Üç Usta (Three Masters) - İlhan Usmanbaş, Ahmet Adnan Saygun, Cemal Reşit Rey

Posted By MiOd On Wednesday, July 31, 2013 0 comments
Three great classical music composers from Turkey at the meeting of the album, these three masters of the three major works written in different periods and styles, is located. Selected works of these masters with each other's lives throughout the master-apprentice, the mentor-student relationship is a reference. Album, the modern Turkish poetry, "non-poet" Ece Ayhan's strings as well, Ahmet Adnan Saygun direction of the poet and Mevlana's two lyric in one view, literature-music relations evidence in terms of important documentary.

01-Bakışsız bir kedi kara
02-Firavun
03-Kılıç
04-Mısrayim
05-Kargabüken
06-İki tekerlekli at
07-Ey kanatsızlık
08-Ortodoks - ortodoks
09-İpeka
10-Sağu (Ağıt)
11-Üç kuş
12-Dönsem
13-Hasret
14-Dilek
15-Moderato
16-Allegro ma non troppo
17-Andante espressivo (Gazel I)
18-Alegro (Gazel II)

256 kbps including Covers

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Qalandar Express "Love Songs Of Mystic Riders" (The Badila Ensemble)

Posted By MiOd On Wednesday, July 31, 2013 0 comments
The Badila Ensemble was formed by the french percussionist and keen traveller Bastien Lagatta. The Badila Ensemble, a sufi dancer and five musicians of Eastern and Western origins, brings together Indian and Arab-Persian musical traditions (both folk and art music), taking us to the heart of Eastern poetry and illustrating the close and harmonious relationship that exists between music and spirituality. The six members of Badila belong to different cultural groups and have in common a love of poetry as a vehicle for beauty, wisdom, beliefs...With dance and music, they present an open dialogue, in wich each, aware of his distinctive cultural identity, listens to the secrets worlds of the others. The repertoire, at the confluence of different cultures, includes pieces from an early cultural heritage as well as more recent elements. Mame Khan Manghaniyar (India), Ava Farhang, Javid Yahyazadeh and Sardar Mohamadjani (Iran) are among the most worthy trustrees of their generation of an ancestral poetical and spiritual heritage, of sacred nature, based on oral tradition. Bastien Lagatta and Robin Vassy (France) are percussionists, travellers, inspired by what they call the “melody of humanity”. All together, they aim at uniting people and bringing hope...Their music navigates from the roots of Orient to the free space of imagination. A celebration of festivity, joy and love. Six artists, six traditions, severals languages sung, spoken performed or whispered... and more than 20 instruments played, tied tightly in the veil of the dance.

Welcome, ladies and gentlemen, to the Badila mystical journey!

01.Danses Of The Mystic Riders (part one Baran)
02.Danses Of The Mystic Riders (part two Jelo Shahi)
03.Mira Bhajan (part 1 Alap)
04.Mira Bhajan (part 2 Ras Lila)
05.Man Mast O To Divaneh
06.Ham Dami
07.Neemburah
08.Afghani Masala
09.Leyla
10.Majnoun
11.Shahr E Zemzeme The City Of Whispers
12.Dama Dam Mast Qalandar (part 1 Duha)
13.Dama Dam Mast Qalandar (patr 2 Urs Mubarak)

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Haydn: The Heart Of Invention (Trio Goya)

Posted By MiOd On Wednesday, July 31, 2013 0 comments
Trio Goya plays classical chamber music on period instruments. Formed out of a collective fascination with the new colours and narratives that these instruments suggest, the group concentrates its repertoire on the trios by Haydn and Mozart and the Opus 1 set by Beethoven.

A fortepiano by Paul McNulty after Anton Walter, Vienna 1795 is the centrepiece of their performances. The Trio takes its name from the fact that the working lives of all these composers were encompassed by the lifespan of Francisco Goya (1746 - 1828): his place in the development of painting is comparable to that of Beethoven in music, and the Trio's chosen repertoire follows the same Enlightenment path, from classical elegance to romantic expression.

The piano trio formed an important part of Haydn's chamber music output. During the 1790s, when the composer was at the height of his fame, the genre became very fashionable in Paris and London. The 1790s was also the period when Haydn came to England to perform his works at the famous Salomon concerts, for which he wrote his twelve 'London' symphonies. Many of Haydn's greatest works for piano trio including the pieces on this recording were written during this period. The range of colour and imagination displayed by the works on this disc is striking, from the brilliance of the opening movement of the C major Trio, Hob. XV: 27 to the darker-hued colours found in the F sharp minor Trio, Hob. XV: 26. Each of the trios is imbued with the bubbling vitality and classical elegance for which this composer is famous.

01. Keyboard Trio No. 27 in C major, Hob.XV:27 : I. Allegro
02. Keyboard Trio No. 27 in C major, Hob.XV:27 : II. Andante
03. Keyboard Trio No. 27 in C major, Hob.XV:27 : III. Finale: Presto
04. Keyboard Trio No. 28 in E major, Hob.XV:28: I. Allegro moderato
05. Keyboard Trio No. 28 in E major, Hob.XV:28: II. Allegretto
06. Keyboard Trio No. 28 in E major, Hob.XV:28: III. Finale: Allegro
07. Keyboard Trio No. 26 in F sharp minor, Hob.XV:26: I. Poco Allegretto
08. Keyboard Trio No. 26 in F sharp minor, Hob.XV:26: II. Andantino et innocentemente
09. Keyboard Trio No. 26 in F sharp minor, Hob.XV:26: III. Finale in the German Style: Presto assai
10. Keyboard Trio No. 24 in D major, Hob.XV:24: I. Allegro
11. Keyboard Trio No. 24 in D major, Hob.XV:24: II. Andante
12. Keyboard Trio No. 24 in D major, Hob.XV:24: III. Allegro ma dolce

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Tango Argentina

Posted By MiOd On Wednesday, July 31, 2013 0 comments
Tango is the dark-souled, moody spawn of a Buenos Aires red-light district. It first emerged around 1880, a strutting mixture of the Cuban habanera and the indigenous Argentine milonga. Unlike many other South American musical forms, it mostly lacked an African context until years later, when it was embraced by ragtime, jazz, and Caribbean musicians. Instead, it grew out of several European traditions, taking its lead instrument, the bandoneon (a type of accordion), from German immigrants and its proudly rigid male posture from Spanish flamenco dancers. The tango quickly took hold in the bars and brothels of disreputable neighborhoods, where dire poverty and warring gangs made pleasure a thing to be grabbed on the run, wherever found. Like the blues, Greek rembetika, Brazilian choro, and Portuguese fado, it was and is as much about despair as anything else, but differs from them due to its obsessive sexuality. After all, the movements of the original dance were meant to mimic knife-fights, seductions, and violent lovers' quarrels. Of course, these elements were later sanitized until the tango was deemed fit for tourists and the drawing room, but even so, a throbbing frisson of animal danger lurks just under the surface. The music retains more than a hint of its origins, especially as played here by acknowledged masters like Roberto Goyanesche, Astor Piazzolla, Nestor Marconi, Salgan-De-Lio, and Alfredo Zitarossa. The sole caveat is that the inclusion of a few cuts by earlier icons like Carlos Gardel, Hector Varela, and Anibal Triolo would have given a far more accurate picture of this adult, sensual, and frequently unsettling music.

01. Vuelo Al Sur
02. Ventanita Florida
03. Voy Cantando Tangos Por E
04. Sur
05. Volver
06. Tango-Tango
07. Yuyo Verde
08. Los Argentinos
09. Comos Dos Extranos
10. Loca Bohemia
11. Buenos Aires Conoce
12. Los Suenos
13. Maipo
14. La Vida Es Linda, Pibe
15. Milonga Del Tartamundo
16. Corrientes Arriba
17. Tango Del Eco
18. Ausencias
19. Adios Arrabal
20. Oblivion
21. Tal Vez No Tenga Fin
22. Como Abrazado A Un Rencor
23. Typical One

320 kbps including full scans

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Ofra Harnoy - Haydn Cello Concertos

Posted By MiOd On Tuesday, July 30, 2013 0 comments
Franz Joseph Haydn (31 March 1732 – May 31 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent composers of the classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these genres. He was also instrumental in the development of the piano trio and in the evolution of sonata form.[2][3]

A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".[4] At the time of his death, he was one of the most celebrated composers in Europe.[5]

Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.

Ofra Harnoy, CM (born January 31, 1965, Hadera, Israel) is a Canadian cellist.

She moved with her family to Toronto in 1971. When she was six, she began cello lessons with her father, Jacob Harnoy. Her teachers include Vladimir Orloff, William Pleeth, Pierre Fournier, Jacqueline du Pré, and Mstislav Rostropovich.

Harnoy made her professional debut as a soloist with orchestra at age ten. Her solo-orchestral and recital debuts at Carnegie Hall in 1982 brought her public and critical acclaim.

She performed and recorded the world premiere of the Offenbach Cello Concerto in 1983 and the North American premiere of the Bliss Cello Concerto in 1984. She also made the world premiere recordings of several Vivaldi concertos. In 1987 Harnoy joined the roster of RCA Victor Red Seal, and recorded several best selling albums.

