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Grammy
Award Winner "Simple Gifts"
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The
King's Singers' album Simple Gifts has
won the Award for Best Classical Crossover
Album
at the 2009 Grammy Awards ceremony, held
this month in Los Angeles! |
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GIUSEPPE VERDI (1813 – 1901):
Requiem Mass
Luciano Pavarotti, tenor; Sharon Sweet, soprano; Dolora Zajick, mezzo-soprano;
Paul Plishka, bass
3,000 Members of The World Festival Choir/Jan Jensen
Moscow Philharmonic Orchestra/Lorin Maazel
Recorded live at the Arena di Verona, 1990
NTSC All Region; 4:3; LPCM Stereo/DD 5.1; Approx. 96 mins.
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Au unforgettable Verdi’s Requiem Mass that had a 24 mins. great applause from
20,000 spectators in the Arena at the presence of Lady Diana to celebrate the 45th
Anniversary from the explosion of the atomic bomb in Hiroshima.
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MIKIS THEODORAKIS (*1925):
Zorba the Greek, Ballet in 2 acts and 22 figures
Vladimir Vassiliev; Gheorghe Iancu; Luciana Savignano; Rosalba Garavelli;
Diego Ciavatti; Sofia Mikailidou; Costas Papadopoulos; Pantelis Karnezis
Orchestra, Chorus and Corp de ballet of the Arena di Verona/Mikis Theodorakis
Chorus Master: Aldo Danieli; Director of the Corps de ballet: Giuseppe Carbone
Choreography and Stage Director: Lorca Massine;
Costumes Designer: Ferruccio Villagrossi
Recorded live at the Arena di Verona, August 1990
NTSC All Region; 4:3; LPCM Stereo/DD 5.1; Approx. 117 mins. |
The unique existing video recording of Zorba the Greek ballet by Mikis Theodorakis
from the biggest open theater in the world, the Arena di Verona
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LEONARDO LEO (1694 – 1744):
Alidoro, Commedia in musica
Francesca Russo Ermolli; M. Grazia Schiavo; Valentina Varriale; Maria Ercolano;
G. De Vittorio; Gianpiero Ruggeri; Francesco Morace
Orchestra Barocca Cappella della Pietà dei Turchini/Antonio Florio
Arturo Cirillo, director
Recording: Reggio Emilia, February 2008
NTSC All Region; 16:9; Dolby Digital 5.1/LPCM 2.0; Approx. 165 mins.
Subtitled in French, Italian, English, German & Spanish
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An unknown comic opera which has been identified during the recent cataloguing of the artistic
Neapolitan treasures of the 17th century at the Abbey of Montecassino.
Founded in 1987 by Antonio Florio, the Cappella della Pietà de’ Turchini is made up of instrumentalists and
singers who specialize in the performance of Neapolitan music from the 16th - 18th centuries.
The unique programs and rigorous approach to Baroque performing practice make the Cappella one of
the most interesting realities in musical life in Italy, and indeed in Europe.
The name of the ensemble derives from one of the four conservatories of Naples in the eighteenth century,
whose members were distinguished by wearing turquoise costumes (turchese = the color turquoise =
Turchini) for important festivals.
