| 01-Grand Duetto Concertante Op 52 – Andante Sostenuto (Mauro Giuliani)-AlmaNova.mp3 | 3.828.867 | 25/07/2017 11:52 |
| 02-Grand Duetto Concertante Op 52 – Menuetto- Allegro Vivace (Mauro Giuliani)-AlmaNova.mp3 | 4.141.506 | 25/07/2017 11:52 |
| 03-Grand Duetto Concertante Op 52 – Rondo Militare- Allegretto (Mauro Giuliani)-AlmaNova.mp3 | 6.973.650 | 25/07/2017 11:52 |
Mauro Giuliani – Grand Duetto concertante per flauto e chitarra op. 52 – Alma Nova
Rondò Militare – Allegretto:
Magnatune
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Dietrich Buxtehude – Suites and Variations – Colin Booth – MP3 – Magnatune
MP3:
Aria from “La capricciosa”:
Track n. 31
Complete Album:
ML – Magnatune
Johann Sebastian Bach’s Goldberg Variations are one of the greatest items of the keyboard repertoire. They are often recorded, but less often played live. Their technical difficulty has been a challenge to which innumerable harpsichordists and pianists have risen. But the underlying wit and humour of this amazing work has sometimes been disguised by sheer virtuosity. Again, many have approached the Goldberg Variations in a 20th century spirit of undue reverence and solemnity, at least in the view of Colin Booth.
Colin’s recording is deeply felt, but more than most performances, also shows the good-naturedness of J. S. Bach, and presents the detailed counterpoint which is the basis of the composition, with unusual clarity. You can really hear how the music is made.
See also: https://www.goldbergvariations.org
MP3:
Aria:
Complete Album:
ML – Magnatune
All music files available to Magnatune members are licensed under a Creative Commons by-nc-sa v1.0 license.
This means that the music you get as a member can be shared with your friends, can be remixed, backed up, copied to all your computers, and used in your own non-commercial projects (such as Youtube Videos or Podcasts.)
If you’d like to use our music in your non-commercial work, please join as a member, download the music you like, and have fun!
PS: Yes, we are lifetime members at Magnatune. So what??
Uccellini – Ensemble “Altri Stromenti” – MP3 – Magnatune
ML
La Ciaccona
Alla Roversa
Trombetta sordina
from: Magnatune
Cazzati – Legrenzi – Uccellini – Italian Music of the XVII Century – Ensemble “Altri Stromenti” – MP3 – Magnatune
La Savorgnana (Legrenzi)
La Maltese (Legrenzi)
Sonata terza detta La Tamberlana (Uccellini)
| Italian Music of the 17th Century |
| Uccellini |
from: Magnatune
PT. 1
| 01-Violin Sonata No. 1 – Op. 78 (Vivace ma non troppo)-Shlomo Mintz.mp3 | 12.365.954 | 13/03/2022 02:43 |
| 02-Violin Sonata No. 1 – Op. 78 (Adagio)-Shlomo Mintz.mp3 | 7.746.669 | 13/03/2022 02:43 |
| 03-Violin Sonata No. 1 – Op. 78 (Allegro molto moderato)-Shlomo Mintz.mp3 | 10.020.785 | 13/03/2022 02:43 |
| 04-Violin Sonata No. 2 – Op. 100 (Allegro amabile)-Shlomo Mintz.mp3 | 8.791.149 | 13/03/2022 02:43 |
| 05-Violin Sonata No. 2 – Op. 100 (Andante tranquillo – Vivace)-Shlomo Mintz.mp3 | 7.221.294 | 13/03/2022 02:43 |
| 06-Violin Sonata No. 2 – Op. 100 (Allegretto graziosoo)-Shlomo Mintz.mp3 | 5.813.189 | 13/03/2022 02:43 |
| 07-Violin Sonata No. 3 – Op. 108 (Allegro)-Shlomo Mintz.mp3 | 8.422.091 | 13/03/2022 02:43 |
| 08-Violin Sonata No. 3 – Op. 108 (Adagio)-Shlomo Mintz.mp3 | 4.737.781 | 13/03/2022 02:43 |
| 09-Violin Sonata No. 3 – Op. 108 (Un poco presto e con sentimento)-Shlomo Mintz.mp3 | 3.138.669 | 13/03/2022 02:43 |
