading orchestras, including the Berlin Philharmonic, Chicago Symphony, Cleveland Orchestra, Philharmonia Orchestra and The Royal Concertgebouw. This season he will appear as a soloist with the Atlanta Symphony Orchestra, Orchestre de Paris and Warsaw Philharmonic Orchestra. Increasingly, Mustonen is also making his mark as a conductor; this season brings engagements with the Bern Symphony Orchestra, New Jersey Symphony Orchestra and Melbourne Symphony Orchestra, with whom he embarks upon a complete cycle of Beethoven piano concerti as soloist/director.

01. Mily Alexeyevich Balakirev - Islamey
Pyotr Ilyich Tchaikovsky - Children's Album
02. I. Morning Prayer
03. II. Winter Morning
04. III. Mama
05. IV. Hobbyhorse
06. V. Toy Soldiers' March
07. VI. The New Doll
08. VII. The Sick Doll
09. VIII. The Doll's Funeral
10. IX. Waltz
11. X. Polka
12. XI. Mazurka
13. XII. Russian Song
14. XIII. Peasant Playing An Accordion
15. XIV. Kamarinskaya (Russian Dance)
16. XV. Italian Song
17. XVI. Old French Song
18. XVII. German Song
19. XVIII. Neapolitan Song
20. XIX. Nursery Tale
21. XX. Baba Yaga The Witch
22. XXI. Daydreams
23. XXII. Song Of The Lark
24. XXIII. Organ Grinder's Song
25. XXIV. In Church
Modest Petrovich Mussorgsky - Pictures At An Exhibition
26. I. Promenade
27. II. Gnomus
28. III. Promenade
29. IV. Il vecchio castello
30. V. Promenade
31. VI. Les Tuileries
32. VII. Bydlo
33. VIII. Promenade
34. IX. Ballet des poussins dans leurs coques
35. X. Samuel Goldenberg und Schmuyle
36. XI. Promenade
37. XII. Limoges: le marché
38. XIII. Catacombae
39. XIV. Cum mortuis in lingua morta
40. XV. La Cabane sur des pattes de poule
41. XVI. La Grande Porte de Kiev

flac including full scans

Part One
Part Two

Steinar Ofsdal & Per Midtstigen - Sjøfløyta

Steinar Ofsdal & Per Midtstigen
Sjøfløyta, 1989

Steinar Ofsdal: Born 1948. Multi-faceted musical background. Full-time musician since 1967. Has been involved in classical music, traditional music, folksong, jazz, constantly hovering on the verge of pop and rock. Through this work he has succeeded in creating an easily recognizable musical definition for himself.
Since starting on 3 notes on a recorder as a 6-year old and an accordion as a 10-year old, he has moved on to cello, string bass, electric bass, timple and Hardanger fiddle, and not to mention a host of flutes for which he is best known. In the 60's he played in symphony orchestras, chamber music groups, big bands and folk groups. Nevertheless, it was the participation in the well-known folk group "The Young Norwegians" that started him out on a course that he is still following. He has been involved in about 100 recordings; he has recorded numerous solo records, and has received the prestigious Spellemann prize (Grammy) for two of them.

01. Gamal halling/Evjuhallingen
02. Gamle Guro, springar
03. Jeg vet meg en venn, visetone
04. Ola Skeimakar, springar
05. Jåle-Ragnhild, springar
06. Hamborg
07. Fanitullen, halling
08. Sælebakkvisa
09. Tannlausen, springar
10. Bukkehønnshallingen
11. Tynn-Sigrid-Polka
12. Tyskepolka
13. Musehaugen, springar
14. Liten mazurka
15. Huldra spelar inni fjellet, lydarslått
16. Sælebakkvisa, visetone
17. Jøran Surtelia, springar
18. Pålsonslåtten, springar
19. Gamal vals fra Numedal
20. Valdreskvælven, springar
21. Helje Tresk, springar
22. E du gær'n gutt, reinlender
23. Hei Kari Rud, springar
24. For mildhets gaver, salme
25. Skuldalsbruri, gangar
26. Fleksåsen, springar
27. Trulsestubben, springar
28. Vals etter Knut N. Juveli
29. Gamle-Hans-slåtten, springar

320 kbps including full scans

Part One
Part Two

Eduardo Paniagua Group - Danzas Medievales Españolas

This recording stands out as the best in a growing range of CD's of medieval Iberian music, which mixes Arab, north African, and European themes. The music itself is spellbinding. There's nothing else quite like these songs' melding of sounds and tempos from early European and African/Arab instruments. But it's also true that Paniagua and friends are super interpreters, setting a wide variety of moods that all get resolved by the end of the CD, for a satisfying listen.

The repetory artists get from this period is both rich and overplayed--the common appearance of the Red Book themes in recent recordings a case in point. That makes intelligent interpretation crucial. The distinction of Paniagua's group is their truly new renditions of common tunes with the addition of deep skill in contemporary north African music. Purists might look askance at the way the CD intersperses modern Bedouin and Arab instrumentals with the ancient Andalusian songs. Yet many of the old songlines that migrated into Spanish Muslim society never got transcribed, certainly not in later European texts, making modern plugs essential to a complete recording. Now, in other hands, it would be Orientalist of the artists if they were suggesting that north African music hasn't changed significantly in over seven hundred years. But I think the group decided that some continuities--inside north African music, among Meditteranean musics-- merit being recognized and argued today, and as a result (2) give hope for building conversations that defy seemingly irreconcilable divisions of Africa from Europe, Christianity from Islam.

So what might make this CD stand out best is its subtle take on the culture, or politics, of this genre of recordings. Paniagua's group does far and away the best job I've seen of explaining, through the music itself, why today's north African and Spanish artists want to make it come alive again. National leaders and major media like to tell us that Islam and Christianity repel like opposed magnets, that they form separate "civilizations" that inevitably "clash." This music suggests that history tells a different story. More importantly, the effort the artists take to play it suggests that the present also deserves a different story. The music is both harmonious and dissonant, suggesting both the troubles and the promise that emerge in a truly heterogenous society, especially when people embrace a mixed culture. I get inspired to do that work when I hear how it happened in the past, or how people try to create new links in the present.

`Danzas Medievales Espanolas' and `Calamus, The Splendour of Al-Andalus' are both performed by the Eduardo Paniagua Group which, I believe, is based in Spain. Both albums were recorded at the Monasterio de la Santa Espina, Valladolid, Espana and both ensambles of musicians are lead by Eduardo Paniagua, although there is some difference in the personnel between the two albums.

Andalucia is the most southwesterly province in Spain and therefore the one under control of the Moors for the longest time. The latter of the two albums specifically offers us music of `Arab-Andalusian Music of the 12th to the 15th centuries', after which the Moors were kicked out of Spain by Isabella and Ferdinand. As I listen to this specifically Arab music, I hear virtually nothing which tells me that it is music performed in Spain. It is certainly old, but not too different from the Arab music I hear on Sunday's on my local NPR radio station. You can almost hear the influences of the Levant which are shared by both Arab and Israeli musical styles. I am constantly looking around to find the sources of all the clicks and rattles as I do my gardening with Walkman in full throat. Turns out, it is all from the rich family of Middle Eastern percussion instruments on this album. Looking at the names of the tracks, they too all seem to be in a Latinized spelling of a Middle Eastern language.

The first album of Medieval dances with largely the same instruments and a very similar ensemble sounds quite different. This music is quintessentally European Renaissance, with strong similarities to other recordings of Renaissance music by French, English, Dutch, German, and Italian influenced performers. The titles to these pieces have a much more pronouncedly Spanish look to them. Some even seem to be titled in Latin, which seems odd, but maybe not that odd, as the two strongest influences on popular music through the ages is dance and liturgical (nee gospel) music. So, one shouldn't be too surprised to see a little Kyria slip into the vernacular.

One thing which really impresses me is that while western music has changed so much over the last 6 centuries, the Arab music sounds so much like it does today, and yet in the 15th century, it sounds a lot more sophisticated than the native European music.

