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www.discogs.com/Michel-Banabila-Sound-Years/release/94188...
www.discogs.com/Michel-Banabila-Sound-Years/release/9418885
NORMAN RECORDS staff review:
These are troubling times, or maybe it’s just because it’s the middle of the week, but fret not for Michel Banabila is here to bring the balm. This lovely guy has a background in producing scores for film, documentaries, theatre and video art. Banabila finds uses for discarded objects and makes tapestries with these along with his electronics, field recordings and shortwave radio bites. The results are greater than the sum of these parts though, of course. The sounds he makes are spectacularly gorgeous and immaculately crafted, so let’s get into it now...
The record opens with the wondrously twilit ‘Close To The Moon’, acoustic oriental instrumentation gently plucked from some mystical faraway place and picking its way through some serene Fripp / Eno type sound bedding. Hints of guitar bubble up amongst the most luscious synth pads and subtle recordings of birdsong, low in the mix. This all segues seamlessly into some Frahm-ish piano and found sounds, Bjorkian vocals flitting in and out. The piano weaves a lovely melody gently around eastern instrumentation, gradually speeding up together with backwards vocals to create a slightly disorienting effect, before warm droning ambience washes back in. It’s as good as having the most relaxing bubble bath. Exotic birdcalls drift back in, soft lulling vocals and heavenly harp all combine to seduce this tired writer. Delicious. Is it time for bed yet? **** (Jamie)
AMBIENTBLOG:
Sound Years is a compilation of previously released tracks (with the exception of the previously unreleased opening track Close To The Moon). All are hand-picked by Michel Banabila himself and mixed into two continuous tracks – one for each side of the vinyl album. The selection is taken from various projects: some of them from theatre works, some of the more recent experimental electronic music, an occasional live recording, and a selection of his collaboration works with Oene van Geel and Rutger Zuydervelt (Machinefabriek). The oldest tracks are taken from 2005’s Hilarious Expedition, the newest are from 2016. They are selected to create a continuous uninterrupted flow. The sound is immediately recognisable as Banabila‘s – especially in his trademark use of ‘alien vocal’ samples (like in E.T. and Vuka Vuka!). The set is a perfect demonstration of Banabila‘s mastership of creating moods and atmospheres. A soft, warm, comfortable selection that is slightly unnerving and ‘outerworldish’ at the same time. Sound Years can perhaps be seen as Banabila‘s companion to KLF’s ‘Chill Out’ album: a slow walk through quiet (yet alien) landscapes. Unknown, full of surprises, yet always vaguely familiar. (Peter van Cooten)
CHAIN D.L.K.:
“Sound Years” is a Michel Banabila sampler, segueing selected tracks from ten previous albums along with one new work into two gentle, chilled-out continuous pieces. This has the diversity and variation of a various artists chillout compilation, but impressively, it’s all the work of one man (and a couple of guest appearances).
Smoothness is the order of the day here. Gentle piano melodies, occasional plaintive guitar strums, and found sounds including the classics such as falling rain ambiences and tropical birds, blend with the mellowest flavours of electronica chill-out such as the deftly twisted and re-pitched vocal samples in “Earth Visitor”. Other sections are more pared-down, simple warm drones, deep vocal sustains and cultured resonance.
The second side opens with a slightly more cinematic bent- a real orchestra warming up alongside a virtual one, broad sci-fi choral pads and robotic noises have us floating outside a spaceship. The ambience gradually gets more down-to-earth, with plaintive violin lines (from guest Oene Van Geel I think) and micro-cut vocal snippets glitching away in “Radio Spelonk”.
While some of the elements are cliché, they are used tastefully in a way that freshens them up. Even the cockerel crowing sound, used to great effect by The Orb, makes an appearance. In fact The Orb is a comparison worth making; if you like either of The Orb’s most recent two albums, then you should absolutely check “Sound Years” out.
To someone unfamiliar with Banabila’s work, this is a seriously impressive and accomplished retrospective. A wide orchestral palette and some absolutely top-notch production, with a beautiful sense of space and an ability to shift subtly between warm and cold atmospheres, makes this an aural joy in its own right. The transitions are seamless and this absolutely stands up as its own work, without any of the unsatisfying incompleteness you sometimes get in compilations.
It’s released on Banabila’s own Tapu Records. Several of the original albums from which these tracks are sourced are legitimately available to download for free online, and this compilation will definitely make you want to peruse things further. (Stuart Bruce)
www.discogs.com/Various-Das-Teuerste-Konzert-Der-Welt-Sti...
Hermann Prey Ein Mädchen Oder Weibchen
Baritone Vocals – Hermann Prey
Conductor – Horst Stein
Orchestra – Berliner Symphoniker
A2–Mirella Freni, Nicolai Ghiaurov Reich Mir Die Hand, Mein Leben
Bass Vocals – Nicolai Ghiaurov
Conductor – Otto Klemperer
Orchestra – New Philharmonia Orchestra London*
Soprano Vocals – Mirella Freni
A3–Edith Mathis Sagt, Holde Frauen
Conductor – Otmar Suitner
Orchestra – Staatskapelle Dresden
Soprano Vocals – Edith Mathis
A4–Fritz Wunderlich Nur Ihrem Frieden Weiht' Ich Mein Leben
Conductor – Hans Zanotelli
Orchestra – Berliner Symphoniker
Tenor Vocals – Fritz Wunderlich
A5–Anna Moffo Endlich Naht Sich Die Stunde - O Säume Nicht Länger
Conductor – Carlo Maria Giulini
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Anna Moffo
A6–Gottlob Frick In Diesen Heil'gen Hallen
Bass Vocals – Gottlob Frick
Conductor – Arthur Grüber
A7–Hilde Güden Hör Mein Flehn, O Gott Der Liebe
Conductor – Otmar Suitner
Orchestra – Staatskapelle Dresden
Soprano Vocals – Hilde Güden
B1–Richard Tauber Konstanze, Dich Wiederzusehen
Tenor Vocals – Richard Tauber
B2–Erna Berger, Elisabeth Grümmer Wenn Die Sanften Abendlüfte
Soprano Vocals – Elisabeth Grümmer, Erna Berger
B3–Willy Domgraf-Fassbaender*Will Der Herr Graf Ein Tänzchen Nun Wagen
Baritone Vocals – Willy Domgraf-Fassbaender*
Conductor – Fritz Busch
Orchestra – Orchester Der Festspiele Glyndebourne*
B4–Tiana Lemnitz, Gerhard Hüsch Bei Männern, Welche Liebe Fühlen
Baritone Vocals – Gerhard Hüsch
Conductor – Sir Thomas Beecham
Orchestra – Berliner Philharmoniker
Soprano Vocals – Tiana Lemnitz
B5–Anton Dermota Dies Bildnis Ist Bezaubernd Schön
Conductor – Herbert Von Karajan
Orchestra – Wiener Philharmoniker
Tenor Vocals – Anton Dermota
B6–Anneliese Rothenberger Ich Weiß Nicht, Wo Ich Bin, Was Ich Tue
Conductor – Wilhelm Schüchter
Orchestra – Berliner Philharmoniker
Soprano Vocals – Anneliese Rothenberger
B7–Joan Sutherland Du Kennst Den Verräter
Conductor – Carlo Maria Giulini
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Joan Sutherland
B8–Walter Berry Der Vogelfänger Bin Ich Ja
Bass Vocals – Walter Berry
Conductor – Wolfgang Sawallisch
Orchestra – Orchester Der Bayerischen Staatsoper München*
B9–Elisabeth Schwarzkopf, Christa Ludwig Ich Erwähle Mir Den Braunen
Conductor – Karl Böhm
Mezzo-soprano Vocals – Elisabeth Schwarzkopf
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Christa Ludwig
Italien - 20 Weltstars Im Lande Des Belcanto
C1–Maria Callas Frag' Ich Mein Beklomm'nes Herz
Composed By – Gioacchino Rossini
Conductor – Alceo Galliera
Orchestra – Philharmonia Orchestra London*
Soprano Vocals – Maria Callas
C2–Giuseppe Di Stefano Du, Die Schon Zum Himmel Eilet
Composed By – Gaetano Donizetti
Conductor – Tullio Serafin
Orchestra – Orchester Des Maggio Musicale Fiorentino*
Tenor Vocals – Giuseppe Di Stefano
C3–Mirella Freni, Nicolai Gedda O, Du Süßestes Mädchen
Baritone Vocals – Mario Sereni
Composed By – Giacomo Puccini
Conductor – Thomas Schippers
Orchestra – Orchestra Del Teatro Dell'Opera Di Roma
Soprano Vocals – Mirella Freni
Tenor Vocals – Nicolai Gedda
C4–Giulietta Simonato*, Franco Corelli In Unsere Heimat Kehren Wir Wieder
Choir – Coro Del Teatro Dell'Opera Di Roma
Composed By – Giuseppe Verdi
Conductor – Thomas Schippers
Mezzo-soprano Vocals – Giulietta Simonato*
Orchestra – Orchestra Del Teatro Dell'Opera Di Roma
Tenor Vocals – Franco Corelli
C5–Montserrat Caballe*, Placido DomingoIch Komm', Um Zu Erfleh'n Eine Gunst Der Königin
Composed By – Giuseppe Verdi
Conductor – Carlo Maria Giulini
Orchestra – Orchestra Of The Royal Opera House Covent Garden London*
Soprano Vocals – Montserrat Caballe*
Tenor Vocals – Placido Domingo
D1–Tito Gobbi ich Bin Das Faktotum Der Schönen Welt
Baritone Vocals – Tito Gobbi
Composed By – Gioacchino Rossini
Conductor – Alceo Galliera
Orchestra – Philharmonia Orchestra London*
D2–Miliza Korjus, Helge Rosvaenge*Liebe Ist Seligkeit
Composed By – Giuseppe Verdi
Soprano Vocals – Miliza Korjus
Tenor Vocals – Helge Rosvaenge*
D3–Erna Berger, Margarete Klose, Marcel Wittrisch, Willy Domgraf-Fassbaender*Holdes Mädchen, Sieh Mein Leiden
Alto Vocals – Margarete Klose
Baritone Vocals – Willy Domgraf-Fassbaender*
Composed By – Giuseppe Verdi
Soprano Vocals – Erna Berger
Tenor Vocals – Marcel Wittrisch
D4–Maria Cebotari ‘s st Seltsam - Er Ist Es - O Torheit - Von Der Freude Blumenkränzen
Composed By – Giuseppe Verdi
Conductor – Robert Heger
Orchestra – Staatskapelle Dresden
Soprano Vocals – Maria Cebotari
D5–Benjamino Gigli*Heimlich Aus Ihrem Auge Sich Eine Träne Stahl
Composed By – Gaetano Donizetti
Tenor Vocals – Benjamino Gigli*
D6–Maria Ivogün, Karl Erb Laß Es, Ach Laß Es Mich Hören
Composed By – Gaetano Donizetti
Soprano Vocals – Maria Ivogün
Tenor Vocals – Karl Erb
D7–Feodor Schaljapin*Ich, Der Geist, Der Stets Verneint
Bass Vocals – Feodor Schaljapin*
Composed By – Arrigo Boito
Conductor – Vincenzo Bellezza
Orchestra – Orchestra Of The Royal Opera House Covent Garden London*
Opern - Welterfolge Aus Deutschland
E1–Rudolf Schock Durch Die Wälder, Durch Die Augen
Composed By – Carl Maria Von Weber
Conductor – Joseph Keilberth
Orchestra – Berliner Philharmoniker
Tenor Vocals – Rudolf Schock
E2–Martha Mödl, Wolfgang Windgassen O Namenlose Freude
Composed By – Ludwig Van Beethoven
Conductor – Wilhelm Furtwängler
Orchestra – Wiener Philharmoniker
Soprano Vocals – Martha Mödl
Tenor Vocals – Wolfgang Windgassen
E3–Kurt Böhme Auch Ich War Ein Jüngling Mit Lockigem Haar
Bass Vocals – Kurt Böhme
Composed By – Albert Lortzing
Conductor – Fritz Lehan
Orchestra – Orchester Der Bayerischen Staatsoper München*
E4–Joseph Schmidt Ach, So Fromm
Composed By – Friedrich Von Flotow
Tenor Vocals – Joseph Schmidt
E5–Lauritz Melchior Allmächt'ger Vater, Blick Herab
Composed By – Richard Wagner
Conductor – Sir John Barbirolli
Orchestra – London Symphony Orchestra*
Tenor Vocals – Lauritz Melchior
E6–Lotte Lehmann Einsam In Trüben Tagen
Composed By – Richard Wagner
Conductor – Hermann Weigert
Soprano Vocals – Lotte Lehmann
F1–Peter Anders (2)In Fernem Land
Composed By – Richard Wagner
Conductor – Otto Ackermann
Orchestra – Südwestfunkorchester Baden-Baden*
Tenor Vocals – Peter Anders (2)
F2–Dietrich Fischer-Dieskau Wie Todesahnung, Dämm'rung Deckt Die Lande - O, Du Mein Holder Abendstern
Baritone Vocals – Dietrich Fischer-Dieskau
Composed By – Richard Wagner
Conductor – Franz Konwitschny
Orchestra – Orchester Der Staatsoper Berlin*
F3–Anja Silja, Theo Adam Wie Aus Der Ferne Längst Vergang'ner Zeiten
Baritone Vocals – Theo Adam
Composed By – Richard Wagner
Conductor – Otto Klemperer
Orchestra – New Philharmonia Orchestra London*
Soprano Vocals – Anja Silja
F4–Max Lorenz (2)Fanget An! So Rief Der Lenz In Den Wald
Composed By – Richard Wagner
Conductor – Clemens Schmalstich
Orchestra – Orchester Der Staatsoper Berlin*
Tenor Vocals – Max Lorenz (2)
F5–Anneliese Rothenberger, Lisa Della CasaIst Der Traum, Kann Nicht Wirklich Sein
Composed By – Richard Strauss
Conductor – Rudolf Neuhaus
Orchestra – Staatskapelle Dresden
Soprano Vocals – Anneliese Rothenberger, Lisa Della Casa
1 of 2 copies.
www.discogs.com/Claude-Debussy-Maurice-Ravel-Alban-Berg-K.... Debussy - Sonata Flute, Alto Violin, Harpe - Doriot Anthony Dwyer Flote, Burton Fine Altviool, Ann Hobson Harp & Ravel - Introduction & Allegro Harpe, Strings, Flute, Clarinet - Nicanor Zabaleta Harpe, Monique Frasca-Colombier Violin, Marguerite Vidal Violin, Anka Moraver Altviool, Hamisa Dor Violoncello, Christian Larde Flute, Guy Deplus Clarinette & Alban Berg - Lyrische Lyrical Suite for Strings 1926 - LaSalle Quartet - Walter Levin Violin, Henry Meyer Violin, Peter Kamnitzer Altviolin, Jack Kirstein Violoncello, Muziek onder Woorden DGG MOW 040-1, Raoul Dufy: Hommage a Claude Debussy
www.discogs.com/Handel-Elizabeth-Harwood-Janet-Baker-Paul.... Handel - Messiah (Basil Lam) - Elizabeth Harwood, Janet Baker, Paul Esswood, Robert Tear, Raimund Herinx - Ambrosian Singers, English Chamber Orch., Maurits Sillem Cembalo ( by Robert Goble), Alan Harverson Orgel Organ Orgue ( by Noel Mander), Keith Harvey Violon Cello, Adrian Beers Double Bass Contrabass, Philip Jones Trumpet, Charles Mackerras, EMI HQS 1052-3-4, Box 3 Lp, 1967
www.discogs.com/Franz-Schubert-Mitglieder-des-Melos-Ensem.... Schubert - Oktett F-dur D.803 - Melos Ensemble Members (Cecil Aronowitz Viola, Emanuel Hurwitz & Ivor McMahon Violin, Terence Weil Violoncello, Adrian Beers Contrabass Double Bass, Gervase de Peyer Klarinette, Neil SandersHorn, William Waterhouse Fagott Bassoon, EMI Electrola SME 91 717
Composer: Gian Carlo Menotti
Vinyl LP (1952)
Label: RCA Victor Red Seal
Catalog No.: LM 1701
Monophonic
out-of-print
Number of Discs: 1
▶ On YouTube: here.
**************
▶ RECORDING
☞ Side 1
1. Part 1 (20:39)
☞ Side 2
1. (2) Part 2 (25:50)
***************
▶ CAST
Amahl – Chet Allen (soprano)
His Mother – Rosemary Kuhlman (mezzo-soprano)
Kaspar – Andrew McKinley (tenor)
Melchior – David Aiken (baritone)
Balthazar – Leon Lishner (baritone)
The Page – Francis Monachino
Conductor – Thomas Schippers
NBC Opera Theatre Orchestra and Chorus
***************
▶ "Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed on December 24, 1951, in New York City, at NBC studio 8H in Radio City Music Hall, where it was broadcast live on television as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America."
— Discogs.
***************
▶ MORE IMAGES
☞ Album cover: here.
☞ Inner sleeve: here.
☞ Booklet (front): here.
☞ Cast members: here.
☞ Gian Carlo Menotti (composer): here.
☞ Image from television broadcast (1): here.
☞ Image from television broadcast (2): here.
☞ Image from television broadcast (3): here.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
▶ Commercial use requires explicit permission, as per Creative Commons.
Rare Record. www.discogs.com/release/9397336-Ludwig-van-Beethoven-Rich... 1 of 5 copies. Not identical
www.discogs.com/Walton-Epstein-Walton-Fa%C3%A7ade-Epstein.... Walton - Facade (Edith Sitwell) - Speaker, Flute Clarinet, Saxophone, Trumpet, Cello, Percussion & World Premiere Recording: Epstein - Night Voices (AM.Epstein) - Janet Bookspan Narrator, Boston Boy Choir, M.I.T. SO, David Epstein, Vox Candide CE 31116, 1976 1979 1980,
No exactly on D
www.discogs.com/release/10042446-Tschaikowsky-Jacques-Kle...
Gramophone:
The 1965 recording may lack modern brilliance and sweetness, but the stereo is genuine enough, and the performance is committed and enjoyable.
the Piano Concerto proves equally recommendable. I strongly suspect that the name conceals rather distinguished performer. The pianist has his wilful side— he believes in extreme tempi, fast and slow— but he carries one on convincingly, and reservations on detail matter comparatively little. The style is clean, the playing of the accompaniment both crisper, and more sensitive though again the not-so modern recording blunts the final edge. The piano tone is clattery.
www.discogs.com/Claude-Debussy-Maurice-Ravel-Alban-Berg-K...
Debussy - Sonata Flute, Alto Violin, Harpe - Doriot Anthony Dwyer Flote, Burton Fine Altviool, Ann Hobson Harp & Ravel - Introduction & Allegro Harpe, Strings, Flute, Clarinet - Nicanor Zabaleta Harpe, Monique Frasca-Colombier Violin, Marguerite Vidal Violin, Anka Moraver Altviool, Hamisa Dor Violoncello, Christian Larde Flute, Guy Deplus Clarinette & Alban Berg - Lyrische Lyrical Suite for Strings 1926 - LaSalle Quartet - Walter Levin Violin, Henry Meyer Violin, Peter Kamnitzer Altviolin, Jack Kirstein Violoncello, Muziek onder Woorden DGG MOW 040-1, Raoul Dufy: Hommage a Claude Debussy
www.discogs.com/Beethoven-Konzerte-Sonaten-Romanzen/relea.... Violin Concerto op.61 - Wolfgang Marschner Violin, Sudwestdeutsche Philharmonie, Gunter Neidlinger &
Piano Sonata "Mondschein Moonlight Clair de Lune" op.17, Piano sonata op.49, Piano Sonata "Pathetique" op.13 - Paul Badura-Skoda Piano &
Piano Sonata "Appassionata" op.57, Piano Sonata "Les Adieux" op.81a, Rondo "Wut uber den verlorenen Groschen" op.129 - Sviatoslav Klimov Piano &
"Fruhlingssonate" op.24, Sonate op.96 - Enri-Duo (Wolfgang Engels Violin, Hans Erich Riebensahm Piano) &
Piano Concerto No.5 op.73 "Emperor" - Hanae Nakajima Piano, Nurnberger Symph., Rato Tschupp &
"Coriolan-Ouverture" op.62, :Egmont-Ouverture" op.84 - Nurnbergen Symph., Zsolt Deaky, Violi romanze op.40 & op.50 - Wolfgang Marschner Violin, Sudwestdeutsche Philharmonie, Gunter Neidlinger
www.discogs.com/Johann-Pachelbel-Hans-Heintze-Orgelwerke/.... Review Gramophone 1968:
This valuable addition to the Archive series offers organ music by two contempories of Bach. Pachelbel, the elder of the two, proved a strong influence on Bach, while Krebs, sixty years younger than Pachelbel, was a favourite pupil of Bach's. A record like this convinces the hearer of a kind of musical laying-on of hands. And to the music of both these masters, who are linked to each other through a greater master, Hans Heintze proves as reliable a guide as he did to that of Buxtehude on an earlier Archive recording.
I can't think why Krebs's jolly Toccata and Fugue in E major is not heard more often. The Toccata, in triple-time and with an opening pedal solo, is perhaps obviously based on Bach's better-known and more masterly Toccata in F major ; and is none the worse for that. Bach supplies models for the five chorale-settings, too, but there is a surprise here: the treatment of Ich riff' zu dir is in marked contrast to that in the Or gelbnchlein. In Bach's setting, the tune in the soprano is accompanied by a gently phrased semiquaver movement supported by an even gentler pulse of quavers in the bass, all of which underlines the poignancy of the hymn. Krebs's setting also has the tune in the highest part but is a more boisterous affair, which Heintze quite appropriately, registers loudly. This interpretation arises naturally out of the music itself, for Krebs uses in his accompaniment the 'joy-motif' used by Bach in Der Tag der ist so freudenreich. Of course, Bach did not label this tiny rhythmic formula so: that was left to Schweitzer and Pirro centuries later, and Krebs did not have the advantage of their researches into Bach's pictorial symbolism. Even so, it seems curious that Krebs, who was so close to Bach—did not Bach refer to him as "the only crayfish (Krebs) in my brook (Bach)" ?—who admired him so greatly, and thanks to whom some of Bach's organ music was preserved for posterity, did not sense this aspect of his great mentor's musical language. If Bach's setting is infinitely more sensitive to the text of Ich ruf' zu dir, Krebs's version remains, nevertheless, a splendid piece of music. The pupil makes amends with his highly expressive setting of Ach Gott, erhOr mein Seufzen, the only familiar one among these five chorale-settings, for Straube included it among his Choralvorspiele alter Meister as long as sixty years ago.
The five Pachelbel pieces on this record are completely secular, in that none of them is based on a chorale-melody. Like the Krebs Toccata, Pachelbel's Praeludium begins with a pedal solo, but as the piece progresses its sequences sound far more predictable than those of Krebs who had a superior model. Heintze follows a brilliant account of this Prelude with all the gravity becoming Pachelbel's very conjunct Fugue in D minor, where the rumbling sixteen-foot pedal tone suggests, exceptionally, the English Cathedral Organ series, which only goes to show the versatility of the Silbermann instrument in Freiberg Cathedral. Its fine range of organ colours is further exploited in the charming Air with Variations (from the Hexachordum Apollinis), the Toccata in F (which is a very different kettle of fish from Bach's and evokes, rather, Zipoli's Pastorale in its pastorale consonance and simplicity) and the long, magnificent Ciacorta in F minor, which is the uncle if not the father of Bach's Passacaglia. Strongly recommended.
Pachelbel - Orgelwerke - Fantasia g-moll, Das Magnificat Mariae,'Meine Seele erhebt den Herren' Orgelchoral 'Vom Himmel hoch, da komm ich her', Orgelchoral 'O Lamm Gottes unschuldig',Orgelchoral 'Christ lag in Todesbanden', Orgelchoral 'Komm, Gott Schopfer, heiliger Geist', 'Werde munter, meine Gemute', Choral mit 4 Variationen, 1683, Toccata c-moll - Hans Heintze Orel Organ Orgue,, Preludium d-moll, Fuge d-moll, Aria e-moll mit 5 Variationen 1699, Toccata F-dur, Ciacona in f - Silbermann-Orgel, Kirche zu Reinhardtsgrimma, 1731 & Grossen Silbermann-Orgel im Dom zu Freiberg 1711-1714, 1966-1967 - DGG Archiv 2547 077
Music from the film FUTURO by Ektroverde (EKTRO-005CD) 1998... elektro music from Finland
FUTURO A New Stance for Tomorrow, movie soundtrack.
CD cover.
Another great discovery last weekend after long months of waiting ... and long hours of research with Google ...
To finally find it on Discogs from a vendor living 30km from my home in Belgium ...
www.discogs.com/Ektroverde-Futuro-A-New-Stance-For-Tomorr...
I'm really not sure there was a second copy available on the internet "today" ...
Find the soundtrack a few days after finding the book (with the DVD of the movie) is most improbable!
And find both in Belgium is one thing I can not imagine
www.discogs.com/Walid-Akl-Borodine-Rachmaninoff-Borodine-... rare record
Walid Akl (Piano)
Born: 1945 - Mehaytzeh, Lebanon
Died: September 27, 1997 - Paris, France
The Lebanese pianist, Walid Akl, studied music in Paris from 1963, at the Margueritte Long Academy, at the Superior National Conservatory, then at the École Nationale Supérieure. Among his teachers were Professors Germaine Mounier, Yvonne Lefébure and Jacques Février. The professional education added to his exquisite talent a touch of excellency.
After finishing his studies in 1969, Walid Akl traveled extensively, dazzling audiences in European cities such as Paris, London, Brussels, Manheim, Weisbaden, Fribourg, Lausanne, Geneva and Madrid. He also toured the USA, Canada, Mexico, and the Middle East. He played with orchestras as the Münchner Philharmoniker, Orchestre Philharmonique de Radio France and Symphony Orchestra of Mexico City. He played the music of various composers such as L.v. Beethoven, Franz Liszt and Borodin, but his favorite was Joseph Hayden. Akl didn't just play melodies. He added zest, life and character to each composition he performed. He died in Paris following heart surgery, only 52 years old.
Rare Record. No Backside. www.discogs.com/release/13048069-Das-Orchester-Der-Staats...
Helge Rosvaenge, Franz Volker, Rose Pauly, Maria Cebotari, Margherita Perras, Viorica Ursuleac, Tiana Lemnitz, Helge Rosvaenge, Lotte Schone, Irene Eisinger, Karl Joken, Maria Ivogun, Marcel Wittrisch, Gino Sinimberghi, Vera Schwarz, Benno Ziegler, Joseph Schwarz, Robert Hutt, Paula Buchner, Irmgard Langhammer, Erich Witte, Gustav Rodin, Josef Greindl, Barbara Kemp, Richard Tauber, Hedwig von Debicka, Emanuel List, Hermann Jadlowker, Charles Kullmann, Eugen Fuchs, Jaro Prohaska, Theodor Scheidl, Zinaida Jurjewskaja,
Irmgard Armgart, Tilly de Garmo, Erna Berger, Peter Anders, Mathieu Ahlersmeyer, Lola Artot de Padilla, Gerhard Husch, Miliza Korjus, Gertrude Runger, iLonka Holndonner, Michael Bohnen, Liselotte Enck, Willi Storring, Hilde Konetzni, Torsten Ralf, Eduard Kandl, Delia Reinhardt, Gitta Alpar, Kate Heidersbach, Margarete Klose, Gerhard Husch, Eugen Fuchs, Peter Anders, Erich Witte, Bjorn Talen, Paul Reinicke, Alexander Kipnis, Fritz Krauss, Gertrud Bindernagel, Robert Philipp, Karin Branzell, Eduard Erhard, Frida Leider, Lauritz Melchior, Herbert Janssen, Rudolf Bockelmann, Kirsten Flagstad, Paula Buchner, Benno Arnold, Max Lorenz, Jaro Prohaska, Marta Fuchs, Josef von Manowarda, Gertrude Runger, Wilhelm Rode, Elfriede Marherr-Wagner, Robert Hutt, Friedrich Schorr, Leo Schutzendorf, Maria Muller, Ludwig Suthaus, Gustav Rodin, Gerhard Witting, Jaro Prohaska, Wilhelm Hiller, Felix Fleischer, Otto Husch, Franz Sauer, Maria Muller, Franz Volker
Depeche Mode - Where's the Revolution
Depeche Mode are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (guitar, keyboards, vocals, main songwriter since 1982), and Andy Fletcher (keyboards, bass guitar). Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke (keyboards, guitar, main songwriter from 1980 to 1981), left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, bass guitar, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next 13 years. Depeche Mode have been a trio again since 1995, when Wilder left.
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