It is uncertain whether she still plays, performs or records. wikipedia

1. Concerto in C, No. 1 (Moderato)
2. Concerto in C, No. 1 (Adagio)
3. Concerto in C, No. 1 (Allegro molto)
4. Concerto in C, No. 2 (Allegro moderato)
5. Concerto in C, No. 2 (Adagio)
6. Concerto in C, No. 2 (Allegro)

Ofra Harnoy
Franz Joseph Haydn
Cello Concertos NO s 1 & 2 Hob. VIIb.
Ofra Harnoy: Cello
Toronto Chamber Orchestra
Conducted By Paul Robinson
(Concertmaster - Gerard Kantarjian)

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Ustad Shahid Parvez - Sacred Raga

Posted By MiOd On Tuesday, July 30, 2013 0 comments

Ustad Shahid Parvez Khan is one of the finest sitar players alive today. His dazzling virtuosity and innovative genius have earned him a legacy as a giant of the sitar. Ustad Shahid Parvez Khan learned his craft from his father, Ustad Aziz Khan, and enjoys an impeccable pedigree. He is a seventh generation heir to the sitar's first family, the Etawah Gharana. Ustadji's global reputation as an awe inspiring performer is complemented by another rare gift - his ability to spread his music as a dedicated and loving guru. Ustad Shahid Parvez Khan sums up his mastery of this most intricate art form with a profoundly simple philosophy: "Music is my life"

Press Releases
"Shahid Parvez makes the notes sing, giving them the colours of a vocal performance." – Dr. Salman Ansari

"…one of the most important sitar players of his generation" – Musicalnirvana.com

"Shahid Parvez's variations reveal his tremendous capacity for invention and one is often delighted by the elegance and humour of his spontaneous and completely unexpected combinations." – Dr. Salman Ansari

"It may have been a tough act to follow but Sitar virtuoso Ustad Shahid Parvez Khan has upheld his illustrious lineage with his music." – India News

".....The rudra veena virtuoso Ustad Asad Ali Khan remarked 'Ye Vilayat Khan ki jawani ka sitar tha' and complimented Shahid. .... " – The Hindu (Friday, Apr 22, 2005)

"To play with Shahidbhai I have to think a lot. I have to be on my toes and concentrate constantly. Playing with him is never a casual affair. He plays very serious music".
– Ustad Zakir Hussain commenting about accompanying Shahid ji.

Shahid Parvez was recognized as a child prodigy and had started performing in public by the time he was only eight years of age. Tremendous perseverance and hard work over the years have been rewarded with an outstanding technical prowess and a mastery over Layakari.

He is a Top Grade artist of All India Radio and a recipient of numerous national and international awards including the Sur Shringaar, the Kumar Gandharva Samman, the M.L. Koser Award, etc. He is also a recipient of the prestigious "Sangeet Natak Akademi Award". He has performed in all major musical festivals in India and abroad including the Festival of India held in the US, Europe, USSR, Canada, Africa, Middle-East and Australia, enthralling the audience everywhere. With numerous LP records, audio and video cassettes, CDs and DVDs, numerous awards and accolades, and a distinguished performance career in India and around the world, he is widely recognized as one of the finest living sitar players.

1. Raga Shyam Kalyan - Alap
2. Raga Shyam Kalyan - Gat (Composition in Vilambit (Slow) & Drut (Fast) Teentaals of 16 Beats

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Tahir Aydoğdu - Hasret (Longing)

Posted By MiOd On Tuesday, July 30, 2013 0 comments
Tahir Aydoğdu Was born in Istanbul in 1959 and in 1983 he graduated from the Physİcs Department of the Middle East Technical University (O.D.T.Ü). During this period he was involved with the Hacettepe University Music Society, the Ankara Turkish Music Society, the Ministry of Youth and Sports music program and the O.D.T.Ü. Turkish Music Chorus. He recieved his fırst musical training from his father, Gültekin Aydoğdu.

He joined the staff of the Ankara State Radio as a kanun player in 1981. He worked with the Modern Folk Üçlüsü tor eight years and toured such countries as lîaly. Çatar, Pakistan, Bangladesh, Mayasia, Singpore, Russia, Siberia, the People*s Republic of China and the U.S.A. He was a memeber of the Ankara based group Asia Minor and is featured on the group's 1991 release. "Kedi Rüyası" Tahir has also worked with master oud player and Turkish music composer Cinuçen Tanrıkorur on a CD based on the writings of the famous Turkish poet Yahya Kemal. His kanun playing can also be heard on Yıldız İbrahimova's "Balkantolia" CD. In November 1997 he perfromed Hasan Ferit Alnar "Kanun Concerto" with the Cemal Reşit Rey Orchestra. He became the first musician to perform this work besides the composer himself.

In addition to his activities as a performer. Tahir has presented papers on Turkish music and the kanun at numerous international conferences. He became head of the Turkish Classical Music Division of the Ankara State Radio in 1997. He teaches occalsionally at the Musİc Department of Gazi University in Ankara. He is at present on the teaching staffat the Faculty of Fine Arts and Music at O.D.T.Ü and has continued to lead th O.D.T.Ü. Classical Music Chorus tor the past 12 years. HİS wife Hülya Aydoğdu, is a singer with the Ministrty of Culture State Turkish Music Chorus in Ankara.

01. Sultani-yegah Sirto
02. Bulbul Kasidesi
03. Ikili Sarmal
04. 17 Agustos
05. Potpuri
06. Kuslar
07. Hasret
08. Alli Turnam
09. Cecen Kizi
10. Sohbet
11. Ussak Oyun Havasi
12. Gokkusagi
13. Huseyni Saz Semaisi
14. Take Five

192 kbps , no scans

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Osmanlı Saray Müzikleri (The Ottoman Classical Palace Music)

Posted By MiOd On Tuesday, July 30, 2013 0 comments
Track Listing
-------------
01. Acem Aşiran Saz Semaisi - Mısırlı İbrahim Efendi
02. Hüseyni Peşrev - Lavtacı Andon
03. Hüseyni Tkasim (Ney - Tanbur)
04. Hüseyni Saz Semaisi - Lavtacı Andon
05. Segah Peşrev - Yusuf Paşa
06. Ferahfeza Taksim (Tanbur)
07. Ferahfeza Saz Semaisi - Tanburi Cemil Bey
08. Hicaz Saz semaisi - Refik Talat Bey
09. Hüzzam Taksim (Kanun - Keman)
10. Neveser Taksim (Tanbur)
11. Kürdili Hicazkar Taksim (Tanbur)
12. Muhayyer Saz Semaisi - Tanburi Cemil Bey

Kanun: Turgut Özüfler;
Keman: Hasan Nar;
Ney: Başar Dikici;
Tanbur: Alper Uzkur

320 kbps including Covers

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Top 100 Masterpieces of Classical Music 1685-1928

Posted By MiOd On Tuesday, July 30, 2013 0 comments
The Top 100 Masterpieces of Classical Music 1685-1928, Vols. 1-10

Track Listing
-------------
Disc 1: 1685-1730

(01). Bach - Toccata in D minor
(02). Pachelbel - Canon in D
(03). Bach - Brandenburg Concerto No. 3, 1st movement
(04). Handel - Water Music, Suite No. 2 in D
(05). Purcell - Trumpet Tune and Air
(06). Bach - Air (from Orchestral Suite No. 3 in D)
(07). Vivaldi - The Four Seasons - Spring
(080. Albinoni - Adagio
(09). Vivaldi - Mandoline Concerto in C, RV 425
(10). Bach - Minuet and Badinerie (from Orchestral Suite No. 2)

Disc 2: 1731-1775

(01). Handel - "Hallelujah" from Messiah
(02). Gluck - Dance of the Blessed Spirits, from "Orpheus and Eurydice"
(03). Bach - Sinfonia in G, from "Christmas Oratorio"
(04). Mozart - Violin Concerto No. 3 in G, 1st movement
(05). Handel - Largo, from "Xerxes"
(06). Vivaldi - Flute Concerto in G minor "La Notte", VI. Allegro
(07). Handel - Arrival of the Queen of Sheba, from "Solomon"
(08). Bach - Oboe Concerto in D minor, 2nd movement
(09). Handel - Concerto grosso in A minor op. 6 No. 4
(10). Mozart - Violin Concerto No. 5 in A, 2nd movement

Disc 3: 1776-1787

(01). Mozart - Eine Kleine Nachtmusik, 1st movement
(02). Mozart - Piano Concerto No. 21 in C, 2nd movement ("Elvira Madigan")
(03). Mozart - The Marriage of Figaro - Overture
(04). Mozart - Flute Concerto No. 2 in D, 2nd movement
(05). Mozart - Rondo Alla Turca, from Piano Sonata in A
(06). Mozart - Don Giovanni - Overture
(07). Mozart - Horn Conerto No. 3 in E flat, 2nd movement
(08). Mozart - Piano Concerto No. 23 in A, 1st movement
(09). Mozart - The Marriage of Figaro - March
(10). Mozart - Serenata Notturna

Disc 4: 1788-1810

(01). Mozart - Symphony No. 40, 1st movement
(02). Beethoven - "Moonlight" Sonata, 1st movement
(03). Haydn - Symphony No. 94, "Surprise", 2nd movement
(04). Mozart - The Magic Flute - Overture
(05). Beethoven - Fur Elise
(06). Haydn - Emperor's Hymn, from Sring Quartet in C
(07). Beethoven - Symphony No. 5, 1st movement
(08). Mozart - Clarinet Concerto in A, 2nd movement
(09). Beethoven - Minuet in G
(10). Haydn - Trumpet Concerto in E flat, 3rd movement

Disc 5: 1811-1841

(01). Rossini - The Barber of Seville - Overture
(02). Schubert - Symphony No. 8 in B minor, "Unfinished"
(03). Mendelssohn - Spring Song
(04). Chopin - Polonaise in A, Op. 40 No. 3, "Military"
(05). Schubert - Ballet Music in G, from "Rosamunde"
(06). Weber - Der Freischutz - Overture
(07). Schubert - Ave Maria
(08). Mendelssohn - Symphony No. 4 in A, "Italian", 1st movement
(09). Schumann - Traumerci
(10). Schubert - German Dance No. 1