01. Calenda maia - Eduardo Paniagua Group, Raimbaut de Vaqeira
02. Ben vòlgra (13th century) - Eduardo Paniagua Group, Anonymous
03. La La mora de Borja, CSM-167 - Eduardo Paniagua Group, Alfonso X
04. Nawâ Shanbar - Eduardo Paniagua Group, Anonymous
05. Portum in ultimo - Eduardo Paniagua Group, Ato Bishop of Troye
06. Las Las Mayas, CSM-406 - Eduardo Paniagua Group, Alfonso X
07. Rasd al-dhîl Bashraf Sammâi - Eduardo Paniagua Group, Anonymous
08. Li Rosignox - Eduardo Paniagua Group, Thibault IV, King o
09. Caballero de França, CSM-281 - Eduardo Paniagua Group, Alfonso X
10. Phelipe, je vous demand - Eduardo Paniagua Group, Thibault IV, King o
11. Dame - Eduardo Paniagua Group, Thibault IV, King o
12. Gratulantes celebremus festum - Eduardo Paniagua Group, Magister Goslenus
13. Maqam Hedjaz - Eduardo Paniagua Group, Anonymous
14. La La mujer de Lérida, CSM-168 - Eduardo Paniagua Group, Alfonso X
15. Asbasayn Mosaddar - Eduardo Paniagua Group, Anonymous
16. Quantas sabedes amar - Eduardo Paniagua Group, Codax, Martin
17. Polorum Regina (Anónimo libro bermejo; 14th Century) - Eduardo Paniagua Group, Anonymous

MP3 VBR kbps including Covers

HERE

Azerbaijan Mugams

Azerbaijan Mugams
Melodiya, 1989

CD 1
1. Alim Qasimov - Bayat-i-Kurd
2. A. Abdullaev - Bayat-i-Shiraz
3. J. Akparov - Cargah
4. Y. Mamedov - Zabol-Segah

CD 2
1. J. Akparov - Orta Mahur
2. J. Akparov - Dugah & Kurd Shahnaz
3. A. Babaev - Humayun

CD 3
1. A. Babaev - Rast
2. A. Abdullaev - Rahab
3. A. Abdullaev - Bayat Rajar

CD 4
1. Razi Shukyurov - Cargah
2. Ramiz Gajiev - Shur

In this track list I give the names of the vocalists only. For a listing of the accompanists see the accompanying scans!

320 kbps including full (?) scans

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

Giuseppe Verdi - La Traviata (Opera Choices)

TRACK LISTINGS
Disque : 1
[01].Preludio Atto Primo
[02].Dell' Invito Trascorsa E Gia..
[03].Dunque Attenti...Libiano Ne'..
[04].Che E Cio?
[05].Un Di Felice
[06].Si Ridesta in Ciel L'aurora
[07].E' Strano, E Strano
[08].Follie! Delirio Van E Questo
[09].Atto Secondo- Inizio: Lunge Da Lei
[10].De' Miei Bollenti Spiriti
[11].Madamigella Valery
[12].Pura Siccome Un Angelo
[13].Un Di'
[14].Dite Alla Giovine Si Bella E..
[15].Piangi, O Misera, Piangi!
[16].Imponete
[17].Morro
[18].Di Lagrime Avea D'uopo
[19].Di Violetta! Perche Son Io Commosso?
[20].Di Provenza Il Mar
[21].Ne Rispondi D'un Padre All'affetto?

Disque : 2
[01].Atto Secondo (Fine) - Avrem Lieta
[02].Di Madride Noi Siam Mattadori
[03].Alfredo! Voi
[04].Inviato A Qui Sequirmi
[05].Che Volete?... Questa Donna Conoscete?
[06].Ogni Suo Aver Tal Femmina?
[07].Disprezzo Degno
[08].Alfredo, Alfredo
[09].Atto Terzo: Preludio
[10].Annina
[11].Teneste La Promessa...Addio Del Passato
[12].Signora...
[13].Parigi O Cara
[14].Ah, Non Piu?
[15].Ah, Violetta!
[16].Prendi Quest'e L'immagine

MP3 VBR kbps including Covers, 2007

HERE

Unforgettable Classical

TRACK LISTINGS

[01]. Vivaldi - Four Seasons
[02]. Beethoven - Symphony No 5
[03]. JS Bach - Minuet In D Mirror
[04]. Mozart - Serenade In G
[05]. Beethoven - Fur Elise
[06]. Saint Seans - Carnival Of The Animal
[07]. Baccheri - Menuet
[08]. Tchaikousky - Swan Lake Ballet Music
[09]. Mendelssohn - Song Without Words
[10]. Mozart - Turkish March
[11]. Vivaldi - Winter
[12]. Strauss - Voice Of Spring

Classical | MP3 VBRkbps | 2007

HERE

Beethoven - IX "The 9 Symphonies"

Beethoven - IX "The 9 Symphonies"
Staatskapelle Dresden
Sir Colin Davis

There has not been a Beethoven cycle like this since Klemperer's heyday, or Bruno Walter's, a sequence of performances that is echt-Beethovenian as successive generations of Austrian and German musicians would have understood the term and yet which is informed at the same time by an imaginative vision that derives not from some arcane activity – reading Goethe or taking solitary walks by night in the Herz mountains – but from a certain sense of fundamental wholeness, the conductor and his fellow musicians sufficiently at ease with themselves and the music they are playing to render the task of performing it nothing less than a physical pleasure and a private joy.

It is easy to forget nowadays how physically gratifying Beethoven's music can and should be. (Can you imagine Beethoven quarrelling with Robert Frost's lines, ''Earth's the right place for love:/I don't know where it's likely to go better''?) We have a tendency in this country to find sensual gratification, the sound source itself, suspect; which perhaps explains why we have of late become more addicted than most to the slimline, high speed, prosily talkative Beethoven of the so-called authenticists. (What is called in Robert Tear's new book – Singer Beware; Hodder & Stoughton – ''technical brilliance, muscular vapidity, and spiritual ignorance''.)

The trick, of course, is to marry sound with substance which is where this new Dresden cycle of the nine symphonies is a locus classicus of good practice. I can think of no orchestra – not even the Berliners, the Vienna Philharmonic or Masur's Leipzig Gewandhaus Orchestra – who play Beethoven with a richer, fuller, darker, warmer sound than the Staatskapelle Dresden. The Berliners playing for Karajan in his 1976 set (listed above) produced a rich, visceral sound, but one that related to a rather different performing tradition, the Toscanini influence still glistening through. Davis is clearly more a Klemperer man. (Klemperer in his prime, that is; not the Klemperer who, as Robert Tear – a great fan – cheekily reveals, was actually asleep during the recording of one of the choruses for his EMI set of the B minor Mass.) Like Klemperer, Davis has mastered the difficult trick of sustaining broad tempos and infusing them with a rhythmic impetus – now dancing, now marching, now simply bowling along – which is unforced, unflagging and utterly at ease with itself. One of the great joys of the new set – perhaps the great joy and one that will commend it to a wide constituency of more mature collectors – is the feeling of inevitability about so much of the music-making. Not once did I find myself bothering to consult metronomes or tempo markings. Not once did I get even remotely hot under the collar about a choice of tempo that in another context might have led to the immediate need for a change of shirt.

By giving himself and the players, and the music, time to sound and to breathe, Davis is also able to reproduce as beautifully as I have ever heard it reproduced, the written phrasing of the music. How mannerly this all is, like a great actor bothering to ensure that we hear every word as the verse rhythms rise and fall. And what a rich cargo of melodic beauty it brings with it, too. It is here that the analogy with Bruno Walter comes in, for he was one of the last conductors who really made the Beethoven symphonies sing in a way that befits this great master of articulate song. Walter was also a man of temperament, not afraid to shape a paragraph rhetorically to his own ends. Davis does this too at times. And again it usually seems 'right'. Not right for all time, but right in its own way now, true to itself. Gunter Wand in his fine RCA set rarely takes this kind of risk. Harnoncourt does so rather more frequently but in a way that often sounds arbitrary and which becomes irksome on repeated hearings.

Go back to Davis's earlier – nay, his earliest – recordings of the Beethoven symphonies and you will realize what a long and steady process of maturation has taken place. It is years since I played his famous old RPO recording of the Seventh Symphony (HMV, 6/62 – nla). Indeed, I had invented in my mind's ear an elegant gazelle of a performance, deftly despatched by Beecham's old orchestra. In fact, repeats apart, it is very similar to the newer performance, a steady, broad-based reading, albeit a vital one. What the Dresden performance has is a far greater power and concentration of tone achieved without detriment to the music's overall impetus. It takes a lifetime to learn how to marry these two elements, though, as I say, it is an aspect of the conductor's craft that in this country we rarely consider, and all too rarely admire. Some of Davis's earlier BBC SO Beethoven recordings for Philips had this quality – there was a fine Eroica (9/71 – nla) and a superb Fourth Symphony (4/76 – nla) offsetting a badly under-nourished Fifth (11/74 – nla) – but neither the BBC SO's playing nor the early 1970s LP recordings were remotely comparable to the splendours we have here on the new Dresden set.

