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Artist: Klara Würtz
Franz Liszt:
00:00:00 Waldesrauschen
00:04:04 Gnomenreigen
00:06:49 Liebestraum No. 3 in A-Flat Major
00:11:09 Mephisto Waltz No. 1
00:22:27 Les jeux d’eaux à la Villa d’Este (From Années de Pèlerinage III)
Franz Schubert:
00:30:08 Impromptu in B-Flat Major, Op. 142: No. 3 “Rosamunde”
Robert Schumann:
00:41:21 Arabesque, Op. 18
Frédéric Chopin:
00:47:42 Ballade No. 1 in G Minor, Op. 23
00:56:11 Barcarolle in F-Sharp Major, Op. 60
Claude Debussy:
01:04:19 L’isle joyeuse
Serge Rachmaninoff: Piano Concerto No.2 in C minor Op. 18
01:10:03 Moderato
01:20:12 Adagio sostenuto
01:31:18 Allegro scherzando
Robert Schumann: Piano Concerto in A minor Op. 54
01:42:54 Allegro affetuoso
01:57:54 Intermezzo
02:03:11 Allegro vivace

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Composer: Caspar Joseph Mertz, Fernando Sor, Mauro Giuliani, Pietro Pettoletti
Artist: Peter Pieters, Micheline Dumortier

This delightful double-album features two historic “Terz” guitars, from the first half of the 19th century. The “Terz” guitar (read everything about it in the informative booklet) is smaller, with an intimate sound, and a higher register. It was much in use in the romantic era, and the repertoire features popular music from that time: Fantaisies and Divertissements of Fernando Sor, Rondo and Grand Pot-Pourri of Giuliani and works of Pettoletti and Caspar Joseph Mertz: all very pleasing, charming music, played with taste and delicacy by the Belgian Duo.


00:00:00 Les deux amis, Fantaisie, Op. 41: Introduction (andante-largo) - Tema (andantino) - variations 1-5-Mazurka
00:16:22 L’encouragement, Fantaisie, Op. 34: Cantabile - Tema (andantino) - variations 1-3-Valse
00:29:48 Souvenir de Russie, Fantaisie, Op. 63: Introduction (andante moderato) - Tema-variations 1-9-Allegretto
00:43:19 Divertissement, Op. 38: Andante moderato-andantino-Valse
00:51:49 Fantaisie, Op. 54: Andante-allegro-andantino-dans le genre espagnol (allegro)
01:02:56 Rondo Op. 66: Allegretto
01:06:48 Rondo Op. 66: Grazioso
01:12:17 Rondo Op. 66: Allegretto
01:18:49 Nänien (Funeral Songs): Am Grabe der Geliebten
01:24:10 Nänien (Funeral Songs): Ich denke dein
01:29:41 Nänien (Funeral Songs): Trauermarsch
01:34:41 Fantaisie sur un motif favori de Bellini, Op. 22
01:39:52 Gran Pot-Pourri, Op. 67
01:54:50 Unruhe
01:57:52 Ständchen
02:04:18 Mazurka
02:07:52 Tarantella

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Composer & Artist:
Composer: Béla Bartók, Nino Rota, Paul Hindemith
Artists: Il Solisti Aquilani, Flavio Emilio Scogna (conductor)


About this Album:
A rare collection of recordings featuring some of the finest examples of the neo-Classical school, this release brings together a collective of high-calibre string players and some exciting young soloists under the guidance of globally renowned conductor Flavio Emilio Scogna. Together they interpret some of the most emotionally complex and technically demanding works written for string orchestra in the 20th century.

The two Italians represented here are equally sophisticated in their treatment of the ensemble: the mysterious, macabre Allegro moderato e spiritoso gives way to the spritely, dynamic interplay of soloist and ensemble of the Rondo: Vivace con brio in Ghedini’s Concerto for violin and strings. Rota, whilst better known for his film scores, displays all the provocative simplicity and stylistic versatility of his orchestral and chamber works in his Concerto for strings; the Scherzo and Finale teem with references to European folk music. The three movements from Bartók’s Divertimento similarly contain clear allusions to Romanian folk music, but come from his more tonally grounded period, the utterly danceable Allegro non troppo and Allegro assai contrasting with the dark and moody Molto adagio. Like Bartók, Hindemith wrote his Trauermusik under the looming threat of global conflict and the composer’s music from this period demonstrates appropriately melancholic attributes. Written in only six hours after the death of King George V, the beautiful solemnity and understatement of this work is a fitting tribute both to the King and Hindemith’s style of the time.

