Christoph Willibald Gluck - L'innocenza Giustificata

"In addition to 'opera seria', there was another genre of serious opera that was important in the Baroque period, but has almost completely vanished from the awareness of today's opera-lover. We are familiar with such pieces under labels like 'serenata' or 'festa teatrale', referring to a special tradition of court opera. Here, too, serious subject are dealt with - and they tend to be edifying in character; but the extistential, tragic conflict of opera seria is missing as a rule. Such 'serenate' or 'feste' generally consisted of only two acts, and they were also substantially shorter than the 'opere serie', performances of which could easily stretch over 4-5 hours, including intervals. The serenate filled the need for entertainment and representation at court by avoiding extreme emotions - especially dark, negative ones like fear, sadness and despair -, while giving the singers ample opportunity to demonstrate their skill. Typical occasions for performing such works were provided by court festivities, e.g. the Prince's birthday celebrations, by weddings, anniversaries, state visits and similar events calling for royal representation. Nearly every 18th-century composer wrote pieces of this kind, and the appeal of such commissions lay in the chance to make one's personal mark in a work even more ritualised and more purpose-bound than was an opera seria. These subtleties are naturally not so evident to the present-day listener, especially as such compositions do not generally possess a solid plot, offering instead plenty of opportunity for moral reflection. Thus is it is not really surprising that 'serenate' and 'feste teatrale' have become conspicuous by their absence from the opera stage. But this also means that today's audiences miss out on one or two musical gems - from the allegroical 'serenate' of the late 17th and early 18th century to Wolfgang Amadeus Mozart's late contributions to the genre, 'Il Sogno di Scipione' and 'Il Ré Pastore' -, not to mention the breathtaking displays of vocal virtuosity that are part of this tradition.

"Three distinct forms are found in Christoph Willibald Gluck's early opera work: there is the 'dramma per musica', which is basically a classic three-act 'opera seria', generally setting a text by the leading librettist of the time, Pietro Metastasio; then there are one-act comic operas, some written in Italian, some set as French 'opéra-comiques'; and finally there are the three two-act 'feste teatrale' written in 1747, 1749 and 1755. 'L'innocenza giustificata' is the last of these three works; it was followed in 1760 by a serenata entitled 'Tetide', as something of an afterthought, for only two years later Gluck triggered the 'operatic reform' to which his lasting fame is largely due with 'Orfeo ed Euridice' - a work that avoids traditional nomenclature and bears the neutral description 'Azione teatrale'. From this point on, we find a diversity of style and form in Gluck's work - and indeed in that of many of his contemporaries - that gradually broke up the traditional forms of Baroque opera.

"An important role in this process was played by Giacomo Count Durazzo, manager of the Vienna Court Theatre. He had come to the Imperial court as a Genoese diplomat, and was commissioned to reorganise the Hoftheater in 1754. Recognising Gluck's exceptional talent, Durazzo did all he could to support the composer, who by this time already enjoyed substantial success all over Europe. Durazzo was a sworn enemy of the Metastasian 'opera seria', and at the same time a lover of French drama and all new developments in the world of theatre. As far as he was concerned, performances of 'opere series', 'feste teatrale' and 'serenate', and the accompanying mythological, heroic or even allegorical subjects, were best confined to specific courtly festivities. It is to one such occasion, namely the birthday celebrations of the Emperor Franz I. Stephan, that we owe the composition of 'L'innocenza giustificata'. It is indicative of the aspirations towards more modern musical drama that the two men shared that Durazzo and Gluck exploited the opportunity if not to abolish, then at least to subtly undermine the traditional formal canon. It is likely that none other than Durazzo himself was actually the anonymous author of the libretto. The aria texts are taken from various Metastasian libretti, and a short preface justifies this procedure with respect for the 'illustrious author' and Imperial court poet of many years' standing. This is actually something of a backhanded compliment, for it implies that Metastasio's texts are interchangeable and can be used at random. However, all the recitative texts, choral numbers and the entire closing scene, including the arietta no. 13, stem from Durazzo's pen. This closing scene with its large-scale choral tableau and the bizarre picture of the virgin Claudia dragging the ship single-handedly to the river bank, is most unusual from a scenographic point of view as well. Just as the truth is revealed at this stage in the plot, so Durazzo and Gluck reveal their concept of dramatic truth: at this point, scenery design, text and music leave the conventions of the serenata, hitherto carefully observed (but with clandestine parodistic intent) behind them. The arietta in the closing scene, where the miracle happens, contrasts in no uncertain fashion - in its formal freedom, with the 'realistic' interjections of the other chracters and the chorus, and above all in the strangely somnambulant expression of the melodic line, supported solely by the pizzicato strings - with the work's other arias, which adhere elegantly and effectively to the traditional rules of the genre. Only one of the preceding pieces prepares us for this unusual closing scene: Claudia's cavata, 'Fiamma ignota' (no. 7). Apart from the arietta in the finale, this is the only aria in the opera not set in the traditional three-part da capo form, thought it does at least have a self-contained two-part layout. Where Claudia endeavours to prove her innocence and to bring the truth to light, the music departs from the conventions of the form. The other numbers adhere to the conventions of the genre, but the 'search for truth' call for more individual treatment. Thus this apparently harmless 'festa teatrale' contains a clear aesthetic contrast of almost polemic intensity: it is this that makes 'L'innocenza giustificata' so special." (Ingo Dorfmüller, tr. Clive Williams. From the liner notes.)

Performers: Cappella Coloniensis, Christopher Moulds, María Bayo, Andreas Karasiak, Marina de Liso, Verònica Cangemi

1.1. Sinfonia: Allegro

1.2. Sinfonia: Andante

1.3. Sinfonia: Presto

1.4. Parte I, Scena I: 'Signor, De'cenni Tuoi'

1.5. Parte I, Scena I: 'D'atre Nubi'

1.6. Parte I, Scena II: 'Qual Presagi Funesti Minaccian Questo Dì!'

1.7. Parte I, Scena II: 'Sempre È Maggior Del Vero'

1.8. Parte I, Scena III: 'Eterni Dei, Da Questo Cor'

1.9. Parte I, Scena III: 'Guarda Pria Se In Questa Fronte'

1.10. Parte I, Scena IV: 'Ed Io Qui Resto Ancor?'

1.11. Parte I, Scena IV: 'A'giorni Suoi La Sorte'

2.1. Parte II, Scena I: 'No, Soffrirlo Non Deggio!'

2.2. Parte II, Scena I: 'Va, Ti Consola, Addio!'

2.3. Parte II, Scena II: 'Claudia, Pur Ti Riveggo'

2.4. Parte II, Scena III: 'Giovane Sventurata'

2.5. Parte II, Scena III: 'Fiamma Ignota Nell'alma Mi Scende'

2.6. Parte II, Scena IV: 'Ah, Valerio, Ah Signor!'

2.7. Parte II, Scena IV: 'Quercia Annosa Sull'erte Pendici'

2.8. Parte II, Scena V: 'Flavio, Flaminia, E Come, Ancor Temete?'

2.9. Parte II, Scena VI: 'La Meritata Palma'

2.10. Parte II, Scena VI: 'Assistetela, O Numi'

2.11. Parte II, Scena VI: 'Non È La Mia Speranza'

2.12. Parte II, Scena VI: Ritornello

2.13. Parte II, Scena VII: 'Deh Seconda, Ospite Nume'

2.14. Parte II, Scena VII: 'Contro Il Voler'

2.15. Parte II, Scena VII: 'Noto È Il Reo'

2.16. Parte II, Scena VIII: 'Si, Si, Claudia Morrà'

2.17. Parte II, Scena VIII: 'Ah Rivolgi, O Casta Diva'

2.18. Parte II, Scena VIII: 'Oh Roma...'

2.19. Parte II, Scena VIII: 'Grazie Al Ciel Che Amico Intese'

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Giovanni Legrenzi; Giacomo Carissimi - Oratorios of the Italian Baroque: Il Cuor Umano All'incanto; Oratorio della SS Virgine; Jonas