Reviews
“it has been a top level production supported by a superb cast” - Stella Bonfrisco -Il Resto del Carlino,
Bologna
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HEITOR VILLA-LOBOS (1887 – 1959) – COMPLETE CHOROS & BACHIANAS BRASILEIRAS
Introduction to the Choros for guitar and orchestra (1929); Choros No.1 for guitar (1920);
Choros No.2 for flute and clarinet (1924); Choros No.3, ‘Pica-Pau’ (1925);
Choros No.4 for 3 horns and trombone (1926);
Choros No.5, ‘Alma Brasileira’ for piano (1925); Choros No.6 for orchestra (1926);
Choros No.7, ‘Settimino’ for winds, violin and cello (1924);
Choros No.8 for large orchestra and 2 pianos (1925); Choros No.9 for orchestra (1929);
Choros No.10, ‘Rasga o Coração’ for orchestra and mixed choir (1926); Choros No.11 for piano and
orchestra (1928); Choros No.12 for orchestra (1929); Two Choros (bis) for violin and cello (1928)
Bachianas Brasileiras No.1 for orchestra of violoncelli (1930–38); Bachianas Brasileiras No.2 for orchestra
(1930); Bachianas Brasileiras No.3 for piano and orchestra (1938); Bachianas Brasileiras No.4 (Version for
piano solo [1930–41] and version for orchestra [1941]); Bachianas Brasileiras No.5 for soprano and orchestra
of violoncelli (1938–45); Bachianas Brasileiras No.6 for flute and bassoon (1938); Bachianas Brasileiras No.7 for
orchestra (1942); Bachianas Brasileiras No.8 for orchestra (1944); Bachianas Brasileiras No.9 (1945 – Version for
string orchestra and version for choir a cappella); Quinteto em forma de Choros for flute, oboe, cor anglais,
clarinet and bassoon (1928)
The Complete Solo Guitar Music: Five Preludes (1940); Suite populaire brésilienne; Twelve Études (1929);
Choros No.1 (1920)
Soloists including: Fabio Zanon, guitar; Cristina Ortiz, piano; Jean Louis Steuerman, piano;
Donna Brown, soprano
Members of the Berlin Philharmonic Wind Quintet with Nigel Shore, cor anglais; Anders Miolin, guitar
Choir of the São Paulo Symphony Orchestra
São Paulo Symphony Orchestra/John Neschling (Choros) & Roberto Minczuk (Bachianas Brasileiras)
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The life and music of Villa-Lobos is intimately linked with the emergence of Brazil as a nation and cultural
force during the first half of the 20th century. This applies especially to the two great cycles that he
composed between 1920 and 1945: the 12 Choros and the 9 Bachianas Brasileiras. In the Choros the
composer’s stated aim was to achieve a synthesis of the various musical influences of Brazil: the popular
urban music (such as the dances of European origin performed by chorões or street musicians), the music
brought from Africa by slaves, and the chants and rhythms of the native Indian tribes. The Choros range
from solo pieces with durations of a couple of minutes to large-scale scores for expanded symphony
orchestra, sometimes comprising choir or solo instruments. The cycle also includes an Introduction, as well as
a brief ‘after-thought’: the Two Choros (bis).
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JAPANESE LOVE SONGS
MASAKAZU NATSUDA (*1968): Two Poems by Ryokan (2005)
TOSHIO HOSOKAWA (*1955): Three Love Songs (2004)
AKIRA IFUKUBE (1914 – 2006): Eclogues after Epos among Ainu Races (1956)
FUMINORI TANADA (*1961): Duo for mezzo-soprano and soprano saxophone (2006)
RYO NODA (*1948): Improvisation 1 (1971-73)
ICHIRO NODAIRA (*1953): Dashu no sho (2003)
HACENE LARBI (*1956): Matsukaze (2006)
BERTRAND DUBEDOUT (*1958): Ça va commencer ça commence (2004)
SHIMAZAKI TOSON (1872 – 1943): Kimi ga kokoro wa (recitation)
Marie Kobayashi, mezzo-soprano; Claude Delangle, saxophone; Jean Geoffroy, percussion
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To quote the liner notes, this unusual disc is a kind of love song ‘from and for Japan, the eternal, and
eternally fascinating – a country that reconciles every opposite in arts which stretch across millennia, a
volcanic comma placed as a breathing space before the Pacific…‘ The acclaimed saxophone player
Claude Delangle has long been intrigued by Japan, as demonstrated already ten years ago with the disc
‘The Japanese Saxophone’ (BIS-CD-890). From that disc we recognize a number of composers (Masakazu
Natsuda, Toshio Hosokawa, Fuminori Tanada, Ichiro Nodaira) as well as the percussionist Jean Geoffroy, a
longstanding collaborator of Delangle‘s. Unlike the previous, all-Japanese disc, the present program
includes works by two French composers, Bertrand Dubedout and Hacène Larbi, who have also become
fascinated by the enigma of Japan.
