George Tossikian - La Plage - COMPACT DISCS [CD]

Album Tracks 1. Missa Renovationis, for 4 Voices & Chorus Kyrie 2. Missa Renovationis, for 4 Voices & Chorus Gloria 3. Missa Renovationis, for 4 Voices & Chorus Credo 4. Missa Renovationis, for 4 Voices & Chorus Sanctus 5. Missa Renovationis, for 4 Voices & Chorus Agnus Dei 6. Missa 'Non Sine Quare' for 4 Voices & Instruments Kyrie 7. Missa 'Non Sine Quare' for 4 Voices & Instruments Gloria 8. Missa 'Non Sine Quare' for 4 Voices & Instruments Credo 9. Missa 'Non Sine Quare' for 4 Voices & Instruments Sanctus 10. Missa 'Non Sine Quare' for 4 Voices & Instruments Agnus Dei

After Máximo Diego Pujol (born 1957) discovered a guitar in a closet at his parents' home in Buenos Aires, Argentina, the eight-year-old Máximo took his first lessons from Don Gaspar Navarro, neighbor, and friend, as well as a fine tango and milonga player who taught all the children in the neighborhood. Later he studied with various authorities of the guitar including Alfredo Vicente Gascón, Abel Carlevaro and Leo Brouwer, graduating from the Juan José Castro Conservatory with the Superior Professor of Guitar diploma. In a place where tango was constantly floating in the air, he honed his skills as a performer by playing at Buenos Aires night clubs, both as a soloist and as an accompanist. He also played in a number of duos, trios, and quartets, immersing himself fully in every aspect of tango music. Since his earliest days as a professional musician and composer, Pujol has strived for a fusion of traditional Argentine tango and formal academic concepts. This musical quest stems from a thorough study of the works of Heitor Villa-Lobos and Leo Brouwer, who revolutionized guitar music by incorporating the instrument and it's particular musical vocabulary in their own works. Máximo Diego Pujol's music is the guitar testimony of such a complex country as Argentina, but it is also, and above all, the expression of a universal lyricism, feeding on eternal feelings like melancholy, nostalgia, sensuality, passion, anger, and love. This new recording contains the Variaciones sobre un tema de Atahualpa Yupanqui, Elegia por la muerte de un tanguero, Sonatina, and Suite del Plata, no. 1. Album Tracks 1. Variaciones Sobre Un Tema de Atahualpa Yupanqui 2. Elegía Por la Muerte de Un Tanguero 3. Confuseta 4. Melancolía 5. Epílogo 6. Sonatina 7. Allegro Ritmico 8. Andante E Molto Legato 9. Allegro 10. Suite Del Plata, No.1 11. Preloudio 12. Tango 13. Mil

Apparently it was only after he finished his one-act opera InchMörder, Hoffnung der FrauenInch (Murder, Hope of Women) Op. 12 (text by Oskar Kokoschka) that Hindemith hit on the plan for a triptych consisting of that work and two others. The one-act opera InchDas Nusch-NuschiInch Op. 20 (text by Franz Blei), the second work in this series, was not completed until a year after InchMurder, Hope of WomenInch; Hindemith finished the second opera on 14 August 1920. In contrast InchSancta SusannaInch Op. 21 (text by August Stramm) was already finished on 5 February 1921. Hindemith probably discovered the texts by Blei and Stamm simultaneously, and immediately recognized the possibility of extending and continuing the theme of InchMurder, Hope of WomenInch with these two other pieces. It was thus that a triptych of one-act operas closely connected in their thematic content came into being. The three works deal with the same subjects from three fundamentally different points of view. The general themes include sexuality, culture, punishment, violence, and transfiguration. Album Tracks 1. Die Junge Magd. Sechs Gedichte Von Georg Trakl FÜR Eine Altstimme Mit Flöte, Klarinette Und Streichquartett Op. 23 B 2. Des Todes Tod. Drei Lieder Nach Gedichten Von Eduard Reinacher FÜR Frauenstimme, 2 Bratschen Und 2 Celli Op. 23 a