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Topics - Niko

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Audiofile / Telemann, Georg Phillipp
« on: June 04, 2010, 02:27:17 PM »
Telemann, Georg Phillipp: Rapidshare, Blogspot, Megaupload

Georg Phillipp Telemann

German Baroque composer.


Georg Phillipp Telemann - Double & Triple Concertos
The Academy of Ancient Music
Christopher Hogwood, conductor

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Audiofile / Stravinsky, Igor
« on: October 06, 2007, 04:22:36 PM »
Stravinsky, Igor: Rapidshare, Blogspot, Mediafire

Igor Stravinsky

Igor Stravinsky - The Rite Of Spring
No info on conductor, orchestra, year, etc.

Igor Stravinsky - Le Sacre du Printemps (Cleveland Orchestra, Pierre Boulez, 1992, DivShare)

Igor Stravinsky - The Firebird (complete 1910) / Jeu de Cartes
Philharmonia Orchestra
Esa-Pekka Salonen, cond.
Sony 1989

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Audiofile / Ligeti, György
« on: October 01, 2007, 03:04:45 AM »
Ligeti, György: Rapidshare, Blogspot, Megaupload

Ligeti, György

Modern Hungarian composer

György Ligeti - Etudes for Piano
Toros Can, piano

György Ligeti - Atmospheres/Requiem

Salvaged from the blogosphere:

Collected here for you to study are two of Ligeti’s more well known pieces, “Atmosphères” and “Requiem.” Ambient enthusiasts will be interested in “Atmosphères,” because, as is written in everyone’s favorite online encyclopedia, Wikipedia:

Out of the four elements of music, melody, harmony, rhythm and timbre, the piece
almost completely abandons the first three, concentrating on the texture of the sound, a technique known as sound mass. It opens with what must be one of the largest cluster chords ever written - every note in the chromatic scale over a range of five octaves is played at once. Out of the fifty-six string players ushering in the first chord, not one plays the same note. The piece seems to grow out of this initial massive, but very quiet, chord, with the textures always changing.

    Ligeti coined the term "micropolyphony" for the compositional technique used in Atmosphères, Apparitions and his other works of the time. He explained micropolyphony as follows: "The complex polyphony of the individual parts is embodied in a harmonic-musical flow, in which the harmonies do not change suddenly, but merge into one another; one clearly discernible interval combination is gradually blurred, and from this cloudiness it is possible to discern a new interval combination taking shape."


But, in my mind, “Requiem” is his masterwork. I’ll let AMG’s Jeremy Grimshaw take the stage here:

    Ligeti's Requiem, which he began composing in 1963 and finished two years later,
in many ways bears the edgy, modernist characteristics general to his most prominent works. At the same time, as the title suggests, it also positions itself in relation to musical tradition, as if applying the composer's pioneering sonorities to the service of "expression," in a more visceral and subjective manner than modernism usually admits. Perhaps the most striking feature of the work, which is scored for two choirs, orchestra, and two soloists (soprano and mezzo-soprano) is its vibrant, quivering surface. The individual parts comprising his chromatic clusters are often too close to each other to be individually discerned, but their motion adds a distinctive, acoustical glimmer. Melody, then, is generally subsumed by the work's texture, but contributes crucially to its character. This technique also becomes a variant in and of itself, as the pace of the work and the character of the various liturgical sections or texts are often established by the register and relative opacity of the contrapuntal clusters. One startling effect, perhaps inspired by the creepy bass intonations of Varèse's Nocturnal from a few years before, is the use of two low men's voices in near unison, their pitches offset enough to create a hauntingly beating effect. Likewise, when one of the high female solo voices breaks through the thick chromatic pall of the orchestra and chorus, the lucidity of her line is cast in brighter relief. These contrasts, coupled with extremes of dynamics and articulation, reach their apex in the carefully disjointed Dies Irae. Thus, despite Ligeti's unique and complex musical language, the ultimate result of his work is not entirely different in principle from the large-scale requiems of previous centuries, which projected grandeur, intensity, and intimacy through the careful deployment of their vocal and instrumental forces.