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WOLFGANG RIHM (*1952)
La musique creuse le ciel, Music for two pianos and large orchestra (1977/1979)
Über-Schrift for two pianos (1992/2003)
GrauSchumacher Piano Duo
Deutsches Symphonie-Orchester Berlin/Peter Rundel
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Music from various phases in the output of Wolfgang Rihm, combined into a diptych by one of the most
renowned piano duos of our times. Scene One: flexing the muscles with twenty digits, or how does one
smash the glasshouse of serialism without rendering one’s fingers bloody? Scene Two: some years later (the
scabs have gone, but the scars remain): some clever twitching. Sounds typed in create an ever-denser
kaleidoscope of colors and spatial effects. The glass cage – if it ever existed – has disappeared. Music
creates its own structure, a flexible one too. A dazzling tinsel sphere.
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KRZYSZTOF PENDERECKI (*1933) – COMPLETE CHORAL WORKS
Sicut locutus est from Magnificat (1973/74) for mixed choir a cappella
Stabat Mater (1963) for three mixed choirs a cappella
Ize Cheruwimy (1987) for mixed choir a cappella
Veni Creator (1987) for mixed choir a cappella
Ut quid Domine from St. Lucas Passion (1965) for mixed choir a cappella
Sanctus (2009) for female choir a cappella*; Benedictus (2002) for female choir a cappella
Benedicamus Domino (1992) for male choir a cappella
Miserere from St. Lucas Passion (1965) for mixed choir a cappella
De Profundis from Seven Gates of Jerusalem (1996) for three mixed choirs a cappella
In pulverem mortis from St. Lucas Passion (1965) for mixed choir a cappella
Agnus Dei from Polish Requiem (1981) for mixed choir a cappella
Bede Cie wielbił, Panie (Psalm 30) from Psalms of David (1958) for mixed choir a cappella
Kaczka pstra (2008) for mixed choir a cappella*
Aria from Three Pieces in Old Style (1963) for mixed choir a cappella*
Polish Chamber Choir Schola Cantorum Gedanensis/Jan Lukaszewski
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Looking at Krzysztof Penderecki’s choral output, one cannot help noticing that in comparison with other,
highly diverse forms of his artistic utterance, it constitutes the most homogenous whole. While it is possible to
point to various stylistic references that inspired many strands of his musical itinerary, his works for a cappella
choir, spanning as they do almost five decades, appear to be very coherent in terms of their expressive
features and also stylistically homogeneous. The reasons for this state of affairs may be found both in the
sound matter itself and the specific sound possibilities of an ensemble of human voices, to which Penderecki
deliberately assigned an idiomatic value, and in the ‘external’ inclinations of his choral compositions which
are something far more than an ideological inspiration.
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THEA MUSGRAVE (*1928) – TURBULENT LANDSCAPES
Turbulent Landscapes
BBC Symphony Orchestra/Osmo Vanska
Songs for a Winter’s Evening
Lisa Milne, soprano; BBC Scottish Symphony Orchestra/Osmo Vanska
Two’s Company
Evelyn Glennie, percussion; Nicholas Daniel, oboe
BBC Symphony Orchestra/Jiri Belohavek
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Rich, powerful musical language and a strong sense of drama have made Thea Musgrave one of the most
respected and exciting of living composers. Born in Edinburgh in 1928, she studied at the University of
Edinburgh then in Paris, where she spent four years as a pupil of Nadia Boulanger, before establishing herself
in London with her orchestral, choral, operatic and chamber works. In 1970 she was named guest professor
at the University of California, Santa Barbara, which anchored her increasing involvement with the musical
life of the United States; in 1971 she married the American violist and opera conductor Peter Mark and she
now lives in the US.
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JWILHELM PETERSON-BERGER (1867 – 1942)
Arnljot (1907-09, excerpts):
Introduction, Act I – Arnljot’s Greeting Song; The Thing March; Waino’s First Song;
Gunhild and Arnljot: Encounter in the Wilderness; Waino’s Second Song;
Arnljot’s Dream Vision; Tormod’s Song; The Death of Arnljot
Erland Hagegård, baritone; Karin Langebo, soprano; Edith Thallaug, mezzo-soprano; Björn Asker, baritone;
Kåge Jehrlander, tenor
Male Chorus from the Stockholm Philharmonic Choir
Stockholm Philharmonic Orchestra/Okko Kamu
Recorded on 16th-18th May 1973 at the Stockholm Concert Hall, Sweden
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The origin to Arnljot is a melody that Wilhelm Peterson-Berger created when he first visited Jämtland in 1898.