The sound is glorious, full and forward and beautifully clear, with just enough reverberation to allow the music its necessary aura. Davis's old knack of allowing winds and strings to speak on equal terms is very much in evidence throughout. That in itself is a prerequisite of a good Beethoven sound. But I have also never heard a better focused bass-line than we have here. This is partly a matter of positive microphone placings but it is also something to do with the supremely accomplished playing of the Dresden cellos andbasses: full-bodied yet wonderfully maneuvrable too. There are times when their playing alone gives sufficient pleasure. I don't much care for the sound of the Dresden clarinets (the Brymers and Bernard Waltons of this world have taught us to listen for something altogether smoother and less reedy) but oboe, flute and bassoon all ravish sense. Karajan always used to say that the entire wind section of the Vienna Philharmonic played better when the flautist Wolfgang Schulz was on duty and I suspect that the Dresden orchestra take inspiration – certainly takes something of the lovely ochre colour of their wind choir – from the principal bassoon. At the first intimations of the 'joy' theme in the finale of the Ninth, it is the bassoon's gurgling descants that gives real pleasure. The rustic musician who drowsed his way through the peasants' merrymaking is here newly roused to the pleasures of a contented life.

The Pastoral Symphony is a joy from first to last, a performance to set beside those of Klemperer (EMI, 8/90), Boult (EMI, 4/78 – nla), Bohm (DG, 4/95), and more recently Giulini (Sony Classical, 5/94). All it lacks is the proper old-fashioned division of the violins left and right. (The Seventh lacks this, too, but the recording is so good, it is at least possible to hear the two groups as separate entities.) I like the way Davis's storm moves slowly across the landscape, as storms tend to do. There are other places where a potentially controversial steadiness brings fresh insights: the oboe-led Poco andante towards the end of the finale of the Eroica ushering in what is almost a Mahlerian backward glance to the great Funeral March, or the second movement of the Eighth Symphony not so much replicating the new-fangled metronome as anticipating Mahler's jangling rustic excursion at the start of his Fourth Symphony. As for the Fifth Symphony, Davis circumvents its aggressively heroic elements by playing the first movement, with its germinal four-note idea, as though it were the work of Haydn in seven-league boots. The scherzo is played with a Furtwangler-like slowness (is our leading Berliozian thinking here of Berlioz's phrase about the scherzo having the ''gaze of a mesmeriser''?) but the finale, denying all kinship with what has gone before, has plenty of its own life-enhancing Schwung.

Is anything, then, amiss in the cycle? Well, Davis does not do a great deal with the First Symphony, that cussed little curtain-raiser whose first movement seems to grumble and grouse, whatever the tempo. The Second Symphony, by contrast, is gloriously done. As the cycle progresses, there are a few lapses, the odd orchestral raspberry, that may or may not be there as an earnest of the musicians' humanity, their essential fallibility. There is an overlit piccolo in the finale of the Fifth, and I am still a little baffled as to why the recording of the Fourth Symphony is for no very good reason marginally more reverberant than the others. In the finale of the Ninth, the choir and to some extent the soprano and alto solos are too backwardly placed. Davis allows time for the words to be articulated, yet we have to strain to hear them. The tenor is excellent, but one has heard the baritone solos better sung (to put it mildly). At a first hearing, I thought the orchestra was doing all the work in the Ninth's first movement. I later revised my opinion, though this is not quite the apotheosis of Davis's intense, steady, visionary, singing way with Beethoven I had hoped for.

The performances of the overtures Egmont and Leonore No. 3 reveal in microcosm the set's qualities. Both are miniature music-dramas charged with extra-musical meaning, but they are often carelessly played by conductors and orchestras. Too few conductors get the balance right between the dramatic and the symphonic elements in the music. Davis is able to adjudicate between the two elements in masterly fashion, not least – one comes back finally to this – because of the strength and purity of the orchestral response: a steady pulse buoyantly articulated; fabulous, soft pianissimos; sforzandos that are properly stressed and sounded; fortissimos that are burnished and fullbodied. Here, as in Klemperer's performances or Walter's, codas and victory symphonies are triumphant homecomings rather than sudden acts of military conquest.'

CD 1
1. Symphony No. 1 in C, Op. 21 - I. Adagio molto - Allegro con brio (9:37)
2. Symphony No. 1 in C, Op. 21 - II. Andante cantabile con moto (8:37)
3. Symphony No. 1 in C, Op. 21 - III. Menuetto. Allegro molto e vivace (3:32)
4. Symphony No. 1 in C, Op. 21 - IV. Finale. Adagio - Allegro molto e vivace (6:14)
5. Symphony No. 7 in A, Op. 92 - I. Poco sostenuto - Vivace (15:06)
6. Symphony No. 7 in A, Op. 92 - II. Allegretto (9:44)
7. Symphony No. 7 in A, Op. 92 - III. Presto - Assai meno presto (10:30)
8. Symphony No. 7 in A, Op. 92 - IV. Allegro con brio (9:13)

CD 2
1. Symphony No. 2 in D, Op. 36 - I. Adagio molto - Allegro con brio (13:16)
2. Symphony No. 2 in D, Op. 36 - II. Larghetto (11:25)
3. Symphony No. 2 in D, Op. 36 - III. Scherzo. Allegro (3:53)
4. Symphony No. 2 in D, Op. 36 - IV. Allegro molto (7:00)
5. Symphony No. 8 in F, Op. 93 - I. Allegro vivace e con brio (10:08)
6. Symphony No. 8 in F, Op. 93 - II. Allegretto Scherzando (4:10)
7. Symphony No. 8 in F, Op. 93 - III. Tempo di menuetto (5:13)
8. Symphony No. 8 in F, Op. 93 - IV. Allegro vivace (8:12)

CD 3
1. Symphony No. 3 in E flat, Op. 55 - Eroica - I. Allegro con brio (18:59)
2. Symphony No. 3 in E flat, Op. 55 - II. Marcia funebre (Adagio assai) (17:33)
3. Symphony No. 3 in E flat, Op. 55 - III. Scherzo (Allegro vivace) (6:01)
4. Symphony No. 3 in E flat, Op. 55 - IV. - Finale (Allegro molto) (13:06)
5. Egmont Overture in F minor, Op. 84 - Sostenuto, ma non troppo - Allegro (9:06)

CD 4
1. Symphony No. 4 in B flat, Op. 60 - I. Adagio - Allegro vivace (11:57)
2. Symphony No. 4 in B flat, Op. 60 - II. Adagio (10:02)
3. Symphony No. 4 in B flat, Op. 60 - III. Allegro vivace (6:02)
4. Symphony No. 4 in B flat, Op. 60 - IV. Allegro ma non tropo (7:09)
5. Symphony No. 5 in C minor, Op. 67 - I. Allegro con brio (7:58)
6. Symphony No. 5 in C minor, Op. 67 - II. Andante con moto (10:40)
7. Symphony No. 5 in C minor, Op. 67 - III. Allegro (6:03)
8. Symphony No. 5 in C minor, Op. 67 - IV. Allegro (11:19)

CD 5
1. Symphony No. 6 in F, Op. 68 - I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo (12:31)
2. Symphony No. 6 in F, Op. 68 - II. Szene am Bach: Andante molto mosso (13:53)
3. Symphony No. 6 in F, Op. 68 - III. Lustiges Zusammensein der landleute: Allegro (5:49)
4. Symphony No. 6 in F, Op. 68 - IV. Gewitter - Sturm: Allegro (4:18)
5. Symphony No. 6 in F, Op. 68 - V. Hirtengesang. Frohe und dankbare Gefuhle nach dem Sturm: Allegro (9:42)
6. Overture - Adagio - Allegro (14:40)

CD 6
1. Symphony No.9 Choral - I. Allegro ma non troppo, un poco maestoso (17:26)
2. Symphony No.9 Choral - II. Molto vivace (13:44)
3. Symphony No.9 Choral - III. Adagio molto e cantabile (15:34)
4. Symphony No.9 Choral - IV. Presto (6:36)
5. Symphony No.9 Choral - V. O Freunde, nicht diese Tone (0:55)
6. Symphony No.9 Choral - VI. Allegro assai (2:46)
7. Symphony No.9 Choral - VII. Alla marcia. Allegro vivace assai - (4:39)
8. Symphony No.9 Choral - VIII. Andante maestoso - Adagio non troppo, ma divoto (3:38)
9. Symphony No.9 Choral - IX. Allegro energico, sempre ben marcato (2:17)
10. Symphony No.9 Choral - X. Allegro ma non tanto (4:12)

Symphony No 1, Op. 21. Symphony No 2, Op. 36. Symphony No 3, 'Eroica', Op. 55. Symphony No 4, Op. 60. Symphony No 5, Op. 67. Symphony No 6, 'Pastoral', Op. 68. Symphony No 7, Op. 92. Symphony No 8, Op. 93. Symphony No 9, 'Choral', Op. 125. Egmont, Op. 84 - Overture Leonore, Op. 72.