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Metal / Loreena Mckennitt U.S. Fall Tourdates announced
« on: August 16, 2007, 10:32:49 PM »
http://www.quinlanroad.com/performances/performances.asp

Oct. 5th       Paramount Theatre
Denver (CO)

Oct. 6th       Pikes Peak Center
Colorado Springs (CO)

Oct. 8th       Jesse H. Jones Hall for the Performing Arts
Houston (TX)

Oct. 9th       Nokia Theatre
Grand Prairie (TX), Dallas Fort Worth area

Oct. 11th       Fabulous Fox Theatre
Atlanta (GA)

Oct. 12th       Tennessee Theater
Knoxville (TN)

Oct. 13th       Palace Theater
Columbus (OH)

Oct. 14th       Lakewood Civic Auditorium
Cleveland (OH)

Oct. 16th       Fox Theatre
Detroit (MI)

Oct. 17th       Shea's Performing Arts Center
Buffalo (NY)

Oct. 18th       Patriots Theater at the War Memorial
Trenton (NJ)

Oct. 19th       The Lyric Opera House
Baltimore (MD)

Oct. 20th       Providence Performing Arts Center
Providence (RI)

Oct. 22nd       Merrill Auditorium
Portland (ME)

Oct. 23rd       Flynn Center
Burlington (VT)

Oct. 24th       Harrisburg Forum
Harrisburg, (PA)

Oct. 25th       Venue TBA
Pittsburgh (PA)

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Audiofile / Ravel, Maurice
« on: July 12, 2007, 09:44:05 AM »
Ravel, Maurice: Rapidshare, Blogspot, Megaupload

Maurice Ravel


French Impressionist composer

Maurice Ravel - Daphnis et Chloé
Berlin Philharmonic Orchestra
Pierre Boulez, conductor

Complete Works for Solo Piano
Disc 1, Disc 2
Walter Gieseking, piano; 1954

Piano Concerto in G minor
Martha Argerich, piano
Claudio Abbado, conductor
Berlin Philharmonic; 1967


Maurice Ravel - String Quartet in F major
Emerson String Quartet; 1984
Philip Setzer, David Finckel, Lawrence Dutton, Eugène Drucker

Maurice Ravel - The Gradual of Eleanor of Brittany

Maurice Ravel - Bolero, Rapsodie Espagnole, Pavane pour une Infante Défunte, Ma Mère l'Oye
London Symphony Orchestra
Claudio ABBADO, cond.
DG 1986

Maurice Ravel - Piano Concert in D major for the left hand, Gaspard de la Nuit, Jeux d'Eau
Werner HAAS, piano
Orchestre national de l'Opéra de Monte Carlo
Alceo GALLIERA, cond.
Philips 1969/1965

Maurice Ravel - Berceuse, Habañera, Tzigane
Augustin DUMAY, violin
Maria João PIRES, piano
DG 1995

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Audiofile / Handel, George Frideric
« on: July 11, 2007, 08:31:47 PM »
Handel, George Frideric: Rapidshare, Blogspot, Megaupload

Handel, George Frideric

German baroque composer.
"Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave" - L.v. Beethoven

Handel, George Frideric - An Ode for St. Cecilia's Day / Cecilia, Volgi un Sguardo
Robert King conducts The King's Consort

Handel, George Frideric - Arias from Theodora & Xerxes
Lorraine Hunt Lieberson, Mezzo-Soprano
Harry Bicket conducts the Orchestra of the Age of Enlightenment

Handel, George Frideric - Concerto Grosso "Alexander's Feast"; Oboe Concertos; Sonata a cinque
Trevor Pinnock conducts the English Consort

Handel, George Frideric - Messiah (The Scholars Baroque Ensemble)

