Arianna Savall Bella Terra Mp3, Flac, Wma

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Arianna Savall Bella Terra mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin / Classical / Folk, World, & Country Album: Bella Terra Country: Spain Released: 2003 Style: Acoustic, Folk, Medieval MP3 version RAR size: 1696 mb FLAC version RAR size: 1729 mb WMA version RAR size: 1638 mb Rating: 4.5 Votes: 827 Other Formats: RA MMF DXD AA RA WAV TTA Tracklist Hide Credits L'Amor 1 4:51 Composed By – Arianna SavallWritten-By – Miquel Martí I Pol Yo M'Enamorí D'Un Aire 2 5:10 Arranged By – Arianna SavallComposed By – TraditionalWritten-By – Traditional Dóna'm La Mà 3 7:40 Composed By – Arianna SavallWritten-By – Joan Salvat-Papasseit* Mester D'Amor 4 5:12 Composed By – Arianna SavallWritten-By – Joan Salvat-Papasseit* El Mariner 5 4:45 Arranged By – Arianna SavallComposed By – TraditionalWritten-By – Traditional El Viaje 6 5:53 Composed By – Arianna SavallWritten-By – Antonio Machado Els Ulls 7 3:26 Composed By – Arianna SavallWritten-By – Tomàs Garcés Apreciemos El Instante 8 5:26 Composed By – Arianna SavallWritten-By – Omar Jayyam Yo Soy De Mi Amado 9 4:43 Composed By – Arianna SavallWritten-By – Traditional Aquest Camí Tan Fi 10 4:26 Composed By – Arianna SavallWritten-By – Josep Carner Per A Ser Cantada En La Meva Nit 11 3:58 Composed By – Arianna SavallWritten-By – Salvador Espriu Hi Ha Un Remolí 12 6:30 Composed By – Arianna SavallWritten-By – Miquel Martí I Pol Companies, etc. Recorded At – Collégiale Du Château De Cardona Edited At – Musica Numeris Pressed By – DADC Austria – A0100483011-0101 Phonographic Copyright (p) – Alia Vox Copyright (c) – Alia Vox Credits Art Direction – Agnès Prunés Bendir, Lute [Saz], Bouzouki, Oud – Dimitris Psonis Bendir, Percussion [Palos De Agua], Caxixi – Pedro Estevan Design – Loni Geest Double Bass – Julio Andrade Edited By – Aline Blondiau, Nicolas de Beco Illustration – Mar Aguilera Lead Vocals, Harp – Arianna Savall Liner Notes – Arianna Savall Liner Notes [Arab Translation] – Driss El Maloumi Liner Notes [Castillan & Catalan Translation] – Traduit.com Liner Notes [English Translation] – Jacqueline Minett Liner Notes [French Translation] – Irène Bloc Liner Notes [German Translation] – Anne Müller, Bernd Müller Liner Notes [Italian Translation] – Luca Chiantore Photography By – Albert Aymamí, Mar Aguilera, Toni Figueras Recorded By – Nicolas de Beco Notes Comes in digipak, with stapled 66-pages booklet. Barcode and Other Identifiers Barcode: 7 619986 098333 Matrix / Runout: A0100483011-0101 21 A1 Mastering SID Code: IFPI L551 Mould SID Code: IFPI 942B ASIN: B0000U1EHI Related Music albums to Bella Terra by Arianna Savall Canaan - Of Prisoners, Wandering Souls And Cruel Fears Kathleen Ferrier - Kathleen Ferrier Rolf Lislevand - Nuove Musiche Helena Tulve - Arboles Lloran Por Lluvia Arianna - Siamo Forti Händel / The Academy Of St. Martin-in-the-Fields, Neville Marriner - Doppelchörige Orchesterkonzerte Nr.1 Und 3 Netanela - Inkognito Jordi Savall, Montserrat Figueras, Arianna Savall, Ferran Savall, Pedro Estevan - Du Temps & De L'Instant.

