JAN GARBAREK / THE HILLIARD ENSEMBLE - Officium (1994) FLAC (tracks+.cue), lossless

Fearlessly searching for new conceptions of sound and not caring where he found them, Garbarek joined hands with the classical early-music movement, improvising around the four male voices of the Hilliard Ensemble. Now here was a radical idea guaranteed to infuriate both hardcore jazz buffs and the even more pristine more-authentic-than-thou folk in early music circles. Yet this unlikely fusion works stunningly well -- and even more hearteningly, went over the heads of the purists and became a hit album at a time (1994) when Gregorian chants were a hot item. Chants, early polyphonic music, and Renaissance motets by composers like Morales and Dufay form the basic material, bringing forth a cool yet moving spirituality in Garbarek's work. 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. by Richard S. Ginell 
Tracklist:
1    Parce mihi domine 6:42
Cristóbal de Morales
2    Primo tempore 8:03   
Anonymous / Anonymous, Czech
3    Sanctus 4:44
Anonymous / Anonymous, Czech    
4    Regnanten Sempiterna 5:36
Gregorian Chant
5    O Salutaris Hostia 4:34
Pierre de la Rue
6    Procedentem sponsum 2:50
Anonymous / Anonymous, Hungarian
7    Pulcherrima rosa 6:55
Anonymous / Anonymous, Czech
8    Parce mihi domine 5:35
Cristóbal de Morales
9    Beata viscera, conductus for solo voice 6:34
Pérotin
10    De spineto nata rosa 2:30
Anonymous / Anonymous, English
11    Credo 2:06   
Anonymous / Anonymous, Czech
12    Ave maris stella, hymn for 3 voices (2 versions) 4:14   
Guillaume Dufay
13    Virgo flagellatur (School of Perotinus) 5:19   
Anonymous
14    Oratio Ieremiae 5:00   
Gregorian Chant
15    Parce mihi domine 6:52   
Cristóbal de Morales
Credits:
Baritone Vocals – Gordon Jones
Countertenor Vocals – David James
Ensemble – The Hilliard Ensemble
Producer [Produced By] – Manfred Eicher
Soprano Saxophone, Tenor Saxophone – Jan Garbarek
Tenor Vocals – John Potter, Rogers Covey-Crump 

HEITOR VILLA-LOBOS - The Complete Choros and Bachianas Brasileiras (2009) 7CD / FLAC (image+.cue), lossless

As melhores gravações dessas obras disponíveis! O compositor brasileiro (não precisamos lembrar aos seus mais fervorosos apoiadores que ele é o compositor latino-americano mais significativo de todos os tempos) por trás de inúmeras obras orquestrais, de câmara, instrumentais e vocais permite que seu gênio criativo seja exibido no Choros (do verbo português chorar ", 1-12 e Bachianas Brasileiras ("peças brasileiras de Bach") nos. 1-9. Também inclui um disco bônus de música solo de guitarra tocada pelo ilustre Anders Miolin. Ótimas notas em um livreto de 75 páginas ...


Tracklist 1: Choros Nºs 2-3-10-12
1 Introduction to the Choros, for guitar and orchestra 13:43
Two Choros (bis), for violin and cello
2 1. Moderé 4:30
3 2. Lent - Moins - Lent 4:27
4 Choros No. 2, for flute and clarinet 2:49
5 Choros No. 3, for male choir and wind instruments "Pica-Pau" 3:44
6 Choros No. 10, for orchestra and mixed choir "Rasga o Coração" 13:09
7 Choros No. 12, for orchestra 37:34


Tracklist 2: Choros Nºs 1-4-6-8-9
1 Choros No. 6, for orchestra 25:07
2 Choros No. 1, for guitar 5:19
3 Choros No. 8, for large orchestra and 2 pianos 20:17
4 Choros No. 4, for 3 horns and trombone 5:41
5 Choros No. 9, for orchestra 24:51


Tracklist 3: Choros Nªs 5-7-11
Choros No. 11, for piano and orchestra
1 Allegro preciso ma non troppo (attacca) 21:07
2 Adagio (attacca) 15:39
3 Allegro moderato 26:21
4 Choros No. 5, for piano "Alma Brasileira" 5:08
5 Choros No. 7, for winds, violin and cello "Settimino" 9:50