Sharon Sweet sop · Jadwiga Rappé cont · Paul Frey ten · Franz Grundheber bar
Dresden State Opera Chorus · Staatskapelle Dresden · Colin Davis

MP3 HQ · LAME 3.98 VBR -V0 Stereo including Booklet Scans [700 MB]

Part 1 | Part 2 | Part 3 | Part 4

Carlo Domeniconi - El Trino del Diablo

Carlo Domeniconi
El Trino del Diablo, 1999

El trino del Diablo (The Devil’s trill) (Concerto No. 12) (Berlin, 1996). 12 musical pictures after the novel of the same name by Daniel Moyano. It was premiered on the composer’s 50th birthday in the Passionskirche, Berlin. A year later it was performed in the Philharmonie Berlin, and in 1999 at the Istanbul Festival.

Carlo Domeniconi - El Trino del Diablo (Concerto No.12), Op.84
01. Ouverture sobre el arte de fundar ciudades (Concerning the art of founding cities)
02. Triclinio
03. Los padres de triclinio desaparecen (The disappearence of Triclino's parents)
04. Un secreto tremendo (A tremendous Secret)
05. Buenos aires - la ciudad de los violines (Buenos Aires - the city of violins)
06. Carta al presidente bueno (A letter to the good president)
07. Audiencia con el presidente (The audience with the president)
08. El instrumento estatua (The construction of the grand instrument)
09. El increíble concierto de los artiticos (The incredible concert of the arithritics)
10. UFA
11. El trino del diablo (The devil's trill)
12. Divertimento

Maren Ritter-Pichl - Solo Violin
Barbara Hoos de Jokisch - Soprano
Matthias Leupold - Violin
Renato Bandel - Viola
Efe Baltacigil - Cello
Laurie Randolph - Viola da Gamba
Yaz Baltacigil - Contrabass
Ricardo Moyano - Guitar
Carlo Domeniconi - Guitar
Claudia Buder - Accordion
Emin Mamedov - Piano
Claudia Sgarbi - Percussion
Martin Lonak - Percussion
Il-Ryun Chung - Percussion
Francisco de Galvez - Conductor

320 kbps including full scans

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Carlo Domeniconi - Concerto di Berlinbul & Koyunbaba

Carlo Domeniconi
Concerto di Berlinbul & Koyunbaba, 1993

Concerto di Berlinbul (No.4) (Berlin, 1987). Concerto in 3 movements. Commissioned by the Berlin Senate for the celebration “750 Years Berlin”. It was performed in the same year in the Berlin Philharmonic (Adil Arslan, saz; Carlo Domeniconi, guitar). Further performances in the Berlin Academy of the Arts and at the World Anthroposophical Convention in Helsinki. The work of the same soloists was later recorded in Ankara, Turkey on CD (RAKS). In 2002 it was performed in Istanbul and Ankara by Senfonietta Istanbul, conducted by Francisco de Galvez, with Kemal Dinc on the saz.
Koyunbaba (Gümüslük, Turkey - Berlin, 1984-85). This started as an improvisation which gradually took on form. The guitar tuning (scordatur) is CIS, GIS, cis, gis, cis, e.
A first "final" version was recorded by the composer in 2008 for the LP of same name, from which the musical score also originated. A later recording, also by the composer, was made in 1991 in Ankara, Turkey, together with the concerto for saz, guitar and orchestra (Berlinbul).
These two recordings have been re-released with a new third recording by the composer (Berlin, 2009) on the CD “Selected Works IV”.
Many other musicians have played and recorded this piece. Once again, David Russell was the first, followed by many others, including Martin Pramanik, Costas Cotsiolis, John Williams, William Kanengiser, Antigoni Goni and Masayuki Kato. It has become one of the best known works for guitar of the last 15 years.

Domeniconi possibly is most well known for his 1985 piece Koyunbaba. The name is actually Turkish and literally translates as "sheep-father" (koyun-baba), or "shepherd", some sources also translate it to "the spirit of the sheep", but also refers to many other things, including a 13th century mystical saint-like figure whose grave is decorated with coloured bits of cloth by Turkish villagers seeking his help with family problems. "Koyunbaba" is also the family name of his descendants, who still reside in the area, and the name of a wild, dry region of Southwest Turkey. According to local legend, the area is seemingly cursed - numerous people who have attempted to rent or purchase the land from the Koyunbaba family have died or fallen ill. Domeniconi has referred to two specific examples: one was a German woman who wanted to keep the area in its natural and unspoiled state, but was soon stricken with cancer. The other was one of three sons of the Koyunbaba family who suddenly sold some of the land, but then hanged himself.

1. Concerto di Berlinbul for Saz, Guitar and Chamber Orchestra, Op.29
2. Koyunbaba, Op.19

Carlo Domeniconi - guitar
Adil Arslan - saz
Turkish Presidential Symphony Orchestra, dir. Gürer Aykal

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Carlo Domeniconi - Selected Works III. Music for Two Guitars

Carlo Domeniconi
Selected Works III. Music for Two Guitars, 2006

"Domeniconi’s music seeks repeatedly the synthesis of East and West.
He seems able to take the quintessence of different cultures and tell them anew. A hypnotic inevitability goes through his music." - Michel Lydon

"An element of hypnosis is present in much of Carlo Domeniconi’s work. Surrender to it, and the chances are that you will enjoy the music on his own terms; begin to analyse it, and you will find yourself wondering if it has quite enough to satisfy your western ears." - Colin Cooper

Ten Aspects of a Bartók Theme (Berlin, 2002). The Bartók theme is played something like a “Cantus Firmus” through 10 variations. As the title implies, these are not direct variations, but paraphrases of a theme from Bela Bartók‘s "Mikrokosmos" which does not appear in this composition. Written for Susanna Prieto and Alexis Mouzourakis.
Tenebrae (Berlin, 2004). Inspired by Paul Celan’s poem “Tenebrae”. The poet's deep desire for religious experience during the conditions prevailing under the Third Reich make it impossible for him to believe in a just God. Dark, mysterious, esoteric style. Commissioned by Thomas Kirchhof.
Fandango oriental (Berlin, 2004). A theme with progressively extreme emerging variations. The fandango is an old Spanish dance in lively three-four time originating in central and southern Spain, regions greatly influenced by Arab culture. Fandango Oriental consists of a 24-bar theme with 14 variations and a finale in which the theme is repeated. The sixth bar of the theme and of each variation has a repeated motif (C minor, F minor, G major).
Long Island Suite (Berlin, 2000). Commissioned by the Long Island Guitar Festival. Written for Pat Bianculli and Harris Becker. Contrasting motifs dovetail together to form a whole. For example lyrical Italian imitations of Bach arias and moments which are nearly "country". Real American!