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Jordi Savall, Viol Frank Mcguire, Bodhrán
Friday, February 26, 2016, 8pm First Congregational Church Berkeley RADICAL: The Natural World Jordi Savall , viol Frank McGuire , bodhrán MAN & NATURE MUSICAL HUMORS & LANDSCAPES In the English, Irish, Scottish and American traditions PROGRAM The Caledonia Set The Humours of Scariff Traditional Irish Archibald MacDonald of Keppoch Traditional Irish The Musical Priest / Scotch Mary Captain Simon Fraser (1816 Collection) Caledonia’s Wail for Niel Gow Traditional Irish Sackow’s Jig (Treble Viol) The Musicall Humors Tobias Hume, 1605 A Souldiers March Captaine Hume’s Pavin A Souldiers Galliard Harke, harke Good againe A Souldiers Resolution (Bass Viol, the Lute Tunning) Flowers of Edinburg Traditional Scottish Lady Mary Hay’s Scots Measure Shetland Tune Da Slockit Light Reel The Flowers of Edinburg Niel Gow (1727–1807) Lament for the Death of his Second Wife Fisher’s Hornpipe Tomas Anderson Peter’s Peerie Boat (Treble Viol) INTERMISSION The Bells Alfonso Ferrabosco II Coranto Thomas Ford Why not here John Playford La Cloche & Saraband (Bass Viol, Lyra way, the First tuning) The Donegal Set Traditional Irish The Tuttle’s Reel Turlough O’Carolan Planxty Irwin O’Neill, Chicago 1903 Alexander’s Hornpipe Jimmy Holme’s Favorite Donegal tradition Gusty’s Frolics (Treble Viol) THE LORD MOIRA’S SET Ryan’s Collection (Boston, 1883) Regents Rant Crabs in the Skillet—Slow jig The Sword dance Lord Moira Lord Moira’s Hornpipe (Bass Viol Lyra-way: the Bagpipes tuning) IRISH LANDSCAPES The Morning Dew The Hills of Ireland Apples in the Winter The Rocky Road to Dublin The Kid on the Mountain Morrison’s Jig (Treble Viol) This performance is made possible, in part, by Patron Sponsors Will and Linda Schieber.
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Artistes Per La Pau” Dins Del Coro Barroco De Andalucia (Sevilla), Històrica
Jordi Savall, violes de gamba & direcció Jordi Savall és una de les personali- tats musicals més polivalents de la seva generació. Fa més de cinquanta anys que dóna a conèixer al món meravelles musicals abandonades en la foscor de la indiferència i de l’oblit. Dedicat a la recerca d’aquestes músiques antigues, les llegeix i les interpreta amb la seva viola de gamba, o com a director. Les seves activitats com a concertista, pe- dagog, investigador i creador de nous projectes, tant musicals com culturals, Lluís Vilamajó, tenor & direcció de ponsable de la direcció artística, amb el situen entre els principals artífexs del amb Montserrat Figueras, varen ser la Jove Capella Reial de Catalunya Lambert Climent i Carlos Mena del fenomen de revalorització de la música investits “Artistes per la Pau” dins del Coro Barroco de Andalucia (Sevilla), històrica. És fundador, juntament amb programa “Ambaixadors de bona volun- Nascut a Barcelona, inicià els seus y del Coro Vozes de “Al Ayre Español” Montserrat Figueras, dels grups musi- tat” de la UNESCO. estudis musicals a l’Escolania de Mont- (Zaragoza). Paral·lelament ha començat cals Hespèrion XXI (1974), La Capella serrat, i després els continuà al Conser- el projecte FONICS per a joves can- Reial de Catalunya (1987) i Le Concert La seva fecunda carrera musical ha vatori Municipal Superior de Música de tants, i és director artístic del Coro de la des Nations (1989) amb els que explora estat mereixedora de les més altes dis- Barcelona. Actualment és membre de la Orquesta Ciudad de Granada i del Joven i crea un univers d’emocions i de be- tincions nacionals i internacionals, d’en- Capella Reial de Catalunya dirigida per Coro de Andalucía.
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Jordi Savall Talks About Grief, Memory and Building Bridges
To marry the heart and the head By Julius Purcell . May 12, 2012 1:23 am The prolific Catalan musician Jordi Savall talks about grief, memory and building bridges ©Laia Abrill Jordi Savall at home in Barcelona It was a sound that few who heard it are likely to forget. In January, the church of Santa María del Mar in Barcelona was packed for the memorial concert of the singer Montserrat Figueras, who died last year aged 69. At the front, seated at the viola da gamba, Figueras’s husband Jordi Savall waited motionless as Armenian duduks launched into an opening lament. Then, from a balcony lit by three candles, came the voice of Figueras herself – “smoky, penetrating, flatly expressive”, as the music writer Alex Ross has described it. What we were hearing was one of her recordings of the Chant of the Sybil, a medieval Catalan text that she particularly loved. It was a charged moment, tinged with the realisation that recordings might endure, but the chance to hear this voice in performance had gone for ever. When I meet Jordi Savall a few months later, he is in the middle of producing a new disc that will tell the story, in music, of the humanist thinker Erasmus. The recording session in a chapel had finished at six that morning, Savall having returned only two days ago from an exhausting tour of Mexico and China with Hespèrion XXI, the ensemble he co-founded with Figueras in 1974. Six months after his wife’s death, and having turned 70 last year, Savall won’t, or can’t, slow down.
