Triana

Gino D'Auri - Flamenco Passion
APE 296 mb | mp3 126 mb | 320 kbps | 55 min
Genre: New Age, Acoustic, Flamenco

Gino D'Auri, world renown flamenco guitarist, has died of cancer at his Los Angeles home on 26 January 2007. "These days, many people think that flamenco is about playing sixty thousand notes as quickly as possible. My flamenco is slower, very traditional and down to earth. I may use cello and percussion, but its done in a traditional way, without a lot of notes. For me the music is about feeling and improvisation. I like to take chances, the communication is better that way." ~Gino D'Auri

Lounge music is a type of easy listening music popular in the 1950s and 1960s. It may be meant to evoke in the listeners the feeling of being in a place, usually with a tranquil theme, such as a jungle, an island paradise or outer space. The range of lounge music encompasses beautiful music–influenced instrumentals, modern electronica (with chillout, and downtempo influences), while remaining thematically focused on its retro-space-age cultural elements…

A superstitious, illiterate young gypsy servant girl comes to live with a solitary female artist at her country chateau. The girl has recurring nightmares of a naked man on horseback assaulting and abusing her. As the artist takes the girl under her wing, an sensuous relationship develops between them. At the same time, the naked horseman begins to appear in reality. The girl, convinced that he represents her doom, resists him; but the artist is intrigued and a bizarre erotic triangle is established.

Iberia is a suite for piano composed between 1905 and 1909 by the Spanish composer Isaac Albéniz. It is composed of four books of three pieces each; a complete performance lasts about 90 minutes. It is Albéniz's best-known work and considered his masterpiece. It was highly praised by Claude Debussy and Olivier Messiaen, who said: "Iberia is the wonder for the piano; it is perhaps on the highest place among the more brilliant pieces for the king of instruments". Stylistically, this suite falls squarely in the school of Impressionism, especially in its musical evocations of Spain.

Robert Shaw was a Fred Waring protégé who, by the end of his 17-year tenure heading The Robert Shaw Chorale, had fashioned arguably the most widely-known and respected professional choral organization in the United States. The Chorale recorded a number of charting albums, all for RCA Victor, but the one that will always be considered their definitive recording is this Christmas album, presented here in its 1957 re-recorded stereo version (like a lot of popular Christmas albums of the day, Christmas Hymns and Carols had several incarnations, first appearing in the ‘40s as a box of four 78 rpm discs). The album went to #5 on the charts in 1949 and 1957, then hit the charts another three times during the ‘60s; one could argue that, with its seamless medleys and majestic harmonies, it is to this day the gold standard for choral Christmas recordings.

We released Volume I of the Robert Shaw Chorale’s Christmas Hymns and Carols to rapturous response from lovers of Christmas music everywhere, so following it up with Volume II was a natural. Indeed, this second volume of Christmas carols—presented, like on its predecessor, in a series of medleys—perfectly complements the first volume by casting its eye a bit farther afield in search of repertoire suited for the brilliant arrangements of Fred Waring protégé Shaw and his longtime collaborator, Alice Parker. So, instead of the well-worn “O Come All Ye Faithful”/”The First Nowell”/”O Little Town of Bethlehem” medley that led off Volume I, here a medley of “I Saw Three Ships”/”O Tannenbaum”/”Allon, Gay Gay Bergeres”/”The Holly and the Ivy” leads off, followed by “Fum, Fum, Fum”/”Hacia Belén”/”Ya Viene La Vieja”/”La Virgen Lava Pañales,” and more relatively unfamiliar fare, all flawlessly and fervently rendered by The Chorale.