| 10-Violin Sonata No. 3 – Op. 108 (Presto agitato)-Shlomo Mintz.mp3 | 5.744.644 | 13/03/2022 02:43 |
PT. 2
| 01-Viola Sonata No. 1 – Op 120_1 (Allegro appassionata)-Shlomo Mintz.mp3 | 8.252.400 | 13/03/2022 02:43 |
| 02-Viola Sonata No. 1 – Op 120_1 (Andante un poco Adagio)-Shlomo Mintz.mp3 | 5.906.813 | 13/03/2022 02:43 |
| 03-Viola Sonata No. 1 – Op 120_1 (Allegro graziozo)-Shlomo Mintz.mp3 | 4.915.832 | 13/03/2022 02:43 |
| 04-Viola Sonata No. 1 – Op 120_1 (Vivace)-Shlomo Mintz.mp3 | 5.490.108 | 13/03/2022 02:43 |
| 05-Viola Sonata No. 2 – Op 120_2 (Allegro amabile)-Shlomo Mintz.mp3 | 9.232.096 | 13/03/2022 02:43 |
| 06-Viola Sonata No. 2 – Op 120_2 (Allegro appassionato)-Shlomo Mintz.mp3 | 4.970.166 | 13/03/2022 02:43 |
| 07-Viola Sonata No. 2 – Op 120_2 (Andante con moto)-Shlomo Mintz.mp3 | 8.200.990 | 13/03/2022 02:43 |
| 08-F.A.E. Sonata – Scherzo Wo02 in C minor-Shlomo Mintz.mp3 | 5.551.965 | 13/03/2022 02:43 |
Complete Work:
From: https://www.classicistranieri.com/teng/Miles%20Beyond/
| 01-Medicine Wheel-Suzanne Teng-vbr.mp3 | 12.016.244 | 16/12/2012 14:00 |
| 02-Sierra-Suzanne Teng-vbr.mp3 | 13.097.663 | 16/12/2012 14:00 |
| 03-Babylonians-Suzanne Teng-vbr.mp3 | 12.631.772 | 16/12/2012 14:00 |
| 04-Sitara-Suzanne Teng-vbr.mp3 | 12.487.522 | 16/12/2012 14:00 |
| 05-Motherland-Suzanne Teng-vbr.mp3 | 11.007.962 | 16/12/2012 14:00 |
| 06-Suling-Suzanne Teng-vbr.mp3 | 9.995.644 | 16/12/2012 14:00 |
| 07-Chicoy-Suzanne Teng-vbr.mp3 | 8.243.654 | 16/12/2012 14:00 |
| 08-Miles Beyond-Suzanne Teng-vbr.mp3 | 10.813.608 | 16/12/2012 14:00 |
| 09-Tien’s Lullaby-Suzanne Teng-vbr.mp3 | 8.424.574 | 16/12/2012 14:00 |
Listen to track No. 1
From: Magnatune
From: https://www.classicistranieri.com/teng/Kingdom%20of%20Mountains/
| 01-Subhadra-Suzanne Teng-vbr.mp3 | 7.679.094 | 23/10/2020 04:38 |
| 02-Home-Suzanne Teng-vbr.mp3 | 7.919.302 | 23/10/2020 04:38 |
| 03-Kingdom of Mountains-Suzanne Teng-vbr.mp3 | 12.133.810 | 23/10/2020 04:38 |
| 04-Midnight in Bamako-Suzanne Teng-vbr.mp3 | 8.976.179 | 23/10/2020 04:38 |
| 05-Delicate Rainbow Flower-Suzanne Teng-vbr.mp3 | 7.687.037 | 23/10/2020 04:38 |
| 06-Yunnan-Suzanne Teng-vbr.mp3 | 6.649.204 | 23/10/2020 04:38 |
| 07-Viento-Suzanne Teng-vbr.mp3 | 8.665.239 | 23/10/2020 04:38 |
| 08-En Passant-Suzanne Teng-vbr.mp3 | 8.482.596 | 23/10/2020 04:38 |
| 09-I Dream of a Castle-Suzanne Teng-vbr.mp3 | 7.745.877 | 23/10/2020 04:38 |
| 10-Lebanese Girl-Suzanne Teng-vbr.mp3 | 7.722.167 | 23/10/2020 04:38 |
Listen to track No. 6:
From: Magnatune
From: Magnatune
on: https://www.classicistranieri.com/shira/A%20Celebration%20of%20Robert%20Burns/
Suzanne Teng, is a flutist, percussionist, dancer, composer, teacher and recording artist from Berkeley, California. She has a master’s degree in music from Boston University’s School for the Arts and has studied with some of the finest flute teachers in the world. She is an award winning classical musician who, after traveling adventures across the globe, furthered her graduate studies at UCLA’s Department of Ethnomusicology, where she completed the coursework for the Ph.D. focusing on music and healing. She is an active performer and recording artist in Los Angeles and is the winner of the Independent Music Awards Best New Age Artist for 2005 and 2001. Her contemporary world music band Suzanne Teng & Mystic Journey was named a HOT 100 by Music Connection Magazine for 2003 and 2004.
