 | East Asian Music rapidshare |  |
| Posted: Tue Jun 10, 2008 6:52 am |
 |
|
|
Corée / Korea - Chants rituels de l'île de Chindo / Ritual Songs from the Island of Chindo
VDE-Gallo VDE-756, 1993
1. Tul Norae
2. Kanggangsullae
3. Manga
| Quote: | | Chindo possesses three "intangible national treasures": a form of women's ritual songs and the two women who lead the choruses on this CD, probably the only one devoted to Chindo tradition. They perform ritual, rice-planting and funeral songs with groups they have trained as part of their duties, in a "sorrowful voice" style whose striking rubato is known as "twisted rhythm." - John Storm Roberts |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/119117580/C-CrdlidC.part1.rar
http://rapidshare.com/files/119120612/C-CrdlidC.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Tue Jun 10, 2008 8:59 am |
|
|
|
muy buena musica  |
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Wed Jun 11, 2008 6:50 am |
|
|
|
The Kyoto Nohgaku Kai
Japanese Noh Music
Lyrichord LYRCD 7137, 1993
1. Deha
2. Nakairiraigyo
3. Jo No Mai
4. Otokomai
5. Sagariha
6. Kammai
7. Gaku
8. Kagura
9. Hagoromo
| Quote: | | Ghosts of warriors and noble ladies, demons, deities, passion and insanity - these are the subjects of the famed Noh plays of Japan. Rarely heard in the west, this collection, produced and recorded in Japan by Kasumasa Takasago, captures Noh drama at its most compelling - moving, unsettling and unforgettable. |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/119124534/TKNK-JNM.part1.rar
http://rapidshare.com/files/119124649/TKNK-JNM.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Thu Jun 26, 2008 9:27 am |
|
|
|
Ensemble Yonin no Kaï
Japon - Sankyoku
Ocora, C 560070, 1994
1. Hachi dan: duo de koto (9:41)
2. Kokû: solo de shakuhachi (6:28)
3. Shin-kinuta: shamisen et koto (12:19)
4. Zangetsu: chant, shamisen, koto et shakuhachi (21:38)
5. Iwashimizu: solo de shakuhachi (9:58)
| Quote: | | The Japanese word "sankyoku" translates into a koto, shakuhachi, and shaimsen trio. The koto, dating from the second century AD, is a 13-stringed zither and the root of Japanese Gagaku court music. Its history is rich and varied and it has gone through many periods of popularity and disfavor; it has become of interest to many in the west for its vast tonal range and dynamic possibilities. The shaimsen is a three-stringed lute whose roots lie in ancient Egypt. It did not make an appearance until the 16th century. The shakuhachi played the role of an accompaniment instrument to Gagaku music; it was introduced around the eighth century. The music performed here by the Yonin No Kaï Ensemble dates back only to the 17th century; as no music for either koto of shaimsen exists before that time. The koto music comes from a monk named Kenjun. The program highlights the pairing together of the koto and shaimsen, as well as one piece for trio setting and two for shakuhachi solos. Another features a quartet composed of the trio and a vocalist singing poems, and the opening piece -- a haunting work from the 17th century -- for two kotos. All of the works included here are very long. This is as foreign as music gets, particularly the older works, which can feature two time measures and as many as 104 beats in each one. To the untrained Western ear (which also hears a different musical scale than the Japanese), these pieces sound arrhythmic and perhaps chaotic. What makes them less intimidating is the gentleness and subtlety of the attack on a given instrument; whether it be a solo instrument like the shakuhachi or in ensemble playing where the shaimsen or koto solo. Everything is held in; music reveals itself slowly, over time, in the Japanese folk and court traditions. Even in works from the early part of the 20th century, this rule holds true and is perhaps more apparent. An example is "Iwashimizu" (Spring Among the Rocks)," written around 1904 by Nakao Tozan for shakuhachi solo. The tones of the flute, which are breathy and airy, are held for long periods of time over measures and then rounded off as they enter new melodic territory. It's as if the flute were an instrument of melody and drone simultaneously. In any case, this is a gorgeous, quiet, meditative volume of historical music played by the premier folk ensemble in Japan and an excellent introduction not only to the instruments, but to the history of Japanese music. The package comes with exhaustive notes about the instruments; their place in history, and the music in the program. |
256 kbps including booklet scans
| Code: | http://rapidshare.com/files/125023331/EYnK-JS.part1.rar
http://rapidshare.com/files/125023542/EYnK-JS.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Thu Jun 26, 2008 9:28 am |
|
|
|
Kinshi Tsuruta & Katsuya Yokoyama
Japon
Ocora, C 580059, 1994
1. Atsumori (27:56)
2. Ko-Kû [Vacuité] (9:46)
3. Tsuru No Sugomori [Nid de Grues] (6:27)
4. Daha [Brisement des Vagues] (3:54)
5. Shika No Tône [Bramements lointains des Cerf] (7:44)
Kinshi Tsuruta - Biwa
Katsuya Yokoyama - Shakuhachi
| Quote: | This CD on the Ocora label presents two of today's great masters of Japanese music, Kinshi Tsuruta on biwa and Katsuya Yokoyama on shakuhachi. The biwa is a Japanese lute played in its own particular way; it is used by singers to accompany themselves. Both Tsuruta and Yokoyama are known for their performance of "November Steps" by Toru Takemitsu, a piece that merged together biwa and shakuhachi with a Western orchestra. Tsuruta sings a single piece from the well-known Japanese epic Heike Monogatari (The Heike Story); titled "Atsumori," it lasts almost 28 minutes.
To appreciate the peculiarities of this piece, one must listen to it many times over -- and be ready to hear music that is out of the ordinary. For his part, Yokoyama performs five typical solo shakuhachi masterworks. He is one of the most known and best shakuhachi player today; a good number of his records are available outside Japan. With this record, one enters a musical world that is as fascinating as it is captivating. |
| Quote: | | Buddhist thought captured in music by Mrs Tsuruta (song and biwa lute) and Mr Yokoyama (shakuhachi flute). |
160 kbps including cover scans - no booklet
| Code: | | http://rapidshare.com/files/125026212/TK_YK-J.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Thu Jun 26, 2008 9:29 am |
|
|
|
Japon 7 - Shomyo. Chant liturgique boudhique, secte Shingon Kôbôdaïshi Mieku
Ocora C 558657
01. Shichibongosan
02. Saïmon
03. Ungabaï
04. Sange
05. Taïyô
06. Hyôbyaku
07. Jimbun
08. Shôrei
09. Daïnichisan (Zen san)
10. Rishukyô
11. Ekô
Recorded at Maison de Radio-France on October 25, 1985 under the direction of Akira Tamba
| Quote: | | The present recording of shômyô (Buddhist liturgical chants) was made on the occasion of the 1,150th anniversary of the death of Kôbôdaishi (or Kûkai), the founder of the Shingon sect. |
320 kbps including cover scans - no booklet
| Code: | http://rapidshare.com/files/125029956/SClbsSKM.part1.rar
http://rapidshare.com/files/125031314/SClbsSKM.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Thu Jun 26, 2008 9:29 am |
|
|
|
Japon - Shômyô, Chant liturgique bouddhique, Secte Tendaï
Ocora C 580065, 1978
01. Shichi bongo san (inno alle quattro Saggezze, in sanscrito 5:10
02. Shichi kango san (lo stesso inno in cinese 4:32
03. Ungabai (assolo) 1:43
04. Sange 4:24
05. Taiyô 6:30
06. Kuyômon 7:28
07. Shôrei 5:31
08. Kyôgaku Shingon (assolo) 0:19
09. Kuhôben (I "Nove modi di ottenere l'illuminazione", solo il primo e l'ultimo canto) 4:04
10. Godaigan (assolo) 1:28
11. Dai san (Grande Inno) 3:21
12. Butsu san (Inno a Buddha) 3:21
13. Shichi bongo san 5:11
14. Kirigoe ekô hôben 3:31
15. Zuihô ekô 0:11
| Quote: | | A carefully abridged representation of a mandala ceremony is sung by monks of the Tendai sect, recorded in a French studio in 1978. The music, said to maintain traditions from the 12th century, is severe but serene, rather like Gregorian chant. It is sung mainly in unison but with some elegant polyphonic sections, including one where independent melodies are sung independently. |
192 kbps including cover scans - no booklet
| Code: | | http://rapidshare.com/files/125034044/SClbST.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Mon Jul 14, 2008 1:33 am |
|
|
|
Minyo. Le chant profond de la Corée
Buda Musique 3017407, 2007
01. Lee Chun-hee - Five Hundred Years
02. Kim Kil-ji - Arirang of Chongson
03. Lee Chun-hee & Lee Ho-yeun - T'aryong of the Kyongbok Palace
04. Lee Chun-hee & Lee Ho-yeun - T'aryong of the Main Beam
05. Lee Chun-hee & Lee Ho-yeun - T'aryong of the New Kosan
06. Lee Chun-hee & Lee Ho-yeun - Arirang
07. Lee Chun-hee & Lee Ho-yeun - The Song of Youth
08. Lee Chun-hee & Lee Ho-yeun - Nilliriya
09. Kang Jeong-suk & Jeon Jeon-min - The T'aryong Bird
10. Kang Jeong-suk & Jeon Jeon-min - Six Full Measures
11. Kang Mun-hee & An Bok-ja - Odolttogi
12. Kang Mun-hee & An Bok-ja - Souje's Song