"In the environment of cultural renewal which took place in the wake of the Catholic counter-reformation at the turn of the 17th century, two diverse forms of sacred poetry written for music arose: the oratorio, championed by the followers of St. Philip Neri, and the sacred drama, favoured by the Jesuits. Both of these forms were aimed at responding to the same need: that of proposing stories of a sacred, spiritual or moral character in a manner pleasing to a vast public. The artistic results which followed were, however, quite different, and perhaps even in direct opposition to one another. The oratorio, in accordance with the canons of Philip's teachings according to which the faithful should be educated through simple and immediate means, was conceived as a composition in two parts, featuring a few fundamental personages and executed by musicians and singers who were hidden from view of the listeners. The sacred drama, on the other hand, conformed to that dramaturgy, which Jesuit theoreticians had long sought to codify, inspired by antique theatrical models. The text of the drama, much longer than that of an oratorio, was divided into three or even five separate acts, at times divided by comic intermezzos, and featured a remarkable number of principal and secondary characters who complicated the plot, while the staging was conceived in such a way as to awe the spectator, even to the point of upstaging the music or the poetic text.

"Music comprised the element of contact between the two genres. While the librettists generally belonged to different cultural milieus, the same composers often wrote both oratorios and sacred dramas. The compositional technique foresaw the use of all musical form employing basso continuo. The sacred drama and the oratorio would thus undergo the same musical evolution as other contemporary genres such as cantatas or operas.

"The music for 'Il Cuor umano all'incanto' was composed by Giovanni Legrenzi in all probability during the very early years of the 1670s. At that time, Legrenzi, who had already served as 'maestro di cappella' at the Accademia dello Spirito Santo in Ferrara beginning in 1656, moved to Venice to take over the post of director of the Conservatorio dei Mendicanti. In 1685 he also became the director of the prestigious chapel of St. Mark's. In these years, he established himself as one of the leading authors of musical oratorios in the Venetian area, collaborating frequently with the local 'Congregazione dell'Oratorio' which met at the church of S. Maria della Consolazione. Documentation preserved in the archives of the church of S. Maria della Consolazione provides details concerning the titles of the oratorios performed in those years: among those cited, we find for the first time, in 1673, 'Il cuor umano all'incanto'.

"The text of the oratorio was written by Pier Matteo Petrucci, a priest of the Order of St. Philip Neri, who took his training at the Universita of Macerata and was a member of the 'Congregazione dell'Oratorio' of Jesi. The years immediately following 1670 were fundamental for the literary production of Petrucci, a prominent figure in Italian mysticism. In 1680, he was named bishop of Jesi, and in 1686 cardinal. Merely a year later, however, in the wake of the trial of Miguel de Molinos, his publications were condemned for quietism by the court of the Inquisition and were placed on the Index of prohibited books.

"The first printed edition in which the text of 'Il Cuor umano all'incanto' appears dates to 1675. It was included in a collection entitled 'Poesie sacre e spirituali de Pier Matteo Petrucci della Congregazione dell'Oratorio di Jesi' and was published in Jesi and Macerata. It is particularly interesting to note the delay of nearly two years which separated the first performances of the oratorio in Venice from its publication, edited personally by Petrucci himself for the very purpose of obviating an unauthorized circulation of his works. This fact demonstrates that the circulation of oratorios took place even before the compositions were published, thanks to the ties which connected the followers of St. Philip who were active in various Italian cities. Evidence of the use of the text by Petrucci - musical scores, librettos, documents concerning performances - may be found today in some of the cities where the oratorians were most active: Venice, Ferrara, Bologna and Naples. The success of the 'Poesie' is witnessed, moreover, by the reprints published in Jesi or Venice in 1680, 1685, 1686 and 1717. 'Il Cuor umano all'incanto', in particular, was set to music not only by Legrenzi, but also by Giovanni Antonio Manara and Pietro Andrea Ziani.

"The version by Giovanni Legrenzi was performed in Venice in 1673, 1674 and 1696, in Ferrara in 1676 and in Vienna at the chapel of Emperor Leopold in 1692. Legrenzi's writing is clear and fluid, and invariably respectful of the moral content of the oratorio. Thus, in the arias the composer avoids superfluous repetitions of the text and in the recitatives the musical phrases conform to the rhythm of the poetical verses. Only in the ensemble sections and in the two choruses placed at the end of each part does Legrenzi elaborate more complex musical situations, though he remains equally moderate in length and faithful always to the general tone of the composition.

"The structure of Petrucci's oratorio follows the stylistic canons recognized and accepted by the majority of authors writing musical oratorios in the second half of the 17th century whose names were scrupulously listed by Arcangelo Spagna in the his 'Discorso intorno a gl'Oratori', published in Rome in 1706 but probably conceived a few decades earlier.

"'Il Cuor umano all'incanto' is divided into two parts, allowing for the insertion of a sermon between the two. It calls for six characters: 'Il Cuore umano' (the Human Heart), 'L'Angelo custode' (Guardian Angel), 'Il piacer vano' (Vain Pleasure), and 'Il mondo' (the World) in the first part; 'Il Cuore umano', 'L'Angelo custode', 'Cristo' (Christ) and 'Il Demonio' (the Devil) in the second. The distribution of the parts is conceived in such a way that it may be performed by four singers, as Petrucci himself scrupulously indicates in the various printed editions: a soprano, an alto, a tenor (for both 'Il piacer' and 'Cristo'), and a bass (for 'Il Mondo' and 'Il Demonio'). The four singers form a chorus at the end of each part of the oratorio, where the moral messages of the text are restated in a more explicit manner.

"The poetic strength of Petrucci lies in his giving the listener a simple and fully enjoyable text, almost scanty in its linearity but faithful to what we have mentioned was the spirit of the message championed by the followers of St. Philip Neri. Petrucci was aware that music and poetry should be a means of transmission rather than ends unto themselves, and he underlined his concept in the preface to the edition of 1686 of his 'Poesie': 'I have often noticed that a great exquisiteness of speech and exceedingly florid phrases offend rather than assist the vigour of the sacred verses and of the poetry which should benefit the spirit [...] Just as the extraordinary sweetness and musical art of a sung voice make man pay greater attention to [the voice] itself than to the sacred meaning of the poetry, instead of raising the Soul to God, holds it to itself and feeds more on beautiful flowers than on nourishing fruit.' Here, then, is the road indicated by Petrucci: 'read, therefore, O devoted Soul, these Rhymes, not so much to delight in them as to profit by them.' (Francesco Gatti, tr. Candace Smith. From the liner notes.)

