Posted By : yerbas07 | Date : 14 Apr 2022 19:14:19 | Comments : 2

Eduardo Paniagua - La música de Pneuma
EAC FLAC cue + booklet (510 MB) | LOG
Pneuma PN-350 (2001) | medieval

Este disco es unas introducción al catálogo de Pneuma con una selección de sus colecciones: Cantigas de Santa María (integral de las 427 Cantigas), Al-Andalus (música de la vertiente islámica de la España medieval), Colección Histórica (música religiosa y profana de la España cristiana y música judéo-española o sefardí) y Tradición (música tradicional, así como obras de nueva creación basadas en instrumentos o temas de carácter tradicional).
Dicen en la presentación, "La intención de las ediciones de Pneuma trasciende lo exclusivamente musical, buscando el trasfondo humano y cultural de las obras medievales. Cuando nuestros antecesores han conservado las canciones y la música a través de tantos siglos, ya sea en los códices o en la tradición oral, es porque las han considerado de gran valor. Ese valor humano, cultural y espiritual, junto al valor estético musical, es el que Pneuma quiere rescatar y mostrar, participando en el despertar a un mundo mas culto y humanizado, que acepta la riqueza de otras tradiciones y que aprende de lo mejor de su pasado".
Posted By : yerbas07 | Date : 14 Apr 2022 15:07:11 | Comments : 3

Eduardo Paniagua - El agua y los árabes - Música árabe-andalusí
EAC FLAC cue + booklet (350 MB) | LOG
Pneuma PN-1100 (2008) | medieval

En la música la referencia a los elementos naturales tiene una inmediatez vital. La música de agua evoca arroyos, ríos, lluvia y mares; vientos rozando las rocas y los árboles, y los sonidos animales como el caminar rítmico de las aves. El hombre primitivo inventó instrumentos musicales para poder imitar esos sonidos.
Con su música, el mundo árabe ofrece mucho más que el adjetivo “decorativo”, con el que se denomina a su arte y especialmente la caligrafía. Sin la música es inimaginable la cultura y la espiritualidad islámica.
Posted By : yerbas07 | Date : 11 Apr 2022 10:29:00 | Comments : 6

Niccolò JOMMELLI. La Passione di Nostro Signore Gesù Cristo - Alessandro de Marchi
EAC FLAC cue + booklet (600 MB) | LOG
K617 063 (1996) | Classical Baroque / Oratorio

The author of the libretto, Pietro Metastasio, was the most successful librettist in history. Hundreds of composers set and reset his librettos, wich were admired for their elegance, good taste, and supreme suitability for music. His career began in Naples in the 1720s among the originators of the Classical style. The libretto for La passione (1730) was written in Rome by order of Charles VI of Austria, composed by Caldara, and performed in the imperial chapel holy week of the very month that Metastasio moved to Vienna as poet laureate.
Posted By : yerbas07 | Date : 27 Mar 2022 20:34:02 | Comments : 3

Antonio DRAGHI. La vita nella morte. Oratoire du Sépulcre
Ensemble Baroque de Limoges, Christopher Coin

EAC FLAC cue + booklet (350 MB) | LOG
Auvidis Astrée E 8616 (1997) | Classical Baroque / Oratorio

La réception d'une œuvre ancienne à notre époque ne correspond que rarement à la réception de l'époque. Ainsi en est-il du sépulcre La vita nella morte d'Antonio Draghi (1635, Rimini-1700, Vienne). Cette œuvre, rarement représentée et dont le présent enregistrement est une première, est un chef d'œuvre dans un genre musical central pour le haut-baroque viennois. La vita nella morte étonne et émerveille, d'abord par son instrumentation, puis par la clarté de son langage et la transparence de ses émotions.
La Vita nella Morte est un sépulcre, un opéra sacré mis en scène (ainsi qu'il en est de tous les oratorios jusqu'à Haendel) pour le Vendredi saint, représenté en la chapelle de la veuve impératrice avec une mise en scène et des décors impressionnants, mais sans machinerie de plateau. -- booklet notes
Posted By : yerbas07 | Date : 25 Mar 2022 17:12:26 | Comments : 2

Stefano LANDI. La morte d'Orfeo, tragicomedia pastorale / Stephen Stubbs
EAC FLAC cue + booklet (480 MB) | LOG
Accent ACC 8746/47D (1987) | Classical Baroque / Opera