Disc 6: 1842-1853

(01). Mendelssohn - Wedding March, from "A Midsummer Night's Dream"
(02). Liszt - Liebestraum No. 3 in A flat
(03). Verdi - Nabucco - Overture
(04). Schumann - The Merry Peasant
(05). Liszt - Hungarian Rhapsody No. 2
(06). Wagner - Lohengrin - Prelude to Act 3
(07). Verdi - La Traviata - Prelude to Act 1
(08). Wagner - Tannhauser - Arrival of the Guests at Wartburg
(09). Mendelssohn - Violin Concerto in E minor, 2nd movement
(10). Suppe - Poet and Peasant - Overture

Disc 7: 1854-1866

(01). Offenbach - Orpheus in the Underworld - Overture
(02). Rubinstein - Melody in F
(03). Liszt - Les Preludes
(04). Brahms - Waltz in A flat
(05). Verdi - The Force of Destiny - Overture
(06). Grieg - I Love You
(07). Smetana - The Bartered Bride - Overture
(08). Offenbach - Barcarolle, from "The Tales of Hoffmann"
(09). Strauss II - Tritsch Tratsch Polka
(10). Suppe - Light Cavalry - Overture

Disc 8: 1867-1876

(01). Tchaikovsky - Piano Concerto No. 1 in B flat minor, 1st movement (excerpt)
(02). Brahms - Cradle Song
(03). Smetana - The Moldau
(04). Wagner - Ride of the Valkyries, from "The Valkyrie"
(05). Grieg - Morning, from "Peer Gynt"
(06). Bizet - Les Toreadors, from "Carmen"
(07). Delibes - Notturno, from "Coppelia"
(08). Tchaikovsky - Marche Slave, Op. 31
(09). Bizet - L'Arlesienne - Intermezzo
(10). Strauss II - The Blue Danube - Waltz

Disc 9: 1877-1893

(01). Tchaikovsky - Polonaise, from "Eugene Onegin"
(02). Dvorak - Symphony No. 9, from "The New World"
(03). Tchaikovsky - Waltz of the Flowers, from "The Nutcracker"
(04). Rimsky-Korsakov - Alborado, from "Capriccio Espagnol"
(05). Grieg - The Last Spring
(06). Dvorak - Slavonic Dance No. 2
(07). Tchaikovsky - The Sleeping Beauty - Introduction
(08). Wagner - Siegfried's Death and Funeral March, from "Twilight of the Gods"
(09). Dvorak - Songs My Mother Taught Me
(10). Strauss II - Emperor Waltz

Disc 10: 1894-1928

(01). Strauss - Also Sprach Zarathustra - Fanfare
(02). Mahler - Symphony No. 5 - Adagietto
(03). Sibelius - Finlandia
(04). Rimsky-Korsakov - Dance of the Bumble Bee
(05). Massenet - Meditation, from "Thais"
(06). Elgar - Pomp and Circumstance - March No. 1
(07). Dvorak - Humoresque
(08). Sibelius - Valse Triste
(09). Strauss II - Vienna Blood - Waltz
(10). Ravel - Bolero

192 kbps including full Scans

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Eroica Trio - Pasión

Posted By MiOd On Monday, July 29, 2013 0 comments
Among the best-known piano trios, the Eroica Trio is also one of the most successful all-women chamber ensembles in the world. Winners of the 1991 Walter W. Naumburg Chamber Music Competition, the ensemble went on to a successful debut at Lincoln Center and several tours of the United States, Europe, and Asia. The trio quickly gained a reputation for passion and excitement in its performances and for innovative programs.

Pianist Erika Nickrenz, who began playing piano at age six and performed her first concerto at 11, has received the Rockefeller Award and has been featured in the PBS series Live from Lincoln Center.

Australian violinist Susie Park, who replaced founding member Adela Peña in 2006, has won top honors in the Indianapolis, Menuhin, and Wieniawski International Violin Competitions, and has appeared as soloist with the Indianapolis Symphony, as well as with the Korean KBS Orchestra and orchestras in Sydney and Melbourne. Cellist Sara Sant'Ambrogio has won many international competitions and received a medal at the International Tchaikovsky Violoncello Competition. She has toured extensively as a soloist and played with orchestras in Atlanta, Boston, Dallas, St. Louis, Moscow, and Izmir. She has released several solo CDs and joined in crossover performances with Rufus Wainwright, VAST, Angela McCluskey, and hip-hop artist Beatrice.

The group took its name from Ludwig van Beethoven's "Symphony No. 3 in E flat major, Eroica." It is one of the most active piano trios in the field of orchestral performance, and plays more concerts of Beethoven's "Triple Concerto" than any other trio. It commissioned a triple concerto from composer Kevin Kaska, which was premiered in 2001 with the Saint Louis Symphony Orchestra. The Eroica Trio also premiered "Tango for Seven" by Raimundo Penaforte, composed for an innovative combination of string trio plus string quartet, and which was premiered with the St. Lawrence String Quartet.

Recording for Angel/EMI Classics, the Eroica Trio's repertoire has included the music of Maurice Ravel, Sergey Rachmaninov, Dmitry Shostakovich, and Antonin Dvorák, as well as lighter fare by George Gershwin, Leonard Bernstein, Astor Piazzolla, and Mark O'Connor.

It seems compulsory nowadays to slap a snazzy title onto every classical CD, even if the musical content all too rarely lives up to the billing. How refreshing, then, to encounter Pasión, in which the Eroica Trio's hot-blooded performances make good on the title's promise. As with the group's previous albums, this program is a creative mixture of old and new. The Spanish-flavored First Trio of Joaquin Turina (1882-1949) has been recorded by the Beaux Arts Trio and a few other distinguished threesomes, but it's still something of a rarity. The Eroica basks in the music's intense Iberian atmosphere, making one wonder why such an evocative and enticing work isn't a concert staple. Climbing aboard the ever-growing tango bandwagon, the trio offers four miniature masterpieces by Astor Piazzolla: "Primavera Porteña," "Oblivion," "Revolucionario," and "Otoño Porteño." The great tango master surely would have approved of the Eroica's performance. Unlike many classical musicians who treat this fiery music with kid gloves, these women play with abandon, wrenching the emotion out of every phrase. (The arrangements are by cellist José Bragato, who played with Piazzolla's octet during the late 1950s.) Raimundo Penaforte's An Eroica Trio, composed in 1999 especially for this ensemble, pays homage to Piazzolla in its alternately vehement and sentimental first movement. The bluesy second movement was inspired by the passacaglia of Ravel's Piano Trio, and the rollicking finale is a tribute to Penaforte's countryman, the Brazilian songwriter Capiba. Pasión closes on a more tenderly romantic note with Penaforte's transcription of the haunting aria from Villa-Lobos's Bachianas Brasileiras No. 5.

(01). Primavera Porteña
(02). Oblivion
(03). Revolucionano
(04). Otono Porteno
(05). Premier Trio, Op. 35: I. Prelude et fugue: Lento
(06). Premier Trio, Op. 35: II. Theme et variations Andante
(07). Premier Trio, Op. 35: III. Sonate: Allegro
(08). An Eroica Trio: I. Astor
(09). An Eroica Trio: II. Maurice
(10). An Eroica Trio: III. Capiba
(11). Aria (Cantilena) from Bachianas Brasileiras

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Jagjit Singh - Shri Ganesh

Posted By MiOd On Monday, July 29, 2013 0 comments
Late Shri Jagjit Singh (8 February 1941 – 10 October 2011) was a prominent Indian ghazal singer. He gained acclaim together with his wife, another renowned Indian ghazal singer Chitra Singh, as the first ever successful duo (husband-wife) act in the history of recorded Indian music. Together, they are considered to be the pioneers of the modern ghazal singing and regarded as the most successful recording artistes outside the realm of Indian film music. He sang in Punjabi languagePunjabi (his mother tongue), Hindi, Urdu, Bengali languageBengali, Gujarati languageGujarati and Nepali languageNepali languages. He was awarded Padmabhushan in 2003, the third highest civilian honour, for his contribution to music by the Government of India.

He is considered to be the most successful ghazal singer of all time, in terms of both critical acclaim and commercial success, having made the genre synonymous with his name during a career spanning over four decades. He is the only composer and singer to have composed and recorded songs written by an incumbent Prime Minister - Atal Behari Vajpayee, also a critically acclaimed poet - in two albums, “Nayi Disha” (1999) and “Samvedna” (2002). He is also the first Indian composer, and together with his wife Chitra Singh, the first recording artist in the history of Indian music to use digital multi-track recording for their (India’s first digitally recorded) album, “Beyond Time” (1987).

01 - Jai Ganesh Deva
02 - Ganapati Bappa Moriya
03 - Jai Jai Ganapati Bhaktan
04 - Pratham Sumir Shri Ganesh
05 - Jai Ganesh Gananath Dayanidhi
06 - Vande Ganapati Vighnavinashan
07 - Gaiye Ganapati Jagvadan
08 - Vakratunda Mahakaya

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Vanesa Mae - The Violin Player

Posted By MiOd On Sunday, July 28, 2013 0 comments
Vanessa-Mae was just a teenager when her major-label debut, The Violin Player, was released. This may account for her ability to successfully fuse old-world classical styles with a contemporary new age sensibility. She comes out scorching on the Bach classic "Toccata and Fugue in D Minor," showing off her world-class talent as a revolutionary violinist. The new arrangements by producer Mike Batt add a flavorful world music appeal that both compliments and showcases her masterful skill. While all ten tracks are performed as instrumentals, Vanessa-Mae manages to squeeze every ounce of passion out of a note, transcending the necessity for lyrics. Her ability to play off of other instruments is brought to the forefront on the final track "Red Hot." She goes toe to toe with a forceful electric guitar and her four-string violin leaves the challenging six-string in the dust. This record will delight those who are bold enough to challenge themselves by listening to a collection of songs that defy standard genre classifications.