"Giacomo Carissimi, son of Amico and Livia Prosperi, was baptised on 18th April 1605 in Marion Parish Church, near Rome. He started in Marino church as a clergyman, and studied music and singing with the local organist, supported by the ecclesiastical benefices of Grottaferrata Abbey. In 1623, when he was only eighteen, he was engaged as a member of the choir of Trivoli Cathedral, and his salary was one 'scudo' and fifty 'baiocchi' a month. There he came into contact with the latest musical movements through the maestri di cappella Briganti Colonna, Alessandro Capece and Francesco Mannelli. In 1627, Getulio Nardini and Vicario Apostolico of the Diocese of Assisi, appointed the twenty-year-old Giacomo Carissimi to the post of maestro di cappella in S. Rufino Cathedral, with the handsome annual salary of twenty 'scudos'. He stayed in the Umbrian town until December 1629, when he was summoned to Rome and given the dual role of maestro di cappella in S. Apollinaire church and teacher in the German College. Greatly admired and sought after by many a Prince, Carissimi never left Rome, and kept the appointmenets he was assigned to until his death on 12th January 1674, declining to succeed Monteverdi at St. Mark's in Venice or accept the post of Imperial Kapellmeister.

"Carissimi was an unassuming person of simple tastes, entirely dedicated to music, who reasily accepted the austere lifestyle that his post as a teacher at the German College imposed upon him. A teacher of 'Christian and exemplary morals, who would adapt to the way of life, and [to the] discipline of the College, and who would confess and take communion at least once a month in the College, if however he was [not] a priest, [who] would have to do so more often'. One of his commitments was to show the Rector all the compositions he wanted to publish, bearing the words 'Maestro di Cappella in S. Apollinare', so that he could make sure that they would not offend the dignity and reputation of the College. His manuscripts were also bound by Papal decree, which stopped his oratorios being performed during Mass, as it was the common practice to replace the antiphon, the gradual and the offertory with oratorios or motets similar to oratorios. This can be deduced from a letter sent from Paris by René Ouvrard to Claude Nicaise who was visiting Rome: '[...] two years ago, this Pope, prohibited stories set to music, not wanting anything to be sung in the church that was not word for word in the Holy Scriptures [...]' he goes on by saying that: '[...] two months ago [...] Signor Giacomo Carissimi could get permission to print the compositions he himself wrote'. Many of his works were unpublished and later countless other were lost when the Apollinaire archives were destroyed following the devastation caused by Napoleonic troops, who burnt all the existing autographs, so causing most of Carissimi's music to sink into oblivion. Numerous masterpieces by the composer are only known today because of the copies made by his students, which can be found in libraries all over Europe: this enabled one of the most authoratitive figures of the European music scene to come into his own.

"Whilst he was in Rome, Carissimi soon came into contact with the 'esercitii oratoriali' (oratorial exercises) in the form practised by the Compagnia de Crocifisso, in which the musical element was the Latin dialogical and concerted motets, with solo choral and solo parts, and pieces in recitative style, as observed by Maugras: 'The voices start with a psalm in the form of a motet, and then all the instrumentalists play and excellent symphony. After that the voices sing an episode from the Old Testament as a sacred drama. Then one of the most important preachers gives an exhortation, and this done, the day's gospel is sung, in which each singer represents a character in the story and expresses the force of the words perfectly.' Following the work already carried out by Emilio de'Cavalieri and Paolo Quagliata, Carissimi continued to develop the oratorio as a separate musical genre. As no autographs of the composer are extant, for the reasons already mentioned, we do not know what terminology Carissimi used for this new kind of music.

"Only seven of the Latin oratorios in a French manuscript are actually called Oratorios ('Judicium extremum', 'Diluvium universale', 'Judicium salomonis', 'Lamentatio damnatorum', 'Felicitas beatorum', 'Martyres' and 'Dives malus'), the others have been given the name 'oratorio' by present-day researches, but the original titles were 'historie' and 'historia o motet'. There is a considerable difference in opinion amongst musicologists as to the total number of Latin oratorios composed by Carissimi, as different criteria were applied to the term 'oratorio'. To evaluate Carissimi's part in the development of the oratorio, his great variet of sacred works should be considered, such as the short motets in dialogue form, the biblical 'stories', the lamentations, Latin cantatas and dialogues and the two-part oratorios. Not only does the length of the composition vary, but also the number of voices, how the dialogue and the narrative roles are assigned to the choir and soloists and the way choral episodes, recitatives, duets, terzettos, ariosos and instrumental pieces are distributed. Carissimi's contribution to this is less apparent in formal innovations than in the way he created an oratorial atmosphere, particularly by means of expressive processes in which biblical episodes are transformed into sacred epics, evidence above all of his otherworldly, impetuous and overwhelming faith.

"'The Oratorio Della Santissima Vergine': Only two of Carissimi's oratorios in the vernacular are extant: 'Daniele' and the 'Oratorio della Santissima Vergine'. Both of these works are essential to understanding early oratorios written in the vernacular. Neither of the dates of these compositions is known. The 'Oratorio della Santissima Vergine' is a contemplative work, in two parts. The only character indicated in the score is the Virgin (S), the other characters sing solo passages (A, T, B), duets (SS), trios (ATB), and choral pieces (SSATB). The instruments, two violins and basso continuo, play an opening symphony, some ritornellos and accompany the choral parts. The first part of the libretto brings to mind Francesco Balducci's 1642 version, whilst the second part is practically all original. Here the meditative-allegorical vision is transformed even to include the fight between the Virgin and Evil, called the 'serpent' or the 'monster'. When the Oratorio opens Maria's identity is revealed, dawn is rising and the new light turns the shores to gold. A voice (T) is heard singing 'Gran Donna appare', and asks 'Chi è costei' (who is she) and another voice replies 'Ella è Maria' (she is Maria) (A). When the figure of the Madonna has been revealed, a third voice (B) narrates the conflict between the Virgin and Evil: the Virgin defeats the 'monster' and goes on to plunder hell. In the second part jubilation is shown for the victory of good over evil and hymns are sung to the Virgin. The Oratorio ends, like all good sermons, with the choir offering a final metaphoric meditation, in the spirit of the Counter-Reformation: the night is not so dark that there will be no dawn; after the winter the fragrant spring adorns the fields with flowers. The dramatic circumstances are always expressed in a powerful and intriguing way, and there are vocal hints of madrigalism and the style of Monteverdi. The way the work is written, for the sinuous purity of its nature, the serene beatitude of the moods and the celestial transparency that imbues the whole - almost Botticellian - composition, suggest that this must have been an early work, particularly as this would coincide with the date Balducci wrote the text.

"'Jonas': The main character, Jonas, a prophet despite himself, is called by God to convert the people of Niniveh - a task which is too difficult for him. Jonas is frightened and hides in a ship leaving for Tharsis. God causes a terrible storm to hit the ship, as if to show how small human beings are in comparison to the Universe of God. The composer's innovative expressive flair now highlights the raging storm almost onomatopoeically, with the crashing of waves and the force of the wind. The frightened sailors pray to their gods to cause the storm to abate, and when questioned, the gods say that Jonas brought it about. The sailors then ask the Prophet to reveal himself, and when he wakes from a 'sapore grave' (deep sleep), he confesses that is was he that was the cause of the storm, so they hurl him into the sea, where a 'cetus grandis' (whale) swallows him up. The fury of the elements is thereby appeased. Jonas cries three times to God ('ignosce Domine') from the belly of the fish, and God forgives him, and orders the whale to release him so that the Prophet can go and carry out his mission amongst the people of Nineveh who, in the end are converted, and sing the marvellous 'Peccavimus Domine'. This final choral piece again shows Carissimi's versatile use of the choir to obtain expression, by means of a group character (the citizens of Nineveh), through a plurality of dialoguing voices. These oratorios, as in all the Roman composer's compositions, show Carissimi's immense ability to render text expressively, so much so that Kircher considered him superior to all other musicians 'at moving the souls of audiences to feel whatever emotion he intended', whilst other simply called him 'the musical orator'. (Paolo Pacini, tr. Priscilla Worsley. From the liner notes.)