The differences between previous Orphean operas and Landi's work are numerous. In Monteverdi and Peri the action concentrates on the story of Orpheus and Eurydice, while in "La Morte d'Orfeo" many principal and secondary roles, gods and allegorical figures are added. These provide the composer not only with a whole gamut of possibilities for depicting character musically through recitative, but also enables him to insert numerous complete arias and ensembles. Add to this capricious breezes provoking the dawn chorus of birdsong, or thirsty Satyrs eagerly in search of a drink to celebrate the birthday, or the Maenads, freed from their chains, giving vent to their rage, Landi always paints the atmosphere of the scene with great accuracy.
For the first time in the history of opera, the comic element plays no small part. It is not only the clumsy Satyrs who invite laughter, but equally Charon, the ferryman of the underworld, is from start to finish a comic character, who offers the waters of Lethe with a jolly drinking song on his lips. These comic scenes contrast with the tragic moments to increase their intensity. One thinks particularly of the recitative between Orpheus and his mother Calliope. -- booklet notes
Posted By : yerbas07 | Date : 21 Mar 2022 14:35:04 | Comments : 2

İhsan Özgen with Anatolia Ensemble. Masterworks of ITRI & MERAGI
EAC FLAC cue + booklet (250 MB) | LOG
Golden Horn GHP 008-2 (1998) | Classical Baroque / world-ethnic

Buhurizade Mustafa Efendi (1640?-1712?) is a Turkish composer, poet and calligrapher; well-educated and with were wide-spread studies. One of his teachers was Hafiz Post. Itri became a mevlevi by joining Sheik Cami Ahmet Dede Efendi's Yenikapi lodge of Mevlevi dervishes. During the Sultanate of Mehmet IV, he joined fasils (concerts) in the palace as a hanende (singer). In the meantime, his fame as a composer spread.
Hace Abdülkadir Meragi (1350?-1435) is one of the early period Ottoman composers and musicologist who share the appellation "master of the masters" as the author of some of the most significant books on music and science from this period. Born in Meragha (now in Iran's Azerbaijan) he became well known as a composer, singer and lute player at a very young age. He was considered to be the greatest composer of the age in the Islamic world. A prolific composer, only forty of his works have survived until today, most of which are claimed to be the works of other composers who imitated his style. -- booklet notes
Posted By : yerbas07 | Date : 18 Mar 2022 14:28:09 | Comments : 1

İhsan Özgen & Lux Musica, Linda Burman-Hall. CANTEMIR. Music in Istanbul and Ottoman Europe around 1700
EAC FLAC cue + booklet (420 MB) | LOG
Golden Horn GHP 019-2 (2000 - ed. 2004) | Classical Baroque / world-ethnic

The world of Cantemir arises in the crossroads of Western and Eastern thought, in the collision of Europe with the Ottoman Empire, and at the junction of Byzantine culture with Islamic theology. Our recorded recital celebrates the wondrous life of Prince Dimitrie Cantemir (1673-1723), a royal Moldavian linguist-encyclopaedist-composer who through curious fate spent 22 years as a diplomatic guest of the Ottoman court. While Prince Cantemir’s continuous presence in the orbit of four successive ruling Sultans must have furthered a harmonious relationship between the Ottoman Court and his father, the Moldavian Voivode, Cantemir himself clearly preferred music to politics, and was sufficiently gifted to play his way to fame as the greatest of classical Turkish musicians. -- booklet notes
Posted By : yerbas07 | Date : 07 Mar 2022 10:50:10 | Comments : 6

Musica Antigua, Eduardo Paniagua / La Conquista de Granada
Isabel la Católica, siglos XV y XVI - Las cortes europeas, los Cancioneros y música andalusí nazarí

EAC FLAC cue + SCANS (320 MB) | LOG
Pneuma «Colección Historica (Renacimiento)» PN-660 (2003) | Renaissance
Posted By : yerbas07 | Date : 01 Mar 2022 11:37:21 | Comments : 3

La Nef - Perceval. La quête du Graal - vol. 2
EAC FLAC cue+scans (300 MB) | LOG | Accuraterip
Dorian DOR-90294 (2000) | medieval / Celtic