When journeyed over Storsjön he was inspired by the nearby mountains, Oviksfjällen. The opera consists of
three parts and the historical foundations of the opera is the character Arnljot Gelline that are mentioned in
Snorri Sturluson saga about Olav Haraldsson (den Helige, Rex perpetuus Norvegiae) and the writings on
Frösöstenen, the rune stone that is placed on Frösön. Out of these components, Wilhelm Peterson-Berger
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PIOTR TCHAIKOVSKY (1840 – 1893)
Symphony No. 5 in E minor, Op. 64
Hamlet Overture, Op. 67
City of Birmingham Symphony Orchestra/Andris Nelsons
Live recording: Symphony Hall, Birmingham, October 16 – 17, 2008
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Tchaikovsky’s music speaks to everyone, believes Andris Nelsons. But when played by
the CBSO under its Music Director, Tchaikovsky does more than touch his listeners: they are drawn deep into
the music, as if living through it themselves.
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FRANCO ALFANO (1875 – 1954):
Sakuntala, Opera in tre atti
Anna de Cavalieri; Antonio Annaloro; Plinio Clabassi; Giovanni Amodeo;
Fernanda Cadoni; Gianna Galli; Silvio Macinella; Vittorio Tatozzi; Walter Artioli
Orchestra Sinfonica e Coro di Milano della RAI/Arturo Basile
Live recording: Milan, September 24, 1955
BONUS: VINCENZO BELLINI (1801 – 1835): Il Pirata (excerpts)
Anna de Cavalieri; Mirto Picchi; Miti Truccato Pace; Tommaso Spataro
Orchestra Sinfonica e Coro di Torino della RAI/Mario Rossi; Live recording: Torino, February 9, 1958
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The only recording on the market of Alfano’s masterpiece – a must for each serious Opera collector. |
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PIOTR TCHAIKOVSKY (1840 – 1893):
Entr’acte and Dances of the Chambermaids from the opera The Voyevoda, Op. 3
Dmitri the Pretender and Vassily Shuisky, incidental music (Introduction to Act I;
Mazurka)
Serenade for Nikolai Rubinstein’s Name Day; Entr’acte & Waltz and Polonaise from
Eugene Onegin, Op.24
Gothenburg Symphony Orchestra/Neeme Järvi
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This disc completes the cycle of Tchaikovsky's symphonies with Gothenburg Symphony Orchestra
conducted by Neeme Järvi, a cycle which as a whole can be described as resolutely unsentimental, with
interpretations aiming to rid these popular scores of the melodramatic excesses that have become part of a
performance tradition during more than 100 years in concert halls and on disc. This quality has been
remarked upon by reviewers, who described Symphony No.1 as 'superb ... liberated from all the slag of
sugary romanticism' (Classics Today France.com) and regarding No.4 wrote 'With immense skill and without
making any concessions to the pathetic, Neeme Järvi grants the work its full magnitude. A reading at once
rich in nuances and carved in rock ...' (Le Monde de la Musique).
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JOHANN SEBASTIAN BACH (1685 – 1750):
Goldberg Variations: Aria with diverse variations BWV 988
Martin Schmeding on the great historical Gottfried Silbermann Organ (III/47, 1755), Cathedral Dresden
(Catholic Court Church)
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About Gottfried Silbermann:
"...the superb neatness, goodness and durability of its materials as well as its craftsmanship; the great
simplicity of its inner construction; the uncommonly splendid and full intonation; and the extreme ease and
comfort of its keyboards". These words of praise from Johann Friedrich Agricola, a pupil of Bach, referring to
the organs of Gottfried Silbermann, attest to the exceptional quality of organ-building in Germany during
the high-baroque period.
