Various Artists - Traditional Music Of Peru, Vol. 8: Piura - COMPACT DISCS [CD]

The mestiza music began to develop even a relatively short time after Cort's conquest of the land of Huitzilopochtli. Today, more than four centuries later, the Spanish roots can clearly be recognized in most of the songs and dances that do not preserve an outright Indian character, but this music cannot any longer be called Spanish. It has been subtly but profoundly transformed, accommodating it's expression to the character of the people and terrain of each region... Joseph Hellmer. Album Tracks 1. La Patenera Sones of the Huasteca 2. La Media Calendria Sones of Michoacan 3. El Gusto Planeco Sones of Michoacan 4. La Malaguena Guerrerense Sones of Guerrero 5. El Cascabel Sones of Veracruz 6. Engano Modern Sones

The name of Walter Willson Cobbett (1847-1937) is synonymous with chamber music from the first half of the twentieth century - his contribution to the genre was immense, particularly through his many commissions and the prize for chamber music that bore his name. The Berkeley Ensemble have sought to build on this unique legacy, introducing 'The New Cobbett Prize for Chamber Music'. This new recording from the ensemble, brings together the three winning works from the inaugural competition with the work that won the first original competition - William Hurlstone's Phantasie for string quartet. Also included is A Purcell Garland, three arrangements of a composer who inspired Cobbett by Oliver Knussen, George Benjamin and Colin Matthews. Album Tracks 1. Phantasie for string quartet 2. Lazarus 3. ...upon one note 4. Fantasia 7 5. Fantazia 13 6. Sequenza for string quintet 7. Living Floors for violoncello and contrabass

An 'illuminating' series (Fanfare) reaches Volume 9, presenting the complete piano sonatas on instruments of the period. The French grand siècle is most often viewed through the gilt-framed mirrors of Versailles, showing the pomp and splendour, the feasts and formality of Louis XIV's reign. However, the composers of his court took special pains to represent and analyze the human condition in all it's moods, not least mourning and sadness. The entire aesthetic imaginary of this era is imbued with the power and charm of tears the audience - in the words of philosopher Bernard de Fontenelle - wants 'to be moved, agitated, [...] to shed tears. The pleasure one takes in crying is so curious that I cannot help but think about it.' The aesthetic of sorrow and grief was so powerful that not even instrumental music could resist it's charm. Marais, Hotteterre and their contemporaries wrote eloquent examples of the plainte and the tombeau as well as courantes and allemandes which conveyed a sad and lamenting mood, through slow tempos, minor modes dissonance and chromaticism. It is from this eloquent repertoire that Cordevento, expanded for the occasion to a five-person lineup, has assembled an imaginative programme. The lion's share is drawn from two collections of suites en trio by Marin Marais and Antoine Dornel, performed by Erik Bosgraaf (recorder) and Robert Smith (treble viola da gamba) with their colleagues Izhar Elias, Israel Golani and Alessandro Pianu (respectively on baroque guitar, theorbo, harpsichord) providing attentive and generous continuo accompaniment. Erik Bosgraaf also takes the spotlight with a selection of pieces for solo recorder and basso continuo by Hotteterre, Philidor and Montéclair, while his Cordevento co-founders Izhar Elias and Alessandro Pianu contribute solo pieces by Campion and d'Anglebert. Album Tracks 1. Suite for 2 treble instruments