Tracklist 4: Bachianas Brasileiras Nºs 1-4-5-6
Bachianas Brasileiras No. 5, for soprano and orchestra of violoncelli
1 1. Ária (Cantilena) 6:33
2 2. Dança (Martelo) 4:44
Bachianas Brasileiras No. 4, for piano solo
3 1. Prelúdio (Introdução) 7:03
4 2. Coral (Canto do sertão) 3:52
5 3. Ária (Cantiga) 5:04
6 4. Dança (Miudinho) 3:03 
Bachianas Brasileiras No. 6, for flute and bassoon
7 1. Ária (Choro) 3:43
8 2. Fantasia 5:34
Bachianas Brasileiras No. 1, for orchestra of violoncelli
9 1. Introdução (Embolada) 6:31 
10 2. Prelúdio (Modinha) 8:37
11 3. Fuga (Conversa) 4:33


Tracklist 5: Bachianas Brasileiras Nºs 2-3-4
Bachianas Brasileiras No. 2, for orchestra
1 1. Prelúdio (O canto do capadócio) 7:08
2 2. Ária (O canto da nossa terra) 5:27
3 3. Dança (Lembrança do sertão) 5:08
4 4. Toccata (O trenzinho do caipira) 4:53
Bashianas Brasileiras No. 3, for piano and orchestra
5 1. Prelúdio (Ponteio) 7:05
6 2. Fantasia (Devaneio) 7:12
7 3. Ária (Modinha) 7:28
8 4. Toccata (Picapau) 6:21
Bachianas Brasileiras No. 4, for orchestra
9 1. Prelúdio (Introdução) 4:11
10 2. Coral (Canto do sertão) 4:35
11 3. Ária (Cantiga) 6:02
12 4. Dança (Miudinho) 4:20


Tracklist 6: Bachianas Brasileiras Nºs 7-8-9
Bachianas Brasileiras No. 7, for orchestra
1 1. Prelúdio (Ponteio) 7:20
2 2. Giga (Quadrilha caipira) 4:29
3 3. Toccata (Desafio) 7:03
4 4. Fuga (Conversa) 7:21
Bachianas Brasileiras No. 9, for string orchestra
5 1. Prelúdio 2:08
6 2. Fuga 6:14
Bachianas Brasileiras No. 9, for choir a cappella
7 1. Prelúdio 2:01
8 2. Fuga 6:43
Bachianas Brasileiras No. 8, for orchestra
9 1. Prelúdio 5:18
10 2. Ária (Modinha) 7:39
11 3. Toccata (Catira batida) 5:37
12 4. Fuga 5:33
13 Quinteto em forma de Choros, for flute, cor anglais, clarinet and bassoon 10:15


The Complete Works for Solo Guitar
Tracklist 7:
Five Preludes, for guitar
1 1. Andantino expressivo. Melodia lírica: Homenagem ao sertanejo brasileiro (Lyric melody: Homage to the Brazilian sertanejo) 4:46
2 2. Andantino. Melodia capadócia - Melodia capoeira: Homenagem ao malandro carioca (Capadocia & capoeira melody: Homage to the carioca hustler) 3:04
3 3. Andante. Homenagem a Bach (Homage to Bach) 3:19
4 4. Lento. Homenagem ao índio brasileiro (Homage to the Brazilian Indian) 3:09
5 5. Poco animato. Homenagem à vida social: Aos rapazinhos e mocinhas fresquinhos que frequentam os concertos e os teatros no Rio (Homage to social life: To the young teenagers who frequent Rio's concerts and theatres) 3:45
Suite populaire brésilienne, for guitar
6 Mazurka-choro 2:59
7 Schottish-choro 3:29
8 Valsa-choro 3:53
9 Gavota-choro 5:06
10 Chorinho 4:49
Twelve Études, for guitar
11 1. Allegro non troppo 2:24
12 2. Allegro 1:47
13 3. Allegro moderato 1:40
14 4. Andante 3:47
15 5. Andantino 3:17
16 6. Poco allegro 2:06
17 7. Très animé 2:43
18 8. Modéré 2:56
19 9. Très peu animé 3:10
20 10. Très animé 3:43
21 11. Lent 4:09
22 12. Animé 2:52
23 Choros No. 1, for guitar 5:12

ALBERTO GINASTERA : The Complete Piano Music & Chamber Music with Piano • 2 (1993) APE (image+.cue), lossless

ALBERTO GINASTERA : Piano Music • 3 (1994) APE (image+.cue), lossless

LOTTE LENYA - Lotte Lenya Sings American & Berlin Theater Songs of Kurt Weill (1988) FLAC (tracks+.cue), lossless

Employing the same Richard Avedon portrait that graced the cover of the 1970 double-LP The Lotte Lenya Album, this collection is an abbreviated version of that compilation, cut down to fit the length limit of a single CD. The Lotte Lenya Album was nothing more or less than a two-fer repackaging of the single LPs Lotte Lenya Sings Berlin Theatre Songs by Kurt Weill and September Song and Other American Theatre Songs by Kurt Weill. For this version, the last four songs from the former ("Was Die Herren Matrosen Sagen," "Ballade vom Ertrunkenen Mädchen," "Lied der Fennimore," and "Cäsars Todd") have been deleted to bring the total running time down to 70 minutes. Thus, the first eight tracks find Lenya in Germany in 1955, singing mostly in German songs composed by Weill with lyrics by Bertolt Brecht from their stage works Die Dreigroschenoper ("The Threepenny Opera"), Aufstieg und Fall der Stadt Mahagonny ("Rise and Fall of the City of Mahagonny"), and Happy End, while the last 12 tracks find her in the U.S. in 1957, singing in English songs from Weill's Broadway musicals Knickerbocker Holiday, Lady in the Dark, One Touch of Venus, The Firebrand of Florence, Street Scene, Love Life, and Lost in the Stars. Lenya always disputed the notion that there were two Weills, the Berlin Weill and the Broadway Weill, but she ended up reinforcing that argument with these two LPs, and juxtaposing two-thirds of one with all of the other on this disc does not disprove it. Lenya was the definitive interpreter of the Brecht/Weill catalog, of course, and when she came to make the recordings here she had been singing (and recording) songs like "Seeräuberjenny" ("Pirate Jenny") and "Surabaya-Johnny" for more than a quarter-century. It's no surprise that she sounds assured on the first eight tracks, which use the original orchestrations for small jazz band conducted by Roger Bean. It's a different story with the Broadway tunes that make up tracks 9-20, however, as Maurice Levine conducts a string orchestra on songs for which other singers have done memorable treatments, including "September Song," "Saga of Jenny," "Speak Low," and "Lost in the Stars." With her limited range and German-accented English, Lenya is not the best interpreter of this material, and she does better with the less familiar songs, such as "Sing Me Not a Ballad," which actually was written for her to sing in the unsuccessful operetta The Firebrand of Florence. As such, the decision to excise a third of the Berlin album is all the more questionable. by William Ruhlmann  
Tracklist:

1 September Song 3:45

Maxwell Anderson / Kurt Weill
2 It Never Was You 2:26
Maxwell Anderson / Kurt Weill
3 The Saga of Jenny 3:58
Ira Gershwin / Kurt Weill
4 Foolish Heart 3:10
Ogden Nash / Kurt Weill
5 Speak Low 2:49
Ogden Nash / Kurt Weill
6 Sing Me Not a Ballad 4:15
Ira Gershwin / Kurt Weill
7 Lonely House 3:36
Langston Hughes / Kurt Weill
8 A Boy Like You 2:26
Langston Hughes / Kurt Weill
9 Green-Up Time 2:34
Alan Jay Lerner / Kurt Weill
10 Trouble Man 3:42
Maxwell Anderson / Kurt Weill
11 Stay Well 3:01
Maxwell Anderson / Kurt Weill
12 Lost in the Stars 3:59
Maxwell Anderson / Kurt Weill
13 Song of Ruth 2:08
Kurt Weill / Franz Werfel
14 The Solomon Song 3:37
Marc Blitzstein / Bertolt Brecht / Kurt Weill
15 Song 3:05
Bertolt Brecht / Paul Dessau
16 Song of a German Mother 2:24
Bertolt Brecht / Hanns Eisler
17 So What 3:21
Fred Ebb / John Kander
Lotte Lenya feat: Harold Hastings
18 What Would You Do? 3:25
Fred Ebb / John Kander
Lotte Lenya feat: Harold Hastings 
19 It Couldn't Please Me More (A Pineapple) 3:17
Fred Ebb / John Kander
Lotte Lenya feat: Jack Gilford / Harold Hastings
20 Married 2:41
Fred Ebb / John Kander
Lotte Lenya feat: Jack Gilford / Harold Hastings
21 Moritat Vom Mackie Messer 2:52
Bertolt Brecht / Kurt Weill
Lotte Lenya feat: Turk Murphy
22 Mack the Knife 3:11
Marc Blitzstein / Bertolt Brecht / Kurt Weill
Lotte Lenya feat: Turk Murphy
23 Mack the Knife 8:34
Marc Blitzstein / Bertolt Brecht / Kurt Weill
Lotte Lenya feat: Louis Armstrong

LOTTE LENYA - Lotte Lenya Sings Kurt Weill's The Seven Deadly Sins & Berlin Theater Songs (1997) FLAC (tracks+.cue), lossless

A combined digital edition of Die Sieben Todsünden and Lotte Lenya Sings Berlin Theatre Songs of Kurt Weill, a pair of recordings given additional weight and texture as a result of Lenya recording them after visiting Berlin following a 20-year absence from the city -- she was heartbroken on seeing the devastation that had resulted from World War II. Die Sieben Todsünden is a nine-part work for vocal ensemble and soloist, while the Berlin Theatre Songs collection essentially rifles the Kurt Weill canon for highlights, coming up, as expected, with "Moritat vom Mackie Messer" and "Seeräuberjenny," amongst others. Familiarity, however, makes the songs -- and the recordings -- no less a treasure. Lenya works with a small ensemble on the theatre songs, recording in fairly close quarters (going by the photos in the booklet). The recordings sound intimate, and have an impressive energy as a direct result. Lenya's pleasure at performing these songs is also evident -- there is no grandstanding (indeed, she is an example of self-control), but she puts her heart into each of them, giving each song its own special due. Die Sieben Todsünden utilizes an orchestra (conducted by Wilhelm Brückner-Rüggeberg) and a vocal ensemble. Lenya sings the part of Anna, represented as Anna I and Anna II, a character in conflict with herself, her family, and even the extremes of morality. This final collaboration between Weill and Bertholt Brecht takes quite a few interesting musical turns -- there is some extremely creative use of rhythm and dissonance, though not in expected ways, while the general form of the music often hints at strict tradition before unlacing said strict tradition's corsets. It's a wonderful concert work, lovingly recorded (and remastered) with subtle touches and inflections from Lenya that require repeated listenings to catch. The supporting vocalists are highly professional, but don't bring quite the same qualities to the table as Lenya does. This combined reissue is almost perfect, and it truly is unfortunate that there has to be a worm in the apple, albeit a fairly small one -- while the lack of a libretto for the Berlin Theatre Songs portion is perhaps understandable, the lack of even a German libretto for Die Sieben Todsünden is all but inexcusable. by Steven McDonald 

JESSYE NORMAN - Brava, Jessye! The Very Best of Jessye Norman (1996) APE (image+.cue), lossless

EDITA GRUBEROVA - The Art of Coloratura (1983) FLAC (tracks+.cue), lossless

MARIA LÚCIA GODOY - Canta Poemas de Manuel Bandeira (1968) lp / Mp3

BIDÚ SAYÃO - O Luar da Minha Terra (2006) Mp3

On O luar da minha terra, Brazilian label Revivendo makes available eight more of historic soprano Bidu Sayão's early Brazilian recordings, made in 1935-1936, than have been previously available outside of her home country. A selection of eight showed up on a VAI Audio release Bidu Sayão: Rarities not long before she died in 1999; this one, however, boasts 16 early Brazilian selections, including popular songs in Portuguese, operatic selections, and a couple of numbers from Carlos Gomes' zarzuela Il Guarany and incorporating all of the ones that appeared on VAI. It is filled out by a handful of Sayão's American Columbia recordings from the late '40s, familiar already to those who know her. O luar da minha terra is a little less than absolutely delightful owing to some heavy-handed application of CEDAR noise reduction technology to the originals; while Sayão often comes through clear and strong, sometimes the band behind her sounds like it is playing from the deepest recesses of one's freezer owing to the effect of too much processing. For the later Columbia recordings, O luar da minha terra would be a ridiculous choice; in the famous 1945 Bachianas Brasileiras No. 5, Villa-Lobos' eight cellos sound like they need their own mukluks and igloos, their strangled notes rising up from the depths of a deep freeze. For that, Sony Masterworks Heritage's definitive release Bidu Sayão: Arias & Brazilian Folksongs remains the one indisputable choice in compact disc form. It is also true that the VAI remains the preferred option for at least the eight tracks it shares with the Revivendo item. On the other hand, the listener who is an absolute devotee of Bidu Sayão cannot argue against the concept of "more," and that is what Revivendo's O luar da minha terra has to offer; eight more Bidu Sayão recordings that available nowhere else, though that is the only advantage it has over other releases; in every other way it's substandard. Notwithstanding the digital aspect, all of the recordings emphasize what a strong and beautiful instrument Sayão had, apparent even in the most maudlin material. Sometimes the sound of the short breaths she takes to fuel extraordinarily long lines of singing, such as in "Cancão da Felicidade," can heighten the sense of emotional power Sayão is able to sustain, which is uncanny. Indeed, Sayão was a treasure; these digital transfers, however, are more like junk jewelry. by Uncle Dave Lewis 

BIDÚ SAYÃO - Bachiana Brasileira Nº 5, Opera Arias & Brazilian Folksongs (1996) FLAC (tracks), lossless

Bidú Sayão's silvery, impeccably tuned voice was small in size, but rich in nuance, shading, and emotion. Her recording of the Villa-Lobos Bachiana Brasileira No. 5 is justly famous, unmatched for lightness and sensuality. Few have dashed off the Jewel Song from Faust with similar insouciance or imbued the last phrases of Manon's "Adieu , notre petite table" as touchingly as Sayão does here. Her French song interpretations glow with charm and style, and a previously unreleased snippet from Ravel's L'enfant et les sotilèges makes one regret she never recorded the entire role, Sony's transfers are more lifelike and three dimensional than previous issues. A delectable disc. Amazon

WITOLD LUTOSLAWSKI - Vocal Works (2011) FLAC (image+.cue), lossless

GABRIEL FAURÉ : The Complete Songs, Vol. 1 : Au bord de l'eau (2005) FLAC (image+.cue), lossless

The first volume of Hyperion's complete Fauré songs is called "Au bord de l'eau" (by the water's edge) -- a reference to the French master's fondness for aquatic, nautical, and natural subjects in poetry, as well as to the title of one of his most famous songs. Having decided against a purely chronological survey of Fauré's songs, an approach that would have progressed from the lyrical outpourings of the composer's youth to the much thornier works of his later years, pianist Graham Johnson and Hyperion have instead divided the songs into thematic groups -- in the case of this first volume, songs that make poetic or musical reference to nature, water, sailing, and so on. Organizing the songs in this way sheds light on themes that ran throughout the composer's creative life, and happily avoids the academic cheerlessness that often ruins complete editions.
From a musical standpoint this is a good, but not great, collection. All of the singers, from veterans like Felicity Lott to relative newcomers like Christopher Maltman, deliver polished and secure performances, and Graham Johnson accompanies them all with sensitivity, if not always great involvement. But the all-English cast's French is often too sharply articulated to pass for authentic, and there is a generalized lack of atmosphere, of je ne sais quoi. That said, there are certainly some high points. Geraldine McGreevy and Stella Doufexis' "Tarantelle" brings a welcome wit out of Johnson at the keyboard, and shows a playful, almost Offenbach-like, side of Fauré that is often overlooked. And Stephen Varcoe's understated Mirages takes top honors for French style with its even-keeled lyricism and soft, almost caressing approach to phrasing and diction. Johnson's liner notes are some of the most accessible and informative that you'll find in any song collection. by Allen Schrott  

 

GABRIEL FAURÉ : The Complete Songs, Vol. 2 : Un paysage choisi (2005) FLAC (image+.cue), lossless

 

GABRIEL FAURÉ : The Complete Songs, Vol. 3 : Chanson d'amour : Love song (2005) FLAC (image+.cue), lossless