Ten Aspects of a Bartók Theme, Op.103 12:34
01. I.
02. II.
03. III.
04. IV.
05. V.
06. VI.
07. VII.
08. VIII.
09. IX.
10. X.
Tenebrae, Op.115 11:50
11. I. Quasi sarabanda
12. II. Come parlando
13. III. Quasi marcia funebre
14. Fandango oriental, Op.117 12:50
Long Island Suite, Op.101 17:44
15. I) Toccata
16. II) Corale notturno
17. III) Sereno
18. IV) Doloroso
19. V) Perpetuum
20. VI) Molto lento, quasi statico
21. VII) Finale

Carlo Domeniconi - guitar
Raphaella Smits - guitar (1-13)
Nora Buschmann - guitar (14-21)

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Carlo Domeniconi & Silvia Ocougne - Water Music

Carlo Domeniconi & Silvia Ocougne
Water Music, 1995

"Chung, dessen Bezüge in der koreanischen Kunstmusik liegen, beschreibt mit seiner Komposition Kaya ein altes versunkenes Reich oder eine Landschaft, die so nicht mehr existiert. Stilmittel und Imitationsvorbild ist ein koreanisches Zitherinstrument, das hier, zusammen mit perkussiven Effekten, die klangliche Farbe beherrscht. Malerisches, Beschreibendes kommt auch von Henriette Nick in Un cammino tra le ombre, das die Veränderungen, die "Schattierungen" von Licht musikalisch nachzeichnet, sich (ver)formend, wieder vergehend. Auch Domeniconi bevorzugt die bildliche Assoziation in seinen vier Kompositionen, manchmal naturverbunden, so wie in der kleinen sechsätzigen Suite Water Music, in der er in knappen ein- bis zweiminütigen Skizzen die verschiedenen Formen, Veränderungen, Bewegungen oder Beziehungen des Elements "Wasser" musikalisch gestaltet, oder wie in Naturgeister den Tönen Raum gibt zur Phantasie mit Elfe, Irrwisch und
Satyr. Prana zeigt wiederum die Konzentration des Komponisten auf indische Musikformen, die in Domeniconis Werk neben den türkisch-arabischen Einflüssen einen breiten Anteil haben und seiner Stilistik eine wichtige Färbung verleihen. In der Suite "Circus Music" hingegen, bestehend aus acht kurzen Sätzen, treibt er ein Possenspiel mit allerlei Imitaten, die die witzigen Titel bis zur musikalischen Karikatur überziehen." (Gitarre aktuell III/1995) / "The nine miniatures which make up Circus Music are full of tongue-in-cheek humour and the duo made the most of the clever opportunities available lots of fun ..." (Classical Guitar, 12/95)

Water Music (Berlin, 1990). This simple suite was very often played by Silvia Ocougne and the composer
Naturgeister (Nature spirits) (Berlin, 1988). Originally written at the request of a Berlin concert organizer. However, the work was not delivered. The 4 movements represent the 4 elements air, fire, earth and water. This work has often been played by Silvia Ocougne in duet with the composer, and recorded for the CD ”Water Music“. The composer’s first published work.
Circus Music (Berlin, 1992). Acoustic pictures of a circus. The Argentinian knife-thrower, the Spanish rider on Greek horses, the waxworks, the Cossaks and the wonder-voice of the Ural duck race Plik, the Andean flea, the fakir who slips through a keyhole, the orchestra says good night. It was recorded by Silvia Ocougne and the composer for the CD “Water music”. Circus music enjoys enormous popularity, and has been performed in many countries by numerous duos.

Carlo Domeniconi - Water Music, Op.64c
01. The River Song
02. Drops
03. The Well Chorale
04. Water Games
05. Floating
06. Reflecting Waters
07. Il-Ryun Chung - Kaya
Carlo Domeniconi - Naturgeister, Op.28
08. Lichtelben
09. Irrwische
10. Ziegenelben
11. Meerjungfrauen
12. Carlo Domeniconi - Prana
13. Henriette Nick - Un cammino tra le ombre (Ein Weg unter Schatten)
Carlo Domeniconi - Circus Music, Op.54b
14. Der argentinische Messerwerfer
15. Spanischer Reiter auf griechischen Pferden
16. Das Wachsfigurenkabinett
17. Der Entenwettlauf
18. Plik der Andenfloh
19. Die Ural-Wunderstimme und die Donkosaken
20. Die Feuerwehr "on ice"
21. Der Yogi der durch das Schlüsselloch verschwindet
22. Das Orchester verabschiedet sich

Carlo Domeniconi - guitar
Silvia Ocougne - guitar

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Carlo Domeniconi - Sindbad. A Fairy Tale for Guitar

Carlo Domeniconi
Sindbad. A Fairy Tale for Guitar, Op.49, 1995

"This 2 CD album is taken up with a large-scale solo guitar evocation of the stories of Sindbad. Domeniconi handles his own music with great fluidity and command ... Sindbad remains a significant milestone for the guitar." (Classical Guitar 11/1996)

Sindbad. A Fairy Tale for Solo Guitar (Berlin, 1991). Sinbad tells the famous tales from “1001 nights”. Divided into 3 cycles, each consisting of 7 pieces. Stylistically very variable, and in part very highly complex. During the 21 movements, the guitar is tuned gradually in 12 different tunings; this is relieved, however, in that the tuning changes always (with one exception) involve just one string, and a semitone. It was recorded by the composer for the double CD “Sindbad” (Kreuzberg Records), and performed very frequently. Later also performed by Marco Socías. The work was often performed with Eurythmy.

CD 1
1st Cycle
01. Baghdad
02. Sindbad
03. Sindbad's Journey
04. The Battle with the Waves
05. The Egg of the Ruch
06. Diamond Fishers in the Valley of Snakes
07. Homeward Bound
2nd Cycle
08. The Storm
09. The Saving Driftwood
10. Sindbad's Despair
11. The Little Man and the Giant
12. The Escape

CD 2
01. The Wedding with the Princess
02. Buried Alive
3rd Cycle
03. Journey to India
04. The Subterranean River
05. At the Tomb of the Spirit King
06. The Flight
07. Sindbad's Transfiguration
08. Serendipity
09. Return to Baghdad

Carlo Domeniconi - Guitar

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Carlo Domeniconi - To Play or Not to Play

Carlo Domeniconi
To Play or Not to Play, 1993

To play or not to play (Berlin, 1990). Based on an old guitar piece by Gaspar Sanz (“Zarabanda al Ayre Espanol”, around 1700). Tonics and dominants are intentionally allowed to stand above each other (which more often happens unintentionally!), and thereby open a door into a new world. The old Zarabanda experiences completely new aspects and fully frees itself of its old form. At the end the piece dissolves into nothingness and the music continues in silence. One reaches a condition where almost any sound could fit, or even silence becomes sound. Whether one plays (on) or not... that is the question!
Three Studies for the Spirit (Berlin, 1985). These three études present technical as well as musical hurdles. The first, ”Time and Space”, wanders from European classicism into the present day world of the Far East. (Mixed techniques in connection with arpeggios and other special techniques.) The second, ”The Chinese”, is mainly a tremolo study. Totally Far Eastern. The third, “Hommage à Olivier Messiäen”, returns to the western world. This piece is based on an eight-tone scale. The name originated from a conversation with David Russell (1986) in the composer’s house in Heilbronnerstrasse, Berlin. Recorded by the composer for the CD “To play or not to play“ (Classic Studio Berlin, now AMA Verlag). They have been performed by Martin Pramanik, Marco Socías, Carlo Marchione and Dale Kavanagh. The “Studies for the Spirit” were obligatory pieces in the Frechen Guitar Competition (1994).
Gesualdo (Berlin, 1991). Dark, chromatic.
Minyo (Berlin, 1990). Commissioned by Gendai Guitar (Tokyo). Variations on a Japanese folk song.
Ellylldan (Berlin, 1988). Ellylldan is the Welsh version of the tradition of Will-o'-the-wisps; mysterious creatures (elves) who inhabit marshland and mischievously mislead travellers. The piece is predominantly surreal and fantastic, a kind of midsummer nocturnal ecstasy. The third movement could represent a distant variation of the “Follia”. Ellylldan won second prize in the “Reyna Sophia” composition competition in Madrid (1993).
Schnee in Istanbul (Snow in Istanbul) (Istanbul, 1991). Poetic piece drawn from real experience. The heavy snow drifts over the mosques of Istanbul.
Hommage à Jimi Hendrix (Berlin, 1991). A tombeau, so to speak, an epitaph. Sometimes it seems as if Jimi himself is thinking over his short life. Transformed quotations from his guitar passages are no rarity in this piece. Since 2006 in the repertoire of Pavel Steidel.

1. To play or not to play, Op.43
2. Three Studies for the Spirit, Op.22
Time and Space
The Chinese
Hommage à Olivier Messiaen
3. Gesualdo, Op.50e
4. Minyo, Op.50d
5. Ellylldan, Op.32
6. Schnee in Istanbul, Op.51a
7. Hommage à Jimi Hendrix, Op.52a

Carlo Domeniconi - Guitar

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The Best Classical Album in the World... Ever!

