Cartola Viva Cartola

The emergence of the cello as a solo instrument at the beginning of the 19th century encouraged composers to explore its melodic and sonorous potential, with compositions for two or more cellos becoming increasingly popular. Bernhard Romberg and Anton Kraft both had personal connections to Beethoven – their works offer inventive timbres, intimacy and substantial virtuosity. The world premiere recording of the sparkling Concertino by Kraft’s son Nikolaus completes an album of unique gems, influenced by Beethoven and Haydn, which helped to usher in the golden age of the cello.

Alexander Alexandrovich Alyabiev (1787-1851) is beyond any doubt the greatest Russian Musician of his generation (before Glinka). Why, then is he not known better ? Well…his life reads like a novel ; an officer with the imperial army, he was contaminated by liberal ideas in Paris in 1812 and got close to the Decembrist's movement, which got him condemned in the 20ies and deported to Siberia a few years later. He there mixes and confronts Caucasian and « white » music (several decades before Borodin espouses the idea) and finally gets back to Moscow in 1843, in pretty poor health.

« Father of the Russian music », the Russian history books keep saying about Glinka. But what do we generally hear from Mikhail Glinka, except the echoes of Russlan and Ludmilla or from A Life for the Tsar (this CD includes the extraordinary danced interludes brought together by Peter Klimov)? The Moscow Chamber Orchestra, who revealed Alyabiev (FUG 539) offers a outstanding selection on this album. Besides well known works like The Kamarinskaïa or Nocnhoj smotr popularised by Chaliapine and announcing, 50 years in advance, Wolf and Mahler, most of it is indeed unpublished or rare work in the disc repertoire that are gathered here: deliciously diverted Italianisms, stunning fantasies prefiguring Rimski-Korsakov, and especially, everywhere, the colours of a romantic genius.

The Concertino for Cello & Orchestra was found in 2016 and established as a separate fore-runner to the later Cello Concerto. The Preludes autographed edition was presented to Marina Tarasova when she studied with Weinberg in 1979.

Cartola - Cartola (1974) {EMI–Discos Marcus Pereira 472569 2 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 161 Mb | MP3 @320 -> 68 Mb
Full Artwork @ 300 dpi (png) -> 12 Mb | 5% repair rar
© 1974, 2005 Discos Marcus Pereira / EMI Music Brazil | 472569 2
Latin / Brazilian Traditions / Samba / Brazilian Pop

Nearly 50 years after beginning his career, Cartola, the maestro of the samba, released his first album, and it exudes the quiet grace and rural charm that the samba featured decades before it was modernized later in the century. Of course, all the songs were written by Cartola himself (just 12 of the hundreds he composed), and most are by him alone. Those with limited knowledge of Brazilian music will find Cartola's vocal style closest to the quiet and husky growl of João Gilberto, with an accompanying slow groove and textured guitars. It's a vivid document of Brazilian roots music, featuring the instruments and stylings that all of the most famed artists of the '60s (Jobim, Gilberto, Veloso, Gil) would draw upon for their artistry.

A big collection of the best dance hits of the 90th, the most soulful and pleasant to the ear. DJ Bobo, Backstreet Boys, Cher, Robbie Williams, Tarkan, Janet Jackson, Falco, Modern Talking, Ace Of Base and more…

Diego Urcola's new record, Viva, features the Grammy nominated trumpeter leading an all-star lineup. "I wanted to put together my dream band," said Urcola. The core group of Edward Simon, Avishai Cohen, Antonio Sanchez, and Pernel Saturnino are joined by guests, Paquito d'Rivera, Jimmy Heath, Dave Samuels and Conrad Herwig. "I wouldn't be here if it weren't for Paquito," Urcola says. "He gave me my first big break, and I got to meet a lot of people through him, including Dave, with whom I've been working in the Caribbean Jazz Project for the last three years.