Faz 17.2

Mirror of Light - Cantigas de Santa Maria, Vol. III - The Renaissance Players (1996) {Walsingham Classics WAL8035-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 307 Mb | MP3 @320 -> 147 Mb
Full Artwork @ 300 dpi (png) -> 57 Mb | 5% repair rar
© 1996 Walsingham Classics | WAL 8035-2
Classical / Medieval / Early Music / 13th Century / Spanish

In order to better understand the continuous turmoil in the life of Alfonso X, and thence to wonder by what miracle he was able to devote so much time and energy to his vast creative-intellectual output, it may be beneficial to step back and consider what sort of man his father was and what was the nature of the problems he inherited on assuming the Castilian crown in 1252.

Em comemoração aos 200 anos da chegada da Família Real Portuguesa ao Brasil, a Prefeitura do Rio patrocinou a série de 5 CDs "A Música na Corte de D. João VI". Faz parte da série "Missa de Nossa Senhora da Conceição", do Padre José Maurício Nunes Garcia, gravado na Sala Cecília Meirelles, entre os dias 3 e 6 de março e na Igreja Nossa Senhora do Carmo da Antiga Sé, nos dias 07 e 08 de março de 2008. A gravação é da Orquestra Sinfônica Brasileira e o Coro Calíope, sob regência do Maestro Roberto Minczuk, com os solistas Rosana Lamosa, Lina Dias, Adriana Clis, Fernando Portari, Homero Velho e Rafael Thomas.

While it's true that Luiz Bonfá is a forgotten name among many bossa nova lovers - past and present - a forgotten name rarely associated with his younger peers he influenced (Jobim, Gilberto, de Moraes) who took the music to international popularity. Bonfá is a ghost whose shadow looms large over the music, whether he is well known or not. He composed both main themes for Black Orpheus, which ended up on the hit soundtrack. Here Bonfá does what he does best: play an amazing guitar, arrange a series of uncredited session players, sing, and dig deep into the roots of bossa nova as it comes out of samba, but then return it changed but folded into the tradition. Tracks like "Samba de Duas Notas" ("Two Note Samba"), with its beautiful guitar/flute front line slipping around and through one another in the bridge, are typical of this man's artistry and innovative…

While it's true that Luiz Bonfá is a forgotten name among many bossa nova lovers - past and present - a forgotten name rarely associated with his younger peers he influenced (Jobim, Gilberto, de Moraes) who took the music to international popularity. Bonfá is a ghost whose shadow looms large over the music, whether he is well known or not. He composed both main themes for Black Orpheus, which ended up on the hit soundtrack. Here Bonfá does what he does best: play an amazing guitar, arrange a series of uncredited session players, sing, and dig deep into the roots of bossa nova as it comes out of samba, but then return it changed but folded into the tradition. Tracks like "Samba de Duas Notas" ("Two Note Samba"), with its beautiful guitar/flute front line slipping around and through one another in the bridge, are typical of this man's artistry and innovative…

Maria Morning Star - Cantigas de Santa Maria, Vol. II - The Renaissance Players (1996) {Walsingham Classics WAL8008-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 315 Mb | MP3 @320 -> 158 Mb
Full Artwork @ 300 dpi (png) -> 61 Mb | 5% repair rar
© 1996 Walsingham Classics | WAL 8008-2
Classical / Medieval / Early Music / 13th Century / Spanish

“This cantiga tells how King Alfonso of Castile suffered in Vitoria and had a pain so great that they thought he would die from it. They put upon him a book of the Cantigas de Santa Maria to cure him. [The King recounts :] … I didn't scream nor did I feel any pain at all, but felt well instantly…”. -Cantiga 209, Muito faz grand'erro. Thus King Alfonso X, el Sabio, tells in the first person how he was miraculously cured of a mysterious illness (now thought to have been caused by a tumour of the maxillary antrum) when the Book of Cantigas de Santa Maria made by his scribes was placed upon his frail, ailing body. In this, as in all the cantigas in the Book, Alfonso wished to make it clear to all his subjects, at every level of society, in an accessible language (the poetic Galician-Portuguese vernacular) and a persuasive medium, that divine grace was an everyday reality.