It should probably go without saying that it's not just a matter of finding a classical CD with the songs you want, it has to be the ideal recording of the song. For example, you don't just want to buy any random recording of "Beethoven's Ninth"; you want to get the recording that has the right accoustics in the theater where it was recorded, the full orchestra, the conductor making the perfect dramatic emphasis during the critical moments in the music.

That's one of the best reasons to buy this particular CD. It's not just the fact that so many essential pieces of classical music are on this CD; it's the fact that they are some of the greatest versions of these pieces you will ever find.

If I have any complaints about this compilation, it's the manner in which some of these recordings are shortened down so as to accommodate 40 tracks on to the CD. The most frustrating track is a beautiful recording of my all time favourite Puccini song "Nessun Dorma" which fades out just before arriving at the dramatic final bars.

Nevertheless owning this CD became a must for me, after hearing the incredibly stirring version of Albanoni's "Adagio in G minor"; one of the most hauntingly beautiful pieces of music I have ever heard!

Track Listings

Disc: 1

01. The Four Seasons: Concerto No.1 In E 'Spring': I. Allegro
02. Schindler's List: Theme
03. Requiem: Ingemisco
04. The Piano: The Heart Asks Pleasure First
05. Symphony No.5 In C Minor: I. Allegro con brio
06. The Deer Hunter: Cavatina
07. Puer natus est nobis
08. Cello Concerto In E Minor: I. Adagio
09. Turandot: Nessun dorma
10. Piano Concerto: I. Allegro molto moderato
11. Andrea Chenier: La mamma morta
12. Waltz No.6 In D Flat, 'Minute'
13. Adagio In G Minor
14. Carmen: Habanera
15. Horn Concerto No.4 In E Flat: III. Rondo (Allegro vivace)
16. Canon In D
17. Gianni Schicchi: O mio babbino caro
18. New World Symphony: II. Largo
19. La Traviata: Brindisi
20. Carmina Burana: O Fortuna

Disc: 2

01. Piano Concerto No.1In B Flat Minor: I. Allegro non troppo e molto maestoso (Opening)
02. Symphony No.3 'Symphony Of Sorrowful Songs': II. Lento e largo - Tranquillissimo
03. Flute and Harp Concerto In C: II. Andantino
04. Lakme: Flower Duet
05. The Four Seasons: Winter: I. Allegro non molto
06. Porgy And Bess: Summertime
07. Bolero
08. Ave Maria
09. Gymnopedie No.1
10. Romeo & Juliet: Montagues and Capulets
11. Rhapsody On A Theme OF Paganinni: Variation 18
12. Walking In The Air
13. Sonata No.14 In C Sharp Minor 'Moonlight': I. Adagio sostenuto
14. Messiah: Hallelujah Chorus
15. Eine kleine Nachtmusik: I. Allegro
16. NIMROD: Enigma Variations
17. Swan Lake: Act One: Finale
18. Orchestral Suite No.3 In D: Air on the G String
19. The Planets: Jupiter
20. 1812 Overture

Stanley Myers (Artist), Antonio Vivaldi (Artist), John Williams (Artist), Gregorian Chant (Artist), Giuseppe Verdi (Artist), Edward Elgar (Artist), Michael Nyman (Artist), Giacomo Puccini (Artist), Ludwig van Beethoven (Artist), Edvard Grieg (Artist), Riccardo Muti (Artist), Umberto Giordano (Artist), Fryderyk Chopin (Artist), Tomaso Giovanni Albinoni (Artist), Georges Bizet (Artist), Wolfgang Amadeus Mozart (Artist), Johann Pachelbel (Artist), Antonin Dvorak (Artist), Carl Orff (Artist), Pyotr Il'yich Tchaikovsky (Artist), Léo Delibes (Artist), George Gershwin (Artist), Maurice Ravel (Artist), Charles Gounod (Artist), Erik Satie (Artist), Sergey Prokofiev (Artist), Sergey Rachmaninov (Artist), Howard Blake (Artist), George Frideric Handel (Artist), Johann Sebastian Bach (Artist), Gustav Holst (Artist), New World Philharmonic (Artist), Orchestra del Teatro alla Scala (Artist), London Philharmonia Orchestra (Artist), Alessandro Scarlatti (Artist), Santo Domingo de Silos Abbey Monks' Choir (Artist), London Symphony Orchestra (Artist), Strasbourg Philharmonic Orchestra (Artist), Academy of St. Martin-in-the-Fields (Artist), National Orchestra of Frech Radio (Artist), London Philharmonic Orchestra (Artist)

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CD 01: Part 1 | Part 2 | Part 3 | Part 4
CD 02: Part 1 | Part 2 | Part 3 | Part 4

Anne-Sophie Mutter - Recital 2000

German violinist. Her gifts as pianist and violinist were clear at an early age. Admired by Karajan when she played at Lucerne in 1976, she made her Salzburg Festival début when she was 14 and also her London début, playing first in the USA in 1980. She is noted for her shapely playing and warm tone in the standard repertory and has given premières of works by Lutosławski and others.

To capture the brilliant partnership between violinist Anne-Sophie Mutter and pianist Lambert Orkis, one only has to look to their riveting recording of Beethoven's Violin Sonatas. Over the course of those four CDs, the pair revealed themselves to be a lively, sympathetic team. The same description could be used for this single-CD recital, featuring four very different 20th-century compositions from four very different composers. The spiky nature and high notes of Prokofiev's Sonata stand in direct contrast with George Crumb's Four Nocturnes, a fragmented but short sonic journey filled with subtle harmonics and stark, hallucinogenic movements. Moving to Webern's Four Pieces, Mutter and Orkis literally define the essence of collaboration--there is no "star" here, other than the composer's somber work. The pair end the recital on its most gorgeous note: Respighi's Sonata for Violin and Piano in B minor. The richly lyrical, Romantic composition is the perfect showcase for the duo, and they deliver an electrifying performance. While Webern and Crumb may be acquired tastes, the Respighi piece is something everyone will love, filled with beautiful, expressive singing lines. These are great performances--Mutter's tone is impeccable and Orkis showcases his ever-increasing versatility. Great recorded sound, too. --Jason Verlinde

1. Sonata for violin & piano No. 2 in D major, Op. 94 bis
Composed by Sergey Prokofiev
with Anne-Sophie Mutter, Lambert Orkis

2. Nocturnes (4) (Night Music II), for violin & piano
Composed by George Crumb
with Anne-Sophie Mutter, Lambert Orkis

3. Pieces (4) for violin & piano, Op. 7
Composed by Anton Webern
with Anne-Sophie Mutter, Lambert Orkis

4. Sonata for violin & piano, in B minor, P. 110
Composed by Ottorino Respighi
with Anne-Sophie Mutter, Lambert Orkis

01. Sonata for Violin and Piano No.2 in D, Op.94a – 1. Moderato
02. Sonata for Violin and Piano No.2 in D, Op.94a – 2. Presto
03. Sonata for Violin and Piano No.2 in D, Op.94a – 3. Andante
04. Sonata for Violin and Piano No.2 in D, Op.94a – 4. Allegro con brio
05. Four Nocturnes (Night Music II) – for violin and piano – Notturno I: serenamente
06. Four Nocturnes (Night Music II) – for violin and piano – Notturno II: scorrevole, vivace possibile
07. Four Nocturnes (Night Music II) – for violin and piano – Notturno III: contemplativo
08. Four Nocturnes (Night Music II) – for violin and piano – Notturno IV: con un sentimento di nostalgia
09. Four Pieces, Op.7 – for violin and piano – 1. Sehr langsam
10. Four Pieces, Op.7 – for violin and piano – 2. Rasch
11. Four Pieces, Op.7 – for violin and piano – 3. Sehr langsam
12. Four Pieces, Op.7 – for violin and piano – 4. Bewegt
13. Sonata for Violin and Piano in B minor – 1. Moderato
14. Sonata for Violin and Piano in B minor – 2. Andante espressivo
15. Sonata for Violin and Piano in B minor – 3. Passacaglia – Allegro moderato ma energico Allegro moderato, ma energico

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The Strings Of Paris Orchestra - Romantic Melodies

