The Celia Collection

This 28 CD box set includes the Argo jewels from Marriner’s early recording days with the chamber orchestra he founded in 1958, The Academy of St Martin in the Fields. The edition spans the years 1964-1981, and includes a bonus CD of the first recordings from 1961.The collection concentrates on the Argo years, when the pattern for the Academy’s success was set. Winning performances by soloists such as Alan Loveday and Iona Brown — who in 1974 became Marriner’s successor in directing from the violin – were a key part of the fabric of the Academy’s unique sound.

CD album by te label 'Sarabandas' within the collection 'Saludos amigos' that offers a collection of 16 songs selected from the great successes of Cuban singer Celia Cruz, especially his long golden age with the Sonora Matancera (the marriage lasted 15 years ). Title assigned to the CD, 'Merengue', is misleading because it only includes a dance track with that style, others rhythms are distributed between rumba, guaracha, mambo, salsa, son and bolero.

Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body– complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. We live where diasporas collide, incorporating piyyutim and Pygmy counterpoint, doo-wop and niggunim, work songs and Torah chanting. The texts speak of mysticism and sex; angels and demons; and the trials and joys of love and sex…

One of the leading experts in early music, Christopher Hogwood, leads the way as you hear the beautiful 17th-century theatre music of British composer Henry Purcell. The Academy of Ancient Music and the Taverner Choir perform Abdelazer; The Married Beau; Bonduca; Circe; Don Quixote; The Double Dealer; The Rival Sisters , and much more!

Among all his remarkable and varied compositional talents, Purcell was the supreme craftsman when it came to setting his native language to music. Addison wrote of Purcell’s ‘Tunes so wonderfully adapted to his Words’ and Playford, in his introduction to the first volume of Orpheus Britannicus (1706) commented that ‘The Author’s extraordinary Tallent in all sorts of music, is sufficiently known; but he was particularly admir’d for his Vocal, having a peculiar Genius to express the Energy of English Words, whereby he mov’d the Passions as well as caused Admiration in all his Auditors’. Purcell combined an innate sense of the natural rhythms of speech and a wonderful melodic flair with a richness of harmonic language that few composers have ever matched.