Handel, George Frideric - Organ Concerto #2 in A major

Handel, George Frideric - Sonatas for Violin and Continuo
Rachel Barton, violin

Handel, George Frideric - Water Music/Music for the Royal Fireworks (Andrew Mogrelia, Prague Chamber Soloists)

Handel, George Frideric - Alcina, HWV 34
Les Arts Florissants conducted by William Christie
Renee Fleming as Alcina
Susan Graham as Ruggiero
Natalie Dessay as Morgana
Kathleen Kuhlmann as Bradamante
Erato Disques 3CD, 2000


A beautiful and inspired performance of one of Handel's most creative operas. The patience needed for the large file to download is trivial compared to the pleasure one will experience in listening to this in its entirety. Renee Fleming's voice is exquisite as always and Les Arts Florissants' period instrument performance together with Christie's detailed directions sets the standard for Handelian and baroque opera.

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Audiofile / Buxtehude, Dietrich
« on: July 08, 2007, 06:52:15 PM »
Buxtehude, Dietrich



Dietrich Buxtehude - Organ works (Rapidshare)
René Saorgin, 1973

Dietrich Buxtehude - Cantates, Préludes & Fugues (Rapidshare)
René Saorgin, Deller Consort, 1971

Dietrich Buxtehude - Membra Jesu Nostri + Schütz - O bone Jesu (Rapidshare)
Dietrich Buxtehude - Membra Jesu Nostri + Schütz - O bone Jesu (Mega)
The Monteverdi Choir, The English Baroque Soloists, Gardiner, 1990

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Audiofile / Barton, Rachel
« on: April 10, 2007, 01:38:53 PM »
Rachel Barton Stringendo
Rachel Barton Stringendo MP3s



Rachel Barton Stringendo

"It was with great joy this package was received. For the imperfections it has, it has matching strengths and nothing diminishes the aspiration and gentle encouragement within the genre of metal nourished by this release."

Rachel Barton - Instrument of the Devil

Featuring the music of Stravinsky, Paganini, Berlioz and more

original liner notes

Rachel Barton Stringendo - Storming the Citadel (1998) [ CD $7 ]

Rachel Barton Stringendo - Storming the Citadel (1998, SendItz)
Rachel Barton Stringendo - Storming the Citadel (1998, Mega)

Rachel Barton - Homage to Sarasate
performing the music of 19th century virtuoso Pablo de Sarasate, including the famous fantasy on Bizet's Carmen. Barton's debut recording.

Joseph Joachim - Violin Concerto no. 2 'In the Hungarian Style'
Rachel Barton, violin
Carlos Kalmer leads the Chicago Symphony Orchestra

a favorite of Brahms, which in turn inspired his own concerto for the instrument. Has been referred to as "the Holy Grail of Romantic violin concertos."

Trio Settecento - An Italian Sojourn
Rachel Barton Pine,violin; John Mark Rozendaal, cello; David Schrader, harpsichord

A beautiful collection of italian music from the baroque era, with sonatas by Locatelli, Corelli, Tartini, Handel, Veracini, Castello, Stradella, & Marini.

Rachel Barton Pine - Solo Baroque


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Metal / Justin Broadrick interview on A.V. Club
« on: April 07, 2007, 01:16:43 PM »
http://www.avclub.com/content/interview/justin_broadrick_of_jesu

Quote
AVC: Was it hard to break from the heavier music you were mostly known for?

JB: Yeah, it was a challenge relinquishing the past. I felt like I'd become a bit of a caricature, to some extent. Godflesh was always perceived as this industrial, metal, grinding, brutal thing. I'd really gotten tired of it; I'd backed myself into a corner. In hindsight, Godflesh lasted a few years too long, anyway. For me, the challenge was saying goodbye and moving on. I knew I'd lose a load of fans, but I was also quite confident that I'd gain people from other areas who weren't so single-minded about what they listened to. Not that Godflesh fans were that way, particularly. Jesu is kind of single-minded in a way, too, but I'm trying to use melodies that I've derived from the pop music I've listened to all my life. I could never sufficiently get it through my music before; it was always dominated by the aggression factor.

