Mari’s 飯島真理

Mari Boine is an artist without equal. Her interpretation of the Sámi musical heritage has won her a truly international audience. Across the world she has come to represent the epitome of the merger between age-old musical heritage -with a universal depth of message and emotion- and progressive aspects of today's music.

The baroque ensemble Artemandoline and the renowned soprano Nuria Rial are set to release their new album Venice’s Fragrance on June 12th, on the German label Sony, Deutsche Harmonia Mundi and on the French label Sony France.

Mari Kodama presents New Paths, exploring the young Johannes Brahms and his fascinating friendship with Clara and Robert Schumann. The album derives its title from Robert Schumann’s famous essay “Neue Bahnen”, in which he heralded the young Brahms as the most eminent musical voice of the future.

Mari Mäntylä is one of the most appreciated classical guitarist in Finland. Her main instrument is decacorde, the 10-string classical guitar.

Mari Iijima (飯島真理) - Collection (1985-2009)
MP3 320 kbps | 10 albums, 4 singles | Covers included | 1,09 Gb
Genre: JPop, Singer/Songwriter

Mari Iijima (飯島 真理 Iijima Mari, born May 18, 1963 in Tsuchiura, Ibaraki, Japan) is a Japanese singer-songwriter. She writes and produces most of her own music, and plays the piano and other instruments.

Mari Kimura (木村 まり Kimura Mari) is a Japanese violinist and composer best known for her use of subharmonics, which, achieved through special bowing techniques, allow pitches below the instrument's normal range. She is credited with "introducing" the use of violin subharmonics, which allow a violinist to play a full octave below the low G on the violin without adjusting the tuning of the instrument. Polytopia: Music For Violin and Electronics is her first CD for the Bridge label, and her first created without collaborators.

The pianists Mari Kodama, Momo Kodama, Karin Kei Nagano and conductor Kent Nagano present Double and Triple Piano Concertos by Mozart and Poulenc, together with the Orchestre de la Suisse Romande on a new CD recording (Pentatone). Similar to Mozart’s own practice of making music with his family, the Nagano-Kodama family recorded Mozart’s piano concerto No. 7 for 3 pianos and No.10 for 2 pianos as well as Poulenc’s concerto for 2 pianos and orchestra.

Morton Feldman's late period was characterized by works dedicated to friends, his "For …" pieces. One of the best-known and most frequently performed is the piano piece For Bunita Marcus, who was a composition student of his. The work consists of single notes and short patterns of notes spatially notated, without precise rhythmic values. The effect is of a very leisurely improvisation, using a limited number of pitches, played in apparently random manner over the whole expanse of the keyboard. Listeners expecting a structured musical experience governed by conventional musical logic would probably find the piece infuriatingly scattered and pointless.

Fielding an all-contemporary agenda, mostly by composers with links to her native Finland, Mari Mäntylä is a skilled and expressive player who presents a persuasive case for the decacorde. The leaden properties that blunted the many positive attributes of Yepes’ recorded legacy are absent, Mäntylä’s instruments sounding like unusually resonant standard guitars entering territory their six-string forbears are denied. Nowhere is this more striking than in Kymmari by Jukka Tiensuu, composed for Mäntylä’s semi-fretless decacorde. Two strings are altered by a quarter tone and yes, the music is seriously heavyweight. Its unique soundscape is an experience not to be missed. Elsewhere, there’s more accesible fare, the ethereal Pilvi kämmenellä (A Cloud on the Palm of the Hand), a potential ”hit” for the modern decacorde.