1. "Toccata and Fugue in D Minor"
2. "Contradanza" (Batt, Rondor)
3. "Classical Gas" (Williams)
4. "Theme from 'Caravans'"
5. "Warm Air"
6. "Jazz Will Eat Itself"
7. "Widescreen"
8. "Tequila Mockingbird"
9. "City Theme"
10. "Red Hot" (Vanessa-Mae)
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Shiva's Ecstasy (Spritual Songs)

Posted By MiOd On Sunday, July 28, 2013 0 comments
Anandmurti Gurumaa (devnagari: आनंद मूर्ति गुरु माँ), also known as Gurumaa, is a new age spiritual guide. She is respected by followers of many faiths including Christianity, Hinduism, Judaism, Islam, Buddhism and Sufism. Her message transcends gender, religious, political, geographic and material boundaries. Anandmurti means “an embodiment of Divine Bliss” and Gurumaa means “Master Mother” in Hindi. Gurumaa teaches the disciplines of meditation, yoga, present moment awareness and self realisation, using meditation techniques from yoga, zen, tantra, sufism, buddhism and devised methods.Gurumaa’s core teachings include meditation, self realisation, evolving consciousness and non-duality.

1. Invitation
2. Invocation
3. Om Namah Shivay
4. Shiva's Ecstasy
5. Shiva's Wisdom
6. Shivoham

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Argentina - the Story of Tango 2

Posted By MiOd On Sunday, July 28, 2013 0 comments
Argentina - the Story of Tango 2
Ah, the tango. It conjures up steamy images of late nights in dark bars, roses in the teeth, and deep, backbreaking dips. We've all seen the movies, and many of the songs on this album are songs that have been heard in many different contexts over the years. The beauty of this record is that now you hear them in their original form, as lush and juicy as you could imagine. The dangerous sound of Ricardo Pedivilla and his orchestra, with its choppy violins and lush piano riffs, is classic tango. The more stripped-down sound of Enrique Mora and his quartet (violin, piano, accordion, and bass) is the prototype for the experiments of Astor Piazzolla yet to come. The overripe orchestrations of Lorenzo Barbero are right out of a 1930s spy movie but have some surprising twists as well. All 15 of the tracks here are from the 1950s, a golden era for the tango as it moved from the alleys to the concert halls and before it became a revolutionary force in the new "world music" of the 80s.

01. Halcon Negro - Artola, Hector Maria
02. El Enterriano - De Maria, Carlos
03. El Amanecer - Pedeville, Richardo
04. Jueves - D'Amario, Victor
05. Chiquw - Del Piano, Eduardo
06. El Africano - Varela, Hector
07. La Guitarrita - Baliotte, Armando
08. Milonga Sentimental - Diaz, Juancito
09. Mal De Amores - Demarco, Mal
10. El Nego Pintos - Attadia, Alfredo
11. El Lloron - Cambareri, Juan
12. La Payanca - Mora, Enrique
13. El Internado - Polito, Juan
14. Cenizas - Maderna, Osmar Orchestra
15. El Cabure - Barbero, Lorenzo

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Tanini Trio - Dokunuşlar (Touches)

Posted By MiOd On Sunday, July 28, 2013 0 comments
Tanini kurulalı 2 yıl oldu. Ancak üyeleri arasındaki ilişkiler biraz daha eskiye dayanıyor. Bilgin Canaz ve Hakan A. Toker, birbirlerinden habersiz olarak Tahir Aydoğdu ile 2000 yılında tanıştılar. Tahir ile Bilgin'in Hollanda'da başlayan ve Türkiye'ye sıçrayan bir "Sufiden Flamenkoya" projeleri oldu. Hakan ve Tahir ise, kısa bir tanışmanın üzerinden birkaç yıl geçtikten sonra birlikte kanun-piyano konserleri vermeye başladılar. 16 Kasım 2005'te verdikleri "Doğudan Batıya Esintiler" adlı ilk resitalde büyük beğeni topladılar. Dinleyicinin coşkulu tepkisi, bu projenin devam etmesi ve büyümesi konusunda ikiliyi yüreklendirdi. O kadar ki, 9 yıldır ABD'de yaşamakta olan Hakan, yurda dönmeye karar verdi.

Bir yıl kadar ikili konserler verdikten sonra aralarına Bilgin de katıldı ve grup böylece tamamlanmış oldu. Kanun ve piyanonun kıvrak nağmeleri ve armonilerinin üzerine gönülleri titreten bir ney sesi! 27 Aralık 2006'da Ankara'da Çankaya Çağdaş Sanatlar Merkezi'nde "Tanini" ismi altında ilk konserlerini verdikleri zaman, son derece doyurucu bir sanatsal deneyim yaşadılar. Sadece müzikal anlamda değil, kişisel anlamda da aralarında içten ve sevgi dolu bir dostluk kurulmuş oldu.

Daha sonra, Washington DC'den Seul'e uzanan bir coğrafyada konserler verdiler, çeşitli radyo ve televizyon programlarına çıktılar.

01. Mehtapta Yakamozlar / Cinuçen Tanrıkorur
02. Oblivion / Astor Piazzolla
03. Mahur Saz Semaisi / Refik Talat Alpman
04. Gel Ey Denizin Nazlı Kızı / Aleko Bacanos
05. Nihavend Kanun Taksimi / Tahir Aydoğdu
06. Vücut İkliminin Sultanı Sensin / Hacı Arif Bey
07. Arap Dansı (Fındıkkıran’dan) / Çaykovski
08. Nihavend Saz Semaisi / Mesut Cemil
09. Ave Maria / Bach-Gounod
10. Kürdilihicazkar Kanun Taksimi / Tahir Aydoğdu
11. Kürdilihicazkar Saz Semaisi / Reşat Aysu
12. Gymnopedie No.1 / Eric Satie
13. Gönlümün Melâli / Ömer Altuğ
14. Düğün Evinde / Hüseyin Sadettin Arel

256 kbps including Covers

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Renaud Garcia-Fons - Jazzfest Bonn at Brotfabrik (Bonn)

Posted By MiOd On Saturday, July 27, 2013 0 comments
Rhythmisches Atmen in der Brotfabrik

Von Fritz Herzog

Bonn. Was der erste Abend des neu gegründeten Jazzfests Bonn im Forum der Kunst- und Ausstellungshalle noch ein wenig vermissen lieك, zeichnete den zweiten in der restlos ausverkauften Beueler Brotfabrik dafür umso mehr aus: die absolute Unbedingtheit der Musik.

Der Bonner Jazzmusiker Peter Materna, Impresario und rühriger Organisator des jungen Festivals, dem der "kreative Aspekt" besonders am Herzen liegt, hatte bei der Programmplanung gezielt auf Interaktion gesetzt.

Entsprechend intensiv gelang der dreigeteilte Abend mit dem Duo Nils Wogram (Posaune) und Simon Nabatov (Klavier), dem Solo des Ausnahme-Kontrabassisten Renaud Garcia-Fons und mit "Down to Earth", Steffen Schorns üppig besetztem "Universe of Possibilities".

Schon das Duo beginnt in atemberaubender Dichte. Beide Musiker sind glنnzende Improvisatoren, vereint zünden sie temporeich ein hochmusikalisches Ideen-Feuerwerk, das seitens der Posaune auch mal nur mit rhythmischem Atmen für Spannung sorgt.

Wer Garcia-Fons erstmals hِrt, glaubt nicht, dass es sich hier um einen Kontrabass handelt. Mal wie ein Oud, mal wie eine Theorbe, eine Sitar, eine spanische Gitarre, eine E-Violine (à la Ravi Shankar), ein Cello oder wie ein Perkussionsinstrument klingt sein Bass, der sich vermittels Live-Samples vervielfنltigen kann.

In seinen weltmusikalischen Streifzügen garantiert Garcia-Fons immer wieder für wunderbar poetische ـberraschungen.

Der (Kِlner) "Saxophon-Maffioso" Steffen Schorn steigt mit seiner Wunschformation aus Maffia-Kollegen Roger Hanschel sowie aus Lars Andreas Haug, Tuba, Michael Heupel, Flِten, Claudio Puntin, Klarinetten, Jِrg Brinkmann, Cello, Johannes Billich, Klavier und Keyboard, und nicht zuletzt den beiden Schlagwerkern Bodek Janke und Holger Nell in die Verlieكe abgrundtiefer, druckvoller Klangspektren.

1. inanga
2. temboland
3. serabonne
4. bluehin
5. bajo andalْz
6. peregrino
7. aube
8. compostela

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Ravi Shankar - Inside the Kremlin

Posted By MiOd On Saturday, July 27, 2013 0 comments
Ravi Shankar, the figurehead of world music, was invited in 1988 to work with Russian musicians on a concert to mark the end of an Indian Festival in the Soviet Union. This recording was made on July seventh of that year, with over 140 musicians present: Shankar's Indian Ensemble, the Russian Folk Ensemble, the Government Chorus of Ministry of Culture of USSR, and the chamber orchestra of the Moscow Philharmonic. Shankar composed all seven of the pieces here as a melding of the musics of India and Russia. "Prarambh," the opening piece, is an ethereal sort of sound created by the amalgamation of Indian and Russian instruments both playing ragas. "Shanti-Mantra" is based on Raga Devagiri Bilawal, as well as the Shanta Ras, from the Bharatanatyasastra (oldest work of Indian music theory), and is performed by both the Indian vocalists, as well as the Government Choir. Three ragas are based on Raga Hemavati, Raga Kirwani, and Raga Basant Mukhari, and are performed solely by the Moscow Philharmonic musicians. "Tarana" makes use of a Punjab form of singing that utilizes nonsense syllables to great effects of rhythmic wonder. "Sandhya Raga," based on Raga Yaman Kalyan, is "basic" Indian classical music, without any Russian additions, and "Bahu-Rang" is the finale of the concert. It is based on Raga Mishra Pilu and has five movements, the first being instrumental, the second being call and response with the drums, the third being improvised thumri singing, and the fourth element being a folk portion that leads to the climax, a song "Unity of Friendship and Love" by Shankar. While the synthesis of Indian and Russian musics could leave a listener wary before hearing the album, Shankar remained almost solely with Indian music, though the performers may have been Russian. The album is definitely worthwhile, as the backing Russian chorus can add something to the music, though leaving Indian classical solely in the hands of foreigners can be a dangerous matter, as is proven on three ragas. Throughout, though, it's quite a nice album, worthy of the Shankar name being placed upon it.

