Alim Qasimov - Azerbaijan

Posted By MiOd On Friday, April 30, 2010 0 comments
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Alim Qasïmov, born in 1957 in Shamakha in the Republic of Azerbaidjan, came from a modest family where music, while not being performed, was greatly appreciated. Before devoting himself with assiduity to studying the art-music repertoire (Mugham) with the greatest singing teachers of the day, people like Haji Baba Huseynov, Aqa Khan Abdulayev and Näriman Aliev, he had worked at different trades: as a shepherd and a chauffeur to name a few. With such an exceptional voice, he could have rocketed to stardom in no time but, never one to indulge in facility, he always aimed for the high standards of his masters, constantly broadening his knowledge of the repertoire and the classical modes.
Winning the Jabbar Qaryaghdi-oghlu Singing Competition crowned him, at the age of twenty-five, top of his field, the best classical singer of his generation. Highly renowned in Azerbaidjan, he benefitted from the support and esteem of the most demanding teachers, like Bahram Mänsurov. He excels in all the genres: improvised mugham, mugham in strict time, songs, the ashïq bard songs and also in daf (tambourine) playing.
Alim Qasïmov's fame spread rapidly beyond his own country. First he toured Central Asia, then the United States, Europe (France especially), and later Japan. Finally, in Teheran -the bastion of maqam (or radif) -he had an unprecedented triumph, sweeping away once and for all the Persian public's jealously guarded but preconceived ideas about the music of Azerbaidjan. He made several recordings in his own country and two compact discs at the time of his first concert in France.

It's always rather brash to go proclaiming an artist to be the best, but there has been no doubt in some people's minds that Alim Qasïmov is the greatest present-day singer in any field. While this is debatable and depends on each musical culture's particular aesthetic criteria, it is perhaps arguably the case when one considers factors like the science of modal composition and improvisation, the virtuosity of the vocalises, the choice of texts, the clarity of their enunciation and their melodic marrying, the variety, spontaneity and impact of the expressive sound-colouring palette, and especially the art of communicating with the public, of moving it, bewitching it over and over again with the most varied effects without ever falling into affectation, mannerism or showmanship. With Alim Qasïmov and his two colleagues, the Greek concept of musical ethos becomes clear, or the ancient Arab concept of tathir, an"effect" arousing strong fundamental emotions, in particular that of tarab, aesthetic rapture, concepts which were attempts at accounting for the marvels that music could produce.

After having performed alongside the greatest tar and kamancha masters, Alim Qasïmov teamed up with two highly talented young artists, Malik Mänsurov (tar) and his brother Elshan (kamancha). Born respectively in 1962 and 1963 in Oazakh in the north-west of Azerbaidjan, they distinguished themselves, each in his own field, by graduating from Baku Music Conservatory with top honours and then winning the "Uzeyir Hajibayov Prize". awarded every four years to promising young talents.

Unites by their deep friendship and complicity, all three have been able to develop, each exploiting his own artistry to unexpected heights. The numerous concerts given in the last four years have led them to evolve even more. Early on, concerts had a professional stamp and a freshness; they were a sublimation, a sort of magic celebration where each musician, letting the thread of his inspiration unravel, wove his own progressive framework in a total, perfect symbiosis. Despite the unfolding ideas and the density of the dialogue, each blended into the ensemble and although Alim Qasïmov is visibly always up front, Malik and Elshan Mänsurov are no less present and indispensable. Only rarely are we given to understand to such a degree, the principle upheld by traditional masters whereby three or four accomplished, creative performers should manage to surpass in force and richness a whole orchestra of capable musicians.

Alim Qasïmov's genius lies largely in the artisty of his performance, in his enunciation of a work (text and music), in the way he unfolds it in real time, an elaboration in which he public participates through their expectancy, response and reactions. While he also sings extremely well in small gatherings, in studio or in a family context, the full measure of his art and charisma is only grasped on stage before a vast public. that's when he gives himself totally, galvanized by his two companions and public feedback. Anyone who has followed him on tour will admit that he is always excellent, no matter where,whether at home in Azerbaidjan or in nearby countries of Central Asia, whether before connoisseurs or neophytes discovering his music for the first time. However, like any artist, from time to time he surpasses himself and the effect is miraculous. This is what happened in May 1992 in the Theatre de la Ville, before a public of compatriots and people from Eastern nations but also, and this more importantly, of admirers from diverse origins. After this memorable concert, he admitted, with his usual modesty, that he had been particulary inspired.
For some time now we had been considering making a definitive recording of this artist indeed of the trio at the height of their powers: this disc represents the very best of Qasïmov before an enthralled quality audience. The different stages of the performance are reproduced in order with the exception, for purely technical reasons, of a song of a light nature which concluded the first part of the concert.

The musical culture of Azerbaidjan

Azerbaidjan is situated in the western part of Transcaucasia, to the north-west of the Iranian plateau. The northern part constitutes the Republic of Azerbaidjan, the southern being a province of the Islamic Republic of Iran.

In pre-islamic times, Azerbaidjan (in the large sense) was inhabited by Indo-Europeans of the Zoroastrian faith, certain of whom later adopted Christianity, and still later Islam. For almost all their Islamic history, Iran and Azerbaidjan (which was one of its great provinces) were governed by the Turk, Azeri or Mongol dynasties. At the close of the 10th century, an AZERI branch of Türk Oghuz began to control the region. In the 11th century, other Turks from Central Asia, the Seldjukides conquered Persia, Irak and the Caucasus, while in the 13th century the Ilkhanide Mongols - and later a Turkoman dynasty - elected Tabriz capital of their empire. In the 16th century, under the yoke of the Safavides (of Azeri origin), the shiite faith became the official religion and Ispahan the new capital. All these conquerors rapidly adopted Persian and Arabic and their own tongue spread only progressively during large-scale migration not only in Azerbaidjan, but also in the ast and north of Iran.

At the dawn of the 19th century. the Qadjars (Iranian Turks too) took power, but in 1828, they lost Caucasian Azerbaidjan which then became a nation with its own destiny, first controlled by the Russians, and later organized into a Soviet Socialist Republic.
In 1991, after a revolt severely repressed by Moscow, Azerbaidjan won its total independance, its southern part remaining an Iranian province. Each part has over six million inhabitants, and maintains close relations with the other.
Just as the Turkish-speaking population is scattered well beyond the two parts of Azerbaidjan, popular and artistic Azeri musics are related, in form, to a much vaster musical area, stretching south to Kurdistan, and east to Zanjan or Qasvin. Many elements of Azeri music are to be found in Persian music and most Azeris believe their music to be related to that great tradition rather than to the Turkish or Central Asian one. (Most melodies and modes have Persian names and exist in similar or close forms in Iran. Of course, besides its particular style, Mugham has many unique specific characteristics, especially its intervals and modes). An important fact regarding Azeri art-music is also that it was for a long time almost entirely appropriated by Armenians. numerous in Ispahan and the Caucasus. Many instrumentalists of "Azeri" nationality, and the best instrument-makers were Armenians. Due to the rise of ethnic political conflicts, Armenians either tended to neglect this inheritance, with its Islamist, "Iranist" or "Azerist" connotations, or to readapt it.

While differing greatly from other musics of Central Asia, the popular music of the cities of Azerbaidjan, with its characteristic rapid rhythms, has spread to Uzbekistan, first to the Khorzem, then to Boukhara and Tashkent, and even as far as Tadjikistan and Chinese Turkestan.

The musics of Azebaidjan lie on different strata probably corresponding to the cultural influences undergone by the region in the course of its history: Greek influence was followed by that of a brilliant dynasty, completely Iranian, the Sassanides, who reserved a privileged place for music and had organised it into a system comparable to that of the mugham and the dastgah. With Islam, art-music became a sort of international erudite language, a koine, understood and practised throughout all Central Asia and the Near-East. The mugham system, still in use, is am example.
Azerbaidjan's art-music (or Mugham) is in fact one of the heirs of the science of Iranian, Arabic and Turkish maqam, some of the greatest theoreticians and performers of which, people like Safioddin, Jorjâni and Maraghi, were from Azerbaidjan.
A precise outline of its evolutionary stages is not easy to establish, but it seems that at the turn of 19th century there was a renaissance which also affected Persian tradition. The town of Susha in Karabakh (Republic of Azerbaidjan) was at the close of the 19th century the home of musical and intellectual life but it was in Tiflis, the modern cosmopolitan capital of Transcaucasia, and later at Baku that the Azerbaidjan masters found their largest and most varied audiences. At the same time, Russian contact brought European music into the elements are at times detectable in the most traditional performances, which in no way impairs their quality and authenticity.

Here we will limit ourselves to the art of Mugham as part of the erudite classical tradition and distinct from the art of the Ashïq bards, more typically Caucasian, essentially oral and steeped in popular culture. Mugham predominates in the north of the country and in the karabakh mountain-range, while Ashïq milieu is in fact more rural and provincial while mugham flourishes in town in scholarly circles, even though it has a large popular public with some fine connoisseurs.
In the Iranian part, Azeri mugham has been supplanted by its Persian counterpart the radif, a form always kept alive by great masters of Azeri descent, but sung in Persian.
Despite their uniqueness, mugham and the Bardic tradition have aspects in common like their rhythms, modes and vocal techniques. Some Ashïq are also familiar with mugham while "mughamists" also know Ashïq songs. For both, their favorite contexts for playing are marriage-feasts (toy) and other celebrations. During such Caucasian events, with their age-old atmosphere, artists give totally of themselves, vying with each other for brio and invention as an audience deeply passionate deeply about music listens attentively.

