Alma Mater Ratzinger

Once upon a time, goth rock meant a bunch of vampire-looking people playing new wave-y music. However, the times they are a changin', as goth metal has arguably become the most common and popular goth-related music circa the early 21st century. And the proof is in the emergence of such acts as Moonspell…

Little is known about the life of the composer Pierre Moulu—he joins the long lists of Renaissance musicians whose lives are all but entirely masked in shadow. Fortunately a number of his works found favour with his contemporaries to the extent that they appear in numerous early manuscripts and prints, and they have attracted the attention of music historians since the earliest days of the discipline in the late nineteenth century. Like much of the large repertory of sixteenth-century polyphony, however, his works have rarely been performed in modern times, and this is the first recording devoted to his music.

Vienna, Salzburg and Rome were among the principal centres of power for the Holy Roman Empire of the late 17th and early 18th centuries, and they accordingly attracted the most talented and ambitious composers of the day. The Venetian-born Caldara aspired to the post of Court Kapellmeister in Vienna, and composed the wedding music for Emperor Charles VI in 1708. He won huge success in Rome, where he followed in the footsteps of the young Handel, and eventually won the favour of the emperor himself, who even conducted some of Caldara’s operas.

The Stabat Mater Dolorosa is a sequence, not a chant, and no unified melody was established for it until the mid-nineteenth century; it was even banned for a time by the Council of Trent, but restored to liturgical use in the late 1720s by Pope Benedict XIII. Much as Prohibition did not stem the tide of alcohol use, the Council of Trent's ban on the text did not diminish the popularity of the Stabat Mater. It was during the official, 160-year-long period where the Stabat Mater was not heard in churches that Giovanni Felice Sances composed the title work on this Mirare CD Stabat Mater, featuring Carlos Mena, Philippe Pierlot, and the Ricercar Consort.

Cristóbal Galán (c.1620-1684) - Canto Del Alma - La Grande Chapelle, Albert Recasens (2010) {2CD Lauda - LAU010}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 432 Mb | MP3 @320 -> 233 Mb
Full Artwork @ 300 dpi (jpg) -> 101 Mb | 5% repair rar
© 2010 Lauda | LAU010
Classical / Baroque / Сappella

Cristóbal Galán was born in Madrid (Spain) around 1625; nothing is known about his musical education or the early stages of his career. Between 1653 and 1664 he acted as "maestro de capilla" in various churches. From 1664 to 1667 he was director of the choir at Segovia Cathedral, and then he was appointed director of music at the convent of the Descalzas Reales. The queen regent wanted him to become director of music at the royal chapel, but this met strong resistance. It was only in 1680 that he obtained this position. It didn't bring him much luck, as he felt that he wasn't appreciated enough. Payments were also often delayed, mainly because of the bad economic state of Spain in the last decades of the 17th century. Not only Galán, but all musicians suffered from this situation.

From The Studio's earliest days, music has always been an integral part of the Disney creative process. But when 'Who's Afraid of the Big Bad Wolf' debuted in 1933, it began a musical legacy that remains unmatched to this day. Disney Classics Box Set is a music collection that represents this legacy.

We’ve had several releases in recent years of works by the likes of Lourié, Roslavets, Wyschnegradsky, Deshevov, and Popov: forgotten composers demonstrating an inspired level of early Soviet Era music-making in styles that were subsequently abandoned. Leonid Polovinkin (1894–1949) is apparently next up for rediscovery. In 1914, he entered the Moscow Conservatory, graduating a decade later, and began two years of post-graduate work. He then taught orchestration and analysis at his alma mater for six years before joining the Moscow Central Children’s Theater as music director. Like Roslavets, Polovinkin was an active member of the radical Association for Contemporary Music (ACM), and even created several “collectivist” works—such as The Four Moscows, with Mosolov, Alexandrov, and Shostakovich, and a symphonic Prologue with Mosolov, Roslavets, and Shostakovich.

American pop/jazz-rock group. One of the biggest-selling bands in U.S. history, hailing from the Windy City (Chicago, Illinois). Formed in 1967 as "The Big Thing", they were one of the first groups to successfully fuse rock with a horn section…

Released at the height of the European goth metal craze, Moonspell's Wolfheart was a surprisingly accomplished effort by a band originating in the unlikeliest of places, heretofore relatively metal-free Portugal. Diligent students of their northern European neighbors, the bandmembers had yet to develop a wholly original voice, but quickly proved they'd done their homework by incorporating the genre's trademark elements (morbid lyrical schemes, dreary and melancholy riffs, ambient keyboards, demonic chorales) into the grandiloquent opener, "Wolfshade (A Werewolf Masquerade)." Singer and group instigator Fernando Ribeiro (here named Langsuyar for maximum crypt-defiling effect) alternates death grunts and a guttural baritone style obviously inspired by Type O Negative's Peter Steele as he leads his troops through multi-faceted but often overly ambitious compositions…