13. Kim Kwang-suk & Lee Chun-mok - The Song of Sorrow
14. Kim Kwang-suk & Lee Chun-mok - The Song of the Pleasure Seeker from Yonpyong-Do
15. Kim Kwang-suk & Lee Chun-mok - The Recitation of Buddha in the Mountain
Lee Chun-hee - Vocals
Kim Kil-ji - Vocals
Lee Ho-yeun - Vocals
Kang Jeong-suk - Vocals
Jeon Jeon-min - Vocals
Kang Mun-hee - Vocals
An Bok-ja - Vocals
Kim Kwang-suk - Vocals, Changgo
Lee Chun-mok - Vocals
Jang Duk-hwa - Changgo
Kim Chan-sub - Piri
Baek In-young - Algerian banjo, Kayagum
Kim Moo-kyong - Haegum
Lee Chul-joo - Taegum
| Quote: | Minyo is the traditional song of Korea. The nine women featured on this CD are amongst the very best singers in the country. They are accompanied by a musical ensemble featuring two zithers, a flute, a fiddle, a oboe and a drum.
The songs — whose French and English translation has been included in the liner notes — reflect the various facets of the Korean soul from unrestrained extravaganza to intense nostalgia. Also worthy of note is the diversity of the styles performed by these remarkable singers. According to the Koreans themselves, minyo becomes spicier as you travel southwards. Embark on a musical journey to the depth of the Korean soul. |
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/129008080/MLcpdlC.part1.rar
http://rapidshare.com/files/129009661/MLcpdlC.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Wed Jul 16, 2008 6:51 am |
|
|
|
Ensemble Tumbash
Urtyn duu, Vol.3
Face Music FM 50029, 2000
1. Tungalag tamir
2. Dörvön tsag
3. Tooroi bandi
4. Tsevtsger khurdan sharga
Ch. Enkhjargal - limbe
Z. Selenge - yoochin
S. Sangerel - shudraga, shanz
Ts. Batgerel - morin khuur
| Quote: | Tumbash is a symbol for four animals, which live peacefully and happily together. According to an Indian fairy-tale, a pigeon, a hare, a monkey and an elephant lived peacefully and happily together and respect the older. Thanks to their friendship and peaceful togetherness, they had been able to achieve a lot. These animals helped an oppressed people to free themselves from the authorities. By holding together with this people, they could overcome the evil prince and chase away.
The word "tumbash" is also mentioned in the ancient Sutra "Subashid", the Treasure of Wisdom.
1. Tungalag tamir - long song - urtyn duu
- Batgerel: morin khuur
This is a wishing song. A Mongol takes a rest on the Tamir River (his place of birth), in which clear (tungalag = clear) water is flowing. While looking at the flowers and the nature along this river, he wishes everlasting friendship with his beloved one and that he may be happy and in love for all his live. He also wishes to remain young forever and so everything should be as in his youth together with his friends.
2. Dörvön tsag - long song - urtyn duu
- Enkhjargal: limbe, Selenge: yoochin
(Four seasons = dörvön tsag). The Mongols compare their partners with the four seasons. If someone chooses a bad partner, this is stupid and usually leads to troubles. A tree can produce good fruit and nuts and like this it can be with the chosen partner.
3. Tooroi bandi - long song - urtyn duu
Enkhjargal: limbe, Batgerel: morin khuur
A Mongolian woman misses her bright lover called Tooroi bandi. She sings passionately about his special character, his particular qualities and his heroic deeds.