Tracklist:
00:00:00 Divertimento, Sz. 113: I. Allegro non troppo
00:10:13 Divertimento, Sz. 113: II. Molto adagio
00:20:42 Divertimento, Sz. 113: III. Allegro assai
00:28:26 Concerto for Violin and Strings, “Il belprato”: I. Allegro moderato e spiritoso
00:33:27 Concerto for Violin and Strings, “Il belprato”: II. Andante fiorito
00:38:34 Concerto for Violin and Strings, “Il belprato”: III. Rondò. Vivace con brio
00:40:58 Concerto for Violin and Strings, “Il belprato”: IV. Molto adagio
00:44:50 Concerto for Violin and Strings, “Il belprato”: V. Quasi presto
00:47:27 Concerto for Strings: I. Preludio. Allegro ben moderato e cantabile
00:51:53 Concerto for Strings: II. Scherzo. Allegretto comodo
00:56:25 Concerto for Strings: III. Aria. Andante quasi adagio
01:01:35 Concerto for Strings: IV. Finale. Allegrissimo
01:04:39 Trauermusik: I. Langsam
01:09:33 Trauermusik: II. Ruhig bewegt
01:10:25 Trauermusik: III. Lebhaft
01:11:59 Trauermusik: IV. Choral. “Vor deinen Thron tret ich hiermit”


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A musical portrait of a master guitar-maker of the 19th century.
The last two decades have seen a richly merited revival of interest in the music of Erwin Schulhoff, one of the German-Jewish composers who fell victim to the Nazis’ rise to power in the 1930s and whose work was soon declared Entartete Musik; he was deported to a concentration camp in Bavaria in the winter of 1941 and died there of tuberculosis nine months later, not yet 50 years old.

By then Schulhoff had earned a considerable reputation in his native Prague and beyond, with a catalogue of large, ambitiously programmatic symphonies, daring jazz-age chamber
music and an opulent, Expressionist opera, Flammen, first staged in Brno in 1932. The Suite and First Sonata violin and piano are much earlier works, less harmonically adventurous and more indebted to the examples of Debussy, Richard Strauss and his teacher Max Reger, effusive and lyrical in expression.
00:00:00 Suite for Violin and Piano, WV 18: I. Präludium. Stürmisch
00:04:05 Suite for Violin and Piano, WV 18: II. Gavotte. Mäßig
00:08:12 Suite for Violin and Piano, WV 18: III. Menuetto
00:12:29 Suite for Violin and Piano, WV 18: IV. Walzer
00:16:35 Suite for Violin and Piano, WV 18: V. Scherzo
00:22:27 Sonata No. 1 for Violin and Piano, WV 24: I. Wuchtig
00:29:08 Sonata No. 1 for Violin and Piano, WV 24: II. Ruhig
00:33:45 Sonata No. 1 for Violin and Piano, WV 24: III. Scherzo. Bewegt
00:36:40 Sonata No. 1 for Violin and Piano, WV 24: IV. Rondo. Nicht zu schnell
00:44:23 Sonata for Solo Violin, WV 83: I. Allegro con fuoco
00:46:42 Sonata for Solo Violin, WV 83: II. Andante sostenuto
00:52:04 Sonata for Solo Violin, WV 83: III. Scherzo. Allegretto grazioso
00:54:52 Sonata for Solo Violin, WV 83: IV. Allegro risoluto
00:58:00 Violin Sonata No. 2, WV 91: I. Allegro impetuoso
01:04:44 Violin Sonata No. 2, WV 91: II. Andante
01:09:58 Violin Sonata No. 2, WV 91: III. Burlesca. Allegretto
01:12:41 Violin Sonata No. 2, WV 91: IV. Allegro risoluto

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This is a sparkling set of concertos for the trumpet along with other pieces that highlight the instrument, providing vivid readings of some of the most renowned masterworks in the trumpet repertoire plus recordings of lesser-known yet equally idiomatic compositions.

Joining the well loved Classical trumpet concertos of Haydn and Hummel are the many Baroque works featuring trumpet by Telemann and an Italian champion of the instrument, Giuseppe Torelli, along with famous pieces by Vivaldi and Handel. We find another prolific trumpet composer in the German baroque violinist Johann Melchior Molter, and fine concertos from Quantz, famed more for his flute music, and Johannes Matthias Sperger, a renowned player of and composer for the double bass.

The music of Quantz’s teacher, Jan Dismas Zelenka, is enjoying a revival, as is that of Johann Friedrich Fasch, admired by both Bach and Telemann, who wrote an extraordinary concerto for three wind choirs with nine trumpets between them. Later in the 18th century, some composers stretched the limits of virtuosity in the natural trumpet, before the advent of valves around 1815. These include Georg Reutter II and the enigmatic Franz Querfurth, who both demanded sustained playing in the highest register. Tuscan composer Francesco Manfredini, like Querfurth, is known today for little else besides his trumpet concerto, while the majority of his works are now lost to history.

Authors who wrote prominently for the trumpet in pieces other than concertos include Johann Schmelzer and Johann Joseph Fux, along with Fux’s student František Tůma, while Beethoven’s composition teacher Johann Georg Albrechtsberger wrote concertos for the jaw harp, whose harmonics are well suited to adaptation for the natural trumpet.

Though somewhat overshadowed by their more illustrious family members, Michael Haydn and Leopold Mozart both wrote fine trumpet concertos, while two generations of Bibers, Carl Heinrich and his more prominent father Heinrich Ignaz Franz, composed sonatas and dances for multiple trumpets.

Rounding out this set are outstanding modern additions to the trumpet repertoire, including trumpet concertos by the Armenian Alexander Arutiunian and French composer André Jolivet, as well as Shostakovich’s Piano Concerto No.1, which casts the solo trumpet in a prominent role.

Spring Waltz (Yiruma ) played by Jeroen van Veen.

Variously described as “contemporary classical”, “minimalist” and even “New Age”, Yiruma’s gorgeously peaceful music is
impossible to classify – it is simply there to be enjoyed.

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Composer: Georg Philipp Telemann
Artists: various

About this Album:
Born in 1681, Georg Philip Telemann would inevitably suffer from comparisons with one of the towering figures of western Classical music, born just four years later: Johann Sebastian Bach. Although after his death Telemann may have been constantly cast into the Leipzig composer’s shadow, during his lifetime he was exalted as Bach’s equal and was considered one of the greatest German composers of the early 18th century. Certainly, the size of his output compares very favourably with Bach’s; Telemann was also a highly productive composer, writing over 3,000 works during his lifetime (although not all have survived). Despite his popularity falling away in the 19th century, today Telemann is almost as highly regarded as he was in his own lifetime – the large number of new recordings on this edition pays tribute to the flurry of interest that has grown around the composer Telemann over the past 30 years. After starting his career in Leipzig, Telemann became Kapellmeister in Sorau (now Żary in Poland), where by his own estimation he wrote over 200 overtures, imbued with the Polish and French influences of the court that surrounded him. The cornerstone of his output, many of these diverse overtures make up a large part of this disc. Telemann then moved first to Eisenach, in central Germany, followed by Frankfurt, his fame steadily increasing along with his output. Among his new compositions were church cantatas, psalms and other sacred works, as well as instrumental music; he became known for his concertos in the French style, which he valued above the Italian style that was more popular at the time. It was in Frankfurt that he began to write concertos for various different instruments, many of which are to be found in this edition.

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This fascinating survey of the Russian (and Polish!) piano concerto in 15 CDs includes the masterworks of Pyotr Ilyich Tchaikovsky and Rachmaninov – beloved examples at the pinnacle of both Russian music and the piano concerto genre – along with more- and lesser-known yet all eminently worthy works by composers from both Imperial and Soviet Russia and those by Paderewski, Scharwenka and Moszkowski, who were born in what today is Poland.