Volume 3 of Hyperion's four-volume set of the complete songs of Gabriel Fauré is dedicated to his love songs -- unsurprisingly, a subject near and dear to the hearts of fin de siècle composers, and one that seems especially effective in Fauré's sweetly perfumed style. His chansons d'amour are tasteful, gently impassioned settings of poems by Romantic and Symbolist writers, the best known being Victor Hugo, Charles Baudelaire, and Paul Verlaine; though others of less renown received music of equal artistry, and Fauré's consistent excellence makes even modest versifiers seem like poets of genius. The performances by sopranos Felicity Lott and Jennifer Smith, tenors John Mark Ainsley and Jean-Paul Fouchécourt, and baritones Christopher Maltman and Stephen Varcoe lend great variety to this installment, and keep the program lively; since its amorous content could easily slide into monotony with only one singer, a mix of interpretations is the right way to go. Their accompanists, Graham Johnson and Ronan O'Hora, also contribute to the highly varied textures and moods of this album, though in rather understated playing that never upstages the singers. Hyperion's sound quality is pleasant overall, though a little variable due to the different engineers, venues, and acoustics. by Blair Sanderson 

 

GABRIEL FAURÉ : The Complete Songs, Vol. 4 : Dans un parfum de roses (2005) FLAC (image+.cue), lossless

Okay, so, no, the Hyperion French Song edition's four-volume survey of the complete songs of Fauré won't replace EMI's complete edition. But then, how could it? Featuring the ethereal Elly Ameling and the heroic Gérard Souzay along with stalwart accompanist Dalton Baldwin, the set was in its time and remains for all time the gold standard of postwar Fauré singing. That said, yes, even though it won't replace the gold standard, volume four of the complete Fauré on Hyperion has many merits and deserves to be heard by anyone who loves the music. First among its merits is the rich and soulful voice of soprano Jennifer Smith in the opening Le papillion et la fleur and again in the closing La chanson d'Eve. Second are the three brief but lovely appearances by soprano Felicity Lott, especially her achingly beautiful Le parfum impérissable. Third are the sensitive and subdued accompaniments of Graham Johnson, the skillful pianist who found a steady gig recording the collected songs of just about everybody for Hyperion. Less compelling is light-voiced baritone Stephen Varcoe in Nocturne and thin-toned Jean-Paul Fouchécourt in Aubade. Although those who already have the Ameling/Souzay/Baldwin recordings might not be tempted to turn to these recordings as a first choice, they will be gratified and satisfied if and when they do hear it. Hyperion's sound is clear, close, and warm. by James Leonard 

 

FRIEDRICH NIETZSCHE : Lieder, Piano Works, Melodrama (Fisher-Dieskau) (1995) APE (image+.cue), lossless

KRONOS QUARTET / MAHSA & MARJAN VAHDAT - Placeless (2019) FLAC (tracks), lossless