He had refused to render homage to the authorities (the Manchu) and had resisted their oppression. He doesn't fear the punishment and he doesn't feel cold. When the sun shines, he doesn't feel its heat.
She brings him a piece of cheese with a file inside and she says to him: You must know for yourself how to get out of here.
Everybody esteems him for his defying the authorities. Therefore, people love and honour him.
4. Tsevtsger khurdan sharga - long song - urtyn duu
- Enkhjargal: limbe
(Tsevtsger khurdan sharga = a beautiful, light brown racehorse).
A Mongol is preparing himself and his racehorse for a meeting with his beloved one. He adores her cleverness and compassion and enjoys her beauty. He compares her beauty with the beautiful landscape, the mountains and the rivers. He wants to ride with his horse along the valleys and lead a happy live with his beloved one, without boredom and never forgetting her.
- Urtyn duu - long song are melismatic and richly ornamented, in a slow tempo, with long melodic lines, wide intervals and without any fixed rhythm.
They are sung in verses, without any regular refrain and with full voice in the highest register. The melody has a coat that covers over three octaves. This requires a strict observance of the breathing rules. The breathing is actually free, but the singer has to keep to the strict rules of performance, making only the absolutely necessary breathing breaks without interrupting the melodic ornaments. The richer the voice is and the longer the singer can hold it, the more intensive is the attention paid by the auditors and the more his performance is appreciated.
The people practise these long songs mostly while being alone in the open steppe and riding along slowly. The repertory is an expression of the liberty and the vastness of the Mongolian steppe and is used to accompany the rites of the seasonal cycles and the ceremonies of everyday life. Long songs are an integral part of the celebrations held in the round tents and they must be sung after the strict rules of performance.
There are three categories of long songs:
- The extended ones with uninterrupted flowing melodies, richly ornamented, containing long passages in falsetto.
- The usual ones are shorter, less ornamented and without falsetto.
- The shortened ones have short verses, refrains and melodic courses full of leaps and bounds.
Instruments:
- Morin khuur (string instrument - horse-head-violin)
The morin khuur is a typical Mongolian two-stringed instrument. The body and the neck are carved from wood. The end of the neck has the form of a horse-head and the sound is similar to that of a violin or a cello. The strings are made of dried deer or mountain sheep sinews. It is played with a bow made of willow, stringed with horsetail hair and coated with larch or cedar wood resin.
This instrument is used to play polyphonic melodies, as with one stroke of the bow the melody and drone-strings can be played at the same time. The morin khuur is the most widespread instrument in Mongolia, and is played during celebrations, rituals and many other occasions, as well as an accompaniment for dances or songs. Even the sound and noises of a horse herd are imitated on the morin khuur.
People say that it is connected with a handsome man. It is also played when a ewe doesn't want to suckle her lamb.
There is a legend about the origin of this instrument. A Mongol missed his dead horse so much that he used its head, its bones and its hair to build an instrument on which he started to play the familiar noises of his beloved horse..
The yoochin is a box zither, a dulcimer with 13 double-wire strings. The strings are struck with two wooden sticks, so-called little wooden hammers (it is comparable with the santur of the Persians). It has a black wooden soundboard richly decorated with ornaments.
The instrument was only familiar to townspeople and in the beginning of all only they played it.
- Limbe (wind instrument - transverse flute)
The instrument is frequently used in accompaniment, occasionally also as a solo instrument. In former times, these flutes were made of bamboo or wood, nowadays mostly of plastic, particularly the instruments that are imported from China. These flutes are closely bound up with the nomads of Central Asia.
The length of the instrument is approx. 64 cm, with nine holes, whereof one is the blowhole and two others are reserved for the tuning. It is often played with circular breathing*. The sound reflects what is heard in the nature or the sounds of the natural and social environment.