Though the piano concerto is now inextricably linked in modern minds to the Russian repertoire, the area’s isolation meant that it would take some time for the genre to take hold there, but that it would grow into a unique, characteristic and varied expression. The accompanying essay by David Moncur leads interested readers logically along the timeline of the genre’s development in the east of Europe, exploring the generational and stylistic interconnections between fellow-composers and musician colleagues who were teachers, mentors, supporters and dedicatees.

There is a special quality to Russian Piano Concertos: apart from their jaw-dropping virtuosity and orchestral brilliance they share that common Slavonic flavor, an undefinable mixture of melancholy and passion, whether smouldering or blazing.
This set contains the famous concertos by Tchaikovsky, Rachmaninoff, Shostakovich and Prokofiev, but also lesser known composers: Anton Rubinstein, Medtner, Glazunov, Kabalevsky, Scriabin, Khatchaturian, Arensky, Balakirev, Lyapunov, Bortkiewicz and Khrennikov. Adding extra spice to the set are the concertos by Scharwenka and Moszkowski, Polish by birth but Slavic in spirit.
Excellent performances by Michael Ponti, Boris Giltburg, Yevgeny Kissin, Stefan Doniga and others.

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Composer & Artist:
Composer: Zoltán Kodály
Artists: Hungarian State (Symphony Orchestra), Adam Fischer (conductor )


About this Album:
The best-known, most colourful orchestral works by the father of modern Hungarian music, in unbeatable native accounts.

‘The Hungarian dances presented to the world by Brahms strike the tone of urban Hungary in the 1860s, and are mainly by the composers of the time. The Dances of Marosszék are rooted in an earlier period: they conjure up an image of a Fairyland of the past.’ So wrote Zoltán Kodály in the preface to his through-composed rondo-collection of dances, but his point stands for the other works on this compilation. He was a pioneer in bringing genuinely native inflections and timbres to the context of art-music from Hungary.

Tracklist:
00:00:00 Háry János, Op. 15: I. Prelude – The Fairy-Tale Begins
00:04:11 Háry János, Op. 15: II. Viennese Musical Clock
00:06:15 Háry János, Op. 15: III. Song
00:11:53 Háry János, Op. 15: IV. Battle and Defeat of Napoleon
00:16:36 Háry János, Op. 15: V. Intermezzo
00:22:04 Háry János, Op. 15: VI. Entrance of the Emperor and his Court
00:25:22 Dances of Galánta
00:42:49 Variations on a Hungarian Folksong “The Peacock”
01:11:18 Psalmus Hungaricus, Op. 13
01:31:43 Dances of Marosszék
01:44:25 Dances of Galánta
 
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Baba sings verses - Anthuleka

Adhunika Vidya Perigenu Anthuleka
Athma Vidya Kshinininche Avadhileka
Sathya Dharmammulanniyu Samasi Poye
Prema Shanti Ahimsalu Pedabadiye
Prema Shanti Ahimsalu Pedabadiye

Modern learning has grown beyond bounds and the learning of the soul
has declined without a bottom.
Truth and righteousness have got effaced and Love,
Peace and Non-violence have declined.

Баба поёт стихи - "Воплощение любви", диск 1
6. Антулека

Адхуника видья перигену антулека
Атма видья кшинининче авадхилека
Сатья дхармаммуланнию самаси пойе
Према шанти ахимсалу педабадийе
Према шанти ахимсалу педабадийе

Современное образование выросло беспредельно, а изучение души пришло в полный упадок.
Истина и праведность преданы забвению, а любовь, мир и ненасилие угасли.

"Gayatri is the embodiment of all Gods and all Mantras....... There is no need to chant any other Mantra if you chant the Gayatri Mantra" Sathya Sai Baba, march 2000.

More beautiful images from South India at www.omimages.net

Om bhur bhuvah svah
tat savitur varenyam
bhargo devasya dhimahi

¿Por qué existe la institución del matrimonio y qué papel juega en la vida humana y en las sociedades? Sadhguru contesta una pregunta acerca del matrimonio y el divorcio.

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Le ha regalado un curioso libro con una dedicatoria original de Borges.

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Explicó su teoría “Propuesta de No Límite” en la Pontificia Academia de Ciencias.

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romereports.com Tras el anuncio de que Osama Bin Laden fue asesinado por las fuerzas de EE UU, el Vaticano dice que aunque Bin Laden