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* WORLD PREMIERE RECORDING! * BOHUSLAV MARTINU (1890 – 1959):
Concerto for Cello and Orchestra No. 1, H 196 (1955)
JOSEF BOHUSLAV FOERSTER (1859 – 1951):
Concerto for Cello and Orchestra, Op. 143 (1931)*
JAN NOVAK (1921 – 1984): Capriccio for Cello and Small Orchestra (1958)
Jiri Barta, cello
Prague Philharmonia/Jakub Hrusa
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Jirí Bárta, who for a number of years has been considered one of the finest cellists both at home and
abroad, has certainly not chosen the three concertos on this CD at random. Bohuslav Martinu’s first
concerto, in the definitive 1955 version, is among the works Bárta most cherishes and performs most
frequently. At the same time, this opus bridges the imaginary space between the other compositions. Its first
version originated in 1930, at the time when J. B. Foerster was completing his one and only cello concerto. |
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PIERRE MAX DUBOIS (1930 – 1995) – WORKS FOR SAXOPHONE & PIANO
Sándor Rigó, saxophone
Christina Leeb-Grill, piano
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Pierre Max Dubois is a French composer of classical music. He was a student of Darius Milhaud, and though
not widely popular, was respected. He brought the ideas of Les Six, of which his instructor was a member,
into the middle 1900's. This group called for a fresh artistic perspective on music. The music of Dubois is
characteristically light hearted with interesting harmonic and melodic textures.
He was awarded the Prix de Rome in 1955. Most of his works are for woodwinds, especially for saxophone.
His Quartet for Saxophones in F premiered in 1962. Another of his works is the 'Pieces caracteristiques en
forme de suite', written for Alto Saxophone with piano accompaniment.
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“REPLICHE” – CONTEMPORARY HUNGARIAN WORKS FOR HORN & CIMBALOM
MIKLOS KOCSAR (*1933): Repliche No. 2 (1976)
PETER NOGRADI (*1952): As sounding brass, or a tinkling cymbal (2007)
ILONA MESKO (*1981): Adom burkolt címu… (2007)
ISTVAN SZIGETI (*1952): C.C. for horn and cimbalom (2004)
BELA FARAGO (*1961): Zazen (2005); Zazen II (2008); MIKLOS SUGAR (*1952): Cimcor (2005)
IVAN MADARASZ (*1949): Five cases (2004); PETER TOTH (*1947): Scirocco (2006)
Zoltan Varga, horn
Agnes Szakaly, cimbalom
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Zoltán Varga (1961), was born in Oroszlány, Hungary. After graduating the János Richter Secondary School
for Music in Gyõr, he studied with Ferenc Tarjáni at the Liszt Ferenc Academy of Music, Budapest between
1980 and 1985. He won prizes at several Hungarian and international competitions while still at the
Academy. The Anonymus Brass Quintet founded with his contribution was prizewinner in two categories at
the 1982 International Chamber Music Competition of Ancona. The 1986 “Maurice André” International
Competition organized for brass quintets in Narbonne, France, brought further international success for the
ensemble as the Anonymous Quintet was awarded the first prize.
