Artemiev Nurenberg

Outstanding performances of de Falla's, Granados and Albeniz's works.Unmistakable quality of a past standard of excellence that is hardly matched today.Rodzinski's austere conducting and his vitality and precision refined and developed some of the major orchestras of the time.These Rodzinski's memorable recordings include the Maestro's farewell to the Royal Philharmonic Orchestra at his last recording session for Westminster.

The classical conductor Ulrich SOMMERLATTE was more than sixty years old when he fell in love with Progressive rock. Not unlike a certain Eduard ARTEMIEV, who followed a similar path at the same time in the Soviet Union, our man decided to offer his great knowledge to the popular music of that era. Today reissued by the Musea label, "Sad Cypress" has been recorded in 1979 with the help of the Master's son on keyboards, a guitarist-singer, a drummer and a flautist-bassist. The result, as one could expect, is a superb symphonic rock, precious and refined, full of fineness and harmonic tricks. The influences range from GENESIS (above all) to YES, CAMEL and GENTLE GIANT. Add to this that the CD reissue includes four bonus tracks, recorded between 1983 and 1987.

Les Menestrels - In Gottes Namen fahren wir - Musik aus der Zeit der Babenberger (1995) {ORF "Edition Alte Musik" CD 48}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 271 Mb | MP3 @320 -> 152 Mb
Full Artwork @ 300 dpi (png) -> 217 Mb | 5% repair rar
© 1995 Les Menestrels / ORF "Edition Alte Musik" | CD 48
Classical / Medieval / Early Music / Vocal

Les Menestrels, Wiener Ensemble für Alte Musik. Great medieval music. Rare polyphony and choral. Perfect!

Richard Bone is an American composer and musician who has been regularly releasing albums since 1993, mostly on his own Quickworks Laboratory Discs label. The music on Indium consists of unreleased music as well as music written to be performed at Artemiy Artemiev's First International Festival of Electronic, Electroacoustic, Experimental and Avant-garde Music in Saint-Petersburg, Russia. A combination of dark and light tones, contrasting hard/soft metallic textures, and diverse rhythms, it’s a striking work that plays like a power surge running through your mind.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination. Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first - a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress - recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike…