Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
1993
Jan Garbarek - saxofon tenor si sopran
The Hilliard Ensemble:
David James - contratenor
Rogers Covey-Crump - tenor
John Potter - tenor
Gordon Jones - bariton
Recorded in a heavily reverberant Austrian monastery, the voices sometimes develop in overwhelming waves, and Garbarek rides their crest, his soprano sax soaring in the monastery acoustic, or he underscores the voices almost unobtrusively, echoing the voices, finding ample room to move around the modal harmonies yet applying his sound sparingly.
Those with nervous metabolisms may become impatient with this undefinable music, but if you give it a chance, it will seduce you, too. [ AllMusic ]
"Officium is what Coltrane hears in heaven."
Noiembrie 1989
Walter Fahndrich - viola solo
The album consists of four pieces in five tracks, each simply demarcated in Roman numerals. A swaying rhythm dominates a beautiful string of overtones in “IV.” “II” distinguishes itself by its daunting 24-minute length and rapid arpeggios that work their way into a glorious spiral. Occasional passages played sul tasto (i.e., over the fingerboard) are particularly striking for their almost bell-like quality. The overall effect is nothing short of meditative. Fahndrich scrapes at the strings in “III” to produce a veritable symphony of avian peeps and insectile chirps in the album’s most organic diversion. “VI” a call-and-response of harmonics and fuller notes. [ ecmreviews ]
1990-1991
Paul Giger - vioara
Jan Garbarek - saxofon tenor si sopran
Pierre Favre - percutie
"Violin virtuoso Paul Giger revisits his roots with this, his second solo recording, Alpstein, which features pieces for violin, saxophone, and percussion based on the folk traditions of the Alpstein region of Switzerland. Three pieces here are entitled "Zäuerli" -- named after the sad majestic "natur yodel" tradition of the Outer Rhoden region. These are sweeping and majestic with high harmonic bowstrokes. This recording features the saxophone work of Jan Garbarek and the percussion of Pierre Favre. Both add an incredible warmth to the recording on the pieces they are featured on, most notably "Alpsegen" with its soaring sax lines and manic percussion. Also notable is "Chlauseschuppel," featuring the sounds of cowbells specific to that region. Informative booklet included." [ AllMusic ]
Dreamlife of Debris carries forward the story begun on Kit Downes’s Obsidian, extending and developing its processes and core ideas. But where Obsidian was (almost exclusively) a solo church organ album, part of Kit’s plan for Dreamlife was to put the organ in a broader context, and also to bring the piano into the larger compositional picture. Musicians in the project are primarily players with whom Downes has had long associations – saxophonist Tom Challenger, cellist Lucy Railton, drummer Seb Rochford – and there is also a first musical encounter with Norwegian guitarist Stian Westerhus.
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Septembrie 1990 - Compozitor: Gavin Bryars - Interpreteaza: Bill Frisell, Alexander Balanescu, Kate Musker, Tony Hinnigan, Roger Heaton, Dave Smith, Martin Allen, Simon Limbrick, Evan Parker, Stan Sulzmann, Ray Warleigh, Julian Arguelles
45 RPM
New vinyl reissue in facsimile gatefold edition, includes original liner notes by Wolfgang Sandner in enclosed booklet.
2024
„The album that brought Pärt’s name to the West, and to the world (…). Back in 1984 Tabula rasa helped re-educate our ears and throw open the doors of our musical sensibilities to spatial domains that had otherwise been closed to us. This is without any shadow of a doubt one of the great recordings of the last century.“ – Rob Cowan, Gramophone
1986
Kim Kashkashian - viola
Robert Levin - pian
Simply overflowing with musical brilliance, it remains one of the finest examples of what the viola is capable of. Kim Kashkashian’s technique and passion are almost palpable and one can only marvel at the humble respect she brings to both. The viola doesn’t simply exist somewhere between violin and cello, forever doomed to be second rate to both. It is, rather, an utterly dynamic and rich musical object, and the ways in which Hindemith unravels its subtler intonations in these sonatas is nothing short of monumental. Every chapter tells us something new, until the linguistic possibilities of the music represented in this eclectic set are exhausted. [ ecmreviews ]