(01). [Ravi Shankar] Prarambh
(02). [Ravi Shankar] Shanti-Mantra
(03). [Ravi Shankar] Three Ragas in 'D' Minor
(04). [Ravi Shankar] Tarana
(05). [Ravi Shankar] Sandhya Raga
(06). [Ravi Shankar] Bahu-Rang
(07). [Ravi Shankar] Shanti-Mantra

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Rameau - Pieces de Clavecin en Concerts

Posted By MiOd On Saturday, July 27, 2013 0 comments
In composing his Pièces de clavecin en concerts, Rameau (1683-1764) created a grand work of chamber music, and at the same time, the first-ever piano trios. The independence of the instrumental parts achieved here far surpasses what Haydn, Mozart and even Beethoven did in their piano trios. It is not until Schubert that we meet with trio writing of comparably elaborate texture. Trio Arcangelo Corelli formed in 1984. At first they worked intensely on early Italian violin music, especially on Corelli’s sonatas, and therefore chose the great Roman master as their "patron saint." Based in Düsseldorf, they have given innumerable concerts and made radio and CD recordings.

The great French Baroque composer Jean-Phillipe Rameau (1683 -- 1764) is best-known for his operas and for his music for the solo harpsichord. Rameau composed only one work of chamber music, the "Pieces De Clavecin En Concerts", but it is a masterwork. The work was originally scored for harpsichord, violin, and viola da gamba, although it was subsequently arranged for many other combinations. It is performed here in its original instrumentation by the Trio Arcangelo Corelli, a period instrument ensemble from Dusseldorf, Germany. The disk is available on Arte Nova at a budget price.

Rameau worked on the Pieces de Clavecin from 1737 -- 1741, while he had already begun composing the operas that would make him famous. The work was inspired by the sonatas for violin and harpsichord by a now-forgotten composer, Jean-Joseph Casanea de Mondonville. The Pieces consists of six separate Concerts, with the second having four movements and the remaining five concerts three movements. The work represents a break with earlier French chamber works in that Rameau gave equal roles to the three instruments. In particular, Rameau gave a large part to the harpsichord which in earlier ensembles tended to be limited to an accompaniment role.

As with virtually all music of the French Baroque, Rameau's Pieces are heavily derived from dance forms. The movements consist of roneaux, minuets, tamborins, and airs. There is only one movement of fugue in the Pieces, the opening movement of the sixth concert.

Each concert is a highly integrated work with the individual movement complementing and contrasting with each other. The music is filled with elegance and grace and with changes of tempos, moods and rhythms from movement to movement.

Each individual movement has a non-musical title, either the name of a person or a descriptive title, such as "the Excursion", (Concert 1, 3d movement), "Gossip" (Concert 4, 2d movement), or "Timidity" (Concert 3, 2d movement). But I found this music almost "pure" in character. The music has sway, lilt, and song that make the movement titles of little import.

Rameau wrote beautifully for his ensemble with each of the three instruments having solo moments and moments of intricate group playing. The harpsichord part is especially lovely with long runs and melodies alternating with spiky, sharp rhythmic material. Some of the individual movements that stood out were the lovely air gracieux, (Concert 2, second movement), the rhythmic tamborin (Concert 3, 3d movement), the movement titled "La Rameau", apparently after the composer himself, (Concert 5, 3d movement), and the entire Concert 6 with its opening fugue, lovely slow movement, and lively conclusion.

Lovers of the French Baroque will enjoy this rare chamber music of Rameau. Listeners who want to begin to explore this music will find the low price and the informative program notes to this CD appealing.

(01). Pièces de Clavecin en Concerts- 1. Premier Concert- 1. La Coulicam
(02). Pièces de Clavecin en Concerts- 1. Premier Concert- 2. La Livri
(03). Pièces de Clavecin en Concerts- 1. Premier Concert- 3. Le Vézinet
(04). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 1. La Laborde
(05). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 2. La Boucon
(06). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 3. L'Agaçante
(07). Pièces de Clavecin en Concerts- 2. Deuxième Concert- 4. Premier menuet en ron...
(08). Pièces de Clavecin en Concerts- 3. Troisième Concert- 1. La La Ploplinière
(09). Pièces de Clavecin en Concerts- 3. Troisième Concert- 2. La Timide, Premier r...
(10). Pièces de Clavecin en Concerts- 3. Troisième Concert- 2. Premier tambourin en...
(11). Pièces de Clavecin en Concerts- 4. Quatrième Concert- 1. La Pantomime
(12). Pièces de Clavecin en Concerts- 4. Quatrième Concert- 2. L'Indiscrète
(13). Pièces de Clavecin en Concerts- 4. Quatrième Concert- 3. La Rameau
(14). Pièces de Clavecin en Concerts- 5. Cinquième Concert- 1. La Forqueray
(15). Pièces de Clavecin en Concerts- 5. Cinquième Concert- 2. La Cupis
(16). Pièces de Clavecin en Concerts- 5. Cinquième Concert- 3. La Marais

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Arabic Groove

Posted By MiOd On Saturday, July 27, 2013 0 comments
It took Cheb Mami's collaboration with Sting on the latter's mega-hit "Desert Rose" to bring Arabic music into the collective consciousness of the Western world. Never ones to pass up a trend, the folks at Putumayo have scoured North Africa and the Middle East in search of more Arabic pop music. What they turned up is a collection of dance tracks that show the heavy influence of hip-hop, urban pop, funk, and other Western styles, while maintaining the cultural integrity of the region. There are even nods to the influence of American boy bands and sex symbols such as Ricky Martin and Janet Jackson on a few tracks. The swirling strings and ornate, sinuous melody lines characteristic of the Middle East are laid over funky, chugging rhythm tracks, creating a tapestry that is crossover-ready. The disc is heavy on Algerian rai and Egyptian al-jil, with more than half the artists represented from either Egypt or Algeria. The most recognizable name here is Natacha Atlas, whose orgasmic singing on "Kidda," remixed by Transglobal Underground, stands out over the others. Libyan artist Hamid El Shaeri's track "Hely Meli" combines the cooing female vocals of urban pop with samples of women ululating. The effect is startling. On a technical note, there is virtually no space between most of the tracks. While this usually serves to keep the dance groove going, sometimes it is a little abrupt, as the ends of some tracks get chopped off. Arabic Groove is an intense, high-energy release, sure to appeal to fans of cosmopolitan dance music worldwide.

(01). Abdel Ali Slimani - Moi Et Toi
(02). Abdy - Galbi
(03). Dania - Leylei (Transglobal Underground Remix)
(04). Amr Diab - Amarain
(05). Hisham Abbas - Intil Waheeda
(06). Hamid El Shaeri - Hely Meli
(07). Fadela & Sahraoui - Mani
(08). Natasha Atlas - Kidda
(09). Khaled - Mauvais Sang
(10). Sawt El Atlas - Ne Me Jugez Pas (VolodiaRemix)
(11). Cheb Tarik - L'histoire

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Musicians of Nile - Charcoal Gypsies

Posted By MiOd On Saturday, July 27, 2013 0 comments
This disc documents masters of Egyptian spiritual music traditions. The Musicians of the Nile have been known worldwide for two decades. Liner notes go into detail on the group's history and three of the musicians. The music features mesmerizing trills coaxed from a bizarre horsehair- and coconut-stringed instrument by the "Jimi Hendrix of the East," Metqal Qenawi Metqal.
CHARCOAL GYPSIES is the latest release from Egyptian luminaries The Musicians of the Nile, a soaring, intoxicating, hypnotic effort incorporating wailing vocal ululations, dramatic percussion and the alternate trills and drones of the rabbabah. According to music magazine, Mojo, it's "One hundred years of Egyptian spirituality in one neat package", and we at Real World reckon it a natural progression on a discography that will knock your socks clean off.
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Originating from the Sudan, for four generations the Mataqil have cultivated alliances with Gypsy families specialized in the art of singing. Taking this tradition as its premise, CHARCOAL GYPSIES fuses the ancient and modern with startling savoir faire. The two-stringed rabbabah assaults the senses with ear-fluttering twills as the djallabiyah-dressed, handlebar-moustachioed trio - "Hendrix of the East": Metqal Qenawi Metqal, Shamandi Tewfiq Metqal and Yussef 'ali Bakash - sing of nomadic exploits and tales seemingly straight from the pages of A Thousand and One Nights.
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Frequently imitated and sometimes plagiarized, The Musicians of the Nile - lauded by the likes of Sun Ra and Keith Jarrett - have, for the last two decades, carried their majestic ancestral dream across the globe. The first "Arab music" group to win universal acclaim, Les Musiciens Du Nil (their original name, the other being for promotional convenience) have been seducing audiences since being discovered in 1975 by Alain Weber, a man who has acted as their manager ever since. Luxor to Isna
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Wooing the world with concerts comprising deep gusts of spontaneity interspersed with percussive flourishes, The Musicians - true to their origins - have wandered from Paris to New York, Berlin to Stockholm and London to Montreal. They made their presence felt at 1991's Gypsy Festival of Florence and 1995's Gypsy Festival of Lucerne, and they're proud to have been part of the original WOMAD in 1983 - a debut which led to collaboration with Peter Gabriel on his PASSION album.
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After albums such as MUSIC OF THE NILE VALLEY, Les Musiciens Du Nil, Real World Record's Passion Sources and From Luxor To Isna, Charcoal Gypsies continues to fuse the Saiyidi folk music tradition of the Upper Nile Valley with the force of Africa while sounding like just the sort of thing you'd hear during the wee hours of a quality rave.

