Selig

Selig - Popstar
EAC+LOG+CUE | FLAC: 90 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Epic # EPC 664539 2 | Country/Year: Germany 1997
Genre: Rock | Style: Alternative Rock

Selig ("Blessed") is a German rock band from Hamburg, which was most famous in the 1990s for a mixture of experimental 70s rock and Grunge…

Selig - Wenn Ich Wollte
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 111 MB
Label/Cat#: Epic 660405 2 | Country/Year: Germany 1994
Genre: Alternative Rock | Hoster: Filesonic/Uploaded

Selig is a German rock band from Hamburg, which was most famous in the 1990s for a mixture of experimental 70s rock and Grunge…

Selig - Und Endlich Unendlich
year: 2009 | mp3 @ 192 vbr | genre: rock | 77 MB

Selig haben wieder zueinander gefunden! Damit meldet sich eine der wichtigsten deutschsprachigen Rockbands der neunziger Jahre zurück. Natürlich in der Originalbesetzung, denn Selig haben ja noch nie halbe Sachen gemacht. Und schau: Mit „ Und Endlich Unendlich“ ist ihnen ein glückseliges, kompromissloses Album voll großer, unerschrockener und leuchtender Momente gelungen.

Selig - Von Ewigkeit zu Ewigkeit
EAC+LOG+CUE | FLAC: 450 MB | Full Artwork | 5% Recovery Info | Genre: Rock
Label/Cat#: Vertigo Berlin # 0602527509303 | Country/Year: Germany 2010

File this one under "they don't make 'em like that anymore." Which is, of course, an exaggeration, but does say something about Selig and their stubbornly '90s brand of unadorned grown-up rock. They still start off with grunge 19 years after Nevermind – which alone is impressive enough – but add a healthy blues-rock influence in the Black Crowes vein to channel maturity, not angst. (…) as well as a fiendishly enjoyable way of dispelling the notion that the Germans ain't got no groove.

Beethoven's five sonatas for cello and piano laid the foundations of twentieth-century musical thought. Under the fingers of Gary Hoffman and David Selig, these five monuments of musical history, though dating from the early nineteenth century, reveal all their premonitory dimension. For these two peerless musicians, this recording marks the culmination of an artistic partnership that began more than thirty years ago. Gary Hoffman and David Selig met in 1986 and have been programing Beethoven's sonatas for many years. Sometimes they even play them all in a single concert. Hoffman says, "I regret that the notion of individuality is being lost today. What is wonderful is to reveal the different 'characters' of the score. Even in Beethoven's quartets, there are voices that emerge from a sonic 'fusion'."

The church cantata very quickly came to occupy a privileged place in Bach’s output, but it was in his Leipzig period that he explored new stylistic possibilities for the genre in several cycles. The third of these, mostly scored for relatively small forces, features in these Dialogkantaten three fine examples of the ‘madrigalian’ type: in their arias, recitatives and chorales, the composer deploys a poetry that does not exclude audacity and an eloquence worthy of opera.

Philippe Herreweghe has always seemed well-attuned to the more mystical aspects of Bach’s music, an empathy clearly evident on his new CD of Advent cantatas. Though the opening chorus of BWV 36 seems a touch reserved, those of BWV 61 and 62 match precision with vigour, and Herreweghe’s team of soloists are in fine voice throughout. BWV 36 is a parody, based on an earlier tribute to a local teacher. Bach retained his original music for the arias, but replaced the recitatives with chorales, so the cantata alternates delightfully between dance movements and more formal hymn settings.

As for the Masses, Mozart kept to the traditional plan in six sections (Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei), even when the inpression is that the sections are more numerous (as many as 21 in the "Orphanage" Mass), it is actually a matter of sub-sections, of varying number according to the requirements of the particular work, including famous and impressive settings of the 'Laudamus te' and 'Et incarnatus est'.