As in its previous productions, La Nef has created its own personal version of the myth of the Grail, a sort of original, timeless "collage,'' incorporating elements from medieval plays, Baroque Opera and more contemporary musical practice.
The second part of the diptych sets the story of Perceval in strange, unreal places, where he meets enigmatic characters such as the Fisher King, the Maiden and her Dead Love, the Hideous Damsel, and the Hermit, who guide him on his quest. In contrast to volumen 1, where the actions were more down-to-earth in nature, the scenes of volume 2 seem blurred, imprecise, and usntable. Perceval experiences short-lived events that melt away almost as soon as they appear. The musical treatment is different from that in volume 1, with unusual melodic modes, dissonant harmonies and muted tone colors.
Posted By : yerbas07 | Date : 27 Feb 2022 15:41:24 | Comments : 2

Musica Antigua, Eduardo Paniagua / El Cantar de la Conquista de Almería
Poema épico Románico y Trovadores de Alfonso VII El Emperador. 1147

EAC FLAC cue (460 MB) | NO LOG | scans (40 MB) | ogg.160 (90 MB)
Pneuma «Colección Historica (Tres culturas)» PN-450 (2002) | medieval

El Poema de Almería es la parte final de la Crónica del reinado de Alfonso VII. Canta a los caudillos que participaron en la toma de Almería, con sus méritos y virtudes guerreras. Describe a las tropas con sus cualidades y características diferenciadoras según el territorio que representan.
Su probable autor es Arnaldo, obispo de Astorga. El Poema de Almería está escrito en latín con hexámetros leoninos, de estructura de asonancias internas, con versos sin rima final ni ritmo cuantitativo, pero con ritmo acentual. Su modelo está en los Salmos más que en la poesía de los juglares y trovadores. El poeta escribe, libre de la estructura del clasicismo, bajo el influjo de la prosa rítmica usada en himnos, poemas y oraciones de la iglesia y en los textos bíblicos.
Para cantar estos versos se han utilizado con la técnica de “contrafacta” melodías de la época. Obras del Camino de Santiago recogidas en el Códice Calixtino, mandado hacer por el papa Calixto II, hermano de Raimundo de Borgoña, padre de Alfonso VII. Melodías de las Cantigas de Alfonso X, del Códice de las Huelgas en Burgos y el denominado “cantar de Almería”, inspirado en cantos litúrgicos.
Esta grabación es pionera en la aventura de poner música de la época para los cantos de la épica medieval -- notas del libreto
Posted By : yerbas07 | Date : 19 Feb 2022 20:26:11 | Comments : 6

Eric Clapton - 461 Ocean Boulevard [De Luxe Edition]
EAC FLAC cue+scans (850 MB) | LOG | Accuraterip
Polydor B0003722 (1874, 2004) | rock

Eric Clapton's 1974 release 461 Ocean Boulevard stands as a crucial milestone in his much-revered catalogue. It's the album on which Clapton reinvented himself as a solo artist, reestablishing his musical and commercial credibility at a time when many had counted him out. Regarded by many as his best solo effort, 461 Ocean Boulevard contains some of Clapton's most personal music, and created the musical template that he would follow for decades to come.
This De Luxe edition consists of 2 CDs. The first one is the studio recording plus five session outtakes. The second CD is a compilation extracted from two concerts at the Hammersmith Odeon in London on December 4th and 5th, 1974.
Posted By : yerbas07 | Date : 18 Feb 2022 20:36:34 | Comments : 3

La Nef - Perceval. La quête du Graal - vol. 1
EAC FLAC cue+scans (300 MB) | LOG | Accuraterip
Dorian DOR-90271 (1998) | medieval / Celtic

The present program is constructed entirely by La Nef, following the tweflth century story of Perceval and the Grail by Chrétien de Troyes. The original texts were not set to music (or do not survive with music), and so the music has been drawn from a variety of sources, including some traditional Celtic tunes. Unfortunately, the notes for the recording do not detail the individual sources with any precision.
The performance style itself is dramatic, as is usual for La Nef, but besides some of the more standard medieval-style interpretations, there is a Baroque operatic coloring to many sections. It is a very original production. -- medieval.org
Posted By : yerbas07 | Date : 16 Feb 2022 16:43:01 | Comments : 1

Cirkus - The Young Persons' Guide To King Crimson / Live
EAC FLAC cue+scans (970 MB) | LOG | Accuraterip
Virgin 7243 8 47431 2 3 (1999) | classic/progressive rock

