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.
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 ]
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
1977
Dennis Russell Davies - pian
AllMusic: "Keith Jarrett does not actually play on this LP; rather, it is Dennis Russell Davies, a classical pianist and conductor with whom Jarrett collaborates frequently, who performs this 32-minute Jarrett composition on a grand piano.
1988
Paul Giger - vioara
"Describing the music of Paul Giger is like trying to draw with one’s eyes closed: one can only go so far before the shapes begin to break down. Each section of this chiefly improvised work was recorded in respective titular areas of the cathedral at Chartres. Giger possesses a uniquely intimate understanding of the violin, which he brings to every movement of his playing.
The alternating ferocity and gentility with which he approaches his instrument is both inspired and inspiring. Melodically these pieces are incredibly robust, singing and shouting and praying their way through a virtuosic journey. Yet the music is anything but pretentious. Giger paints a veritable image of the cathedral, hollowing it from the inside out with the edge of his bow, respecting the space that gives his music life. [ ecmreviews ]
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.
2017
Danish String Quartet
Rune Tonsgaard Sorensen - vioara, Harmonium, pian, Glockenspiel
Frederik Oland - vioara
Asbjorn Norgaard - viola
Fredrik Schoyen Sjolin - violoncel, contrabas
They are widely recognised as the most exciting young string quartet of the present moment, bringing new insights to contemporary composition and core classical repertoire. In parallel, they have also made surprising and impressive forays into the world of Nordic folk music.
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 ]
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