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Audiofile / Rorem, Ned
« on: March 25, 2007, 08:20:28 AM »
Rorem, Ned: Rapidshare, Blogspot, Megaupload

Rorem, Ned


Neo-romantic American composer.

Ned Rorem - Three Symphonies
Bournemouth Sinfonietta
José Serebrier, conductor

Neglected in their day due to the diminished popularity of tonal music among the serial and avant-guard music of the time, these works are only now getting the attention they deserve. Beautiful and engaging music



Ned Rorem: End of Summer / Book of Hours / Bright Music
Fibonacci Sequence (chamber ensemble)
Naxos, 2003

Ned Rorem - Double Concerto for Violin and Cello / "After Reading Shakespeare" suite for solo cello
Jaime Laredo, violin
Sharon Robinson, cello
IRIS orchestra
Michael Stern, conductor

Ned Rorem - Flute Concerto / Violin Concerto
Philippe Quint, violin
Jeffrey Khaner, flute
Royal Liverpool Philharmonic Orchestra
Jose Serebrier, conductor

Ned Rorem - Selected Songs
Carole Farley, soprano
Ned Rorem, piano

Ned Rorem - Spring Music for Violin, Cello and Piano
Beaux Arts Trio

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Metal / WITCHFINDER GENERAL Reunites
« on: November 14, 2006, 07:52:45 PM »
WITCHFINDER GENERAL, one of the few bands of the NWOBHM (New Wave of British Heavy Metal) era to opt for the classic early BLACK SABBATH dirge rather than the more uptempo metal of most of their countrymen, has reformed and is presently holding auditions to replace singer Zeeb Parkes. "Derm [drummer Dermot Redmond], Rod [Hawkes, bass] and Phil [Cope, guitar] are back together and it's official," reads a press release. "They start recording two tracks next weekend with a view to doing the third album. The band are currently looking for a vocalist to replace Zeeb.

"We have been asked so many questions about what has happened to Zeeb Parkes? The name Zeeb Parkes was invented purely for the band. When the band split, Zeeb Parkes ceased to be. The character behind Zeeb Parkes who wishes to keep his identity anonymous has moved on to other things."

Commented Phil: "It is no secret that the friendship between Zeeb and myself has finished. Looking back Zeeb was an inspiration to us all and I have some great and happy memories of him, so many that I could write a bestseller about it! But Zeeb is into other things now and I wish him all the best.

"We are back together hopefully to record the 'elusive' third album. There may even be a track including the first rhythm section of Steve [Kinsell, drums] and Toss [McCready, bass], if they can be forced out of retirement ha! ha! This is a small thanks to everyone who has stood by the band. The guys have no plans to ever play live again but at least new material is on its way."

For more information, visit http://www.witchfindergeneral.net

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Metal / NSBM Special Report/Graveland interview
« on: April 18, 2006, 02:50:09 AM »
http://www.decibelmagazine.com/features/may2006/nsbm.aspx

Mainstream metal mag explores the world of NSBM, with personal insite from Darken

Does Black Metal have a problem with Brownshirts? Or is the problem someone else's? Decibel investigates the peculiar world of National Socialist Black Metal.


the full, unedited interview with Rob Darken is available here:

http://www.vinlandwinds.com/graveland/w_decybel.htm


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Metal / MÜL - Norwegian doom metal
« on: April 08, 2006, 04:51:02 PM »
http://vindice.cjb.net/

A one man project by Knut Farstad. Slow, sludgy and extremely distorted brooding doom with ambient and post-rock influences. Inspired by bands like Esoteric, Winter, Sleep and diSEMBOWELMENT.

All albums free for download

Litany Circus (2005)

Legia I: Rebirth (2003)

Monomentum (2003)

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