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THE GUERRA MANUSCRIPT Volume 4 17th Century Secular Spanish Vocal Music Hernández • Fernández-Rueda • Arias Fernández Ars Atlántica • Manuel Vilas, Harp and Director The Guerra Manuscript, Vol. 4 The Guerra Manuscript, Volume 4 17th Century Secular Spanish Vocal Music 1 Anon: Qué dulcemente canta 3:19 2 Juan Hidalgo (1614-1685): ¿Qué quiere Amor? 2:43 This fourth volume in the complete recording of the Orléans (first wife of the Spanish king Charles II) to 3 Anon: Hermosa tortolilla 3:40 vocal works found in the Guerra Manuscript contains a Madrid. He then visited Italy in 1680-81, probably as 4 Anon: Poco sabe de Filis 3:04 further twenty pieces of music. This manuscript is, in part of his duties as a member of the queen’s staff. On 5 Juan Hidalgo: Con la pasión amorosa 2:59 my opinion, the leading source of tonos humanos to his death, Guerra bequeathed his library to his son, Juan 6 José Marín (c.1619-1699): Filis, el miedo ha de ser 5:09 have survived to the present day and a document of Alfonso de Guerra, who also inherited many of his titles fundamental importance in the history of Spanish music. and privileges. An inventory of this library, dated 1738, 7 Juan Hidalgo: ¡Ay que sí, ay que no! 4:50 Broadly speaking, tonos humanos are secular songs, has survived and includes the books that Juan Alfonso 8 Anon: Si descubro mi dolor 4:00 some of which are drawn from seventeenth- and was left by his father. The collection was sold to the 9 Anon: Culpas son Nise hermosa 3:44 eighteenth-century Spanish theatrical works.
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Radio 3 Listings for 1 – 7 February 2020 Page 1
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Download Program Notes
PROGRAM Istanbul: Music from the Ottoman Empire in dialogue with the Armenian, Greek, and Sephardic traditions I Taksim Der makām “Uzzäl uşūleş Darb-i feth” Dervis Mehmed, Mss. Dimitrie Cantemir (209) La rosa enflorece – Maciço de rosas Sephardic tradition (I. Levy I.59, III.41) Alagyeaz and Khnki tsar Armenian tradition Der makām-ı Hüseynī Semâ’î Mss. D. Cantemir (268) II Hisar Ağir Semai Ottoman lament Ta xyla (Greek)/Çeçen kızı (Turkish) Ene Sarére Armenian lament Der makām-ı Uzzäl Sakîl Mss. D. Cantemir (324) “Turna” Semâ’î PROGRAM: INTERMISSION JORDI SAVALL WITH III Paxarico tu te llamas Sephardic tradition HESPÈRION XXI (Sarajevo) FEBRUARY 22 / Al aylukhs Armenian song and dance Der makām-ı Räst “Murass’a” Mss. D. Cantemir (214) 2:30 PM uşūleş Düyek BING CONCERT HALL Hermoza muchachica Sephardic tradition Taksim ARTISTS Hespèrion XXI IV Hov arek Armenian lament Turkey Hakan Güngör, kanun Koniali Turkish and Greek song Yurdal Tokcan, oud and dance Sephardic tradition Armenia Una pastora Haïg Sarikouyoumdjian, ney and duduk Taksim Greece Der makām-ı Hüseynī Sakīl-i Ağa Riżā Mss. D. Cantemir (89) Dimitri Psonis, santur Morocco Driss El Maloumi, oud Spain David Mayoral, percussion This program is made possible with the support of the Departament de Cultura Jordi Savall, vielle, lyra, and direction of the Generalitat de Catalunya and the Institut Ramon Llull. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 42 STANFORD LIVE MAGAZINE JANUARY/FEBRUARY 2015 JORDI SAVALL Savall and Ms.
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Jordi Savall and Hespèrion XXI with Carlos Núñez in Seattle
MUSIC Jordi Savall and Hespèrion SEATTLE XXI with Carlos Núñez in Sat, May 05, 2018 Seattle 7:30 pm Venue Seattle First Baptist Church, 1111 Harvard Ave, Seattle, WA 98122 View map Phone: 206-325-7066 Admission This event is currently sold out. Please fill out this form to be placed on the wait list More information Early Music Seattle Credits Presented by Early Music Seattle Gamba virtuoso Jordi Savall and musicians from Hespèrion XXI are joined by Galician bagpiper Carlos Núñez to celebrate the lively music of Celtic culture. Jordi Savall celebrates the Celtic musical traditions by playing with the great galician bagpiper Carlos Núñez, who will be accompanied by musicians Pancho Álvarez and Xurxo Núñez, and with Savall’s usual accomplices: the famous harpist Andrew Lawrence-King with the Irish harp or the psaltery, and Frank McGuire, one of today best players of bodhran. Together they trace the route of Celtic migration, from Ireland to Iberia, through music. JORDI SAVALL For more than 50 years, Jordi Savall, one of the most versatile musical personalities of his generation, has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless researcher into early music, he interprets and performs the repertory both as a gambist and a conductor. His activities as a concert performer, teacher, researcher and creator of new musical and cultural projects have made him a leading figure in the reappraisal of historical music. Together with Montserrat Figueras, he founded the ensembles Hespèrion XXI (1974), La Capella Reial de Catalunya (1987) and Le Concert des Nations (1989), with whom he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C.