Performers: Ensemble Legrenzi, Complesso Pro Musica Firenze

1.1. Giovanni Legrenzi - Il Cuor Umano All'incanto: Sinfonia

1.2. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Io, Che Sono Un Core Umano'

1.3. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'O Mondo, O Piacere'

1.4. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'E Dunque Il Core Umano'

1.5. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Di Nuovo Rimbomba'

1.6. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Core Umano Non Temere'

1.7. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Cor Uman, Se Ti Miro'

1.8. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Dolce Prezzo! O Quanto, O Quanto'

1.9. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Cerca Monete, O Cor, Cha Sian Più Sode'

1.10. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Senti O Cor Non T'ingannare'

1.11. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Taci Piacer, Non Più, Tu M'incateni'

1.12. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Che Cosa È L'piacere?'

1.13. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Dico Anch'io Ch'è Verità'

1.14. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Saggia Senteza'

1.15. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Eh, Non Temer, Il Mondo Ascolta'

1.16. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Innalza Il Guardo A La Celeste Mole'

1.17. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'A Dirtela Schietta'

1.18. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Cauto Consiglio! Io Mi Vo'dare A Voi'

1.19. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Madrigale 'Ecco Viene Già Servo Il Core''

1.20. Giovanni Legrenzi - Il Cuor Umano All'incanto: Sinfonia

1.21. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Soccorrete O Cieli Amici'

1.22. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Sento Che 'L Cor Umano'

1.23. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Un Sentiero Fiorito'

1.24. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'E Quai Cieli Invocar Puoi'

1.25. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Ahi Qual Gelido Orrore'

1.26. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Abissi Orribili'

1.27. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Maledico I Tuoi Iaceri'

1.28. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Questi Queruli Accenti, E 'L Grido Roco'

1.29. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'O Giesù Mio, Mio Redentor, Mia Vita'

1.30. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Discacciato Dal Mondo, A Dio Pretendi'

1.31. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'No Mio Dio, Ma Gira Il Ciglio'

1.32. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Chuidi L'indegne Invidiose Labbra'

1.33. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Dunque Al Cielo Alzerassi Un Cor Di Fango'

1.34. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Ma Tu, Ma Tu Rimira, O Core Ingrato'

1.35. Giovanni Legrenzi - Il Cuor Umano All'incanto: 'Dunque Omai Rimirate, Umani Cori'

1.36. Giovanni Legrenzi -  Il Cuor Umano All'incanto: 'Madrigale 'Se V'offre Il Mondo''

2.1. Giacomo Carissimi - Oratorio Della SS Vergine: Sinfonia

2.2. Giacomo Carissimi - Oratorio Della SS Vergine: 'Io Dell'eterna Mente'

2.3. Giacomo Carissimi - Oratorio Della SS Vergine: 'Ecco Al Vento Le Bandiere'

2.4. Giacomo Carissimi - Oratorio Della SS Vergine: 'Taccia Betulla'

2.5. Giacomo Carissimi - Oratorio Della SS Vergine: 'Su Su Si Spogli Di Fiori Il Prato'

2.6. Giacomo Carissimi - Oratorio Della SS Vergine: 'Notte Mai Non E Si Nera'

2.7. Giacomo Carissimi - Jonas: Simphonia

2.8. Giacomo Carissimi - Jonas: 'Et Praeliabantur Venti'

2.9. Giacomo Carissimi - Jonas: 'Tulerunt Nautae Jonam'

2.10. Giacomo Carissimi - Jonas: 'Peccavimus, Domine'

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Troum - Sigqan

Endowed with the vast, symphonic quality that distinguishes this duo's music as a cut above most ambient acts. There is true emotive and sonic progression here over the three parts of this work. Released on American dark ambient/noise label Desolation House in 2003 as an edition of one thousand CDs.

1. Sigqan Part 1

2. Sigqan Part 2

3. Sigqan Part 3

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MSBR - Structured Suicide +

Some of the last work produced by the late Koji Tano before his untimely death in 2005. Presents a re-working of material from 1993 (the original "Structured Suicide" tape), alongside a new "Final Harsh Work" piece. Captivating noise from a late master of the craft, released on Tano's own Denshi Zatsuon label as a CDr in 2003.

1. Structured Suicide +

2. Final Harsh Work Vol. 30

mp3/320kbps

Sun Ra - Piano Recital: Teatro La Fenice, Venezia

Fairly rare live solo set from the great Saturnian bandleader. His playing is as masterful as it is captivating as he works his way through standards made his own ('Take the "A" Train', 'Honeysuckle Rose') and his own compositions that have become standards ('Love in Outer Space', 'Friendly Galaxy'). Released in 2003 on Leo Records sublabel Golden Years of New Jazz. 

1. Free Improvisation 1

2. Blues

3. Love In Outer Space

4. Outer Spaceways Inc.

5. Take The "A" Train

6. St. Louis Blues

7. Penthouse Serenade

8. Angel Race

9. Free Improvisation 2

10. Honeysuckle Rose

11. Friendly Galaxy/Spontaneous Simplicity

mp3/320kbps

LHD - Asthma

One in a long series of excellent 7" vinyl releases from L.A. noise supergroup LHD (Phil Blankenship and John Wiese). Released in an edition of one hundred copies on John Wiese's Helicopter label in 2003.

A. Asthma

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LHD - Hands of the Priestess

One in a long series of excellent 7" vinyl releases from L.A. noise supergroup LHD (Phil Blankenship and John Wiese). Released in an edition of three hundred copies on short-lived American label Miisc in 2003.

 

A. Untitled

B. Untitled

 

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Oscillating Innards - Klinotaxis

Classic, untamed American noise sound with intense, manic vocal work and new samples of everyday extreme violence. Raw, energetic and enjoyable. Released on the presumable artist-owned Huff Raid Robot label (all the releases are from this project in 2003) in an edition of forty CDrs.

1. The Solipsist And Ego-Loss

2. Mental Illness Is From Space

3. I Can't Pronounce That

4. Nie Pirate Reverb

5. Ending A Relationship...

6. ...Over The Internet

7. Untitled

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Knurl - Magnetomotive

Intense, intricate analogue harsh noise from Canadian Alan Bloor, released on American noise label Gameboy Records as an edition of one hundred CDrs in 2003.

 

1. Inflame

2. Enkephaline

3. Inflexation

4. Perforce

5. Sense-Datum

6. Epithelia

7. Nystagmus

mp3/192kbps

LHD - Young and Restless

A brief (just under twenty minutes) but excellent high intensity noise assault from L.A. maestros Phil Blankenship and John Wiese. Released in 2005 as a CD on US based avant-garde label Blossoming Noise, and recorded between 2002 and 2003. 

 

1. Untitled

2. Untitled

mp3/256kbps

Dancehall '69: 40 Skinhead Reggae Rarities

Double CD collection of skinhead reggae tunes from the legendary Trojan Records label. Some excellent selections here, the music is full of humour, infectious rhythms and positive vibes throughout. Does a very good job at capturing in miniature a fleeting cultural epoch.

