Luis de Pablo

Lorna Windsor’s selection of eight 20th and 21st-century composers highlights how the voice incarnates different expressive forms more than any instrument. Left naked in its primeval state, the voice leads each composer to rediscover his personal voice, unfettered by convention. Six of the eight composers represented here were born within the same five years, from 1926 (Kurtág and Feldman) to 1931 (Bussotti, Kagel), in 1929 Pousseur, in 1930 De Pablo.

José Ramón Encinar - Mise en Scène (1997)
Classical | EAC: FLAC+Cue+Log | 1 Cd, Covers | 248 Mb
Label: col legno - Date: 1997

Su extensa discografía incluye grabaciones para diversos sellos; Naxos, Stradivarius, Col Legno, Glossa, Verso, Decca o Deutsche Grammophon. En su catálogo de compositor destacan obras como Cum plenus forem enthousiasmo, El aire de saber cerrar los ojos, Almost on stage, Io la mangio con le mani, Proyecto y Mise-en-scène…

Horacio Vaggione - Musique Pour Piano et Électroacoustique (1995) {Mnémosyne Musique Média LDC 278 1102}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 245 Mb | MP3 @320 -> 120 Mb
Full Artwork @ 300 dpi (jpg) -> 31 Mb | 5% repair rar
© 1995 Mnémosyne Musique Média | LDC 278 1102
Classical / Electroacoustic / Contemporary Classical / Solo Piano

Horacio Vaggione has been integrating computers to his approach to composition since the 1970s. His body of work includes electroacoustic pieces, mixed pieces, and instrumental music. Born in 1943 in Argentina, Vaggione has been residing in France since 1978. He studied piano with Ornella Ballestreri and composition at Universidad Nacional de Córdoba (Argentina, 1959-62) and in Buenos Aires (Argentina) with Juan Carlos Paz. He holds a PhD in musicology from Université Paris 8 (France, 1983), where he worked under Daniel Charles.

This landmark set superbly documents the wide ranging talents of one of Cuba's greatest artists—expatriate pianist/composer/arranger Bebo Valdés—in the company of an impressive cast of New York's finest Latin jazz instrumentalists. The first disc, Suite Cubana, features the pianist, father of the more famous Chucho Valdés, leading an all-star big band through a collection of original compositions that revisit the classic sound of the golden age of Cuban music in a variety of infectious rhythms (mambo, bembé, son, guaracha, guajira, montuno, batanga, and comparsa) laid down by Valdés, Edgardo Miranda, John Benitez, Dafnis Prieto, Milton Cardona, Joe Gonzalez, and Rickard Valdés.
The melodies are memorable and the arrangements smooth and sophisticated.

Lovers of the Spanish Baroque may be surprised to see the subtitle "17th-century violin music in Spain" here, inasmuch as non-keyboard instrumental chamber music following Italian models has never surfaced before. Indeed, the booklet transmits statements by writers of the time bemoaning the lack of such violin music. What's happening here is that Spanish historical-instrument group La Real Cámara and its director-violinist Emilio Moreno have hypothesized that Spanish organ music might have been arranged for other instruments in the same way Italian music certainly was; Girolamo Frescobaldi specifically attested to this.