The 1991 French film Tous les matins du monde (All the Mornings of the World) attracted an audience of unexpected size for a story about French Baroque viol music, becoming a runaway hit in France and Germany and even gained wide distribution in the classical-chary U.S. The commercial ramifications grew with the release of the film's soundtrack, featuring early music giant Jordi Savall on viol; the soundtrack achieved platinum sales levels in its initial release. The film's story, built on a very few sketchy facts about the reclusive seventeenth century viol player known only as Monsieur de Sainte Colombe, drew viewers with its modern resonances touching on the conflict between art and popular success, and partly with its dramatic lighting reminiscent of the paintings of Louis le Nain. The soundtrack has a few pieces with vocals or with a small ensemble of other players.
The works on this 2-CD set all come from a single source: a document called "Cancionero de Montecassino" which is believed to contain works composed between 1430 and 1480. Somehow the document has survived down through the centuries; it was almost lost when the Abbey where it was stored was bombed in 1944. Luckily the document survived so that this amazing CD set could be recorded by the - also amazing - Le Capella Reial de Catalunya. This CD is the second in a series entitled "Musicas Reales", the first of which being "Carlos V" containing works mainly from the 16th century. If you enjoyed that one, then "Alfons V el Magnanim" will be a welcome addition to your CD spinner.
A homage to the memory of victims of the slave trade. This new multicultural project from Jordi Savall and his musicians on The Routes of Slavery (1444-1888) marks a world first in the history of music and of the three continents involved in the trade in African slaves and their exploitation in the New World, which are brought together through the early music of the colonial period, the musical traditions of Mali and the oral traditions of the descendants of slaves in Madagascar, Brazil, Colombia and Mexico. This 'Musical Memoir' is accompanied with historical texts on slavery, beginning with the early chronicles of 1444 and concluding with texts written by the Nobel Peace Prize-winner Martin Luther King shortly before his assassination in 1968.
Jordi Savall has brought us yet another treasure on his own Alia Vox label, this time a mixed bag of music by Reformation Era composers and a handful of slightly earlier works. It’s all taken from a concert program Savall gave last year under the aegis of “greatest hits of the court of Charles V”. The composers presented are mostly court musicians for that Holy Roman Emperor, but Josquin and Heinrich Isaac also are included, the latter as a nod to Charles’ grandfather, Maximilian I, who was responsible for getting Charles the crown. Savall combines his first-rate instrumental ensemble, updated to Hespèrion XXI, with his own vocal group, La Capella Reial de Catalunya. The results are captivating. Savall’s musicians are tops in the field, and their collective talents, constantly on display in this varied program, are simply a joy to hear.
Samuel Scheidt (baptized November 3, 1587 – March 24, 1653) was a German composer, organist and teacher of the early Baroque era. Samuel Scheidt published 4 collections entitled Ludi Musici between 1621 & 1627, whereas only the first publication (from which the present program is taken) survives complete. Scheidt continues to be the most significant of the early North German instrumental composers.
A two-CD set devoted to the Lutheran liturgical repertory from Martin Luther himself to Heinrich Schütz. The first disc comprises compositions specific to the Lutheran liturgy: Deutsche Messe, Deutsches Magnificat, Deutsche Passion (the first German polyphonic Passion, by Joachim von Burck) and even a reconstruction of a Deutsches Requiem drawn from polyphonic works that set the same texts as those Brahms was later to use for his Deutsches Requiem.
Argentinean group Vox Dei started playing by the end of the 1960s. After signing up to independent label Mandioca, the band released "Azucar Amarga" and "Presente" in 1969; a year later, they issued the album Caliente. Vox Dei's conceptual album La Biblia, released in 1971, consolidated the band as one of the major local rock numbers. When Juan Carlos Godoy decided to leave the act, Ignacio Smilari joined in. Soon after Jeremias, Pies De Plomo came out, Vox Dei participated in a movie called Rock Hasta Que Se Ponga El Sol. In 1974, guitarist Carlos Michelini replaced Ricardo Soulé. The group disbanded after a live performance at Buenos Aires' Obras Sanitarias in 1981, returning in 1988 to make a new record called Tengo Razones Para Seguir.
With her mind-blowing mix of heavy metal guitar prowess and bluesy, soulful vocals, Orianthi will draw some justifiably well-earned comparisons to such giants of rock guitar as Jimi Hendrix and her own idol, Carlos Santana, on her 2009 sophomore album, Believe – re-released in 2010 as Believe (II) with four different songs than the original version, including a cover of John Waite's "Missing You." That said, her style hews closer to the more finger-frenetic pyrotechnics of such '70s and '80s icons as Eddie Van Halen and Steve Vai…
Columbia/Legacy's 2001 release The Essential Kenny Loggins lives up to its billing, and not just because it has all of Loggins' solo hits. No, this collection earns its title because it contains no less than seven Kenny-fronted Loggins & Messina tracks, along with all his big solo hits, plus a sharp selection of album tracks and latter-day material, for a grand total of 35 tracks over two CDs.