TRACK LISTINGS

01. The Lonely Shepherd
02. Michelle
03. Moon River
04. Yesterday
05. Sailing
06. Girl From Ipanema
07. Love Story
08. Johnny Guitar
09. Il Silenzio
10. Feelings
11. The Fool On The Hill
12. Tea For Two
13. Concierto De aranjuez
14. Theme From Midnight Cowboy
15. Lili Marlene
16. My Way
17. Evergreen
18. Something
19. Easy To Love
20. Let It Be

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Medievo. Obras Maestras de la Música medieval española

Eduardo Paniagua
Medievo. Obras Maestras de la Música medieval española, 2001

01. CSM 145 Alexandria 2:52
02. CSM 257 Las Reliquias 3:52
03. Ben volgra. Danza virelai 3:00
04. Cantiga 10 Rosa das rosas 3:46
05. Oh la mansion del trono real. Puerta del Mexuar 2:53
06. CSM 173 Tantas en Santa Maria 6:30
07. Murakkaz Ah ya muddasin 3:25
08. Abinu Malkenu 2:11
09. Ki eshmera shabat 3:54
10. De manu inferni, Responsorio 1:47
11. Muwwal Muestrales altivo y coqueto 3:28
12. Gradual Sederunt principles 3:22
13. Basit, In kunta Tunsifuhu Si a su amistad llegaras 3:07
14. Hymnus Ave Maris Stella. Modo I 2:18
15. ¡Consoladme ninas al alba! (Uaddaauni) 4:00
16. Prosa, Flavit auster 3:07
17. Mizan Btayhi, San'a Gaybatuk 3:11
18. Va t'en mon cuer 3:44
19. Tempus est iucundum 3:53
20. Ecco la primavera 2:54
21. Cantiga 1 de Alfonso X 2:50
22. La Rotta 0:51
23. Principium effectivum 1:16
24. Ara lausat, lausat, lausat 4:41

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Alia Musica (cond. Miguel Sánchez) - Puerta de Veluntad. Liturgy and Mystics in the Judeo-Spanish Music

Alia Musica (cond. Miguel Sánchez)
Puerta de Veluntad. Liturgy and Mystics in the Judeo-Spanish Music, 2001

Recorded at Monasterio de Santa Maria de la Cruz (Cubas de la Sagra), November 2000

This CD contains liturgical and sephardic mystical music from the judeo-spanish tradition: Canticum canticorum of King Solomon and medieval judeo-spanish poetry.

01. Yah sem' ebioneja
02. Eleja
03. Yesav haEl
04. Uri safón
05. Yasen al teradam
06. Sezufat semes lesoni bonanta
07. Vaya 'abor adonay
08. Sir hasirim
09. Quéter
10. Yede rasim nejelasim
11. Lejá dodá nesé
12. Adón 'Olam
13. Az yasir mosé
14. Yonati bejagve
15. El atán, el atado y el ara
16. Vesamerú
17. 'Anenu Elohé Abraham

Miguel Sánchez - dir., voice, ud
Angel Iznaola - voice
Albina Cuadrado - voice
Carolina del Solar - voice
Jose Antonio Carril - voice
Jose Manuel Abeleira - voice
Carlos Garcia - voice, kemanya
Carlos Ghiringhelli - voice, nay, kaval, ud
Guests:
Dan Macías - sofar
Aziz Samsaoui - kanun
Pedro Estevan - derbuka

ape, including full booklet scans

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Asfur - Las estrellas

Asfur
Las estrellas, 2005

The Ensemble Asfur

The Ensemble Asfur (arab. = "bird") was founded in the autumn of 2000 with the aim of investigating the relationships between oriental and European music, a task which was to reveal itself as complex and multi-faceted. The starting point for the musical interpretations is medieval Spain. Occupied by Moorish conquerors for over 700 years, it represented a melting pot of the three great world religions of Christianity, Judaism and Islam almost throughout the Middle Ages.

The kings of Aragon and Navarra employed a large number of scientists and artists at their courts, and these came from all the countries of Europe. They not only brought their own experiences with them but also carried a large part of Moorish culture back to their home countries. The development of European instruments, in particular, was decisively influenced by originals from oriental countries. But, in the other direction, french culture also enjoyed growing popularity at the courts of the caliphs. This melting together can still be seen today in the secular and and spiritual music of Judaism, from the Balkans to the Eastern European countries.

The interpretation of the pieces selected for this CD aims not so much at correct historical reconstruction as at conveying to the 21st century listener a lasting impression of the variety of the cultural exchange between the Orient and Occident in earlier centuries and the deep emotional power of the music of this period. A time in which travel was something to devote one's life to, and in which the traveller could become aware of every single port of call on his journey in a very intense way.

In Spain in the 13th century, the famous Cantigas de Santa Maria were created, a collection of more than four hundred miracle reports and songs of praise to the Blessed Virgin Mary, kept at the court of King Alfons X (1224-1281). These Cantigas (songs) represent an unique example of creativity overlapping cultures in Moorish influenced Spain.

Their stores are told in the melodically fine language of Galician. Because King Alfons employed some of the most famous artists and scientists of the Christian, Jewish and Moorish origin at his court, the melodies (all for one voice) are of Arabic and Hebrew origin, as well as being indebted to the repertoire of folk songs and hymns. It was the French troubadour Gautier de Coincy, however, who was one of the first to set lyrics in honour of the Virgin Mary, written by himself, to reworked folk melodies, thus indirectly providing the impetus for Spain's enthusiasm for the worship of Mary.
Of the four Cantigas represented on this CD, three are performed in revised instrumental versions. "Dized, ai trobadores","Queen a virgen benservir", and "U alguen a Jhesu Cristo" combine the Ud, a fretless, bent necked lute instrument, and the Nay need pipe which are to be found in All Arabic countries, with instruments typical of the late Middle Ages in Europe such as the shawm, mandora, hurdy-gurdy and fiddle.

"En todo tempo faz ben" is a vivid portrayal of the miracles worked by the Blessed Virgin Mary, whose gentleness and forgiveness saves a sinful monk from certain death by drowning.

In an atmosphere of relative tolerance and lively cultural exchange between artists of different nations, which lasted until into the 15th century, the musical tradition of the Sephardim - the Spanish Jews - also arose.
This music is all the more interesting when it is understood in connection with the history of the Sephardim. For several countries, Moorish-occupied Spain was regarded as a place of refuge for Jewish artists and scholars, who were employed in the courts of the rulers there in great numbers. After the "Reconquista", the re-conquering of the country by the Europeans, the entire Jewish population was expelled from the country in 1492. Many of them found a new home in Northern Africa and the area of the then mighty Ottoman Empire, but also in the south of France and in Italy.
They took their language, identity and music with them.
For a long time these songs were largely passed on by oral tradition and therefore now exist in an abundance of variations.

The arrangements for "Abre tu puerta serrada" and "El rey de muncho madruga" stem from versions that have been handed down in the region of modern Turkey. Their melodies are based on the Turkish modal system (makam - or in Jewish Spanish parlance: a la turca).

Both are love songs with tragic ending and backgrounds. Love and pain are closely related, and in both songs death serves as an escape and as proof of love.
"Las estrellas de los cielos" was originally also a love song, but can also be understood against the background of centuries of life in exile:

"The stars i te Heavens,
One and one make a pair,
There is nothing stronger in the world
Than the bond between we two"

"Vesameru" comes from the Sephardic-Jewish liturgy. It is a text that is sung in the evening prayer (arbit) of the holy days Rosch Haschana and Yom Kippur.
Rosch Haschana is the name of the Jewish New Year festival on the 1st and second day of Tischri, the first month in the Jewish calender year.
Traditionally, this is followed by 9 days of contemplation, reflection and fasting in preparation for Yom Kippur. This day is the most important of all Jewish holy and is for reconnection with Gock and one's fellow men and for requesting the forgiveness of sins.

"Matar" (arab. = "rain"), composed by Tom John Wolff, portrays the paradoxical image of a shower of rain in the desert. Rain is a gift from heaven in areas where water is scarce. The piece is not indebted any particular traditional style, just as does not distinguish between different people.

The nauba or nuba is a kind of song suite introduced by an instrumental prelude. this form of composition first spread through the courts of the Moorish conquerors in what is now Andalusia (arab. al-andalus). Among others, the French troubadours employed in the Moorish courts adopted the nuba over the course of history, adapted structures and changes in melody and brought them back to their home country. However, of the more than 300 nuba works once known in Andalusia, only a few have survived to the present day.