The Classical Mugham

All classical pieces necessarily belong to a melodic modal genre (mugham, gushe, etc.) defined by a scale, a main group of notes and a phrase outline. The intervals used call for fine nuances of an eighth-tone (instead of a quarter-tone in Persian and Arabic maqâm). In practice, this means that in seven-note scales made up of notes and semitones. certain degrees are sharpened or flattened by an eighth-tone (or comma).
The art-music tradition recognises twelve main modes (mugham) and ten other mugham considered as secondary, Other classifications are also accepted however. As well as these, a certain number of little mughams, played generally in the context of a more important mugham, can also be cited. These important mugham are called dastgah (systems) when they integrate a certain number of secondary mugham sho'be or gushe. All these mugham can be used in modal "substance", and "aspects" (sho'be "annexes" or gushe "corners) which appear in the course of the development. About one hundred and fifty types of melody (sho'be or gushe) exist, all with their own name. Some of them can be integrated into different modal contexts and the performer is to a certain extent free to combine these elements according to his own taste. Free mugham interpretation habitually demands a precise knowledge of the gushe and their specific ornamentation. However, as a general rule, this model is supple enough to allow several levels in improvisation (in the details and ornamentation of connecting passage-work, modulations, legato phrasing etc). This enables the musician to choose either to play the model he has learnt by heart, or to stray from it by composing or improvising in the modal substance (maye), adapting a poem of his own choice or giving free rein to his imagination.
Peripheral to Mugham, there are some canonical pieces Zarbi mugham. "rhythmic songs" (see Track 4 the finale of Chahargah). These are set compositions for voice and instrument, which probably came from the Ashïq repertoire. A great many ancient or recent rhythmic pieces have a definite place in the unfolding of a mugham and adhere to the following categories:

- the däramäd ("introduction"), a measured instrumental piece, played as an overture.
- the bardasht ("résumé"), an unmeasured rhythmic sequence used to introduce the mugham, exposing its main characteristics. The bardasht is of a brilliant nature, usually beginning in the upper register, and finishing in the lower one.
- the rperformanceng, an instrumental piece, generally in a rapid 6/8 time which assures the liaison between different modes or sections of them. It most often ends with a sort of suspended pause leading back to the free mugham performance.
- the chaharmezrab, a brief rhythmic instrumental piece in a very fast tempo which is inserted between free sequences of a mugham. The chaharmezrab is a solo piece and unlike the other forms is never accompanied on the percussion.
- täsnfi, generally from popular poetry, are songs in 2/3/4 or 6 time, whose structural composition can be either very simple or very complex.

In the free performance, the instruments generally begin with a daramad in a moderate tempo or with a bardasht. After a few developments (sho'be or gushe) a brief intermezzo in rang form is introduced. the mugham or dastgah development rises in momentum, but this progression always returns in concluding to the lower register (ayaq or forud "descent") and to the initial mode if there has been any modulation. In the same way, any modulations introduced during the performance resolve rapidly back to the initial mode before continuing the development. The performance often ends with a täsnif or a rang.

Singers choose their poems from among classical poets like Fuzuli, Khaqani, Nizami, but also from more recent authors like Ali Aqa Vahid, Suleyman Rostam, Mir Mehdi Seyid-zade.

The Instruments
The classical mugham ensemble formation is exclusive to three instruments, daf, tar and kamancha, But the music can also be played on other instruments like the lute ud, the zither kanun, the zurna and balaban oboes, and even the conventional oboe or the accordion. The latter have not acquired canonical traditional status.

From the Caucasus to Turkestan, the daf (also called qaval) is the most widespread percussion instrument. In Azerbaidjan, it consists of a circular wooden frame, thirty-eight centimeters in diameter, on which is strung a catfish-skin, or failing, this a goat-skin. Resonating rings are placed on the inner side of the frame, which is played by striking the fingers with a sophisticated technique perfected by the Azeris and the Armenians. the singer traditionally uses it to accompany himself.

The tar is the principal instrument of the art-music of Azerbaidjan, Armenia and Iran. This long-armed lute of the rabab family probably came from Iran where it is still played in its barely modified original form. At the end of last century, the Azeris added sympathetic resonating strings and slightly changed its shape. The sound-board is made of two distinct planes covered with a fine membrane of beef heart. A horn bridge lies on the larger one which is almond-shaped. The tar has become the emblem of the music of Azerbaidjan.

The kamancha is a spike fiddle with a spherical sound-box and a cylindrical arm fitted with four steel strings. The sound-box carved out of a block of walnut-wood is covered with a fine sturgeon-skin. the kamancha has been in existence for roughly ten centuries and, over the last five centuries, is represented in miniatures just as it is today with the sole addition, a hundred years ago, of a fourth string.

In the trios, the voice leads, followed by the tar and then by the kamancha, but it happens in the course of improvised sequences that each instrument "leads the way".
In antiquity, and later in the 17th century, it was remarked that Azeris (and Persians) prefered high voices, Moreover, they use a technique called tahrir which consists in Passing the voice quickly (from time to time or repeatedly) from the back of the throat into the head (a little like yodelling). This technique and timbre are typical of a cultural area which comprises Georgia, Kurdistan, Western Persia and certain regions of Irak.

The Mugham interpreted

1. Rast is a basic Middle eastern mugham. the Azeri version uses a major (Western type) scale whose intervals are modified by a comma according to melodic attractions. It is pared down here to its basic form with two modulations, Ushshaq at the third and Araq at the octave, in the final tasnif.

2. Segah, is a mugham specific to Azerbaidjan. Its modal outline, gravitating around an E, is: b flat, a (flat), G, f, E, (d, c). In Mubarriga, the centre gravitates around an A; the yarim parde variant is played on : g, a flat, b flat, c.

3. Mahur, like rast, is played in a "major diatonic" scale familiar to Westerners. Here it has a modulation into Dilkesh (A flat) and Shikasteyi Fars (in the scale of Segah) in the initial tasnif.

4. Chahargah is one of the great modes (dastgah) of the Azeri tradition. Its bold, martial accents are supposed to excite the passions, but as accomplished a musician as Alim Qasimov can express the most diverse feelings in any mode.
Its characteristic scale, strongly centred on C is: g, a-comma, (or a flat), b, C, d flat, e-comma, f G, a-comma (or a flat) b, c. The motif or "signature" by which the mode can be immediately recognised is the jump to the tonic: a-comma, c.
The main phases of Chahargah contain no actual change of mode, but rather a displacement of the tonic, transpositions of the basic mode to an F and then to a G. The main sho'be sections and transpositions are basta-nigar (c, d flat, C-comma, f, g, a flat, then e, F, g flat, a-comma). Hissar (d, e-comma, f sharp comma, G, a flat+comma,b...), manandi Mukhalif, centred around B, mukhalif (e, f, g, A-comma, b, c) and Mansuri, up an octave.
register), maye (in the lower register), chaharmezrab, rung in Chahargah, Basta-nigar, rang, Hissar, Mukhalif, Manandi Mukhalif, tasnif in Mukhalif, Mansuriye (Zarbi mugham).

Alim Qasimov (chant et daf)
accompagne par Elshan Mansurov (kamancha)et Malik Mansurov (tar)

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MP3 320 kbps including full booklet scans in "PDF".

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Ensemble Al-Kindi - Parfums Ottomans "Arab-Turkish Court Music"

Posted By MiOd On Friday, April 30, 2010 1 comments
Ensemble Al-Kindi - Parfums Ottomans - Musique De Cours Arabo-Turque
Julien Jâlal Eddine Weiss is a musical traveller. For the past quarter of a century he has concentrated all his efforts – his intelligence, his sensibility – on exploring the complex, refined domain of Sufi traditional music, which he has distilled and brought back to its sources, working from his base in Aleppo, the pure, noble capital of northern Syria.

Today, the great qānūn player has decided to turn his fascinated gaze on Istanbul, the city of empire and court. All the musics of the ‘second Orient’, whether Turkish, Arabic or Persian, probably Indian too, and perhaps even a little Chinese and Japanese, all these flowering musics with their fragrances, wafted through the Perfumed Hall, in that prestigious salon looking out on the glittering Bosporus.
AL-KINDÎ, Ottoman Fragrances. All those musics are to be heard here, with their Baudelairean correspondances:

« In a tenebrous and profound unity,
Vast as the night and as clarity
Scents, colours and sounds answer one another.»

A beautiful fountain of cool water rises and falls in crystalline bouquets in one of the splendid marble basins of Topkapi Palace.

Salah Stétié

« There are strong perfumes for which any matter
Is porous. It is as if they penetrate the glass.
On opening a chest come from the Orient
Whose lock grates and resists with a shriek,

Or, in an abandoned house, some wardrobe
Full of the pungent smell of time, dusty and dark,
Sometimes one finds an old bottle that remembers,
Whence rushes full of life a returning soul. »

Charles Baudelaire, « Flacon » (Les Fleurs du Mal, XLVIII)

Ottoman Music

The traditional art music of Islam is the continuation, enriched over thirteen centuries, of the ancient modes and of refined Arab, Persian, Turkish, and Indian music. This confluence in the sphere of music excluded neither originality in the legacy of the various peoples concerned, nor the specificity of the local styles favoured by the caliphates and the princely courts. From the fourteenth century onwards, the decline of the Arabs and Iranians and the ascension of the Ottoman Turks resulted in the latter’s inheriting the elitism of the caliphate.

At the moment when Constantinople became Istanbul, capital of the Ottoman Empire, the Turks arrived with new cultural elements. Ottoman classical music, a learned synthesis of Byzantine, Persian, Arab and Turkish influences, attained an incomparable degree of richness and eclecticism.