1. Bitnadini Tani Lih (Why Are You Calling Me Again?)
Composed by Yunis Al-Hilali
2. Eb'at Djawaben (I Sent You a Letter, Why Haven't You Answered?)
Composed by Shamandi Tewfig
3. Suq Al-Manadil (The Handerchiefs Market)
Composed by Mohamed Magally
4. Mawwal-Doha/Rais Al-Bahr (The Captain of the Boat Is Led by the Curre)
5. Al-Ward Al-Foll (The Perfume of the Rose)
6. Ramla (Sand Dollar Mix)
7. Salamat (I Wish You Good Health)
8. Walla Zaman (It's Been So Long!)

Musicians Of The Nile: Metqal Qenawi Metqal, Shamandi Twefiq Metqal (vocals, rababah); Yussef 'Ali Bakash (vocals); Mohamed Murad Mejali (rababah, suffara, background vocals); Yunis Al-Hilali (rababah); Mustafa 'Abd Al'-Aziz (arghul); Qenawi Bakhit Qenawi, Ramadan Atta Muhammad (mizmar); Hanafi Mohamed 'Ali (tabla); Jadd Al-Rabb Mahmud (tabl baladi).

Additional personnel: Bunduq Khan Langa (vocals); Habib Khan Langa (safara); Salama Abdel Rahman (reqq); John Boswell (duf); Arach Khalatbari (daff).

Option (5-6/97, pp.117-118) - "...melodies that alternate between epic and sentimental, with an emphasis on elliptically metaphoric love songs....beautifully orchestrated--hypnotic, luscious, virtuosic....stands with the best in all the world."
The Beat (V.16 #2 1997, pp.70-71) - "...Of the many releases which the Musicians of the Nile have issued...CHARCOAL GYPSIES is the title most likely to induce its audience to crumple, smiling all the while."

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The Music of Armenia Vol.3 Duduk (Gevorg Dabagian)

Posted By MiOd On Saturday, July 27, 2013 0 comments
The Music of Armenia is a superb, 3 CDs the amazingly diverse music of Armenia. There are chants, folk tunes, instrumental music and rich choral harmonies in a collection that underscores the stunning and far too little acknowledged creative density of Armenian culture.

The project
The folk music of Armenia is so diverse that a single recording is not enough to encompass it. Rural work songs, urban folk songs, contemporary protest songs from the disputed Karabakh region, laments for lost parts of Western Armenia, songs of emigration, and of course, the universal topic of love and love lost. With such a range of songs to cover, producer David Parsons needed three full recordings to document the current state of Armenian folk music. This volume contains two of the three; the contemporary folk music of the Nagorno-Karabakh region takes up a volume by itself. Unlike the earlier volumes in this series, which have featured a single ensemble or soloist, the folk songs and dances in this collection are performed by no fewer than two ensembles and a number of vocal soloists. As with all folk music, these songs and dances reflect the people's own history and their land. Songs about the landscape and the various rivers, mountains, and regions of Armenia comprise one of the most distinctive parts of their folk repertoire; the plowing and farming songs are especially haunting and memorable. The area known as Western Armenia has proven to be a particularly fertile ground for folk song and dance. This region is the subject of much nostalgic and patriotic song. The music of the ashugh, the wandering poet/minstrels of Armenia, is also part of the folk music tradition, although, typically for Armenian music, it can also be considered a type of classical music tradition.

The artists:
Founded in 1991 by reed virtuoso Gevorg Dabagian, the Shoghaken Folk Ensemble uses only the traditional instruments of Armenia. The group aims to recreate the authentic sound of Armenian music as it was performed in past centuries, without external instruments or influences. Musicians of the ensemble include Gevorg Dabagian, playing duduk, zurna and shevi (also the featured performer on The Music of Armenia, Volume Three: Duduk; Karineh Hovhannessian on the kanon; Kamo Khachaturian on the dhol; Hakob Khalatian on the kamancha; Eduard Harutunian and Grigor Takushian both on duduk dam (drone).

The vocalists with the ensemble are all noted soloists in their own right and include: Hasmik Harutunian specializing in the songs of Western Armenia; Lida Zakarian specializing in both Armenian folk music and contemporary music; and Artavazd Voskanian who sings classical, sacred music and folk music. The Sasun Folk Group was founded in 1988 in the village of Nerkin Bazmaberd by Andranik Manukian. The group specializes in the folk songs and dances of Mush and Sasun in Western Armenia, maintaining a more regional, authentically vernacular or popular sound. Vocalists include Tsovinar Manukian, Norair Manukian, Sedrak Harutiunian, Harutiun Harutiunian, Artiom Hakobian, Astgik Hakobian, Liana Makhsudian, Gayaneh Khachaturian, Hasmik Khachaturian, Inga Gazarian, and are accompanied by Ara Mkoyan and Samvel Grigorian on the duduk dam (drone), and Gourgan Manukian on the dhol.

[01]. Hovern enkan (A cool breeze is blowing.) - 4'35"
[02]. Amen aravot (Every morning.) - 3'41"
[03]. Akh im champen (Ah, my road.) - 3'42"
[04]. Es gisher, lusnak gisher (Tonight the moon is full.) - 3'36"
[05]. Kali yerg (Harvest song.) - 5'36"
[06]. Kamantcha - 3'01"
[07]. Kezanits mas chunem (I miss you.) - 4'54"
[08]. Dle yaman - 4'16"
[09]. Tui tui - 2'40"
[10]. Yes mi tsar em tsirani & tsirani bar mi tar (The apricot tree medley.) - 4'36"
[11]. Vorskan akhper (Brother hunter.) - 4'55"
[12]. Ashkhares mi panjara ye (The world is a window.) - 2'59"
[13]. Tsarere tsahgum en (The trees are in bloom.) - 4'20"
[14]. Pailun arusiak (Shining Arusiak.) - 3'00"
[15]. Vasn mero perkutian (For us to be saved.) - 2'31"
[16]. Chachaneh tsaghadzoreh - 2'50"
[17]. Me khosk unim (I have a word for you.) - 4'24"
[18]. Alashkerti cochari - 3'53"

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M. R. Shajarian - It's Winter

Posted By MiOd On Friday, July 26, 2013 0 comments
M. R. Shajarian - It's Winter (A Live Concert in California)
Track Listings
--------------
(01). [Shajarian] Shoroo
(02). [Shajarian] Moghaddameh Tar
(03). [Shajarian] Pshdar Amad
(04). [Shajarian] Avaz (Gosheye Dad)
(05). [Shajarian] Bidad
(06). [Shajarian] Eragh
(07). [Shajarian] Dad
(08). [Shajarian] Shooshtari, Homayoun, Dad & Bidad

The year 2001 concert in California
Improvisation in Daad & Bidaad mode

Vocalist: Mohammad Reza Shajarian
Tar: Hussein Alizadeh
Kamancheh: Keyhan Kalhor
Tonbak: Homayoun Shajarian

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Omar Faruk Tekbilek - Beyond The Sky

Posted By MiOd On Friday, July 26, 2013 0 comments
"YOU KNOW, THE SKY HERE'S VERY STRANGE.
I OFTEN HAVE THE SENSATION WHEN I LOOK AT IT
THAT IT'S A SOLID THING UP THERE,
PROTECTING US FROM WHAT'S BEHIND."
Beyond the Sky is the third and finest of the collaborations between Turkish musician Omar Faruk Tekbilek and American guitarist, producer, and composer Brian Keane. This time out, they were inspired by Bernardo Bertolucci's film, The Sheltering Sky, based on Paul Bowles's novel. The arrangements are lusher, the moods are deeper, and Tekbilek's playing is more soulful than ever on this evocative and emotionally charged recording. Even more than Ryuichi Sakamoto's score for The Sheltering Sky does, this music calls up images of the North African desert, the spiraling minarets of Islamic mosques, and the heat of Middle Eastern sensuality. The two musicians are joined on this album by three other great players. Ara Dinkjian plays the oud and Arto Tuncboyaci is a master of Middle Eastern percussion. Both of these Armenian musicians were members of the group Night Ark. Also climbing aboard this caravan is Hassan Isikkut, a Turkish master of the kanun, a zither instrument. With Keane's subtle synthesizer arrangements, the music is exhilarating in its rhythmic intensity and virtuoso showmanship on a track such as "Imaginary Traveler," and searing and sensual in its spiritual passion on "Kolyami."

The soulful and spirited music of Beyond the Sky transports the listener to exotic regions of the Mediterranean, Turkey, the Middle East and North Africa. This collaboration brings back the symbiotic duo of Brian Keane and Omar Faruk Tekbilek, along with three other remarkable musicians. Together, they navigate a timeless path of mystery, excitement and energy, dense with the imagery of an ancient landscape.

