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ID: ARCD1202
Disk: 1
Type: CD
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Kolekce: Electronicformat: Digipack deluxe
Lounge, chill out, electronica, compilation
Without forgetting a typical tradition of "APERITIVO" in Milan, Italy, the hotel "SHERATON DIANA MAJESTIC" has adopted a new concept of "staying in a hotel without suitcases" as the creative hospitality method of behaviour trough the international hotels of New York, Paris and London.
The "DIANA" is known as the unique place of meeting point for the atmosphere of the fashion field, the show, the culture and the liberal professionalism. However, the "DIANA" is mainly focused on its own soundtrack idea: it is a CD trilogy as an integration of its world-wide brand. The first CD of the series, which is called "TRIBE" is one of the best electronic, lounge and chill out compilations. "DIANA GARDEN TRIBE" can be considered as a complement or an alternative choice to the famous international productions "COSTES HOTEL" and "BUDDHABAR".
This compilation will be an anticipation of the summer musical programme of the "DIANA GARDEN". The circumstance of the "AFRO" internal designed atmosphere is treated with lightness and elegance in order to remember Latin and Mediterranean styles. The heat album production can not be missed in any house of this kind of music lovers and also in the best trendy places. |
| 19.00 eur Buy |
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ID: DCD34094
Disk: 2
Type: CD
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Kolekce: BaroqueHandel's musical illustration of Dryden's Alexander's Feast, first performed in 1736, was a critical and popular success. A day after the première, the London Daily Post reported 'Never was upon the like Occasion so numerous and splendid an Audience at any Theatre in London, there being at least 1300 Persons present'.
Twice a year some of the UK's finest baroque players and young vocal soloists come together in Edinburgh's Canongate Kirk to give sell-out concerts of the great works of Bach and Handel. The chorus, handpicked by Will Dawes, comprises a sensational selection of singers from Britain’s finest early music consorts, including the Monteverdi Choir, the Sixteen, Polyphony and the Gabrieli and King’s Consorts.
Ludus Baroque's appearances are unmissable events in Edinburgh's calendar. Now for the first time listeners from further afield can experience the vibrancy of their Festival-fuelled performances in this their debut recording. Alexander's Feast is the perfect showpiece for the vitality and abandon of Ludus Baroque and their rising-star soloists.
Ludus Baroque - baroque chamber orchestra
Sophie Bevan soprano
Ed Lyon tenor
William Berger bass
Richard Neville-Towle conductor
Track listing
Part One (disc 1)
1 Ouverture
2 Recitative (tenor) ‘Twas at the royal feast
3 Air (soprano / tenor) and Chorus Happy, happy, happy pair!
4 Recitative (tenor) Timotheus, plac’d on high
5 Recitative (soprano) The song began from Jove
6 Chorus The list’ning crowd admire the lofty sound
7 Air (soprano) With ravish’d ears the monarch hears
8 Recitative (tenor) The praise of Bacchus
9 Air (bass) and Chorus Bacchus, ever fair and young
10 Recitative (tenor) Sooth’d with the sound, the king grew vain
11 Recitative (soprano) He chose a mournful Muse
12 Air (soprano) He sung Darius, great and good
13 Recitative (soprano) With downcast looks the joyless victor sate
14 Chorus Behold Darius great and good
15 Recitative (tenor) The mighty master smil’d to see
16 Arioso (soprano) Softly sweet in Lydian measures
17 Air (tenor) War, he sung, is toil and trouble
18 Chorus The many rend the skies with loud applause
19 Air (soprano) The prince, unable to conceal his pain
Part Two (disc 2)
1 Recitative (tenor) and Chorus Now strike the golden Lyre again
2 Air (bass) Revenge, Timotheus cries
3 Recitative (tenor) Give the vengeance due
4 Air (tenor) The princes applaud with a furious joy
5 Air (soprano) and Chorus Thais led the way
6 Recitative (tenor) Thus, long ago
7 Grand Chorus At last divine Cecilia came
8 Recitative (tenor / bass) Let old Timotheus yield the prize
9 Chorus Let old Timotheus yield the prize
10 Chorus Your voices tune, and raise them high |
| 20.00 eur Buy |
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ID: IMP1518
Disk: 2
Type: CD
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Kolekce: Vocal CollectionPodkolekce: Chamber Choir
Gustaf Sjökvist Chamber Choir
Jeanette Köhn, soprano, Patrik Sandin, baritone
Gustaf Sjökvist, conductor
The first recording of a much appreciated work from 2013 by the Swedish composer Rolf Martinsson. Participants includes Gustaf Sjökvist Chamber Choir, one of Sweden's foremost choirs.
Total time: 90 min |
| 20.00 eur Buy |
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ID: KAI0012032
Disk: 1
Type: CD
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Kolekce: Vocal CollectionAfter his hospitalization for a psychological break in the 1950's, Giacinto Scelsi began composing music that was radically different from his earlier, more conventional serial works. Based on explorations of tiny details of timbral variation, his new music defied categorization. His first new works are compelling examinations of repeated notes and their microtonal neighbors. His later pieces are lush sculptures of sound, placed carefully in a silent landscape. 'Okanagon,' is a microscopic observation of repeated low notes, juxtaposed at various angles. In some "views" the ensemble plays percussively on the sides of their instruments, giving the impression of a note magnified so largely that one can hear the individual pulses.
Though it may be difficult to relate Scelsi to other music, it is not without contemporary relevance. Ligeti's string quartets and Penderecki's "Threnody for the Victims of Hiroshima" also employ drone and microtonality. Theirs are harsh cries to Scelsi's fascinated murmur, however.
This great collection, all from various stages of Scelsi's second period, shows the development of his style. Unconventional music always risks horrifying misinterpretation but Hans Zender and the Vienna Klangforum honor Scelsi's music with a reverence for timbre and space. The performances are excellent, and beautifully recorded. |
| 21.00 eur Buy |
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ID: KAI0012392
Disk: 1
Type: CD
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Kolekce: Vocal CollectionPodkolekce: Voices and Orchestra
Sophisticated formal strategies, a strict organisation of material, in a nutshell: with the greatest nonchalance, Staud draws on a secured intellectual foundation and on long-proscribed emotionality for his music. In his determination to express himself, the composer does not shy from highly expressive moments, excited cascades of sound, dynamic and strongly staggering commotions, or apparently self-reflective lyrical passages - and continuously subjects these to precise structural controls. A highly emotional approach, which at the same time is precisely calculated. For Staud, one of the key parameters in this calculation is the tonal quality of his music.
(Carsten Fastner)
Includes booklet with text by Johannes Maria Staud and Carsten Fastner |
| 21.00 eur Buy |
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ID: KAI0012562
Disk: 1
Type: SACD
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Kolekce: Vocal CollectionPodkolekce: Voices and Orchestra
World premiere recording
“... and every voice reaches listening ears”: When one blocks out the context of this formulation in Ovid’s brilliant description of the house of Fama, at the beginning of Book XII of his Metamorphoses, one can imagine without difficulty a person, who would find this so obvious an experience, that at first it hardly seems worth mentioning. But everyone, who understands the world by hearing the voices that reach their ‘listening ears’ gains thereby a similar experience, which for the most part we tend to block out, whether in the noisy urban environment or mainly in ostensibly quieter rural surroundings. With every perception, we select, order, classify or, during a visit to a classical concert, aurally ‘correct’ mistunings and overhear those fine overtones, out of which a fascinating cosmos of new sounds has developed in the past decade. Yet if one reads the Ovid rather more carefully, a strange and unique feature of the place described comes into view: it does not distinguish where a sound comes from, does not ask what it is, accepts everything that comes to it, and allows it to reverberate within, transformed into a gentle resonance. What Fama, the goddess of Rumour, then does with this wealth of information lies on a different page of course, and we will yet have to return to it. The open ear registers what comes to it without prejudice, and each listener should not just consciously activate it now and then with music. And Ovid’s image contains something else: the description of Fama’s house as a space filled with sound acts as an express reminder that, for one thing, without a space, sound would be unthinkable. For another, it records both the distance between what is making the sound and the place of its perception as well as the bridging of this distance through the expanse of space. In addition, that account evokes something which fundamentally distinguishes the auditory from other senses of perception: in opposition to the visible, sounds moving in space can freely develop, overcome obstacles without effort and intermingle with one another, without losing their own unique characteristics. In was Ovid’s incredible conception of a place to which all the events and sounds of the world come and find resonance that always fascinated Beat Furrer. (Daniel Ender)
Includes booklet with text by Daniel Ender |
| 21.00 eur Temporarily out of stock |
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ID: KAI0012972
Disk: 1
Type: CD
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Kolekce: Vocal CollectionPodkolekce: Voices and Chamber Ensemble
Gösta’s disinterest in homogenous, unified forms results in swift transitions between sonic states. Non-repetition. “I define sound in terms of structure, not in terms of expressivity.” In this, the sound-and thus probably also its sensuosity, in a gradual, carefully way-is compositionally lent weight in L‘oubli... “via the use of the harp and the keyboard instruments accordion and piano, as well as by exploiting string colours.” Such apparitions of colour change rapidly, fluctuate.
(Lothar Knessl) |
| 21.00 eur Buy |
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ID: KAI0012022
Disk: 1
Type: CD
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Kolekce: Vocal CollectionPodkolekce: Voices and Chamber Ensemble
(text by Salvatore Sciarrino after Maria Maddalena de' Pazzi)
Attracted by the borderline experiences and solitary forms of a gradually darkening Renaissance, these compositions by Salvatore Sciarrino revolve around three figures from the 16th century, all of whom lost control in the field of tension between feverish living and spiritual demise, between brightness and damnation, inspired, driven and obsessed. The famous poet Torquato Tasso describes in three authentic letters (Lettere poetici) his tormenting visions of goblins and phantoms. This is all reflected in Sciarrino's intense, whispering, whirring music, in which silence is as significant as the birth of sound, "Almost naked, sober," remarks the composer, "and that is an important element when one is listening to music. Only in this way can it bore its way into the flesh." |
| 21.00 eur Buy |
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