“Apart from oral tradition, whose principal vectors of transmission are the Sufi orders, the surviving Arab transcriptions are often defective, and hardly go back any further than the late nineteenth century. In my epistemological frenzy, and flouting all intercultural ostracisms, I set out to study Ottoman sources in the shape of two seventeenth-century manuscripts from Istanbul: the first was written in western notation around 1650 by the santūr player Ali UfKi alias Wojciech Bobowski, a Polish Jew sold as a slave and converted to Islam; the second was written in alphabetic notation around 1690 by the extravagant Moldavian Christian prince, diplomat and tanbur player, Dimitrie Cantemir. These sources contain collections of pieces by Turkish composers, but also Persians, Indians and Arabs, dating from the fourteenth to the seventeenth centuries. Many of these musicians had been captured by the Turkish conquerors of the great metropolises like Cairo and Baghdad.”

Julien Jâlal Eddine Weiss

This beautifully packaged boxed set contains two CDs with music by Ensemble Al Kindi. The group is led by a European musician named Julien Djelal Jalaleddin Weiss, who has been working for years with musicians from the Middle East: Arabs, Turks, Azeris and others. Julien Jalaleddin Weiss' intention is to recreate the spirit of dialog and music collaborations that took place in the Ottoman courts of the 17th century. To achieve this, Jalaleddin Weiss has brought together musicians from various cultures: Turkey, Egypt, Azerbaijan, Syria, and the United States.

Syria's Ensemble Al-Kindi, based in Aleppo, have presented widely acclaimed works from the Arabic classical repertoire, especially from the Sufi tradition, for over 20 years. On this recording the group turns its attention to Turkey and the Arabic-Turkish music of the Ottoman court, from the 14th to the early 17th centuries. Working and writing in Istanbul, they studied Ottoman manuscripts, creating a new program of instrumental and local music utilizing Turkish and Persian instruments and inviting renowned Turkish instrumentalists and singers to join the ensemble.

This is an elegantly performed and packaged two-CD set by the Ensemble Al Kindi, a 10-member group that was formed in 1983. Director and qanun player Julian Jâlal Eddine Weiss has gathered musicians from Turkey, Syria, Egypt and other points around the former Ottoman Empire. They recreate the music of the fifteenth through the seventeenth centuries, found in some remarkable historical manuscripts. The music consists of instrumental and vocal improvisations as well as measured songs and ghazals. Weiss adamantly eschews the use of Western European instruments so popular in today's cross-cultural collaborations. He states in the liner notes that these instruments are incapable of correctly realizing the complex language of the maqam. Instead, we hear ud, tanbur, nay, riqq, daff, and tar, and the players and singers are all top-notch. The delicate "Taqsim tanbur neva," a tanbur solo by Özer Özel that opens the first disc, sets the contemplative mood for the nearly two and a half hours of music that follows. Dogan Dikmen's improvisation on "Ghazal turc neva" displays a rich voice with a pulsing vibrato. The twenty-four minute "Le long frémissement de l'aube" has elements of the avant garde in its instrumental improvisations, yet the musicians never go beyond what is characteristic for the style. The liner notes, in French and English, are extensive and scholarly and tackle such subjects as history, modes, performance practice, rhythm, and temperament. There are also several pages of Weiss' own transcriptions of some of the pieces (in Western notation.) The entire package is literate and beautifully conceived from both musical and artistic standpoints.

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Ensemble Al-Kindi: Omar Sarmini, Dogan Dikmen (chant); Julien Jalaleddin (qanoun); Zyad Qadi (nay); Katerine Shamseldin (daf); Malik Mansurov (tar); Qadri Dalal, Ozer Ozel, Aslihan Ozel, Adel Shams El-Din

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Anne-Sophie Mutter - Simply

Posted By MiOd On Friday, April 30, 2010 2 comments
(b Rheinfelden, 29 June 1963). 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.

[01]. Concerto for Violin and Strings in E, Op.8, No.1, R.269 "La Primavera" - 1. Allegro
[02]. Violin Concerto No.3 in G, K.216 - 3. Rondo (Allegro)  
[03]. Violin Concerto No.5 in A, K.219 - 2. Adagio  
[04]. Violin Romance No.2 in F major, Op.50  
[05]. Thaïs - Acte Deux - Meditation
[06]. Liebesleid  
[07]. Tango Song and Dance (dedicated to Anne-Sophie Mutter) - 2. Song. Simply  
[08]. Hungarian Dance No.6 in D flat - transc. for Violin and Piano by Joseph Joachim  
[09]. Porgy and Bess - Summertime  
[10]. Carmen Fantasy, Op.25 - Introduction. Allegro moderato  
[11]. Carmen Fantasy, Op.25 - 1. Moderato  
[12]. Carmen Fantasy, Op.25 - 2. Lento assai
[13]. Carmen Fantasy, Op.25 - 3. Allegro moderato  
[14]. Carmen Fantasy, Op.25 - 4. Moderato

Mutter was born in Rheinfelden, Germany. She began playing the piano at age five, and shortly afterwards the violin, studying with Erna Honigberger, a pupil of Carl Flesch. Upon Honigberger's death, she continued her studies with Aida Stucki, at the Winterthur Conservatory.

After winning several prizes, she was exempted from school to dedicate herself to her art. When she was 13, conductor Herbert von Karajan invited her to play with the Berlin Philharmonic. In 1977, she made her debut at the Salzburg Festival and with the English Chamber Orchestra under Daniel Barenboim.

At fifteen, Mutter made her first recording of the Mozart Third and Fifth violin concerti with von Karajan and the Berlin Philharmonic. The same year, she was named Artist of the Year.

In 1980, she made her American debut with the New York Philharmonic under Zubin Mehta. In 1985, at the age of 22, she was made an honorary fellow of the Royal Academy of Music (London) and head of its faculty of international violin studies. In 1988, she made a grand tour of Canada and the United States, playing for the first time at Carnegie Hall. In 1998 she played and recorded for CD and DVD the complete set of Beethoven's Violin Sonatas, accompanied by Lambert Orkis; these were broadcast on television in many countries.

Though her repertoire includes many classical works, Mutter is particularly known for her performances of contemporary music. A number of pieces have been especially written for or dedicated to her, including Henri Dutilleux's Sur le Même Accord, Witold Lutosławski's Partita, Krzysztof Penderecki's Second Violin Concerto and Wolfgang Rihm's Gesungene Zeit ("Time Chant"). In August 2007, she will premiere Sofia Gubaidulina's Violin Concerto No. 2 "Anne-Sophie". She has received various prizes, including several Grammys. She also owns two Stradivarius violins (The Emiliani of 1703, and the Lord Dunn-Raven of 1710) and a Regazzi, dated 2005.

In October 2006, on French television, Mutter appeared to indicate that she would be retiring when she turned 45, in 2008. However the following month she said that her words were "misinterpreted" and that she would continue to play as long as she felt she could "bring anything new, anything important, anything different to music".

Mikis Theodorakis has played many public roles since his emergence in the mid-twentieth century, as Greece's most successful composer of serious music, a leader in the field of film music, and a symbol of resistance to oppression. Born Michalis Theodorakis on the Aegean island of Chios, he was a shy child who enjoyed poetry and music. His interest in music was shaped by his gypsy-like childhood, as his father, a government official, was continually transferred throughout the Greek islands; in the process, Theodorakis was exposed to a huge variety of traditional Greek music, all of which shaped his sensibilities as a composer. He also displayed a strong interest in liturgical music and took up the violin, which he studied at the Patras Conservatory of Music. Theodorakis began composing music as a boy. He did his best to continue studying music during the Axis occupation, but after he was refused admission to the Athens State Conservatory, Theodorakis turned to his other great passion, politics. He was converted to Marxism by his patriotism and the sacrifices he saw made by the communists fighting the occupying forces. He linked his musical and political passions, composing pieces such as his oratorio Third of December, a memorial to partisans killed by the British. Theodorakis' Communist affiliations led to his imprisonment twice by the postwar government, and he was held under brutal conditions for more than two years, until he was released with a case of advanced tuberculosis in 1949.

During the 1950s, Theodorakis began emerging as a composer and critic. He wrote and arranged scores for ancient dramas, composed a pair of ballets, Orpheus and Euridice and Greek Carnival, and began writing for movies. In 1954, he received a grant to study at the Paris Conservatory, where his teachers included Olivier Messiaen, and he composed twenty-one works during his four years in Paris. He continued his work in films as well, most notably in Ill Met By Moonlight (1956) directed by Michael Powell and Emeric Pressburger, and in Powell's Honeymoon (1959), which featured Theodorakis' ballet The Lovers of Teruel (which was later the basis for a separate film). He also became a critic of the musical establishment in Greece, insisting that composition could be invigorated by a return to their music's roots and the traditional sources he'd known as a boy. He continued composing for the theater and also in popular music, and in 1964 wrote the score for the movie Zorba The Greek, which was a huge hit and exposed a vast new audience to Theodorakis' music. Theodorakis' reputation was made among popular listeners as well as serious music circles, but his music career was soon overshadowed by politics.

As a member of the Greek parliament in the 1960s, he had built a reputation as a political activist and had a potent political organization behind him. When a group of Greek army colonels seized power in 1967, Theodorakis went underground and began organizing resistance to the junta, and was arrested twice; held for two years, he was released on humanitarian grounds following a massive international outcry. He'd continued composing, even smuggling compositions out of prison, and wrote a song cycle devoted to the cause of the resistance. Theodorakis returned to the Greek parliament after democracy was restored, but has been increasingly known for his music in the decades since. In 1988, the expanded version of his first symphony received its American premiere, and his works have comprised entire programs at such venues as Avery Fisher Hall in New York. ~ Bruce Eder, All Music Guide

ANNE-SOPHIE MUTTER is one of the best-known classical musicians in the US, and her concert appearances here are sold-out events. Her contributions to the violin repertoire, her extraordinary collaborations with the most accomplished and elite of musical partners, and her unstinting devotion to excellence point to a legacy of unequalled brilliance.

