Stern 09.2015

The German industrial/gothic rock band Unheilig (which in German means "Unholy") formed in 1999 and quickly released their first single, "Sage Ja!," that same year. Initially signed to the Bloodline label, the group – including Grant Stevens, José Alvarez-Brill, and Der Graf – followed its debut club hit with a full-length offering in 2001 titled Phosphor. The success of the single and the album helped land Unheilig slots on their genre's festival circuit, including Zillo Open Air and the Doomsday Festival, but the trio members would soon find themselves back at work on new studio material, which resulted in 2002's Christmas album Frohes Fest and 2003's Das 2. Gebot. Unheilig built on their momentum by releasing another EP in 2003, as well as taking their sound to the audiences of Europe, which led to remixing projects and appearances on video game soundtracks.

Jean-Pierre Rampal - The Complete Erato Recordings Vol I. 1954-1963 (2015) {10CD Box Set Erato-Warner Classics 0825646190447}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 3.51 Gb | MP3 @320 -> 1.70 Gb
Full Artwork @ 300 dpi (png) -> 200 Mb | 5% repair rar
© 2015 Erato / Warner Classics | 0825646190447
Classical / Chamber Music / Flute

Ushering in a new golden era for the flute as solo instrument, Jean-Pierre Rampal secured his place in the classical music firmament as the greatest flautist of the modern era. Over 25 years (1954-1982), the French virtuoso’s fruitful collaboration with Erato grew into a truly exceptional achievement in recording history: an encyclopedia of flute music in vital performances that have remained the benchmark for generations. The first complete reissue of these recordings represents the most important collection ever dedicated to a single flautist. After all, it was Jean-Pierre Rampal that taught us to love the flute.

The D’Oyly Carte Company began its association with Decca after World War II, embarking on a series of recordings in the late 1940s and early 50s of the major Savoy Operas. A subsequent stereo-era cycle, begun in 1957, was followed in turn by a new series of which the present 1974 recording of Iolanthe is part of; in many respects, it is superior to its 1960 predecessor. Whereas the former set had used an ad-hoc orchestra, one of the glories of this remake is the contribution of the Royal Philharmonic Orchestra – immediately apparent from the atmospheric strings at the start of the overture (one of the few which Sullivan composed himself) and the brilliant woodwind playing in its fleet-footed dancing passages.