1.1. Bunny Lee All Stars - Warfare

1.2. Busty Brown - Fight For Your Right

1.3. Medetators - Soul Fight

1.4. Victors - Reggae Buddy

1.5. Karl Bryan - Red Ash

1.6. Hortense Ellis - My Last Date

1.7. Hippy Boys - What's Your Excuse

1.8. Bunny Lee All Stars - Annie Pama

1.9. Lloyd Charmers - In The Spirit

1.10. Hippy Boys - Peace Maker

1.11. Soul Twins - Cherrie

1.12. Roland Alphonso - One Thousand Tons Of Megaton

1.13. Hippy Boys

1.14. Reggae Boys - Ba Ba

1.15. Glen Adams - Power Cut

1.16. Hippy Boys - Dreams To Remember

1.17. Max Romeo & The Hippy Boys - Clap Clap

1.18. Roland Alphonso - Musical Resurection

1.19. Derrick Morgan - The Conqueror

1.20. Tommy McCook - The Saint (The Saints Go Marching In)

2.1. Prophets - Revenge Of Eastwood

2.2. King Horror - Zion I

2.3. Desmond Riley - Tear Them

2.4. Des All Stars - Walk With Des

2.5. Corporation - Walkin Thru Jerusalem

2.6. Dandy - Shake Me Wake Me

2.7. Dice The Boss - Tea House From Emperor Rosko

2.8. Music Doctors - Going Strong

2.9. Sir Collins - Black Panther

2.10. S S Binns - Bossa Moon

2.11. Music Doctors - Music Doctor, Chapter 1

2.12. Rudies - The Split

2.13. Cimarons - Kick Me Or I'll Kick You

2.14. King Horror - Cutting Blade

2.15. Joe Mansano - The Thief

2.16. Hot Rod Allstars - Return Of The Bad Man

2.17. Des All Stars - Black Scorcher

2.18. Music Doctors - Bush Doctor

2.19. Rudies - Devil's Lead Soup

2.20. Dice The Boss - Your Boss DJ

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Macronympha - Close to the Edge

An excellent hour-long noise assault from Macronympha, incorporating cut-ups from Chris Goudreau's Skin Crime. There is a large and skilled variety of sounds here, from straight-up harsh noise through to rhythmic sections and slow, droning sound. Joint CDr release on Self Abuse Records and Macronympha's own Mother Savage Noise Productions. Recorded in 2002 and released in 2003.

1. Untitled

mp3/224kbps

Johann Nepomuk Hummel - Piano Concerto in C Major; Rondo Brillant, Op. 56; Rondo Brillant, Op. 98

"The case of Hummel is sadly typical of that of many early nineteenth-century composers. Accorded the greatest respect as composer and performer and showered with gifts and honours for most of his life, Hummel fell into near-oblivion soon after his death, his œuvre largely neglected apart from representations in conservatory curricula. Happily, he and others like him are now beginning to enjoy the popularity they deserve. A most versatile composer, his output embraces all genres with the significant exception of the symphony – unsurprising, perhaps, in view of Beethoven’s ongoing contribution; compare Brahms’s reticence in embarking on his own first essay in the form. Born in what is now Bratislava, capital of Slovakia, in 1778, Hummel moved with his family to Vienna where Mozart, impressed by the eight-year-old prodigy, apparently took him as a live-in pupil for two years, treating him like a son. He also advised Hummel's father to take the boy on a concert tour, and the pair left at the end of 1788, taking in, among other cities, Prague, Dresden, Berlin, Hamburg and Copenhagen. After visiting Edinburgh, Durham and Cambridge, they settled in London, a city always open to foreign musicians in spite of its not-so-latent xenophobia. During Hummel’s two years there he met Haydn, Pleyel and Clementi (with whom he probably had lessons) and published his Op. 1 and Op. 2, each containing three sets of variations on popular and folk tunes. His autograph score is signed 'Master Hummel from Vienna – only Twelve years of age', although, in time-honoured fashion with child prodigies, the published score claims that he was eleven!

"[...] There are about eighteen works for solo piano and orchestra in Hummel’s output, of which eight are concertos. The present work, 'Piano Concerto in C major, Op. 34' – also known as Op. 34a and Op. 36 – is his first mature work of this kind. It is half as long again as any other of his concerti, the symphonic cut of much of the orchestral writing, the effective instrumentation and the piano's restrained virtuosity all showing that the young composer was intent that this would not be just another concerted firework-display. In fact, the parallels with a much more famous concerto, Beethoven’s last (No. 5 in E flat, the 'Emperor'), are striking. Both were written in 1809, which saw the occupation of Vienna by Napoleon’s troops and, interestingly, both were dedicated to Beethoven's patron, the Archduke Rudolph of Austria, Hummel's receiving its first performance during the celebrations for the Archduke’s marriage. The work, published in 1810, could possibly be called Hummel's 'Military' concerto, not only in the more barnstorming sense as in the 'Emperor', but also in that found in Haydn's 'Nelson Mass', with which it shares its occasional use of soft timpani and muted trumpets, a slightly unnerving reminder of the 'wars, and rumours of wars' so prevalent in this period.

"[...] The 'Rondo brillant in A, Op. 56' was published (in solo-piano form) in about 1814 in a periodical series called 'Répertoire de musique pour les dames', and it says much for the dames of Vienna that amateurs such as themselves could tackle a work of this difficulty. The 'Larghetto maestoso' introduction alternates pomposity with lyricism and the piano enters with one of those long-breathed effusions so characteristic of the genre – and, indeed, of Hummel – and whose effect can be clearly seen in the works of later composers, particularly those of Chopin. The horns announce the rondo-theme, appearing like thistledown in the higher register of the piano. There are episodes in the dominant and in the remote key of B-flat before the work concludes with a long coda full of trills and arpeggios and a cheekily distorted reference to the theme.

"The 'Rondo brillant in B flat, Op. 98' was published in Vienna in 1824 and in his letter offering it to the publisher Peters, Hummel describes it as 'one of my nicest works… and not fiendishly difficult'. It was composed for his Russian tour of 1822 and dedicated to 'Mme. de Peroffska, née Princesse Gortschakoff' in St. Petersburg. The slow introduction opens with a plaintive and very Slavic theme on solo oboe with a hymn-like accompaniment. The piano follows with a long cantabile solo full of improvisatory embellishment and beauty, leading directly into the Rondo's main theme, a Russian folksong extolling raspberries. The returns of this theme are separated by episodes in related keys, one with military overtones, the other in the more sombre minor mode, and the piece ends with a faster section and several surprises." (Derek Carew. From the liner notes.)

Performers: London Mozart Players, Howard Shelley

1. Piano Concerto In C Major, Op. 34: I. Allegro Con Spirito
2. Piano Concerto In C Major, Op. 34: II. Adagio
3. Piano Concerto In C Major, Op. 34: III. Vivace Assai
4. Rondo Brillant In A Major, Op. 56
5. Rondo Brillant In B-Flat Major, Op. 98

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Jan Ladislav Dussek - Works for Piano Four Hands

"Dussek was born four years after Mozart, and lived three years beyond Haydn, yet his life-works still can't be placed alongside those of the Classical Masters. In many respects, he can be looked upon as a forerunner to Romanticism, without him ever actually having a conscious aim to establish any new style. 

"The earliest dating work featured in this recording is the Op. 32 in C major, also known as the 'Grande Ouverture', which was written in 1796. It was in that year that Dussek's 'piano study hook' was published, in London in English (and then in Leipzig in 1802 in German). Also in that year, he and lgnaz Joseph Pleyel were preparing to put out a work far publication in Paris in the following year — the 'Nouvelle Methode de Pianoforte, contenant les principes du doigte'. The monumental opening movement of the 'Grand Ouverture', (with a slow opening in sonata form) is lengthier than the following too, and superior even in it's refinement. (Therefore, truly justifying it's title of 'Grand Ouverture'). The solemn and stately nature of the 'Largo' calls to mind the French-type ouverture. In the fast main section, the first subject is followed by a lengthy transition section (in which the bridge function of the section is barely noticeable, because of the abundance of thematic material). It is soon noticeable, that the secondary theme, which begins as conventional and steady, is in actuality, flexible. The start of the development section is flighty in character, and the many chains of sequences can cause the listener to lose direction. It is the feature of the recapitulation, that after many modulations, the listener is once again thrown into uncertainty; the theme appearing in the subdominant, (almost as if the real recapitulation were actually only a false one). The F-major 'Larghetto' is the simple binary form — an 'Haven of Peace' within the work. 