*Circular breathing: one note is blown, while the musician inhales through his nose. The air is collected inside the cheeks and exhaled by the pressure of the cheeks' muscles (same principle as for the bagpipe). The base of the tongue is used as a valve. |
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/129410429/ET-Ud3.part1.rar
http://rapidshare.com/files/129413785/ET-Ud3.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Wed Jul 16, 2008 10:04 am |
|
|
|
| THANKS alolt these are nice! |
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Thu Jul 24, 2008 1:28 am |
|
|
|
Ensemble Tumbash
Ayalguu - Vol. 1. Mongolian Impressions
Face Music FM 50027, 2000
01. Ukherchin khuu
02. Serevger khadny zereglee - love song
03. Tsokhiuryn ai
04. Agsal
05. Buligaar khuren tsunkh
06. Naigal gol
07. Ser ser salkhi
08. Mogoi kheer
09. Khoshingoo - love song
10. Suman delt
11. Tald unassan javar
12. Kheden ghilaan khoni
13. Vanlii
14. Boroony üül - love song
15. Gan tömör
16. Torgony khee - love song
17. Samryn gurvan tolgoi - love song
18. Garyn arvan khuruu - love song
19. Ai nan aa - love song
20. Aranzadmaa
21. Tsever okhin
22. Khar mori - love song
23. Khandarmaa
24. Yanzgan zootoi sharga - love song
25. Zamagtai nuur - love song
26. Nugar shuvuu - love song
27. Ödtei bichig
28. Ulgeriin kholboo
29. Torguud bielghee - dance tune of the Torguud tribe
30. Dund golyn nogoo - love song
31. Jaavai khuu
32. Tsookhor mori - love song
33. Zandan khuren
34. Ekhiin ach - love song
35. Buural mori
36. Yan taivan göögöö - love song
37. Dörvön uul
38. Böjin tuulai
| Quote: | This recording features traditional instruments used in Mongolian music. Although the music is instrumental there are themes to each song. The themes include riding horses, daily ritual, lovesongs and worksongs.
The ensemble was founded in June 1999. All its members have studied at the academy of music in Ulaanbaatar.
Tumbash is a symbol for four animals which live together. According to an Indian fairy-tale, a pigeon, a hare, a monkey and an elephant lived peacefully and happily together. Through their cooperation these animals prospered. The animals helped an oppressed people to free themselves from their oppressors.
The word "tumbash" is also mentioned in the ancient Sutra "Subashid", the Treasure of Wisdom. |
| Quote: | The quartet Ensemble Tumbash presents a collection of 38 Mongolian bogino duu (or "short songs") on Ayalguu: Vol. I. To quote the liner notes, "Bogino duu is a short song that is strophic, syllabic and rhythmically tied, and it is sung without ornaments." These songs are improvised and take as their subject matter love, everyday life and animals. Given the importance of horses in Mongolian culture, it's no SPAMise that they are favorite topics for these short songs. The whole collection runs over an hour.
Ensemble Tumbash (which takes its name from an Indian folktale about four different animals that work together in harmony) presents these songs as instrumental pieces. A synopsis of each tune's subject is given in the liner notes, but it would be nice to see some translations of lyrics or to hear at least some of the songs sung. The musicians are Ts. Batgerel on morin khuur (two-stringed horsehair violin), S. Sarangerel on shudraga or shanz (a sort of lute), Z. Selenge on yoochin (zither) and Ch. Enkhjargal on limbe (flute).
To someone unfamiliar with Mongolian music, the immediate comparison springing to mind will probably be Chinese music. The combination of flute and string instruments has a Chinese feel. The CD covers a wide range of moods, which keeps it from getting monotonous, but any long album of music like this can't help turning into background music for those not specifically interested in its subject. It is very pleasant background music, though, with the flute and strings giving a bright and often lively feel to the music. Sometimes (as on "Tsokhiuryn ai"), there is a mandolin-like sound; this comes from the shudraga, which needs to have its strings struck repeatedly to hold a single note.
Listening to the music while reading the liner notes shows that a song's subject is often reflected in the sound of the song. "Mogoi kheer," for example, is a song about a racehorse and one can hear the rhythm of galloping hooves (and even neighing!) in the strings. The song is topped off with a sample of a real horse galloping, but the music makes the point all by itself and such sound effects are rare on the album.