The introduction to the nuba "Wasla al-asba'ayn" to be heard on this CD is based upon a modern interpretation of the nuba form. It uses a very common structure, the change between 10/4 and 6/8 time, called "Sama'i".

The love song "Quant foi la flour boutener" of the French troubadour Grace Brule (approx. 1159-after 1213), here present in an instrumental version, comes from the tradition of medieval courtly love lyrics, as also practiced by the french troubadours and German minnesingers. this chivalrous ideal of love, expressed above all in abstention from physical closeness and in which love is understood on a mental and /or spiritual level, is also reflected in the style arising in the 14th century which Philipe de Vitry called ars nova - a style that differs from everything prior to it in its nation and rhythmic division. This also includes the rondo by Guillaume de Machaut (ca. 1300-1377) "Puis qu'en oubli sui de vous", also performed on this CD. The lyrics speak of an unfulfilled longing for worldly love, which searches for an escape in a life dedicated to the love of God. Renunciation of worldly love serves as proof of love.

The incomparable beauty of the Alhambra, one of the most impressive oriental building in the Wolff and Thomas Flemming.
Silvia Needon




En todo tempo faz ben

This is how an ordained priest who
served Holy Mary died in the river
which runs through Paris, and on the
third day Holy Mary revived him and
brought him out of the river.

The Virgin who keeps us at all
times does merciful deeds.

She has no appointed time
to go the aid of the afflicted
nor to pardon the guilty
but responds whenever need arises.

The Virgin...

Concerning this, I shall now recount
for you a precious miracle
which She who is full of wisdom
performed for an ordained priest.

The Virgin...

The miscreant was authorized
to say mass, but, to his undoing,
he was so given to lust
that he cared for nothing else.

The Virgin...

However, he gladly and devoutly
prayed the holy hours
of the One from whom God was born
for our sake in Bethlehem.

The Virgin...

But, he did not reach the shore,
for the boat was overturned,
and he was drowned in the water
before he could land on the other side.

The Virgin...

He had lain submerged
in the river for four days
but then was taken out
by the One who always
has her salvation ready
to aid the unfortunate.

The Virgin...

El rey de muncho madruga

Very early in the morning
the King went to the Queen's quarters.

He found the Queen
Combing her hair

Praising the High One
For having created her to be so
beautiful

"I have two sons by you
And two by the King - altogether four.

the king's sons wear silk
and yours wear gold and pearl
embroidery"

When she turned her face
She found the king standing by her side

"Pardon me, pardon me, my lord
I was dreaming"

"At the break of dawn
i will dress you with new clothes
New clothes with a red collar"

Abre tu puerta serrada

Open your closed door
There is a bright light on your
balcony.
but you have my love, my beautiful one,
Let us go away together.

If it pleases you
I would give my blood to see you.
If my blood does not convince you,
I am gladly willing to die.

your beauty
is a gift from God
No one but I
Am worthy of your pure beauty.

Walking down the streets
you will be illuminated by my shadow
and you will sight many sights
remembering me.

Puis qu'en oubli sui de vous

since oblivious you are of me,
sweet friend
Amorous life and joy to God I comment.
To my misfortune was I born,
since love put me in you
Since oblivious you are of me,
sweet friend.
But I will keep,
What i have promised to you
That is, I will never have another lover.
Since oblivious you are of me
Sweet friend,
Amorous life and joy to God I comment.

01. Alfonso X el Sabio - CSM 111: En todo tempo faz ben
02. Anon. - El rey de muncho madruga (Sephardic)
03. Sama'i, Nuba «Wasla al-asba'ayn» (Tunisia)
04. T.J. Wolff - M?tar
05. Anon. - Abre tu puerta serrada (Sephardic)
06. Anon. - Vesamer? (Sephardic)
07. Anon. - Las estrellas de los cielos (Sephardic)
08. Guillaume de Machaut - Puisqu'en oubli sui de vous
09. Gace Brulé - Quant foi la flour boutener
10. Alfonso X el Sabio - CSM 260: Dized, ai trobadores (instr.)
11. Alfonso X el Sabio - CSM 59: Quen a virgen ben servir (instr.)
12. Alfonso X el Sabio - CSM 281: U alguen a Jhesu Cristo (instr.)
13. T. Fleming, T.J. Wolff - Alhambra

Tom John Wolff - voice, flute, nay, shawm, santoor
Thomas Fleming - voice, oud, lute, harp
Jule Bauer - voice, keyed fiddle
Silvia Needon - riq, darbouka, fiddle, frame drums
Peter Kuhnsch - riq, zarb, darbouka, frame drums, voice
Guest:
Robert Schuchardt - hurdy-gurdy, mandora



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Medievo - Obras maestras de la música medieval española

Selecciones de Eduardo Paniagua - Medievo

01. CSM 145. ALEXANDRIA (2:54)
Mْsica Antigua, Eduardo Paniagua

02. CSM 257. LAS RELIQUIAS (3:30)
Eduardo Paniagua.

03. BEN V'LGRA. Danza virelai, trovador catalلn anَnimo (3:00)
Eduardo Paniagua

04. CSM 010. ROSA DAS ROSAS (3:47)
Malandança, Francisco Luengo

05. OH LA MANSI'N DELTRONO REAL. PUERTA DEL MEXUAR, ritmo Btلyhi, modo Rasd (2:51)
El Arabi Serghini y Eduardo Paniagua

06. CSM 173. TANTAS EN SANTA MARIA (6:28)
Mْsica Antigua, Eduardo Paniagua

07. MURAKKAZ "AH YA MUDDASIN" Fragmento de la Nauwa Ram AI-Maya. Andalusي de la tradiciَn de Libia (3:24)
Cلlamus: Begoٌa y Rosa Olavide, Eduardo y Carlos Paniagua, Luis Delgado

08. ABINU MALKENU Canto religioso judeoespaٌol (2:10)
Alia Mْsica, Miguel S'nchez

09. KI ESHMERA SHABAT .Canciَn de Shabat de Abraham Ibn Ezra (3:54)
Sefarad, Eduardo Paniagua

10. DE MANU INFERNI, RESPONSORIO (1:45)
Schola Antigua, Laurentino Sلenz de Buruaga

11. MUWWAL "MUةSTRALES ALTIVO Y COQUETO" Poema de Ibn al-Fلrid (3:24)
Omar Metioui - Laْd, Saad Temsamani - canto

12. GRADUAL SEDERUNT PRINCIPES (3:19)
Grupo de mْsica Alfonso X el sabio, Luis Lozano Virumbrales

13. BASIT, IN KUNTA TUNSIFUHU "SI A SU AMISTAD LLEGARAS" Poema de Al-Shushtari (2:55)
Cofradia AI-Shushtari, Omar Metioui

14. HYMNUS AVE MARIS STELLA. MODO I Canto gregoriano (2.17)
Coro de Monjas Benedictinas del Real Monasterio de San Pelayo

15. CONSOLADME NI'AS AL ALBA! (UADDAءUNI) Canciَn andalusi de la tradiciَn de Tْnez (4:01)
Mْsica Antigua, Eduardo Paniagua

16. PROSA, FLAVIT AUSTER (3:09)
Voces Huelgas, Luis Lozano Virumbrales

17. MIZAN BTءYHI, SAN'A GAYBATUK, Nْba al-Istihlلl. Mْsica andafusi de Marruecos (3:10)
Ibn Baya, Omar Metioui y Eduardo Paniagua

18. VA T'EN MON CUER, rondَ de Gracian Reyneau, siglo XIV-XV (3:42)
In canto Ensemble, Fernando Quiroga

19. TEMPUS EST IOCUNDUM Carmina Burana C.B.179. Siglo XIII (3:48)
Artefactum

20. ECCO LA PRIMAVERA , Francesco Landini (2:55)
Speculurn, Ernesto Schmied

21. CSM 001 (2:50)
Grupo Cinco Siglos

22. LA ROTîA, danza de manuscrito italiano del siglo XIV (0:52)
Begoٌa Ofavide

23. PRINCIPIUM EFFECTIVUM, Catedral de Gerona s.XIV (1:23)
Capella de Mْsica de Santa Maria del Mar, Lluis Vilamajَ

24. ARA LAUSAT, LAUSAT LAUSAT Canciَn de trovador catalun, anَnimo siglo XIII
EIs Trobadors, Alfons Encinas

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