"In the closing 'Rondo', the characteristic circle dance is apparent, and in it's form, the structure is relatively free. The rondo theme is like an endlessly lengthy section in itself. As a result of this characteristic, any musical material can he introduced, distorting it's proportions, contrary to the expectations of the listener. Chronologically, his next work — also in C major — is the Op. 48, written in 1801, and is the first piece featured on this disc. The proportions of the movements are more even, though again it is the first movement that is the most significant. In the exposition section of the 'Allegro', transitions and modulations make the second subject area particularly lengthy. For the most part, it is from this pliable material that the heavily modulating development section is built. Surprisingly, in the following recapitulation, the opening of the first subject theme is not re-introduced. This 'surprise' element is emphasised further by the fact that it doesn't stay continuously within the tonic key. 

"The middle movement a 'Larghetto' in A-flat major, almost reaches I Beethovenian heights and depths. It suggests a sense or intimacy, and at the same time, shows Dussek's sensitivity to key-symbolism. 

"The C minor intermezzo leads with attacca into the following 'Rondo', in which the sections are dynamic and asymmetric, thus holding the attention. The theme on this occasion is also characterised by the fact that it can appear at anytime, almost imperceptibly, for as long as the previous material is able to blend with it. It's defining feature, is the lack of melodical particularity, and it is precisely because of that, that almost on the initial hearing, a sense of familiarity is awakened. The three fugues dating from 1808, are in D major, G minor and F major. In all three movements, the importance of the interlude sections appears almost negligible, as the movements are almost entirely structured around the thematic material. 

"However, it would be futile to look for any characteristics of the art of the Baroque fugue, since the movements fulfil only mono-thematic expectations. 

"Dussck's sensitivity towards the tonalities he chooses can be traced back to the start of his career. He was particularly drawn to the key of G minor, which he would always use to achieve a specific atmospheric effect. 

"His late 'Piano sonata in B major' (1811), with the slow movement — a heart-rending funeral march in G minor — is a fine examples of this. As if self-conscious in openly displaying his emotions, he diverts attention towards a light-hearted minuet-finale." (Katalin Eider, tr. Catherine Offord. From the liner notes.)

Performers: Adrienne Soós, Ivo Haag

1. Sonata In C Major, Op. 48 (C. 186): I. Allegro
2. Sonata In C Major, Op. 48 (C. 186): II. Larghetto Affetuoso E Non Troppo Lento
3. Sonata In C Major, Op. 48 (C. 186): III. Intermezzo. Allegretto Moderato Ma Energico - Rondo. Allegro Moderato
4. Grande Sonate In B-Flat Major, Op. 74 (C. 234): I. Allegro Con Fuoco
5. Grande Sonate In B-Flat Major, Op. 74 (C. 234): II. Marche Funebre. Andante Moderato
6. Grande Sonate In B-Flat Major, Op. 74 (C. 234): III. Menuetto. Tempo Di Ballo - Quasi Andante
7. Three Fugues, Op. 64: Fuga I (C. 227). Tempo Molto Moderato
8. Three Fugues, Op. 64: Fuga II (C. 228). Andante Moderato
9. Three Fugues, Op. 64: Fuga III (C. 229). Tempo Ad Libitum Ma Non Presto
10. Sonata In C Major, Op. 32 (C. 144): I. Largo - Allegro Moderato
11. Sonata In C Major, Op. 32 (C. 144): II. Larghetto Non Tanto
12. Sonata In C Major, Op. 32 (C. 144): III. Rondo. Allegretto

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Sun Kil Moon - Ghosts Of The Great Highway

Singer/songwriter Mark Kozelek's solo moniker. The songs here drift through an emotionally rich mind world, maintaining an urbane sound without going so far as to lose their Neil Young-esque 'Americana' feeling. The music is rich and varied beyond basic indie rock and the lyrics show an artistic maturity that one reviewer calls "a more languid form of timeless storytelling". Timeless is, perhaps, the right word. There is a feeling of Kozelek reaching into the past, singing songs from creased sepia toned family photo albums as the album cover suggests. There is rich emotion here, but also distance and a sense of growing insignificance.

1. Glenn Tipton
2. Carry Me Ohio
3. Salvador Sanchez
4. Last Tide
5. Floating
6. Gentle Moon
7. Lily And Parrots
8. Duk Koo Kim
9. Sí, Paloma
10. Pancho Villa

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Dust-to-Digital - Goodbye, Babylon

A massive and definitive collection of early 20th century American gospel music. Housed in a wooden box with a 200-page booklet featuring photographs of artists, Bible verses and complete lyric transcriptions, this compilation represents a serious effort to document the religious musical heritage of north America in the era that proceeded the long playing record (probably one of the best since Harry Smith's Anthology of American Folk Music, or Alan Lomax's Southern Journey series, although the focus of those collections was not exclusively on gospel music). Featuring many names you would expect to find, such as Blind Lemon Jefferson, Washington Phillips, The Carter Family, Bascom Lamar Lunsford and, of course, Blind Willie Johnson, as well as many rare and underappreciated gems, almost forgotten to time. The sixth and final disc is a collection of sermons.

1.1. Rev. T.T. Rose And Singers - Goodbye, Babylon (Part 1)
1.2. Da Costa Woltz's Southern Broadcasters - Are You Washed In The Blood Of The Lamb
1.3. Roosevelt Graves And Brother - Woke Up This Morning (With My Mind On Jesus)
1.4. Alabama Sacred Harp Singers - Present Joys
1.5. Blind Lemon Jefferson - All I Want Is That Pure Religion
1.6. J. E. Mainer's Mountaineers - Satisfied
1.7. Chuck Wagon Gang - As The Life Of A Flower
1.8. Holy Ghost Sanctified Singers - Thou Carest Lord, For Me
1.9. Washington Phillips - Lift Him Up That's All
1.10. Golden Gate Jubilee Quartet - Rock My Soul
1.11. Ernest V. Stoneman's Dixie Mountaineers - There's A Light Lit Up In Galilee
1.12. Arizona Dranes - Crucifixion
1.13. The Blue Chips - Crying Holy Unto The Lord
1.14. Louvin Brothers - I'll Never Go Back
1.15. Luther Magby - Blessed Are The Poor In Spirit
1.16. Mahalia Jackson - God's Gonna Separate The Wheat From The Tares
1.17. Rev. Gary Davis - I Belong To The Band - Hallelujah!
1.18. The Carter Family - River Of Jordan
1.19. Lil McClintock - Sow Good Seeds
1.20. Bryant's Jubilee Quartet - I'll Be Satisfied
1.21. Frank Palmes - Troubled 'Bout My Soul
1.22. Bascom Lamar Lunsford - Dry Bones
1.23. Carlisle Brothers - Jesus My All
1.24. Taskiana Four - Creep Along, Moses
1.25. Tennessee Music And Printing Company Quartet - Joy Bells
1.26. Elder David Ross - He Gave Me A Heart To Love
1.27. Bessie Jones And The Sea Island Singers - O Day