The exceptional interaction of the musicians produce a spontaneous emotion, on both the original pieces they wrote for this recording, and the traditional Middle Eastern melodies they adapted. There is a good deal of improvisation, based on modal and rhythmic cues, updating standard tunes perhaps a thousand years old. Amidst the Middle Eastern harmonies, the listener catches whiffs of Moroccan and even Afro-Cuban styles. Beyond the Sky weaves a Middle Eastern fusion of cultural influences.

[01]. Beyond The Sky
[02]. Imaginary Traveler
[03]. Kolaymi
[04]. Bridge
[05]. Chargah Sirto
[06]. Your Love Is My Cure
[07]. Selement
[08]. Nighttime
[09]. Strange Little Corner
[10]. Siseler
[11]. Sweet Trouble
[12]. Al Fatiha

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Omar Faruk Tekbilek - Suleyman The Magnificent

Posted By MiOd On Friday, July 26, 2013 0 comments
Omar Faruk Tekbilek & Brian Keane - Suleyman The Magnificent
Süleyman the Magnificent is the eponymous soundtrack to a film focusing on the life of the great Sultan of the Ottoman empire, Süleyman. He reigned from 1520-1566 and was renowned as a consummate reformer of law and administration. He helped to usher in a golden age of art and architecture. Brian Keane's soundtrack, comprised of traditional Turkish melodies as well as his own original compositions, embodies the film's historic sense of greatness and splendor with music as exciting and profound as the great Sultan's reign. Turkish virtuoso Omar Faruk Tekbilek brings Keane's brilliant score to life with his masterful play through his mastery of a wide range of authentic Turkish instruments including the tanbur (long necked lute), daire (drum), kanun (plucked boxed zither), and kaval (rim-blown flute—a pastoral instrument associated with shepherds and nomads). Süleyman the Magnificent originally aired on the PBS network and was a winner of the American Film Festival and Ohio State Film Festival awards.

Suleyman the Magnificent is the seminal album of Omar Faruk Tekbilek and Brian Keane, where Turkish traditionalism met American atmospherics. Tekbilek was a Turkish immigrant who was playing belly-dancing music with his group, the Sultans. Keane was a producer of pop and jazz and a notable guitarist. While scoring his soundtrack to the documentary, Suleyman the Magnificent, Keane wanted some authentic Turkish sounds to accompany this tale of the Ottoman Empire and one of its sultans. He got that and more with Tekbilek. From the opening forlorn cry of the kaval flute on "Scenes of Istanbul," the music here (all based on traditional modes and rhythms, but most of it original) conjures up ancient palaces and desert plains. Keane adds subtle synthesizer pads to some songs, but most of them feature Tekbilek wailing across a kinetic percussion bed or blowing some of the most serene melodies this side of heaven.

Suleyman the Magnificent is the soundtrack for the film of the same name which focuses on the life of the great Sultan of the Ottoman empire. Sultan Suleyman reigned from 1520-1566 and was renowned as a consummate reformer of law and administration. His was a golden age of art and architecture. Brian Keane's soundtrack embodies this historic sense of greatness and splendor. The music is at once exciting and profound. Keane has brilliantly scored traditional Turkish melodies and his own original melodies from a combination of authentic Turkish instruments. These instruments include the tanbur (long necked lute), daire (drum), kanun (plucked boxed zither), and kaval (rim-blown flute--a pastoral instrument associated with shepherds and nomads). The film aired on the PBS network and was a winner of the American Film Festival and the Ohio State Film Festival awards. It was produced in conjunction with the opening of an art exhibit at the National Gallery of Art in Washington, D.C. for which major funding for the film was provided by the Republic of Turkey.

[01]. Istanbul' dan Görüntüler (Scenes of Istanbul)
[02]. Gö?ün Yedi Kati (Seven Spheres of Heaven)
[03]. Egeli Gemici (Aegean Sailor)
[04]. Ayasofya (Saint Sophia)
[05]. U??ak Semai (Piece in 10/8)
[06]. Nihâvend Fantazi (Modal Fantasy)
[07]. Kuzeydeki Köy (Northern Village)
[08]. Topkapinin Bahçesi (Garden at Topkapi)
[09]. Rast Medhal (Prelude in Rast Mode)
[10]. Süleymanin Öyküsü (The Story of Süleyman)
[11]. Teke Ziplamasi (Goat Jumper)
[12]. Mevlânâ (Whirling Dervishes)
[13]. Segâh Pe?revi (Prelude in Segah Mode)
[14]. Hicaz Taksimi (Improvisation in Hicaz Mode)
[15]. Hicaz Pe?revi (Prelude in Hicaz Mode)
[16]. Makber (Gates of Heaven)
[17]. Istanbul' dan Görüntüler (Scenes of Istanbul/Reprise)

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The Music of Armenia Vol.2 (Soghaken Folk Ensemble)

Posted By MiOd On Friday, July 26, 2013 0 comments
The Music of Armenia is a superb, 3 CDs the amazingly diverse music of Armenia. There are chants, folk tunes, instrumental music and rich choral harmonies in a collection that underscores the stunning and far too little acknowledged creative density of Armenian culture.

The project
The folk music of Armenia is so diverse that a single recording is not enough to encompass it. Rural work songs, urban folk songs, contemporary protest songs from the disputed Karabakh region, laments for lost parts of Western Armenia, songs of emigration, and of course, the universal topic of love and love lost. With such a range of songs to cover, producer David Parsons needed three full recordings to document the current state of Armenian folk music. This volume contains two of the three; the contemporary folk music of the Nagorno-Karabakh region takes up a volume by itself. Unlike the earlier volumes in this series, which have featured a single ensemble or soloist, the folk songs and dances in this collection are performed by no fewer than two ensembles and a number of vocal soloists. As with all folk music, these songs and dances reflect the people's own history and their land. Songs about the landscape and the various rivers, mountains, and regions of Armenia comprise one of the most distinctive parts of their folk repertoire; the plowing and farming songs are especially haunting and memorable. The area known as Western Armenia has proven to be a particularly fertile ground for folk song and dance. This region is the subject of much nostalgic and patriotic song. The music of the ashugh, the wandering poet/minstrels of Armenia, is also part of the folk music tradition, although, typically for Armenian music, it can also be considered a type of classical music tradition.

The artists:
Founded in 1991 by reed virtuoso Gevorg Dabagian, the Shoghaken Folk Ensemble uses only the traditional instruments of Armenia. The group aims to recreate the authentic sound of Armenian music as it was performed in past centuries, without external instruments or influences. Musicians of the ensemble include Gevorg Dabagian, playing duduk, zurna and shevi (also the featured performer on The Music of Armenia, Volume Three: Duduk; Karineh Hovhannessian on the kanon; Kamo Khachaturian on the dhol; Hakob Khalatian on the kamancha; Eduard Harutunian and Grigor Takushian both on duduk dam (drone).

The vocalists with the ensemble are all noted soloists in their own right and include: Hasmik Harutunian specializing in the songs of Western Armenia; Lida Zakarian specializing in both Armenian folk music and contemporary music; and Artavazd Voskanian who sings classical, sacred music and folk music. The Sasun Folk Group was founded in 1988 in the village of Nerkin Bazmaberd by Andranik Manukian. The group specializes in the folk songs and dances of Mush and Sasun in Western Armenia, maintaining a more regional, authentically vernacular or popular sound. Vocalists include Tsovinar Manukian, Norair Manukian, Sedrak Harutiunian, Harutiun Harutiunian, Artiom Hakobian, Astgik Hakobian, Liana Makhsudian, Gayaneh Khachaturian, Hasmik Khachaturian, Inga Gazarian, and are accompanied by Ara Mkoyan and Samvel Grigorian on the duduk dam (drone), and Gourgan Manukian on the dhol.

[01]. Erva yes (I am burned by love.) - 3'10"
[02]. Nazov akhchik (Shy girl.) - 3'14"
[03]. Nani bala (Sleep my baby.) - 2'11"
[04]. Kani vor jan im (As long as I am alive.) - 3'03"
[05]. Hai merik (Hey mother.) - 1'42"
[06]. Haireniki jur (The waters of my Motherland.) - 4'15"
[07]. Giamin ver tsovun (Wind on the sea.) - 2'56"
[08]. Ashkharumes akh chim kashil (I will not be sad in this world, as long as I have you.) - 4'47"
[09]. Naz par (Shy dance.) - 3'01"
[10]. Gorani - 4'38"
[11]. Dances of Sasun - 4'04"
[12]. Lusniak gisher (Full moon night.) - 3'09"
[13]. Katot (Longing.) - 2'23"
[14]. Uzundara - 3'50"
[15]. Khorotik (Beautiful.) - 3'05"
[16]. Ashkharhes me panjara ye (The world is a window.) - 3'02"
[17]. Vai merik (Oh mother.) - 2'39"
[18]. Machkal es (You are Machkal.) - 3'26"
[19]. Im im Muradin (To my Murad.) - 3'39"
[20]. Sasno ahegh krvin (During the hard battle of Sasun.) - 2'08"
[21]. Yarem ker (There was a lover.) - 1'45"
[22]. Anoush garun (Sweet Spring.) - 2'49"
[23]. Zurni trngi (Dance of the zurna.) - 3'04"

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Hariharan - Mahamrityunjay Mantra

Posted By MiOd On Thursday, July 25, 2013 0 comments
Hariharan, born 3 April 1955 in Thiruvananthapuram, Kerala, is an Indian playback singer in Hindi, Tamil, Malayalam, Kannada and Telugu movies, an established ghazal singer, and one of the pioneers of Indian fusion music.

In 2004, he was awarded the prestigious Padma Shri and Yesudas Award for his outstanding performance in music. Hariharan also collaborated with Pakistan-based band Strings for a track called bolo bolo.