2006 is the 30th anniversary of the beginning of Ms. Mutter’s public career, which has intersected with and influenced the lives of so many important musicians of the era and inspired the minds and hearts of millions of listeners around the globe. Simply Anne-Sophie offers a great musical overview of her brilliant career.
APE (EAC Rip): 390 MB | MP3 - 320 kbs: 280 MB | Booklet Scans

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Putumayo Presents - Latin Playground

Posted By MiOd On Thursday, April 29, 2010 0 comments
One of the earlier additions to Putumayo's children's line, Latin Playground alternates between catering to children through music specifically for them and enriching the album with works that happen to be playful but were not necessarily made with children in mind. While this one is a little less adult-friendly than some of the others in the line, it still has enough variety to last for a good series of inevitable replays at the hands of kids. The album runs around the Latin spectrum quite well, taking in Mayan-language music from Lila Downs as easily as Flaco Jimenez's brand of Tejano. American folk with a mild Mexican influence is here, as is some forro from Nazare Pereira. The breadth of styles is quite something, and though the explorations are not particularly deep, that is certainly not a major detraction for a kids' album. Some of the other albums in the Putumayo kids' line may have a little more depth, but this one isn't bad at all, and can draw from the label's considerable expertise in Latin music at the same time. ~ Adam Greenberg, All Music Guide

[01]. Guantanamera - Omara Portuondo
[02]. Anna (El Negro Zumbon) - Pink Martini
[03]. Cielito - Colibri
[04]. El Reino del Reves - Botafogo
[05]. La Arcana Picua - Los 50 de Joselito
[06]. Viva Vargas Torres - Margarita Laso
[07]. Chispa Tren - Ska Cubano
[08]. Mardi Gras Mambo - Cubanismo
[09]. Fusion Natural - Matato'a
[10]. Hanal Weech - Lila Downs
[11]. Bomba Le Le - Jose Gonzalez y Banda Criolla

FLAC tracks (EAC Rip): 270 MB | MP3 - 320 kbs: 90 MB | Booklet Scans

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Part 1 | Part 2

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Ghalia & Timnaa Benali - Wild Harrissa

Posted By MiOd On Thursday, April 29, 2010 0 comments
Ghalia Benali from Tunisia is one of the musical surprises to emerge from the Arab world at the turn of the millennium. A successful actress, she played a leading role in the film "La saison des hommes". Her highly acclaimed concerts in Tunis, Paris and Brussels had the record companies queuing to sign her up, but she preferred to wait until she had found her dream line-up. And now she has - Timnaa is an international ensemble whose virtuoso fiddles, flamenco guitars and Arab percussion carry her expressively smoky and profoundly emotional voice from Tunisia to Andalusia and back again, via the Balkans and Brazil. Ghalia herself describes her new project as "Arab music in new forms, sometimes festive but never profane, occasionally ro-mantic and elegiac, or even classical and medieval, and sometimes wild and over the top - a passport to many cultures, a microcosm that merges the centuries into some-thing new".


[01]. Divas
[02]. Tiflatan Arabiyan
[03]. Baidha
[04]. Hanine
[05]. Awaddu
[06]. Luiza
[07]. Apsara/Dinèra
[08]. Leyça
[09]. Shaima
[10]. Anissia
[11]. Kaalia
[12]. Ya Rachiq
[13]. Oyrana

| MP3 128 kbps | Covers | 55 MB |


Sexteto Mayor - Trottoirs De Buenos Aires

Posted By MiOd On Thursday, April 29, 2010 0 comments
Since their WorldNetwork CD "Quejas de Bandonéon" (WorldNetwork 5: Argentina) which was awarded the German Phonographic Critics Prize, and their performance in the Broadway production "Tango Pasion", Sexteto Mayor have been world famous. Given their age - between them, the six musicians can add up 400 years - it is astonishing how much vivacity and unfettered joy they have poured into this journey through the history of tango and their own musical past. Hailed as the "best tango line-up in decades" (FR) to emerge from Buenos Aires, their latest CD is a virtuoso homage to the history of tango, from Gardel to Piazzolla. The tracks range from the early tango music of the bars and brothels to new arrangements from the 30s and culminates in exuberant compositions of their own and works by contemporary masters. As one critic noted, "Carlos Gardel would be delighted at the way his music continues to develop".(FR) Guest artist on a number of tracks is Adriana Varela, currently the top tango singer. With her smokey voice, her fiery temperament and her deep emotions, she is enthusiastically feted in Argentina. At the end of the recording session, she said, "Ever since I was a child, I have dreamt of recording with these titans of tango. It was great fun to discover just how they can bring these great moments of tango history alive with so much passion and feeling." Together, these artists "transport the vision of paradise regained in tango."

01. Tanguera
02. Paris otonal
03. Invierno porteno
04. Del 73
05. Uno
06. Silbando
07. Volver
08. Libertango
09. Don juan
10. Rapsodia de arrabal
11. Trottoirs de buenos aires
12. La cachila
13. Como dos extranos
14. Malena
15. Milonga de mis amores
16. Organito arrabalero
17. El dia que me quieras
18. Verano porteno
19. Fuga y misterio

| MP3 128 kbps | Covers | 55 MB |


Djivan Gasparyan & Ensemble - Armenian Fantasies

Posted By MiOd On Sunday, April 25, 2010 6 comments
Before we had even finished recording the WorldNetwork CD "Heavenly Duduk" (WorldNetwork 47 Armenia: Djivan Gasparyan) presenting Armenia's living legend as a brilliant soloist on the national instrument duduk, it was agreed that there should be a follow-up project showcasing the country's boundless treasures of soulful music, played by a larger ensemble. The Network team flew to Yerevan to record this powerfully evocative music in all its intensity and profundity, and were greeted there with unforgettable hospitality and generosity. Armenia is a country where music is as much a necessary part of life as the very air we breathe. That is reflected in the tracks on this CD. Djivan Gasparayan has taught at the conservatory in Yerevan for more than 30 years, and has performed with the Kronos Quartett, Brain Eno, Peter Gabriel and a number of film soundtrack composers. For this album, he has gathered together an exquisite ensemble consisting of some of the leading soloists on the kamantcha fiddle, the kanon zither, the tar and oud lutes, several duduks and percussion. These haunting compositions come to us like echoes from the mountains and valleys of Armenia. A particularly interesting aspect is the blend of early Christian and oriental melody unique to this region at the foot of Mount Ararat, where Noah is said to have landed with his ark. These are melodies that transform mourning into hope, accompanied by the warm sound of the duduk, a woodwind instrument that is widely regarded as the mystical voice of the barren highland plateaus between the Caucasus and the Taurus.


[01]. Armenian Suite
[02]. Kamantcha Blues
[03]. Armenian Romances
[04]. Lyric Melodies & Dances for Women

| MP3 192 kbps | Covers | 85 MB |


Batata y su Rumba Palenquera - Radio Bakongo

Posted By MiOd On Sunday, April 25, 2010 0 comments
The flames of a new musical fire are spreading from the Caribbean coast of Columbia: Champeta criolla. The spark was ignited in the tiny village of Palenque, inhabited since the seventeenth century by Africans fleeing slavery, and their descendants. In Palenque, the traditional African rhythms and rituals survived unbroken, making the village a magnet that attracted not only lovers of music from the coastal regions. More recently, the advent of Cuban labourers brought Son Montuno to the region, while seamen from Africa introduced their old Highlife and Soukous records. A thrillingly revolutionary blend of styles was born. From its beginnings in the Black ghettos, Champeta has stormed throughout Columbia and beyond. The legendary percussionist and singer Batata is regarded as the King of Champeta. Exclusively for this major Network project, Batata and Lucas Silva invited to the studio the finest Cumbia musicians, brass players from the best bands, Highlife and Soukous guitarists, percussionists and the most talented of the animators who are such an important part of this music- that is an explosive burst of Creole Soukous, Columbian Highlife and tropical Afrobeat.