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Arianna Savall/Petter Udland Johansen Hirundo Maris Chants Du Sud Et Du Nord [Cantos Del Sur Y Del Norte]
Arianna Savall/Petter Udland Johansen Hirundo Maris Chants du Sud et du Nord [Cantos del Sur y del Norte] Arianna Savall: voz, arpa gótica, triple arpa italiana; Petter Udland Johansen: voz, violin Hardanger, mandolina; Sveinung Lilleheier: guitarra, Dobro, voz; Miquel Àngel Cordero: contrabajo, voz; David Mayoral: percusión, voz. ECM New Series 2227 CD 6025 278 4395 (7) Salida: Junio 2012 El debut de Arianna Savall como líder en las New Series sigue a su distinguidas contribuciones a “Nuove musiche” de Rolf Lislevand’s y a “Lijnen” de Helena Tulve, sensual música antigua la primera obra, tonificante composición contemporánea la segunda. En ambos géneros Arianna ha demostrado ser una cantante carismática. Ahora llega “Hirundo Maris”, que con sus frescas texturas instrumentales inicia una nueva senda. Savall y el co-líder del grupo, Petter Udland Johansen describen su proyecto como un viaje que enlaza al Mediterráneo con el Mar del Norte. Hirundo Maris significa “golondrina” en latín y, como el vuelo de esa ave, el quinteto –en parte un ensamble de música antigua, en parte un grupo de música folclórica, recoge elementos de corrientes musicales desde Noruega hasta Cataluña, añade sus propias canciones, creadas al vuelo, y se zambulle para bucear bajo la superficie de las cosas. Más o menos en el centro de todo eso están el sonido de las brillantes arpas de Arianna y el arrullo del violín Hardanger de Johansen. Cuando se suman los colores de la mandolina y los más inesperados del Dobro (que no se escucha muy a menudo fuera del bluegrass), se envía un mensaje sobre la universalidad de la canción, así como sobre los viajes transatlánticos de las antiguas baladas… Savall y Johansen han dado forma a su banda con un brillante y variado conjunto de timbres, moderados por la cristalina voz de Savall, bien dotada para interpretar tanto canciones del norte como del sur.
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Arianna Savall/Petter Udland Johansen Hirundo Maris Chants Du Sud Et Du Nord
Arianna Savall/Petter Udland Johansen Hirundo Maris Chants du Sud et du Nord Arianna Savall: Gesang, Gotische Harfen, Italienische Tripleharfe; Petter Udland Johansen: Gesang, Hardangerfiedel, Mandoline; Sveinung Lilleheier: Gitarre, Dobro, Gesang; Miquel Àngel Cordero: Kontrabaß, Gesang; David Mayoral: Perkussion, Gesang ECM New Series 2227 CD 6025 278 4395 (7) Release: June 2012 Arianna Savalls erstes Album für ECM New Series unter eigenem Namen folgt auf ihre bemerkenswerten Beiträge zu Rolf Lislevands "Nuove musiche" und Helen Tulves "Lijnen" - sinnliche Alte Musik hier, wagemutige zeitgenössische Komposition dort. Nun kommt "Hirundo Maris", das mit seinen frischen Instrumentaltexturen eine ganz andere Flugbahn nimmt. Savall und ihr Co-Bandleader Petter Udland Johansen beschreiben ihr Projekt als Reise, die den Mittelmeeraum mit der Nordsee verbindet. "Hirundo Maris" ist die lateinische Bezeichnung für die Seeschwalbe, und ähnlich dem nomadisierenden Leben dieser Vögel treibt das Quintett - teils Alte-Musik-Ensemble, teils Folkgruppe - auf musikalischen Strömungen zwischen Norwegen und Katalonien umher, bereichert sie dazu noch um eigene Lieder und unternimmt plötzliche Sturzflüge, um unter die Oberfläche der Dinge zu tauchen. Ariannas perlendes Harfenspiel und die suggestiven Töne aus Johansens Hardangerfiedel bilden das klangliche Zentrum; wenn Farben wie die Mandoline und, noch überraschender, das (eher selten außerhalb der Bluegrass-Musik gehörte) Dobro dazukommen, stellt das in sich schon eine Botschaft über die Universalität
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