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GRANT US PEACE MERCIFULLY – WALSRODE CONVENT
Glorification: Gaudent in celis; Sanctum est verum lumen
Mary: De una virgine
Protection: Litanei
Wie es mit dem Gesange gehalten wird auf dem kor: Allein Gott in der höhe sei her;
den 1. crist abend zur vesper: Nu kom der Heiden Heiland; Mein Seel erhebet den Herrn;
Cristum wir sollen loben schon; Crist morgen zur metten: Ein Kindelein so löbelich;
Crist dag zur vesper: Cristum wir sollen loben schon;
den anderen crist dach zur vesper: Belobet seistu Jesu Crist; den dritten Tag zur Metten: Ein Kindelein so
löbelich; Am niljen jardach zur vesper: Vom Himmel hoch da komm ich her; Am gründonnerstage aben: Da
Jesuß an dem Creuze stundt; Erbarm Dich mein o Herre godt; Vorlehn uns freden gnediglich
Schola und Ensemble devotion moderna/Ulrike Volkhardt
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LORD, OUR LORD – ISENHAGEN CONVENT
Glorification: Herre, unser Herrscher; Inveni David servum meum
Conduct of Life: Ex more docti mistico; Armilla perforate; Clarum decus
Paradise: Emissiones tue paradise; Amavit eum dominus
Sponsa: Favus distillans; Fons ortorum; Sicut Iilium inter spinas; Ecce tu pulchra es amica
mea; Ave Maria gratia plena
Jesus/Passion: Conversus est dominus/Benedictus es domine; Fit porta Cristi; Martir
insignis; Criste qui lux es; bis 38: Historia von dem Leiden und Sterben unseres HERREN
und Seligmachers lhesu Christi
Schola un Ensemble devotion moderna/Ulrike Volkhardt
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* NPR Featured Title * GOD SHALL BE PRAISED – MUSIC FROM LÜNE CONVENT
Admission to the Convent: Procendentem sponsum de thalammo; Nonnenkrönung
Praise: Cantate domino canticum novum; Ad te domine levavi oculos meos;
Revela oculos meos; Si oblitus fuero tu/Super flumina Babylonis; Ibant gaudentes
Suffering: In omnibus his non peccavit lob; Si bona suscepimus
Promise: Tribus signis deo dignis; Puer nobis nascitur
Protection: Protector noster; Scapulis suis obumrabit tibi dominus; Pastor bonus;
Genti peccatrici; Redemit dominus populum sum; Pastor bonus; A facie furoris;
Scapulis suis obumrabit tibi dominus
Heaven: Locutus est ad me unus de septemn angelis; Audivi vocem in celo
Schola und Ensemble devotio moderna/Ulrike Volkhardt
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CLAUDIO MONTEVERDI (1567 – 1643) – SCHERZI MUSICALI
Con que soavità; Ohimè ch’io cado; Sì dolc’è il tormento; Maledetto sia l’aspetto;
Quel sguardo sdegnosetto; Eri già tutta mia; Ecco di dolci raggi; Et è pur dunque vero;
La mia turca; Voglio di vita uscir; Più lieto il guardo; Perchè se m’odiavi;
Lamento di Arianna
Emanuela Galli, soprano
La Venexiana/Claudio Cavina
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In a certain way, this new disc from La Venexiana can be thought of as having the qualities of a pause or
“interval” following the Monteverdian intensity of recent years – during which time the group has recorded
the entirety of the madrigals by the Mantuan author (eight volumes), the Selva morale e spirituale and
L’Orfeo – and before going on to tackle new and ambitious projects.
According to the group’s director, Claudio Cavina, in these Scherzi Musicali “I have wanted to have a joke
with music, taking a look at Claudio Monteverdi's oeuvre from a concept of ‘light’ music very different to
that of a Quinto Libro de Madrigali or an Orfeo. Thus, we find ourselves before the mature phase of the
Monteverdian output, Monteverdi as precursor, experimenter and innovator.
The pizzicato from the theorbos and the harp, the melodic lines of the cornetto, the swing of the voice... we
present a divertissement for performers and listeners alike.”
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JOSEPH BODIN DE BOISMORTIER (1689 – 1755):
Daphnis et Chloé
Gaëlle Méchaly, Marie-Louise Duthoit, soprano; François-Nicolas Geslot, high tenor;
Till Fechner, Alain Buet, Renaud Delaigue, Arno Guillou, bass
Le Concert Spirituel/Hervé Niquet
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Following on from Callirhoé (André Cardinal Destouches), Sémélé (Marin Marais)
and Proserpine (Jean-Baptiste Lully), three important tragédies lyriques rescued from oblivion by Hervé
Niquet and Le Concert Spirituel, Glossa is now restoring to the catalogue and within its collection of French
Baroque opera, a recording made in Metz in December 2001: Daphnis et Chloé, the work which was to add
Joseph Bodin de Boismortier to the roll call of the history of music in a most determined fashion.