2.1. Brother Claude Ely - There Ain't No Grave Gonna Hold My Body Down
2.2. Elder Curry And Congregation - Memphis Flu
2.3. Sister O. M. Terrell - The Bible's Right
2.4. Stanley Brothers - Standing In The Need Of Prayer
2.5. Carl Smith - The Blood That Stained The Old Rugged Cross
2.6. Thomas A. Dorsey - How About You
2.7. Skip James - Jesus Is A Mighty Good Leader
2.8. Charles Butts Sacred Harp Singers - Murillo's Lesson
2.9. Kentucky Ramblers - Glory Glory Glory Glory To The Lamb
2.10. Elder Richard Bryant's Sanctified Singers - Come Over Here
2.11. Jaybird Coleman - I'm Gonna Cross The River Of Jordan - Some O' These Days
2.12. Trumpeteers - Milky White Way
2.13. Johnson Family Singers - Deliverance Will Come
2.14. North Carolina Cooper Boys - Daniel In The Den Of Lions
2.15. Sister Cally Fancy - Goin' To Heaven In The Sanctified Way
2.16. Jimpson - No More, My Lord
2.17. King's Sacred Quartette - This World Can't Stand Long
2.18. Virginia Dandies - God's Getting Worried
2.19. Empire Jubilee Quartet - Get Right Church
2.20. Rosie Hibler And Family - Move Members Move
2.21. Huggins & Phillips Sacred Harp Singers - Lover Of The Lord
2.22. A. A. Gray And Seven Foot Dilly - The Old Ark's A Moving
2.23. Blind Roger Hays - On My Way To Heaven
2.24. Uncle Dave Macon - The Bible's True
2.25. Price Family Sacred Singers - Ship Of Glory
2.26. Elders McIntorsh And Edwards - Since I Laid My Burden Down
2.27. Elder Effie Hall And Congregation - Precious Lord Hold My Hand
2.28. Blind Willie Davis - When The Saints Go Marching In
2.29. Roaring Lion & Cyril Monrose String Orchestra - Jonah, Come Out The Wilderness

3.1. Dinwiddie Colored Quartet - Down On The Old Camp Ground
3.2. Norfolk Jubilee Quartet - My Lord's Gonna Move This Wicked Race
3.3. Edward W. Clayborn - Your Enemy Cannot Harm You (But Watch Your Close Friend)
3.4. McVay & Johnson - Ain't Gonna Lay My Armor Down
3.5. James And Martha Carson - I'll Fly Away
3.6. Alabama Sacred Harp Singers - Heavenly Vision
3.7. Blind Willie Johnson - Lord I Just Can't Keep From Crying
3.8. The Jubilee Gospel Team - Lower My Dying Head
3.9. Two Gospel Keys - You've Got To Move
3.10. Flatt And Scruggs & Foggy Mountain Boys - That Home Above
3.11. Golden Gate Jubilee Quartet - Golden Gate Gospel Train
3.12. Roosevelt Graves And Brother - I'll Be Rested (When The Roll Is Called)
3.13. Eddie Head And His Family - Down On Me
3.14. Blind Joe Taggart - Goin' To Rest Where Jesus Is
3.15. Louis Washington - Got Heaven In My View
3.16. Rev. Sister Mary Nelson - Judgment
3.17. Cotton Top Mountain Sanctified Singers - I Want Two Wings To Veil My Face
3.18. Rev. D. C. Rice And Sanctified Congregation - We Got The Same Kinda Power Over Here
3.19. Washington Phillips - What Are They Doing In Heaven Today
3.20. T.C.I. Women's Four - That Great Day
3.21. North Canton Quartet - I'm Bound For Home
3.22. Washington White - I Am In The Heavenly Way
3.23. Sam Morgan's Jazz Band - Over In The Glory Land
3.24. Rev. Anderson Johnson - Death In The Morning
3.25. Maddox Brothers & Rose - In The Land Where We'll Never Grow Old
3.26. Dock Walsh - Bathe In That Beautiful Pool
3.27. Hank Williams - I'll Have A New Body

4.1. Wilma Lee And Stoney Cooper - Walking My Lord Up Calvary Hill
4.2. Sheffield Quartet - Christ Arose
4.3. Thomas A. Dorsey - If You See My Savior
4.4. The Jubilee Gospel Team - Let Jesus Lead You
4.5. Golden Gate Jubilee Quartet - Found A Wonderful Saviour
4.6. Arizona Dranes And Choir - He Is My Story
4.7. Ernest V. Stoneman And His Dixie Mountaineers - I Remember Calvary
4.8. Blind Willie Johnson - Take Your Burden To The Lord And Leave It There
4.9. Rev. W. M. Mosley - If You Follow Jesus
4.10. Blind Benny Paris And Wife - Hide Me In The Blood Of Jesus
4.11. Wade Mainer - I'll Be A Friend To Jesus
4.12. Tennessee Mountaineers - Standing On The Promises
4.13. Mother McCollum - Jesus Is My Air-o-plane
4.14. Stovepipe No. 1 - I've Got Salvation In My Heart
4.15. Blind Alfred Reed - I Mean To Live For Jesus
4.16. Heavenly Gospel Singers - When Was Jesus Born
4.17. Blue Sky Boys - Come To The Savior
4.18. Dorothy Melton - I Want Jesus To Walk With Me
4.19. Laura Henton - He's Coming Soon
4.20. Okeh Atlanta Sacred Harp Singers - Return Again
4.21. Rev. Gary Davis - I Am The True Vine
4.22. Bela Lam And His Greene County Singers - Sweet Story Of Old
4.23. Elder Golden P. Harris - I'll Lead A Christian Life
4.24. Famous Blue Jay Singers - I'm Leaning On The Lord
4.25. Blind Willie Harris - Where He Leads Me I Will Follow
4.26. Luther Magby - Jesus Is Getting Us Ready For The Great Day

5.1. Silver Leaf Quartette Of Norfolk - Daniel Saw The Stone
5.2. Alfred G. Karnes - Called To The Foreign Field
5.3. Ridgel's Fountain Citians - Hallelujah To The Lamb
5.4. Deacon A. Wilson - You Need Jesus On Your Side
5.5. Pace Jubilee Singers - You'd Better Mind
5.6. J. T. Allison's Sacred Harp Singers - Exhilaration
5.7. Ernest Phipps & His Congreagation - If The Light Has Gone Out Of Your Soul
5.8. Brown's Ferry Four - Keep On The Firing Line
5.9. Bailes Brothers - Romans Ten And Nine
5.10. Wade Mainer - Standing Outside
5.11. Monroe Brothers - Sinner You Better Get Ready
5.12. Blind Willie McTell - I Got To Cross The River Of Jordan
5.13. Dock Reed And Vera Hall Ward - Free At Last
5.14. Bessie Johnson's Sanctified Singers - The Whole World In His Hand
5.15. Mahalia Jackson - Amazing Grace
5.16. Blind Mamie Forehand - Honey In The Rock
5.17. Seventh Day Adventist Choir - On Jordan's Stormy Banks We Stand
5.18. Elder J. E. Burch - My Heart Keeps Singing
5.19. Joshua White - I Don't Intend To Die In Egyptland
5.20. Daniels-Deason Sacred Harp Singers -  Primrose Hill
5.21. The Carter Family - Keep On The Sunny Side
5.22. Mrs. L. Reed & Mrs. T. A. Duncans - Light In The Valley
5.23. The Georgia Peach - When The Saints Go Marching In
5.24. Jimmie Strothers - We Are Almost Down To The Shore
5.25. Sister Rosetta Tharpe - Strange Things Happening Every Day
5.26. Rev. T. T. Rose And Singers - Goodbye, Babylon (Part 2)

