Paul Haig - Cinematique 3 - COMPACT DISCS [CD]

Album Tracks 1. Trilogia - I Tre Stadi Dell'uomo = the Three Stages of Man 2. I. Triphon 3. II. Dithome 4. III. Ygghur 5. Voyages 6. Il Allaint Seul 7. Le Fleuve Magique

LTM are pleased to announce a reissue of the original & best of the Cinematique CD series by Paul Haig the enigmatic pop moodist who made his name with Postcard tag art-punk legends Josef K. Originally released by LTM in October 1991 Cinematique (Vol 1) is loosely based around the concept of incidental music for imaginary films. The disc is split into three different suites each conveying a different mood & atmosphere. Album Tracks 1. Black Veil & Gold 2. City of Fun 3. Somewhere Inbetween 4. The Hunting Party 5. Crime Interlude 6. City of Fun (Slight Return) 7. Lagondola 1 8. Beauty 9. Highland 10. Deception 11. Intimacy 12. Lagondola 2 13. Flashback 14. Eastworld 15. In-Flight Entertainment 16. Oil

The only available complete recording; newly made by a stylish Italian early-music ensemble; of a landmark collection of Baroque chamber music. Antonio Veracini (1659-1733) was the uncle and teacher of his more famous nephew; the composer and violinist Francesco Maria Veracini (1690-1768); and one of the most important violin sonata composers of the generation that included Corelli and Torelli. His innovative music forms the bridge between the styles of Vitali; Bononcini and Stradella on the one hand; and the post-Baroque fashions of his nephew and of Tartini and Locatelli on the other. Even while working outside the patronage of the Medici family; Veracini played a central role in the civic musical life of Florence during the later 17th and early 18th centuries. Trained from childhood as a violinist; he wrote mostly with his own instrument in mind; and doubtless with a view to impressing noble audiences with his skill and virtuosic style. He must have succeeded; because he also became an owner of many superb violins and a dealer in their trade. Veracini's Opus 1 collection was published in 1692 and dedicated to his patroness; the Grand Duchess Vittoria. It consists of ten 'church sonatas' of the newer sort exemplified by Vitali's op.9 collection published two years later; though Veracini's style is also comparable with Corelli's church sonatas published during the 1680s. Most of the sonatas have two extended quick movements; each preceded by a slower and gravely expressive introduction. Dance rhythms infuse the finales with momentum; and Veracini is fond of trumpet-like fanfares and echo effects. These ten sonatas made a tremendous impression on Veracini's fellow composers at the time; and it is a wonder that they have only been recorded in selected form until now. The complete collection abounds in high-spirited diversity; especially in these recordings made by an e