First performed in Paris in 1747 – a time when the tragédie lyrique, the genre which Lully had brought to its
peak, was already in evident decline – Daphnis et Chloé is a pastorale within which lurks a ballet with a
bergère storyline, and which is blessed with a plot which, although mythological in content, is of great
lightness; this neatly matched the taste of the nobility of the time and even more so that of Madame de
Pompadour with its recreation of an idealized pastoral world.
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FEATURED TITLES
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LOVE CALL – IMPRESSIONS OF ELLINGTON
Denis Gaebel
Artists: Denis Gaebel, tenor sax; Jasper Blom, tenor sax; Pablo Held, piano; Henning Gailing, bass;
Hendrik Smock, drums
Recorded on December 16 and 17, 2008 at Maarweg Studios, Köln.
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“Denis Gaebel plays with so much imagination and wonderfully builds up his solos! His technique is
tremendous! Denis stands above the matter!” - Han Reizinger
“He is a real band leader. You need a vision, a strong feel for sound, structure and presentation for that.
Denis seems to have it all.” - Yuri Honing
Denis Gaebel is a Cologne based saxophone-player. He has studied music on institutes such as the
‘Conservatory of Amsterdam’ and the ‘Manhattan School of Music’, NYC. In 2006 his first CD as a leader
‘Keep on Rollin’’ was released on nagel heyer records. This recording which features along with Denis,
Jasper Blom on Tenor Sax, Henning Gailing on Bass and Hendrik Smock on Drums is a celebration of Sonny
Rollins' 50s trio music.
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FEATURED TITLES
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SAMMAN – 70TH BIRTHDAY CELEBRATION
HONOURING A MAESTRO PANDIT SHIVKUMAR SHARMA
Artists: Pandit Shivkumar Sharma, santoor; Pandit Anindo Chatterjee, tabla;
Naina Shah, tanpura; Recorded live at Liverpool, UK, July 9, 1993
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This album has been released to celebrate the 70th birthday of the great santur maestro. It presents a full
performance of Raga Patdeep, a relatively rarely performed afternoon afternoon raga. Pandit Anindo
Chatterjee accompanies on tabla.
This 1993 recording was made in Liverpool UK during an extensive tour with Navras Records and Sama Arts
Network.
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JAPANESE TRADITIONAL MUSIC
NOH – BIWA – SHAKUHACHI - 1941 RECORDINGS OF THE KOKUSAI BUNKA SHINKOKAI
Music for the Noh theater: Takasag; Yashima; Hagoromo; Matsumushi; Aoi–no–ue;
Hachinoki; Youchi Soga; Teika ichiji; Sanekata
Kyôge kouta: Tsuchiguruma, Nanatsu ni naru ko; Jui no sarashi, Fuku no kami
Biwa: Môsô biwa: Jishinkyô; Heikyoku: Nasu no Yoichi; Satsuma biwa: Ko-Atsumori; Chikuzewn biwa: Gishi no honkai
Shakuhachi: Fuke shakuhachi: Ajikan; Kinko-ryû: Kokû reibo; Tozan-ryû: Iwashimizu; Miny' ô-shakuhachi: Oiwake-bushi |
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This second volume of the 1941 KBS recordings features Noh theater masters, many of whom had been
trained by artists active before the Meiji (1868) period. An essay and texts in both English and Japanese with
translation are included on the CD as PDF files and may also be printed. |
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Kevin Maynor 2009 Tour Schedule |
| ALLIED CONCERTS U.S.
TOUR — 2009 |
|
|
|
2009
NEW ZEALAND
AUSTRALIA
SOUTH AFRICA |
| MAY 3 - 4 |
SANTA FE SYMPHONY
|
SANTA FE, NM |
| AUGUST 2009 |
NEWARK,
NJ |
TREEMONISHA
BY SCOTT JOPLIN |
| AUGUST 2009 |
BLUE RIDGE MOUNTAINS |
STUART, VA |
"NAT TURNER" by MICHAEL RAPHAEL |
| OCTOBER
16 |
NEWARK,
NJ |
DARFUR,
DARFUR: A DRAMATIC CANTATA BY MICHAEL RAPHAEL |
|
|
|