[01]. Radio champeta cartagena - radio bakongo (intro)
[02]. Ataole (feat. kassiva, milton mendoza & makambile)
[03]. Arriba voy, abajo vengo (son palenquero) (feat. kassiva, milton & makambile)
[04]. El cascabel (cumbia soukous) (feat. kassiva, milton mendoza & makambile) [05]. La vida es muy bonita (son palenquero)
[06]. Fuego (son palenquero)
[07]. Clavo y martillo (porro champeta) (feat. dally kimoko & 3615 code niwau) [08]. La maya (son palenquero)
[09]. Las cruces de palenque (son palenquero)
[10]. La reina de los jardines (soukous tropical) (feat. luis towers, viviano torres, kassiva, milton)
[11]. Pobre mi corazon (son palenquero)
[12]. Macaco mata el toro (porro highlife) (feat. rigo star & 3615 code niawu, luis towers & viviano torr

| MP3 320 kbps | Covers | 95 MB |


Music From Ethiopia

Posted By MiOd On Sunday, April 25, 2010 3 comments
A really nifty release, Caprice has combined two forms of urban music usually rigidly separated: professionally performed "traditional" music for krar, flute, voice, and Ethio-soul by electric groups that play the real local thing rather than the crossover material we're usually offered. The result is splendid: very varied and splendidly performed music and truth-in-classification. ~ John Storm Roberts, Original Music, All Music Guide


(01) [[CAPRICE]] Lemma Gebre Hiwot - Medina - Zelesegna (vocal with makinqo acc)
(02) [[CAPRICE]] Abyssinia band - Yedejih abeba negn (Hanna Shenkute, voc)
(03) [[CAPRICE]] Yohannes Afework - Ambassel (washint flute solo)
(04) [[CAPRICE]] Abyssinia band - Mis men gidifkini (Girmai Biable, voc)
(05) [[CAPRICE]] Asnakech Wortu - Tizita (vocal with krar acc)
(06) [[CAPRICE]] Abyssinia band - Endenew yisemah (Hanna Shenkute, voc)
(07) [[CAPRICE]] Areru Shegane-Teka Tema-Yohannes Afework - Tigrigna (3 embilta flutes)
(08) [[CAPRICE]] Yared Orchestra - Alegntaye (Aregahegn Werashe, voc)
(09) [[CAPRICE]] Alemayehu Fanta - Salamta (vocal with begena acc)
(10) [[CAPRICE]] Abyssinia band - Yiberral libbe (Dawit Mellese, voc)
(11) [[CAPRICE]] Sne Bahel - Haya wolalome (Muleta Mekonne, lead vocal with trad group, vocal, krar masinko and drum acc)
(12) [[CAPRICE]] Alemayehu Fanta - Anchihoyelene -- Tizita (vocal with masinko acc)
(13) [[CAPRICE]] Abyssinia band - Esketayew (Dawit Mellese, voc)
(14) [[CAPRICE]] Sne Bahel - Dowa dowe (Taddese Alemu, lead vocal with trad group, vocal, krar)
(15) [[CAPRICE]] Abyssinia band - Tizita (Hanna Shenkute, voc)

FLAC (EAC Rip): 420 MB | MP3 - 320 kbs: 180 MB | Booklet Scans

Archives have 5% of the information for restoration

Part 1 | Part 2 | Part 3 | Part 4

OR MP3 320 kbps
Part 1 | Part 2

Golden Afrique I&II

Posted By MiOd On Saturday, April 24, 2010 2 comments
Golden Afrique Vol. 1 L'age d'or de la musique africaine (1971-1983)

It was the most exciting period of recent African history. From the late 1950s onwards, one African country after another gained independence. Independence had its own literature and its own soundtrack. It was the dawning of the golden age of African pop music. In the 1970s and early 1980s, local traditions, modern western styles and instruments combined to create an exciting new sound that expressed the euphoria and pride of a newfound freedom. The Golden Afrique series dives into this vast musical ocean of and comes up with its finest, rarest pearls. The series opens with music from Guinea, Mali, Guinea-Bissao, Gambia, Ivory Coast, Chad and Senegal – many of the tracks are available on CD for the very first time. Youssou N’Dour takes his first tentative steps, creating the mbalax sound that will later spread around the world, Salif Keita raises his golden voice, Baobab de Dakar and Bembeya Jazz National from Conakry take the big band sound to new heights, the Super Eagles of Gambia sing of African unity, the Amazones de Guinea form the first all-woman big band line-up, Miriam Makeba sings in her own language from her Guinean exile, Super Mama Djombo have to fly from Guinea to Moscow to make their groundbreaking recordings, Maitre Gazonga from Chad has a huge hit and disappears... Fom Afrocuban styles to local rhythms, soul and blues influences, Golden Afrique is an exhilarating journey through the musical history of Africa , full of sheer joy and totally danceable. Double CD .. 2 ½ hours playing time.

Disc: 1

[01]. Jaloux Saboteurs
[02]. Amie
[03]. Taximen
[04]. Ziboté - Ernesto Djédjé
[05]. Lonlon Nyeku
[06]. Dis-Moi la Vérité
[07]. Beni Haminanko - Ousmane Kouyate
[08]. Bolola Sanou - Les Ambassadeurs du Motel
[09]. Rail Band - Rail Band
[10]. N'Toman

Disc: 2

[01]. Dissan Na M'Bera (Suur Di No Pubis)
[02]. Yaye Boye
[03]. Mane Kouma Xol - Etoile de Dakar
[04]. Thiely - Etoile de Dakar
[05]. Autorail - Orchestra Baobab
[06]. Yaye Boye
[07]. Warteef Jiggeen
[08]. Aliou Gori-Mami - Super Eagles
[09]. Gambia/Zambia - Super Eagles
[10]. Paulette - Balla et Ses Balladins
[11]. Malouyame - Miriam Makeba
[12]. Kadia Blues
[13]. Samba - Les Amazones de Guinee
[14]. Tentemba - Bembeya Jazz National

Golden Afrique Vol. 2 l'Age d'or de la musique africaine ( 1956-1982 )

A brilliant edition The critical acclaim that was heaped on Golden Afrique Vol.I has spurred our team of editors. They have now completed a second volume dedicated entirely to Congolese dance music. The very finest of performers chart the history of Central African guitar music from African Rumba to the early forms of Soukous music. Here, then, is the music that has conquered all of Africa, even toppling Highlife from its throne as the pan-African party sound. From the beginnings of the outstanding Ngoma label to Kabasele’s “Indépendance Cha Cha Cha” – a 1960s single that set the whole of Africa dancing – and featuring an early recording by Manu Dibango, the ports of call on this musical journey are the sounds of the great and the good: Tabu Ley Rochereau, Franco, a musical heavyweight whose death was mourned across an entire continent, Sam Mangwana, who continues to roll back the boundaries in his indefatigable quest for new sounds and combinations, Dr. Nico, known simply as the “god of guitar”, Nyboma, whose productions even had West Africans dancing the Congolese Soukous. All this and more: as an absolute rarity, the album also features excellent songs from less famous artists, some of whom can be heard on CD for the very first time.

Disc: 1

[01]. Coopération - Franco, Sam Mangwana
[02]. Doublé-Doublé - Nyboma
[03]. Africa Mokili Mobimba - African Jazz, Joseph Kabasele
[04]. Indépendance Cha Cha Cha - African Jazz, Joseph Kabasele
[05]. Siluwangi Wapi Accordeon - Camille Feruzi, Franco, OK Jazz Band [06]. Marabenta (Vamos Para O Campo) - Sam Mangwana
[07]. Machette - Les Bantous de la Capitale
[08]. Lina - Franco, OK Jazz Band
[09]. Tcha Tcha Tcha de Mi Amor - Franco, OK Jazz Band
[10]. Exhibition Dechaud - Docteur Nico, Orchestra African Fiesta
[11]. Pauline - Docteur Nico, Orchestra African Fiesta
[12]. Bawayo - Tiers Monde Coop

Disc: 2

[01]. Pele Odija - Mose Se 'Fan Fan'
[02]. Mambo Ry-Co - Ry-Co Jazz
[03]. Cha Cha Cha Bay - Camille Feruzi
[04]. Bibi Yangu - Vibes
[05]. Ndaya - M'Pongo Love
[06]. Bika Nzanga - Vibes
[07]. Como Bacalao - Sam Mangwana, Tabu Ley Rochereau
[08]. Mazé - Tabu Ley Rochereau
[09]. Ekedy - Manu Dibango
[10]. Mu Nzila N'Sona - K.P. Flammy
[11]. Mami Yo (Kuruze Ya Campus) - Nyboma
[12]. Aon-Aon - Tabu Ley Rochereau
[13]. Kahagwe - Camille Feruzi
[14]. Yaka Mama - Lucie Eyenga
[15]. Basi Banso Tapale - Manuel D'Oliveira

| MP3 VBR Kbps | Covers | 450 MB |

Vol.1 Part One
Vol.1 Part Two

Vol.2 Part One
Vol.2 Part Two


Posted By MiOd On Saturday, April 24, 2010 0 comments
Oum Kalthoum - Min ayy 'ahdin (al-Nil), 1949

Composer: Reyad al-Sunbati
Lyrics: Ahmad Shawqi
Genre: Qasidah
Maqaam: Hijaz kar

Oum Kalthoum - Rimun 'ala al-qa (Nahj al-Burdah), 1946

Composer: Reyad al-Sunbati
Lyrics: Ahmad Shawqi
Genre: Qasidah
Maqaam: Huzam


Salon Oriental 2

Posted By MiOd On Thursday, April 22, 2010 0 comments
The Warm Embrace the Public Has Accorded the First Edition and Expressed Desires for More of this Wondrous Music have Prompted the Manufacturers to Stay the Course. The Wealth of Music from the Middle and Near East is Far Too Plentiful to Be Completely Represented in a Single Volume. Salon Oriental Brings You Music from the Vast Expanses from Northern Africa to the Asian Continent. The Music of These Regions Has Evolved Little Through the Years as it Has Been Passed from Generation to Generation and Remains Faithful to Traditional Recitations. The Modem Age of Mass Communication Has Provided an Unprecedented Exchange and Exposure of the Players of These Ancient Arts to Modern World and Now the Mix Has Created Pieces that Thrill Listeners around the Globe. The Mystical Merges with the Electronic, Ancient and Traditional with Futuristic and Electronic. Experience this Exciting Coalition with the Artists. Salon Oriental Takes You There, Wherever You May Be.