Many of the Kronos Quartet's biggest-selling albums, going back to 1991's Five Tango Sensations, have drawn on vernacular traditions from outside the European-American sphere, and some, such as Caravan (2000), have drawn from the music of the Near East. Placeless, though, is a standout among the bunch, for several reasons. The album contains settings of Persian poetry by Rumi and various other classical and modern writers in the same ecstatic vein, hovering between religious mysticism and sensuality. The title comes from a poem by Rumi, who famously proclaimed, "I am not from the world, not from beyond. My place is placelessness. My trace is tracelessness." The album's most immediately attractive feature is the singing of Iranian vocalist Mahsa Vahdat, who has performed widely outside Iran but is forbidden by the country's Islamic government from appearing at home. (She still lives in Tehran and teaches privately.) Vahdat also wrote the melodic settings, and these are fascinating. They are not classical improvisations in the Persian system of modes but small chunks that fit the devotional exclamations of the poetry beautifully. And they approach the poetry in various ways. Sample Fate Astray, with its squarish, almost Western-style melody, and you'll also encounter another strong point: the variety of the arrangements. These draw on the work of various figures, both Persian and Western (this one is by Jacob Garchik), and they call for a wide range of textures from the Kronos Quartet, from evocations of plucked-string accompaniment to traditional string quartet textures, and even Middle Eastern percussion. The melodies are bewitching in themselves, and they seem to pass through prisms and come out in different shades. Highly recommended; one of the Kronos' strongest releases in recent years. by James Manheim 
Tracklist 
1 Placeless 3:10
Arranged By [Arrangement] – Sahba Aminikia
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Rumi
2 My Ruthless Companion 3:16
Arranged By [Arrangement] – Sahba Aminikia
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa, Marjan Vahdat
Words By [Poem] – Rumi
3 My Tresses In The Wind 3:32
Arranged By [Arrangement] – Jacob Garchik
Music By [Melody] – Mahsa Vahdat
Vocals – Marjan Vahdat
Words By [Poem] – Forough Farrokhzad
4 I Was Dead 3:12
Arranged By [Arrangement] – Atabak Elyasi
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Rumi
5 Endless Embrace 3:45
Arranged By [Arrangement] – Atabak Elyasi
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Atabak Elyasi
6 Fate Astray 2:58
Arranged By [Arrangement] – Jacob Garchik
Music By [Melody] – Mahsa Vahdat
Vocals – Marjan Vahdat
Words By [Poem] – Hafez
7 The Sun Rises 5:44
Arranged By [Arrangement] – Sahba Aminikia
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa, Marjan Vahdat
Words By [Poem] – Forough Farrokhzad
8 Vanishing Lines 5:25
Arranged By [Arrangement] – Sahba Aminikia
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Hafez
9 The Might Of Love 3:05
Arranged By [Arrangement] – Atabak Elyasi
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Hafez
10 Far Away Glance 3:13
Arranged By [Arrangement] – Aftab Darvishi
Music By [Melody] – Mahsa Vahdat
Vocals – Marjan Vahdat
Words By [Poem] – Atabak Elyasi, Mohammed Ibrahim Jafari
11 Leyli's Nightingales 3:36
Arranged By [Arrangement] – Atabak Elyasi
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa, Marjan Vahdat
Words By [Poem] – Atabak Elyasi
12 The Color Of Moonlight 4:18
Arranged By [Arrangement] – Atabak Elyasi
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Atabak Elyasi, Mohammed Ibrahim Jafari
13 Lover, Go Mad 3:23
Arranged By [Arrangement] – Sahba Aminikia
Music By [Melody] – Mahsa Vahdat
Vocals – Marjan Vahdat
Words By [Poem] – Rumi
14 Eternal Meadow 3:19
Arranged By [Arrangement] – Sahba Aminikia
Music By [Melody] – Mahsa Vahdat
Vocals – Mahsa Vahdat
Words By [Poem] – Rumi
Credits
Cello – Sunny Yang
Ensemble – Kronos Quartet
Performer [Kronos Quartet] – David Harrington, Hank Dutt, John Sherba, Sunny Yang
Text By [English Translation (Tracks 1, 3 to 6, 9 to 14)] – Erik Hillestad, Mahsa Vahdat
Text By [English Translation (Tracks 2, 7, 8)] – Sohrab Mahdavi
Text By [Quote On Cover (English)] – Rumi
Viola – Hank Dutt
Violin – David Harrington, John Sherba

KRONOS QUARTET / MAHSA & MARJAN VAHDAT - Placeless

(2019) KKV / FLAC (tracks), lossless

O Púbis da Rosa

THE MUSIC OF FRIEDRICH NIETZSCHE [1998] V.A. / ATMA / 2CD / FLAC

The Music of Friedrich Nietzsche

 [1998] ATMA / 2CD / FLAC

O Púbis da Rosa

STOCKHAUSEN - Stimmung [1986]

"Stimmung," translatable as "tuning" or "being in tune with," is a long-form exploration of vocal harmonics for six vocalists and six microphones. The entire piece is based on a low B flat, from which the vocalists spread out harmonically using overtone singing. Clocking in at over one hour in duration, the effect on the listener is simply hypnotic and is similar in many ways to the works of the so-called "minimalist" composers. The overtones of the voices take on the sounds of wind instruments, like a flute or a bassoon. Over the course of the performance, the vocalists are singing meditations on numerous deities from the all over the world, interspersed with various spoken "recitatives" with a somewhat juvenile sexual subject matter. Vocal group Singcircle, an avant-garde vocal sextet based in England, perform flawlessly, their eerie overtones floating high above the fundamental notes. by Mark Allender

STOCKHAUSEN [1928-2007]

 Stimmung [1986]

Singcircle Version / Gregory Rose, ‎Dir.

CBR320 / scan

O Púbis da Rosa