1999 two CD live collection spanning their 30 year career, with all tracks handpicked by leader Robert Fripp himself. 25 tracks total by KC's various line-ups. While there have been many line-ups of King Crimson, each of the different performing groups of musicians has made its contribution to the band's consistent and ongoing reputation as one of the best live rock bands of any era. Every decade from the 60s to now has had at least one and sometimes more Crimson live line-ups and CirKus - originally issued in 1999 as a 30th anniversary celebration of the group's live output - offers an effective introduction to Crimson as a touring outfit. From the Fillmore West in San Francisco in 1969, via the Concertgebouw Amsterdam in 1974, Through the Spectrum Montreal in 1984, and on to Nakano Sun Plaza Tokyo in 1995 & various other points in between, all eras of Crimson are represented with a variety of the band's most enduring music. Crimson live has always been a very different beast in the concert hall compared to the studio recordings and CirKus reflects this. It's the ideal starting point for any curious listener who might be interested in the broader live Crimson catalogue. But make no mistake; CirKus is no mere sampler. Carefully chosen, cunningly sequenced and with the audience sounds/ambience cross-faded to sound like two continuous concerts CirKus makes for a complete and fascinating listen in its own right. -- amazon.com
Posted By : yerbas07 | Date : 13 Feb 2022 20:02:12 | Comments : 11

Bezmârâ - Yitik Sesin Peşinde / KANTEMİROĞLU
EAC FLAC cue+scans (435 MB) | LOG
Kalan Music 161 (2000) | classical Turkish, world-ethnic

Dimitrie Cantemir, quoted in Ottoman sources as "Kantemiroğlu", "Kantemir" and "Küçük [Small] Kantemiroğlu" was born in 1673 at laşi, Moldavia. He spent twenty years in Istanbul as a hostage and studied there western and eastern languages and Turkish music. He wrote books on Ottoman history, Islam, and the Arabic language and transcribed in his major work Kitab-ı İlmü'l-Musıki alâ Vechi' l-Hurufât, also more plainly called KANTEMİROĞLU EDVARI ("Treaty of Cantemir") over 350 instrumental compositions of the 16th and 17th centuries, using a system of musical notation based on an alphabet developed by himself. This treatise did not attract the attention for nearly three centuries, except for some minor transcriptions by specialists. Yalçın Tura started to publish in the mid-70's the transcription in latin characters and the translation into modern Turkish of the treatise. In 1992 Owen Wright, published all of the compositions transcribed in the system currently in use in Turkish music.
The Bezmârâ ensemble, specialized in the interpretation of early Ottoman music, owning instruments some of which have totally disappeared, presents in this CD the first recording of compositions selected from Cantemir's collection, made with a particular concern with regard to historical authenticity.
Posted By : yerbas07 | Date : 12 Feb 2022 08:58:48 | Comments : 4

Bezmârâ - "Mecmûa" dan Saz ve Söz / Alî UFKÎ
EAC FLAC cue+scans (480 MB) | LOG
Kalan Music 296 (2004) | classical Turkish, world-ethnic

Bezmârâ, was founded in 1996 by Fikret Karakaya, to give voice to peşrevs and semâis of the sixteenth and seventeenth century which were found in the volume Kitâbü İlmü'I-Musiki `alâ Vechi'I-Hurûfât ("Book for Teaching Music by Means of Letters") by Kantemiroğlu (1673-1723), on musical instruments in use at the time they were composed. Of the musical instruments of the period during which Kantemiroğlu transcribed the pieces, only the ney, nakkare (kudüm) and daire were still in use in modern times. The rest were teetering on the brink of obscurity, known only from miniatures and a few traces left behind in written sources. Thus they had to be reconstructed, both -with the "old" or "early" music approach that has developed in Europe- to perform the works with the musical instruments and practice of the time they were composed; and -by bringing lost sounds back to life- to introduce new possibilities to those searching for sound qualities they have never heard.
In 1999, Bezmârâ, beginning work on instrumental and vocal pieces from a compilation known as Mecmûa-i Saz ü Söz by Ali Ufkî Beğ (1610 ?-1675 ?), took on two vocalists. The thirty-plus pieces taken from Mecmüa were heard for the first time at a concert of the Second Istanbul Festival in 2000. The majority of the pieces in this album were performed at that concert. In later concerts, Bezmârâ performed vocal and instrumental works taken from both Kantemiroğlu's volumes and from Ali Ufkî Beğ.
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Posted by :: Alex | Date :: Aug 20, 2021 19:05:00 | [ 34 comments ]