Track Listings

Disc: 1
[01]. Sherazade
[02]. Call
[03]. Saaj - Mohamed Bellal
[04]. Behind the Doors
[05]. Yasmina Fellil - Zelfa
[06]. Soul of the Desert
[07]. Soul Market
[08]. Aguire
[09]. Massira Zoudge
[10]. Almaz - Zera Vaughan
[11]. Souffle du Désert

Disc: 2

[01]. Hammam Spirit
[02]. Shamma - Leila K.
[03]. South Country
[04]. Khusara Khusara - Rafat Misso, Hossam Ramzy
[05]. Shoroum' Allah
[06]. Amal Hayati
[07]. K-Lounge - Ultimate Kaos
[08]. Sos (Help My Soul)
[09]. Circle Trance
[10]. Oasis 101
[11]. Marayalam

| MP3 320Kbps | Booklet Scans | 235 MB |


Gracia de Triana-Los grandes éxitos de...

Posted By julio sotomayor On Wednesday, April 21, 2010 3 comments

"Maria de Gracia Jiménez Zayas, cantante española, mas conocida como Gracia de Triana y también por el apodo famiilar de La Calentito. Nacida del 26 de enero de 1919 en Sevilla y fallecida en 1989. Dominó gran número de géneros desde la copla aflamencada hasta el cante grande, destacando en este en diveros palos del flamenco.

Nació en la calle Patrocinio en el célebre barrio de Triana. Su origen humilde no le permitió tener una buena educacación. Sin embargo su timbre de voz era excepcional, lo que le permitía poder cantar cualquier forma de cante. Desde los diez años se ganó la vida cantando de tasca en tasca, lo que le permitiría entrenar y preparar su voz.

La popularidad le llegó con la canción Ovejitas Blanca escrita por los maestros Perelló, Palma y Monreal y que Dolores interpretaba en la película Castañuela.

Su versatilidad y su personal estilo le valió los elogíos de sus compañeros de profesión y de la crítica, especialmente la del novelista Álvaro Retama que dijo de ella: “La estrella folklórica más enterada de lo que es el cante jondo” y prosiguió afirmando: “Domina todos los estilos, porque los fue aprendiendo desde los diez años” y añadió, “Cantando a la guitarra o con orquesta, Gracia de Triana sabe otorgar a sus canciones expresión inconfundible, y su voz cálida, sensual, grabada en decenas de discos era reconocida inmediatamente al ser estos ofrecidos en las emisoras de radio”.

Además de su carrera musical intervino en varias películas de las llamadas de "Folklóricas", que tanto éxito tuvieron en otro tiempo en España. Intervino en siete películas siendo las más recordadas Castañuelas y Cruz de Mayo.

Retirada del mundo del espectáculo, regentó una pensión en la madrileña calle Luna, donde falleció en 1989" (Wikipidia)

[01].-¡Ay mi perro! [tientos]
[02].-Mi barca no tiene vela [alegrías]
[03].-Canto a Manolete [seguidillas]
[04].-Caracoles [caña]
[05].-Me lo crucificó el río [soleares]
[06]-.La hija de la Giralda [pasodoble]
[07.].-Que buena soy [bulerías]
[08].-De la Cava [sevillanas]
[09].-Triana, tienes Trana [milonga]
[10].-Espina de rosa. [zambra]
[11].-Las coplas del habanero [tanguillo]
[12].-Que bonita que es mi niña [milonga]

|WAV|379 Mb|2007|Flamenco|Covers|Megaupload|

Parte única


The Diaspora of Rembetiko ,“Greek Blues”

Posted By MiOd On Tuesday, April 20, 2010 2 comments
After years of research, a dream has at last come true: the world’s first major anthology of Rembetiko – the “Greek Blues”. Presenting 31 ensembles from 13 countries, the album showcases the leading representatives of Rembetiko in its many forms throughout the world and traces its development over the years. Rembetiko emerged in the early 1920s in the port cities of Piraeus and Thessaloniki where hundreds of thousands of Greek refugees arrived from Asia Minor. They brought with them their own lifestyle and their oriental music. In the taverns, or tekedes, they smoked hash, made music, and dressed in a distinctive way. It was a subculture that went against the grain. Banned under various dictatorships and later ideologically rejected, Rembetiko still survived in various forms, eventually becoming an integral part of Greek identity. From Greece, Rembetiko spread among the immigrant communities of North America, Australia and Western Europe. This musical journey through the world of Rembetiko presents the best groups, including Apodimi Compania from Australia, Prosechos, Salto Orientale and Zotos Kompania from Germany, Kudsi Ergüner and Melihat Gülses from Turkey, Diamanda Galas and the Projekt Café Aman Amerika from the USA, Taximi from Sweden, Palio-Paréa from Holland, The Rembetika Hipsters from Canada and such icons of recent Greek musical history as Mikis Theodorakis, Dionyssis Savopoulos, Nikos Xydakis, Niki Tramba and Ross Daly at the Café Aman and Stavros Xarchakos with music from the legendary film „Rembetiko“. Double CD, 33 tracks, 9 of which are released for the first time on this anthology or taken from no longer available productions.


Disc: 1

[01]. Prologos - Mana Mou Ellas
[02]. O Pinoklis
[03]. Rosenbuskens Blad - Taximi
[04]. Yedikule - Kudsi Erguner Ensemble
[05]. Kegome
[06]. Bayat/Irinaki - Bratsch
[07]. San Pethano Sto Karavi
[08]. Bouzouki Mou Diplochordo [#]
[09]. I Giren
[10]. Afou Chis Allon Stin Kardia - Ross Daly, Labyrinth
[11]. Cafe Izmir - Ankala
[12]. Mes Tis Polis to Hammam
[13]. For Rita - Evening Take - Abaji
[14]. To Blues Tou Paliokaravou
[15]. Sta Pervolia - Grigoris Bithikotsis, Mikis Theodorakis

Disc: 2

[01]. Doctor - Apodimi Compania
[02]. Thalassa Lipisou [#]
[03]. Ego Mangas Phenomouna
[04]. Anoixe - Diamanda Gal's
[05]. Pali Kiapopse Skeftikos [#]
[06]. Diki Mou Ine I Ellas
[07]. I Ladades - Michalis Jenitsaris
[08]. Psila Ta Parathyria Sou - Bill Fotiades
[09]. Tou Votanikou O Mangas
[10]. Plimyra
[11]. I Fantasia Stin Exousia - Louisiana Red,
[12]. San Pothano Paragelno - Solon Lekkas
[13]. Zeybekiko
[14]. Emai Orfanos Apo Paidhi - Ross Daly, Labyrinth, Niki Tramba
[15]. Barba Yannakakis (Kurban)
[16]. Stin Ipoga (Extract from Rembetiko Medley) - Roberto Zanisi
[17]. I Manges Den Iparchoun Pia - Nikos Papazoglou, Manolis Rasoulis, Nikos Xydakis
[18]. Zeybekiko

| MP3 320 Kbps | Covers | 240 MB |


The Divinity Collection - Divinity: Vol.[1-5]

Posted By MiOd On Tuesday, April 20, 2010 6 comments
Divinity - Divine Music for Meditation
"Divinity - Divine Music for Meditation" (formerly known as 'A Musical Odyssey'. Music arranged and composed by Ashit Desai. An exploration of the Divine by some of the finest musicians of their generation that showcases the beauty and sanctity of the ancient art of Indian Music. Divinity is a musical journey that truly experiences the inner soul. Gentle and soothing instrumental music that will relax and relieve the stress of modern times that we all suffer from.

[01]. Awakening
[02]. Enlightenment
[03]. Homage
[04]. Serenity
[05]. Elation
[06]. Devotion
[07]. Harmony
[08]. Solace
[09]. Eternity
[10]. Bliss

Divinity 2 - A musical Unity
Divinity 2 - A Musical Unity, is a follow up to our own, the much acclaimed SONA RUPA album ‘Divinity – a musical odyssey’ which introduced new, instrumental compositions of well-known, much loved, age-old bhajans (Hindu devotional songs).

While it gave those bhajans a new musical focus, DIVINITY 2 covers a range of classical Indian raags that are frequently used in bhajan as well as ‘kirtan’ (Rhythmic utterances of sacred words and texts). Kirtans are usually a choral chant highlighting the significance of many voices chanting as one.

The result is a kind of Unity that emerges from the multiplicity of raags as well as deities suggested through the music. Man has visualised God in many ways and one of the most ancient and enduring ways has been to divide all of God’s attributes into individual deities, some of whom, in turn, become Gods in their own right. Whatever their individual symbolism, by and large they are all descended from that same Unity and man’s sense of oneness that is instrumental to man pursuing his devotional urges.

[01]. Invocation
[02]. Om Namah Shivai/Hare Krishna
[03]. Shri Ram Jai Ram
[04]. Gavind Bolo, Gopal Bolo
[05]. Mahamantra - Hare Krishna Hare Ram
[06]. Sitaram Ram Ram
[07]. Sitaram Kaho/Swaninarayan
[08]. Hare Krishna Hare Rama
[09]. Om Namah Shivai
[10]. Hare Krishna Hare Rama
[11]. Hare Krishna Hare Rama

Divinity 3 - Divine Music to Invoke Inner Peace
Whilst the first ever instrumental disc in the Sona Rupa record-label series, Divinity, introduced new instrumental compositions of well-known, much loved age-old Bhajans; truly a sublime rendition of our prayers in music, Divinity2 traversed similar grounds but highlighted the sacredness of particular musical instruments and the Indian classical raags frequently used in Bhajans and Kirtans.