6.1. Rev. J. M. Gates - Gettin' Ready For Christmas Day
6.2. Rev. A. W. Nix - Black Diamond Express To Hell (Part 1)
6.3. Rev. A. W. Nix - Black Diamond Express To Hell (Part 2)
6.4. Rev. J. C. Burnett - The Downfall Of Nebuchadnezzar
6.5. Rev. Isaiah Shelton - The Liar
6.6. Rev. Emmet Dickenson - Hell And What It Is
6.7. Elder J. E. Burch - The Church And The Kingdom
6.8. Rev. T. E. Weems - If I Have A Ticket Lord Can I Ride
6.9. Rev. Benny Campbell - You Must Be Born Again
6.10. Rev. E. D. Campbell - Take Me To The Water
6.11. The Jubilee Gospel Team - Oh, Lord Remember Me
6.12. Rev. E. S. (Shy) Moore - Christ, The Teacher
6.13. Rev. Johnnie Blakey - King Of Kings
6.14. Elder Otis Jones - O Lord I'm Your Child
6.15. Rev. Webb - Moses Was Rescued By A Negro Woman
6.16. Rev. George Jones And Congregation - That White Mule Of Sin
6.17. Deacon Leon Davis - Deacon's Prayer Services
6.18. Rev. S. J. 'Steamboat Bill' Worell - The Prodigal Son
6.19. H. C. Gatewood (D.D.I.M.R.A.) - Well Of Salvation
6.20. Rev. F. W. McGee - Jonah In The Belly Of The Whale
6.21. Rev. J. C. Burnett - The Gambler's Doom
6.22. Hallelujah Joe - The Prodigal's Return (The Things I Usta Do I Don't Do No More)
6.23. Rev. T. E. Weems - God Is Mad With Man
6.24. Rev. J. M. Milton - The Black Camel Of Death
6.25. Rev. J. M. Gates With His Congregation - Death Might Be Your Santa Claus

mp3/320kbps

Hot Women: Women Singers From The Torrid Regions Of The World

Features artwork and notes from legendary cartoonist and obsessive shellac collector Robert Crumb (you can read more about this in his excellent interview with Mats Gustafsson here). This is one of several compilations Crumb has contributed art to, including 2006's "The Stuff That Dreams Are Made Of" on Yazoo, and his own selections on Abrams' "R. Crumb's Heroes Of Blues, Jazz & Country" from the same year. Crumb has always had a fascination with the inate power of the female form, and the striking, butch features of our cover singer here should come as no surprise to anyone familiar with the terrific and terrifying forms of his more erotic artwork. Musically speaking, whenever we dive into this era surprises are plentiful. Here is no exception: the theme allows for a broad range of styles, from cajun blues to latin music to Indian and Burmese folk music. There is plenty to relax, move and impress while we imagine ourselves as wayward travelers in a bygone era.

1. Cleoma Falcon - Blues Negres
2. Lydia Mendoza Y Familia - Mexico En Una Laguna
3. Toña La Negra - El Cacahuatero
4. Grupo De 'La Alegria' - El Tambor De La Alegria
5. Leona Gabriel - Liva
6. Araci Côrtes - Quero Sossego
7. Las Cuatro Huasas - La Papa Araucana
8. La Niña De Los Peines - Sevillanas Number 2 (The Girl Of The Combs)
9. Rosina Trubia Gioiosa - Lu Fistinu Di Palermo
10. Rita Abadzi - Mime Stelis Mana Anastin Ameriki
11. Maria Vasileiathou - Arostisa Manoula Mou
12. Cheikha Tetma - Guenene Tini
13. Aïcha Relizania - Khraïfi
14. Julie Marsellaise - Yama N'chauf Haja Tegennen
15. Ayda Sönmez - Neva Hicaz Gazel
16. Hamsa Khalafe & Ali Atia - Ballali Madja
17. Hadija Binti Abdulla - Bina Adamu, Part II
18. Maboudana & Badolo - Chant D'invitation A La Danse
19. Noforonin Dratsiambakaina, Hirain-Drazaivelo & Christine Zanany - Miverena Rahavana
20. Miss Nilam Bai - [Title In Hindustani]
21. Yadana Myit - [Title In Burmese]
22. Cô Ba-Thinh & Khâm-Thîen - Hát Du
23. Emma Bush & Johnny Noble - Lei E
24. Chants Populaires Tahitiens - Chant d'Amour

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MNEM - For Delta Relics

Finnish death industrial project lets us sink into a moribund world of rumbling urban dread. Low drones give way to echoing drips and sinister electrical hum; growing in intensity but never leaving the mechanical, ordered process of the city.

1. Grey Lictor
2. Insula
3. The Late Nuance
4. Trilemn
5. Ancylus
6. Oryfus
7. For Delta Relics

mp3, v0

Girolamo Frescobaldi - Canzoni

"If we except the three canzonas published in Venice in Alessandro Raverii's anthology of 1608, the Canzoni of 1628 and 1635 form the first important collection of works by Girolamo Frescobaldi not explicitly (or sometimes implicitly) intended for the keyboard (organ or harpsichord), of which he was a master. Mature works, written when the composer was forty-five, these instrumental canzonas, matchless in their scope, took to its apogee a well-established genre. The canzona had developed from lute and keyboard arrangements of Franco-Flemish chansons, which in turn served as models to Italian composers for original compositions either for organ or for instrumental ensemble. The latter, known as canzoni da sonar, led in turn to the seventeenth-century sonata. Each of Frescobaldi's instrumental canzonas forms a varied but unified whole. These pieces have obviously been put together with care. They represent a 'manifesto' of the new stile concertato, and their arrangement in the different volumes follows a progression based on the number of voices, from canzoni a voce solo with continuo, showing brilliant virtuosity and invention, to clearly polyphonic pieces, more typical of the composer's capriccios. With the exception of the last three pieces of the Masotti edition (scored for spinettina), the contents show remarkable unity, like the Fantasie of 1607 and the Capricci of 1624." (Etienne Darbellay, tr. Mary Pardoe. From the liner notes.)

Performers: Les Basses Réunies, Bruno Cocset

1. Vigesimaquarta A Due Bassi E Canto 'Detta La Nobile' (Prima A 3)
2. Ottava A Basso Solo Detta L'ambitiosa
3. Prima A 4, Canto Alto Tenor Basse 'Sopra Rugier'
4. Seconda A Canto Solo 'Detta La Bernardinia'
5. Undecima A Due Canti 'Detta La Plettenberger'
6. Prima A 2 Bassi
7. Trigesima Quinta 'Detta L'Alessandrina'
8. Seconda A 2, Canto E Basso
9. Terza A 2, Canto E Basso
10. Prima A Basso Solo (Sesta 'Detta Laltera')
11. Quinta A 4, Canto Alto Tenor Basse
12. Decimasettima A Due Bassi 'Detta La Diodata'
13.Quarta A 4, Due Canti E Due Bassi
14. Prima A 2, Canto E Basso
15. Quintadecima A 2 Bassi 'Detta La Lieuoratta'
16. Settima A Basso Solo Detta La Superba
17. Decimasesta A 2 Bassi 'Detta La Samminiata'
18. Seconda A 4, Due Canti E Due Bassi
19. Quinta A 3, Due Canti E Basso
20. Terza A Canto Solo 'Detta La Donatina'
21. Seconda A 4, Canto Alto Tenor Basse 'Sopra Romanesca'

flac, 16-bit