This may be more Mongolian music than most people need in their music collections, but it is an enjoyable album that will surely urge some to dig deeper into bogino duu and Mongolian music in general. - Jennifer Hanson |
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/131865176/ET-A.part1.rar
http://rapidshare.com/files/131868611/ET-A.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Fri Jul 25, 2008 9:03 am |
|
|
|
Tianjin Buddhist Music Ensemble
Buddhist Music of Tianjin
Nimbus NI 5416, 1994
1. Lanhua Mei (Blue-Blossomed Plum) 9:43
2. Dao Ti Jindeng (Cleaning The Golden Lantern) 10:30
3. Kaitan Bo (Cymbals To Inaugurate The Altar) 3:16
4. Xingdao Zhang (Movement For Practising The Way) 21:15
5. Shifan-Yichuan Yu 9:57
6. Elangzi 7:00
7. Yan Guo Nanlou (Geese Crossing Over The Southern Mansion - Pt. 1) 1:31
8. Yan Guo Nanlou (Geese Crossing Over The Southern Mansion - Pt. 2) 8:02
| Quote: | | If you've never heard the sacred music of Buddhist China, prepared to be seduced by its simple charms. On compositions anchored by the understated rhythms of a variety of drums, cymbals, and gongs, hypnotic webs of melody are spun by the powerful guanzi (a double reed pipe), which rides atop the chords produced by the sheng (mouth organ) as the playful flute fills in the space with its darting bumblebee scale gymnastics. Highly spiritual and deeply moving, Buddhist Music of Tianjin may not be for everyone, but it is a welcome introduction to the ancient traditions of a rich musical culture. - Bret Love |
320 kbps including full booklet scans (back inlay missing)
| Code: | http://rapidshare.com/files/132181198/TBME-BMoT.part1.rar
http://rapidshare.com/files/132184625/TBME-BMoT.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Fri Jul 25, 2008 9:03 am |
|
|
|
Yim Hok-man
Master of Chinese Percussion
JVC Victor, 1998
1. Poem of Chinese Drum
2. Duck's Quarrel
3. The Garden of Hundred Flowers
4. The Golden Peasant Flying Out of the Mountain
5. Deep Night
6. A Lion That Has Just Woken
7. Big Gun Shooting Towards the Sky
8. Triumphal Return of Fishing Boats
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/132189082/YHm-MoCP.part1.rar
http://rapidshare.com/files/132191319/YHm-MoCP.part2.rar |
|
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Thu Aug 14, 2008 8:37 am |
|
|
|
|
| East Asian Music rapidshare | |
| Posted: Sun Aug 17, 2008 6:42 am |
|
|
|
Chen Leiji
Recueil de l'Ermitage du Prunus
Ocora C 560175, 2005
01. Guanshan yue (La lune sur la passe et les montagnes) (Chinese Traditional)
02. Qui feng ci (Poème du vent d'automne) (Li Bo)
03. Jile yin (La joie parfaite) (Zongyuan Liu)
04. Feng qiu huang (Séduction) (Sima Xiangru)
05. Qiu ye chang (La nuit d'automne est longue) (Chinese Traditional)
06. Yulou chunxiao (L'Aube printanière sur le pavilon de jade) (Chinese Traditional)
07. Fenglei yin (Prélude du vent et du tonnerre) (Yun He)
08. Qiu jiang ye bo (Mouillage nocturne sur le fleuve d'automne) (Su Dongpro)
09. Changmen yuan (Lamentation au Palais des femmes) (Sima Xiangru)
10. Pingsha luoyan (Sur la plage, les oies se posent) (Quxian)
11. Shitan zhang (Strophes sur le siddham) (Chinese Traditional)
12. Xia xian you (Voyage avec I'immortel) (Huangdi)
13. Dao yi (Battre les vetements) (Pan Tingjian)
14. Saoshou wen tian (Questionner le ciel en se grattant la tete) (Yuan Qu)
| Quote: | On this new album from Ocora, Chen Leiji performs solo qin zither recordings from the Zhucheng school (Shandong, N.E. China). The music from the Prunus Hermitage was written in 1931 and the collection of compositions heard here is the last remaining example of this unique style. During the Cultural Revolution, the qin was banned as an "aristocratic" instrument. Leiji began to study the instrument with Master Gong Yi at age 9 and is now considered the instrument's leading exponent. Also trained in western classical music, Leiji contributes to the rebirth of this thousand-year-old instrument by taking part in the creation of contemporary classical works such as the “concerto for instrument of silence” written for him in 1996 by Chen Qigang and by performing with Nieuw Ensemble of Amsterdam. (worldmusicstore)
|
160 kbps, no booklet
| Code: | | http://rapidshare.com/files/133830069/CL-RdlEdP.rar |
|
|
|
|
|
| | |
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
All times are GMT + 10 Hours
Page 2 of 3
Goto page Previous 1, 2, 3 Next
|
|
|
|
|
|