Here, in Divinity3 - Divine music to invoke Inner Peace, the underlying theme of devotion, meditation and salvation continues. Through some of the myriad well-known spiritual and devotional compositions of ancient and modern times, a varied collection of traditional Indian and western instruments again creates an aura of sublime bliss, a sense of wonderment, ecstasy and Unity with the Divine. Sensuous music that invokes the Inner-self. Music for Divinity 3 arranged and composed by Ashit Desai. Musicians: Rakesh Chaurasia - flute, Niladri Kumar - sitar, Zarin Daruwala - sarod, Ulhas Bapat - santoor, Akhlak Hussain - harmonium, Bhavani Shankar - pakhawaj

1. Hanuman Chalisa
2. He Ram
3. AB Sop Diya
4. He Govind He Gopal
5. Jai Ram Rama
6. Shri Ramchandra
7. Jeeni Re Jeeni
8. Ram Caran Sukhdayi

Divinity 4 - Spiritual Music for Peace
Divinity 4 - Spiritual Music for Peace: Whilst the first ever instrumental disc in the Sona Rupa record-label series, Divinity, introduced new instrumental compositions of well-known, much loved age-old Bhajans; truly a sublime rendition of our prayers in music, Divinity2 traversed similar grounds but highlighted the sacredness of particular musical instruments and the Indian classical raags frequently used in Bhajans and Kirtans. Divinity 3, yet again, explored the underlying theme of devotion, meditation and salvation through well-known spiritual and devotional compositions of ancient and modern times.

In Divinity 4, we continue to explore and celebrate the Divine through popular devotional compositions, mostly from Indian films, to soothe and caress your Inner Soul.

1. Bada Natkhat Hai
2. Humko Man Ki Shakti
3. Maili Chaadar
4. Yashomati Maiya Se
5. Jai Raghunandan Jai Siyaram
6. Prabhu Tero Naam
7. Tora Man Darpan
8. Aye Malik Tere Bandhe
9. Tu Pyar Ka Sagar Hai

Divinity 5 - Music for Enlightenment
Divinity 5 - Music for Enlightenment: Whilst the first ever instrumental disc in the Sona Rupa record-label series, Divinity, introduced new instrumental compositions of well-known, much loved age-old Bhajans; truly a sublime rendition of our prayers in music, Divinity 2 traversed similar grounds but highlighted the sacredness of particular musical instruments and the Indian classical raags frequently used in Bhajans and Kirtans. Divinity 3, yet again, explored the underlying theme of devotion, meditation and salvation through well-known spiritual and devotional compositions of ancient and modern times. Divinity 4 celebrated the Divine through popular devotional compositions, mostly from Indian films. Divinity 5 continues the theme of bringing the best of traditional and popular devotional music to soothe and caress your Senses.

[01]. Pankhida Ne Aa Pinjaru
[02]. Maa Baap Ne Bhoolsho Nahin
[03]. Hari Tu Gadu Maru
[04]. Raakh Na Ramakada
[05]. Jaag Ne Jaadva
[06]. Dhuni Re Dhakhavi
[07]. Tu Rangai Jaa Ne Rangma
[08]. Junu To Thayu
[09]. Maadi Taru Kanku
[10]. Maitri Bhavnu Pavitra

MP3 256 kbps including Front Covers, 650 MB

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Posted By julio sotomayor On Monday, April 19, 2010 0 comments

Galicia[1] (Spanish pronunciation: [ɡaˈliθia]) is an autonomous community and historic region in northwest Spain, with the status of a historic nationality, and descends from one of the first kingdoms of Europe,[2] the Kingdom of Galicia. It is constituted under the Galician Statute of Autonomy of 1981. Its component provinces are A Coruña, Lugo, Ourense and Pontevedra. It borders Portugal to the south, the Spanish regions of Castile and León and Asturias to the east, the Atlantic Ocean to the west, and the Bay of Biscay to the north.

Besides its continental territory, Galicia includes the archipelagos of Cíes, Ons, Sálvora, as well as Cortegada Island, the Malveiras Islands, Sisargas Islands, and Arousa Island.

Galicia has roughly 2.78 million inhabitants as of 2008, with the largest concentration in two coastal areas, from Ferrol to A Coruña in the northwest from Vilagarcía to Vigo on the southwest. The capital is Santiago de Compostela, in the province of A Coruña. Vigo, in the province of Pontevedra, is the most populous city, with 297,332 inhabitants (INE 2009).

Galicia has its own historic language, Galician, more closely related to Portuguese than Spanish, and sharing a common Galician-Portuguese root language with the former in the Middle Ages. Some authors even consider present-day Galician and Portuguese to be dialects of a single language,[3] but the prevailing view, endorsed by the Galician Language Institute is that differences, especially in phonetics and vocabulary, are large enough to make them two separate languages.[4] Inevitably, the distinction is reinforced by the political border.(Wikipedia)

[01].-PRA OS AMIGOS- [A Roda]
[03].-A SANTIAGO VOY [Los Tamaras]
[04].-O ALEMAN DO CARALLO [O Xestal]
[05].-DANZA DO ENSAIO [Albaroque]
[06].-A ROSIÑA [A Roda]
[07].-PULPEIRAS [Mozos e Vellos]
[08].-FOLIADA DE BAIONA [Cantigas da Terra]
[09].-ROSALIA [Milladoiro]
[10].-MUIÑEIRA POPULAR [Agrp.Folk.Rosalía de Castro]

|WAV|323 mb|1996|Galician|Covers|Megaupload|

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Part 3

Oum Kalthoum - EL HOB KOLLOH

Posted By MiOd On Monday, April 19, 2010 0 comments
Oum Kalthoum - al-Hubb kulluh,1971

Composer: Baligh Hamdi
Lyrics: Ahmad Shafiq Kamil
Genre: Ughniyah
Maqaam: Rast


Anthology of South Indian Classical Music (4)

Posted By MiOd On Monday, April 19, 2010 0 comments
The best general primer for the vocal and instrumental music of South India. Compiled by Dr. L. Subramaniam, this four-volume set has excellent booklet notes explaining the wonders of Carnatic music and boasts contributions from many of the genre's greatest exponents illustrating vocal genres or instrumental techniques or instruments. Contributing vocalists include M.S. Subbulakshmi, Trivandrum R.S. Mani, Alathur SrinivasaIyer and T. Mukti. All the major instruments traditionally found in Carnatic music are illustrated -- among others, violin (L. Subramaniam, V.V. Subrahmanyam -- Subramaniam in the text), vina (Raajeshwari Padmanabhan), gottuvadyam (N. Ravikiran), flute (T.R. Mahalingam), morsing or Jew's harp (T.H. Subashchandran), kanjira, that is, a type of small drum (V. Nagarajan), ghatam or clay pot drum (T.H. Vinayakram), jalatarangam or tuned liquid-filled porcelain cups (Seeta Doraiswamy) and clarionet or clarinet (A.K.C. Natarajan). An anthology of great vision, essential for any general appreciation of Carnatic music. ~ Ken Hunt, All Music Guide

A gifted South Indian counterpart of Jean-Luc Ponty on the electric violin, and endlessly curious about all kinds of music, Subramaniam has been a pioneer in exploring intelligent fusions between European classical music, American jazz, rock, and South Indian music. His father, a master Indian violinist, and mother, who played the Indian vina, were his first musical influences, and after abandoning a career in medicine, he formed a violin trio with his two brothers while still in India. He toured America and Europe with Ravi Shankar and ex-Beatle George Harrison in 1974, made his first fusion album in Copenhagen (Garland), and wrote material for Stu Goldberg and Larry Coryell in 1978. He settled in the Los Angeles area in the late '70s in order to earn a doctorate in Western music at the California Institute of the Arts, where he also taught South Indian music. He led a group with Coryell, George Duke, and Tom Scott in the 1980s, and recorded several fascinating LPs for Milestone -- including an LP with Stephane Grappelli -- that fused classical music, electric and acoustic jazz, and South Indian music. Subramaniam has also written works for classical orchestras; his Violin Concerto juxtaposes naïve Hollywood-ish romantic music with South Indian instruments and structures. His debut for the Erato Detour label, Global Fusion, followed in 1999. ~ Richard S. Ginell, All Music Guide


1. Ragam Et Tanam
2. Pallavi
3. Mangalam Bhavamana
FLAC (EAC Rip): 290 MB | MP3 - 320 kbs: 120 MB | Covers

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Anthology of South Indian Classical Music (3)

Posted By MiOd On Sunday, April 18, 2010 0 comments
The best general primer for the vocal and instrumental music of South India. Compiled by Dr. L. Subramaniam, this four-volume set has excellent booklet notes explaining the wonders of Carnatic music and boasts contributions from many of the genre's greatest exponents illustrating vocal genres or instrumental techniques or instruments. Contributing vocalists include M.S. Subbulakshmi, Trivandrum R.S. Mani, Alathur SrinivasaIyer and T. Mukti. All the major instruments traditionally found in Carnatic music are illustrated -- among others, violin (L. Subramaniam, V.V. Subrahmanyam -- Subramaniam in the text), vina (Raajeshwari Padmanabhan), gottuvadyam (N. Ravikiran), flute (T.R. Mahalingam), morsing or Jew's harp (T.H. Subashchandran), kanjira, that is, a type of small drum (V. Nagarajan), ghatam or clay pot drum (T.H. Vinayakram), jalatarangam or tuned liquid-filled porcelain cups (Seeta Doraiswamy) and clarionet or clarinet (A.K.C. Natarajan). An anthology of great vision, essential for any general appreciation of Carnatic music. ~ Ken Hunt, All Music Guide