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Masters of Persian Music - Faryad

Posted By MiOd On Thursday, July 25, 2013 0 comments
For "Faryad" "Cry"' as in 'shout' rather than 'weep' captures a sense of the Farsi word), the Masters Of Persian Music consist of three of the most outstanding Iranian classical musicians of our day and somebody I believe to be a recent addition of major promise. They comprise the pre-eminent vocalist Mohammad Reza Shajarian, whom I first heard on a milestone album in contemporary Persian classical music, The Abu-Ata Concert (Kereshmeh Records, 1996) with tar (long-necked, plucked lute) accompaniment by Mohammad Reza Lotfi. Once heard, forever a follower. Hossein Alizadeh, the tar player here, has recorded extensively for Kereshmeh while their much travelled kemancheh (spike fiddle) player Kayhan Kalhor has made his mark in both strict Persian classical contexts such as Night Silence Desert (Traditional Crossroads, 2000) with Mohammad Reza Shajarian and through his work with the sitar player Shujaat Hussain Khan in Ghazal, the Kronos Quartet (Kronos Caravan, 2000) and Yo-Yo Ma & The Silk Road Ensemble's Silk Road Journeys (Sony, 2001). The last member of the ensemble is the tombek (goblet drum) player and vocalist Homayoun Shajarian, whom I first heard on the Masters' previous album, Without You (World Village, 2002). So much for background, yet if any of those names mean anything to you, it means that the Masters of Persian Music come brandishing the credentials of a sure thing.
Faryad is a double album, like "Without You", from an unspecified live source (subsequent releases should do posterity the courtesy of providing dates at very least) and it is on concert stages where the magic of this form of Persian delight descends. Quite simply Faryad is majestic. The performance that closes the first disc is a rush of pure artistic adrenalin, a composition forged in the furnace of improvisation and spontaneous creativity. It spits out that the next time you hear this piece, the source of the album's title, it will sound quite different. All the building blocks will be the same but next time in the heat of performance its shape may be very different. Sharjarian deserves to be a voice whispered with the same sort of awe-filled respect as Nusrat Fateh Ali Khan or Alim Qasimov. Take his vocal artistry as a given. He has the whole grammar of the centuries at his disposal. Even for people who do not speak the language he brings Tehran to town. The bilingual English and French notes will ground anybody in the literature of this music, while the lyrics themselves come in Farsi, English and French translation. "You, kinder than leaves under the kisses of the rain/You, the brightness of stars reflected in the stream/Come back to me." How could anyone turn down a cry from the heart such as that? This is music, not merely art music, that would melt any heart of stone."

This four-piece ensemble features the distinguished singer Mohammad Reza Shajarian. A true vocal legend, Shajarian and his apprentice/son Homayoun lead an all-star group on this 2005 release. In earlier centuries, Iranian classical music was relegated to nothing more than a regional style. However, singers such as Shajarian are now finding a great deal of worldwide acclaim.

FARYAD comprises music from the classical repertoire known collectively as radif. In addition to the passionate singing of the Shajarian family, many fine instrumental performances are rendered here. For example, Hossein Alizadeh's tar playing (Iranian lute) is dazzling throughout. His skills are best featured on "Instrumental Prelude Negoreh" where, along with the tombak drumming of the younger Shajarian, and Kayhan Kalhor's lyrical kamancha (Persian violin), he explores the ancient modal incantations of his people. Clearly though, this album focuses on the vocal abilities of the elder Shajarian. The celebratory "Zarbi Naghmeh" and the pensive "Tasnif-e Rast" show off Shajarian's great emotional range while "Avaz Va Saz" highlights his rich timbre and elegant melodicism. Without a doubt, FARYAD is truly an exceptional listening experience.

Editor: Kayhan Kalhor.

Masters of Persian Music: Homayoun Shajarian (vocals, tombak); Hossein Alizâdeh (tar); Kayhan Kalhor, Mohammed Reza Shajarian.

Personnel: Mohammed Reza Shajarian (vocals); Kayhan Kalhor (kamancha).

Disque: 1
[01].Instrumental Prelude Negareh
[02].Avaz va Saz
[03].Zarbi Naghmeh
[04].Avaz va Saz
[05].Tasnif-E Rast: Saman Booyan (They, Smelling of Jasmine)
[06].Avaz va Saz: Nayriz, Aragh, and Dashti
[07].Zarbi Instrumental
[08].Tasnif-E Dashti: Faryad (The Cry)

Disque: 2
[01].Avaz va Saz
[02].Traditional Tasnif: Chehre be Chehre (Face to Face)
[03].Chahar Mezrab: Abu Ata With Avaz
[04].Ham Avazi Shushtari
[05].Tasnif-E Homayoun: Yar-e Delnavaz (Comforting Beloved)
[06].Moghaddameh-e Torkaman
[07].Torkaman
[08].Forud: Rastpanjgah
[09].Tasnif-e Rast: Boosehaye Baran (Kisses of Rain)

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Soghaken Ensemble - The Music of Armenia Vol.1

Posted By MiOd On Thursday, July 25, 2013 0 comments
The Music of Armenia is a superb, 3 CDs the amazingly diverse music of Armenia. There are chants, folk tunes, instrumental music and rich choral harmonies in a collection that underscores the stunning and far too little acknowledged creative density of Armenian culture.

The project
The folk music of Armenia is so diverse that a single recording is not enough to encompass it. Rural work songs, urban folk songs, contemporary protest songs from the disputed Karabakh region, laments for lost parts of Western Armenia, songs of emigration, and of course, the universal topic of love and love lost. With such a range of songs to cover, producer David Parsons needed three full recordings to document the current state of Armenian folk music. This volume contains two of the three; the contemporary folk music of the Nagorno-Karabakh region takes up a volume by itself. Unlike the earlier volumes in this series, which have featured a single ensemble or soloist, the folk songs and dances in this collection are performed by no fewer than two ensembles and a number of vocal soloists. As with all folk music, these songs and dances reflect the people's own history and their land. Songs about the landscape and the various rivers, mountains, and regions of Armenia comprise one of the most distinctive parts of their folk repertoire; the plowing and farming songs are especially haunting and memorable. The area known as Western Armenia has proven to be a particularly fertile ground for folk song and dance. This region is the subject of much nostalgic and patriotic song. The music of the ashugh, the wandering poet/minstrels of Armenia, is also part of the folk music tradition, although, typically for Armenian music, it can also be considered a type of classical music tradition.

The artists:
Founded in 1991 by reed virtuoso Gevorg Dabagian, the Shoghaken Folk Ensemble uses only the traditional instruments of Armenia. The group aims to recreate the authentic sound of Armenian music as it was performed in past centuries, without external instruments or influences. Musicians of the ensemble include Gevorg Dabagian, playing duduk, zurna and shevi (also the featured performer on The Music of Armenia, Volume Three: Duduk; Karineh Hovhannessian on the kanon; Kamo Khachaturian on the dhol; Hakob Khalatian on the kamancha; Eduard Harutunian and Grigor Takushian both on duduk dam (drone).

The vocalists with the ensemble are all noted soloists in their own right and include: Hasmik Harutunian specializing in the songs of Western Armenia; Lida Zakarian specializing in both Armenian folk music and contemporary music; and Artavazd Voskanian who sings classical, sacred music and folk music. The Sasun Folk Group was founded in 1988 in the village of Nerkin Bazmaberd by Andranik Manukian. The group specializes in the folk songs and dances of Mush and Sasun in Western Armenia, maintaining a more regional, authentically vernacular or popular sound. Vocalists include Tsovinar Manukian, Norair Manukian, Sedrak Harutiunian, Harutiun Harutiunian, Artiom Hakobian, Astgik Hakobian, Liana Makhsudian, Gayaneh Khachaturian, Hasmik Khachaturian, Inga Gazarian, and are accompanied by Ara Mkoyan and Samvel Grigorian on the duduk dam (drone), and Gourgan Manukian on the dhol.

[01]. Jeirani pes (Graceful like a deer.) - 3'14"
[02]. Imal enim (What can I do?) - 3'45"
[03]. Hoviv kanch (The call of the shepherd.) - 3'19"
[04]. Msho geghen (From a village of Mush.) - 3'01"
[05]. Medley - 4'44"
[06]. Dle yaman - 6'01"
[07]. Aparani par - 3'10"
[08]. Akh lele, vakh lele - 2'33"
[09]. Arshaluis noren batsvan (Dawn opened again.) - 3'28"
[10]. Armenian Dance - 4'11"
[11]. Aravotun lusn erevats (In the morning the light came.) - 2'01"
[12]. Arabo - 2'14"
[13]. Siretsi yares taran (They took my lover away.) - 4'11"
[14]. Artsakhi par (Dance from Artsakh.) - 2'36"
[15]. Esor arazn es gnatsel (Today you were at Araz.) - 4'40"
[16]. Gulo - 4'43"
[17]. Bakhtavari - 4'13"
[18]. Tsovun havkem kar (There was a bird on the sea.) - 4'19"
[19]. Mekn im yari neman chi (No one is like my lover.) - 4'49"
[20]. Traditional Dance - 2'16"

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Mohammadreza Aligholi - Gypsy Moon

Posted By MiOd On Wednesday, July 24, 2013 0 comments
A lunatic falls in love with the Moon. He marches the world night and day, not to loose the Moon from his sight. A different style of using traditional motives accompanied by Iran's most passionate instruments like Daf, Setar, Kamancheh...

All Acoustic Instruments played by Mohammad Reza Aligholi

01. Part I
02. Part Ii
03. Part Iii
04. Part IV
05. Part V
06. Part VI
07. Part VII
08. Part VIII
09. Part IX
10. Part X
11. Part XI
12. Part XII
13. Part Xiii
14. Part Xiv
15. Part Xv

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