A gifted South Indian counterpart of Jean-Luc Ponty on the electric violin, and endlessly curious about all kinds of music, Subramaniam has been a pioneer in exploring intelligent fusions between European classical music, American jazz, rock, and South Indian music. His father, a master Indian violinist, and mother, who played the Indian vina, were his first musical influences, and after abandoning a career in medicine, he formed a violin trio with his two brothers while still in India. He toured America and Europe with Ravi Shankar and ex-Beatle George Harrison in 1974, made his first fusion album in Copenhagen (Garland), and wrote material for Stu Goldberg and Larry Coryell in 1978. He settled in the Los Angeles area in the late '70s in order to earn a doctorate in Western music at the California Institute of the Arts, where he also taught South Indian music. He led a group with Coryell, George Duke, and Tom Scott in the 1980s, and recorded several fascinating LPs for Milestone -- including an LP with Stephane Grappelli -- that fused classical music, electric and acoustic jazz, and South Indian music. Subramaniam has also written works for classical orchestras; his Violin Concerto juxtaposes naïve Hollywood-ish romantic music with South Indian instruments and structures. His debut for the Erato Detour label, Global Fusion, followed in 1999. ~ Richard S. Ginell, All Music Guide


[01]. Ragam And Tanam
[02]. Raga Alapana
[03]. Raga Alapana
[04]. Tanam
[05]. Kriti Yenna Tavam
[06]. Kriti Vatapi Ganapatim
[07]. Kriti: Lllalo Pranatarthi
[08]. Kanjira With Solkattu
[09]. Ghatam With Solkattu
[10]. Moorsing With Solkattu
[11]. Moorsing Solo
[12]. Tala Vadyam (Traditional Percussion Ensemble)
FLAC (EAC Rip): 330 MB | MP3 - 320 kbs: 155 MB | Covers

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Oum Kalthoum - EL HOB KEDAH

Posted By MiOd On Sunday, April 18, 2010 0 comments
Oum Kalthoum - il-Hubb kidah, 1961

Composer: Reyad al-Sunbati
Lyrics: Bayram al-Tunsi
Genre: Ughniyah
Maqaam: Bayati


The Essential Guide To Meditation

Posted By MiOd On Saturday, April 17, 2010 1 comments
The Essential Guide to Meditition: Authentic Music for Meditation/the Buddhist and Hindu Traditions [Box set]
Anything calling itself The Essential Guide to Meditation leaves itself open to criticism that it's making too grand of a claim for any album to live up to, considering how many schools there are of meditation practices. Nevertheless, this three-CD set does hold considerable value, not only offering three-and-a-half hours of music, but also presenting music from much more traditional sources than most such compilations with this theme do. Each of the CDs follows entirely different sub-themes within the overall meditation concept: the first disc devoted to three Buddhist mantras originating within a Chinese tradition; the second to three pieces from the Indian Hindu tradition; and the third to six pieces from the Balinese Hindu tradition. As an anthology, this is a little problematic, whether it's used for meditation or not, since the musical styles are so different from each other that it's quite possible even open-minded listeners might not find all of the discs to their taste. Still, it does present material that's both considerably different from many new age-aligned recordings marketed as meditative aids, and much truer to the religious sources of much meditative practice than many such albums.

The music on the Buddhist disc is taken from recordings by flute and keyboard player Song-Huei, with accompaniment on two of the tracks by two-string violinist Jin-Long Wen, and it's the least satisfying from a musical point of view, tending toward the preciously pretty, slightly slick side in both arrangement and production. The Indian Hindu disc (entirely sung by Jagjit Singh), in contrast, is the best and most relaxing and entrancing of the three, highlighted by "Shree Krishna Naam Dhun," based around the "Hare Krishna" chant that is perhaps the most famous mantra to the international audience. With what sounds like a softly swelling vibraphone accompaniment (the precise instrumentation is not specified in the liner notes) and subtle drones and percussion, as well as hypnotic interplay between Singh and backup singers, this 37-minute track has a glow that can be enjoyed by both meditators and more general world music listeners. These qualities are also present, though to less striking degrees, on Singh's other two performances, justifying the claim in the liner notes that "so soothing is his voice that, legend has it, Indian psychiatrists have prescribed his records to relieve stress." The Balinese Hindu disc is performed by gamelan orchestras, and while it comprises perhaps the most unadulterated world music on the compilation, its heavily percussive and repetitious feel also make it the least accessible to Western listeners. ~ Richie Unterberger, All Music Guide


Disc: 1 (Buddhist)
1. Avalokitesvara Bodhisattva - Wen, Jin-Long & Song-Huei Liu
2. Great Compassionate Avalokitesvara Bodhisattva - Wen, Jin-Long & Song-Huei Liu
3. Greatest Six Word Brilliant Dharani - Liu, Song-Huei

Disc: 2 (Hindu)
1. Om Namah Shivay - Singh, Jagjit
2. Shree Krishna Naam Dhun - Singh, Jagjit
3. Om Shivay Hari Om Shivay - Singh, Jagjit

Disc: 3 (Indonesian)
1. Gending Petegak Sejar Gendotan - Muni, Sekehe Gender Bharata
2. Gending Pemungkah - Muni, Sekehe Gender Bharata
3. Gending Rebong - Muni, Sekehe Gender Bharata
4. Gending Langiang - Muni, Sekehe Gender Bharata
5. Gending Bendu Semara - Sari, Kusuma
6. Gending Tabuh Gari Saih Selisir - Gamelan Semar Pegulingan Saih Pitu

| MP3 - 320 kbs: 490 MB | Covers

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Souffles de l'âme - Balkan Blues

Posted By MiOd On Saturday, April 17, 2010 0 comments
Over the years, Network’s book-format anthologies have charted the "blues" inherent in a variety of musical cultures throughout the world, documenting this expressive form in music, text and photos. This time, the Network team has spent two years researching the vast treasures of Balkan music. The resulting Balkan Blues anthology sheds a new and different light on the deeply rooted cultural traditions and views that have so often sparked political and religious conflict in this region, for this double CD clearly shows that the music of the Balkans knows no national or ethnic boundaries. Balkan Blues is a musical journey through seven different countries, tracing two aspects of the Balkan soul – on the one hand, ballads that tell of pain and hope, and on the other hand the magical exuberance of the virtuoso performances that accompany joyous celebrations. From Romania, we hear the melancholy ballads of the great masters Toni Iordache and Dumitru Farcas on cimbalon and taragot, and the legendary fiddler Stoican. We hear the inimitable vocal polyphony of Bulgaria and Albania, as well as a Wallachian Suite by the Bulgarian All Star Orchestra and some incredible solos on ancient instruments such as the gadulka, the kaval and the gaida. Greece brings us the highly accoladed clarinetist Petro-Loukas Chalkias with his Kompania, traditional remebtiko songs with original instruments, maverick lyra player Psanrantonis, and the gently poetic songs of Loudovikos. Serbia’s favourite musicians present the wild side of totally unfettered celebration. From the Bosnian mountains, we hear a heart-rending ballad of love. Macedonia is represented by Esma Redzepova, queen of Roma song, and by the brass orchestral sound that is to be found only in the Balkans, as well as by legendary clarinetist Ferus Mustafov, who composed the title track specially for this anthology. More than half the tracks in this collection have never been recorded before, or are recorded here on CD for the first time. The lucid text was written by Professor Dr Manfred Bartmann of the University of Salzburg, a recognised authority on Balkan music. As he writes, "The 34 tracks on this CD eloquently document that the musical styles of the Balkans were never really "national" styles. In this awareness lies a glimmer of hope."

Disc: 1

[01]. Livezile Lui Ion - Achim Mica
[02]. Sâmbra Oilor Din Maramures - Dumitru Farcas
[03]. Si Hora - Ion Petre Stoican
[04]. De la Hulbesti (Si Voce) - Vasile Pandelescu
[05]. Geamparallele Lui Haidim - Toni Iordache
[06]. Mikro Kopelidaki Mou - Psarantonis & Ensemble
[07]. Afou 'Heis Allon Sti Kardia - Ross Daly
[08]. Mana - Loudovikos Ton Anoyion
[09]. Tesko Oro - Ensemble Rakija
[10]. Chelipe (Kolo) - Aleksander Sisic
[11]. Aven Romalen, Aven Cavalen - Vladimir Kandic
[12]. Edinaesetorca - Kocani Orkestar
[13]. Balkan Blues, Pt. 2 - King Ferus Mustafov, Milan Safkov
[14]. Cherenije - Esma Redzepova
[15]. Asene, Sinko - Mladen Kojnarov
[16]. Bavna Melodija I Râcenica - Dimitar Petrov
[17]. Stujan Otgore Vârvese - Komna Stojanova
[18]. Thëllëzë Që Shkel Mbi Vesë - Ensemble Tirana

Disc: 2

[01]. I Ag?pi Traguidiéte P?nta - Loudovikos Ton Anoyion
[02]. Emai Orfan?s Ap? Paidh? - Ross Daly, Nick Tramba
[03]. Skaros - Petro-Loucas Chalkias & Kompania
[04]. Oilor - Luca Novac
[05]. Inel, Inel, De Aur - Dona Dimitru Siminica
[06]. Balada Haiduceasca - Toni Iordache
[07]. Cantec de Maja - Vasile Vasilescu
[08]. Hora Be la Constanta - Ion Petre Stoican
[09]. Usti, Usti, Babo, O Davulja Maren - Olivera Katarina I Orkestar "Romalen" [10]. Oh Ljubav, Ljubav - Ensemble Rakija
[11]. Preserka [#] - Blehorkestar Bakija Bakic
[12]. Balkan Blues - King Ferus Mustafov, Milan Safkov
[13]. Wallachian Suite - Brazilian All-Star Orchestra
[14]. Radka E Fljala V Gradina - Sestri Georgievi
[15]. Vito Pëllumbesha - Ensemble Tirana
[16]. Besèna Rovèna - Rromano Dives

| MP3 192 Kbps | Covers | 210 MB |