Suzanne’s critically acclaimed recordings Miles Beyond and Mystic Journey feature her original compositions on which she plays a large assortment of flutes from around the world along with her partner Gilbert Levy on world percussion, band mates Fritz Heede on world strings and Barry Newton on string bass, and special guest master musicians from around the world. Mystic Journey was a finalist for the Just Plain Folks Awards 2004 Best Instrumental Album, a candidate for a Grammy nomination for Best New Age Album, appears on the UK Top Albums in New Age, and was a finalist for New Age Voice Magazine’s Best Acoustic Instrumental Album and Best Contemporary World Music Album. Billboard Magazine wrote “Sensual and Serene…Mystic Journey is an impressive solo debut.” Both albums appear on numerous publication and radio “Top albums of the Year” lists including the Public Radio International nationally syndicated show “Echoes,” and are listed by Amazon.com among the Most Requested New Age albums on the Radio.
Known for creating heartfelt and healing music, Al Martinez of the Los Angeles Times claims “Suzanne Teng plays music for the soul.” She has been commissioned to compose music for yoga and acupuncture videos, including works for well-known yogis Gurmukh and Ana Forrest. The Los Angeles Times wrote that Suzanne’s music for the critically acclaimed play Caterpillar Soup “adds a spiritual quality to the production.” She performs in concerts, festivals, and dance/movement/yoga events internationally as a soloist and with her world music band Mystic Journey. They were featured performers at His Holiness the Dala Lama’s World Festival of Sacred Music and have represented the United States at International festivals in Mexico, Canada and Singapore.
Suzanne has performed her flute meditations at numerous major events with spiritual leaders and writers such as Thich Nhat Hanh, Marianne Williamson, Deepak Chopra, Mathew Whyte, and Amachi, as well as for the top corporate leaders of Mexico and the US. She has also been a featured performer at the National Flute Association Conventions three times.
Called a “brilliant flutist” by the Los Angeles Times, she has worked with a wide variety of artists and ensembles including the Boston Philharmnonic, Los Angeles Pops Orchestra, Tito Puente, Kenny Loggins, Babatundi Olatunji, Airto and Flora Purim, and The Dramatics. She has performed for numerous heads of state, including Henry Kissinger, and has appeared on the same venues as Sting, Jackson Browne, Patty Smythe, Colin Hay and Jody Watley.
Suzanne has performed on hundreds of recordings for Polygram, Warner Brothers, Windham Hill, BMG, Shanachi, Scottie Brothers, and numerous independent labels. Select film, television and commercial performance credits include Pepsi, Johnnie Walker, California Tan, Murder, She Wrote, Big Bully (Tom Arnold), Separate Lives (Jim Belushi, Linda Hamilton), Baby (Farrah Fawcett), Green Dragon (Patrick Swayze, Forest Whitaker), The Grey Zone, The Kid Stays in the Picture (Robert Evans), Ice Bound (Susan Sarandon), numerous independent and foreign films, commercials for India, Germany, Korea and Mexico, and an Environmental PSA with music by Hans Zimmer. She has appeared on national television, including a musical performance on the Survivor II final episode which was viewed by over 40 million people. Her music has been heard on countless radio programs worldwide (ranking #3 on the New Age charts) and she has been featured on Public Radio International three times.
She is an endorsed artist for Yamaha, AKG and High Spirit Flutes and is a popular teacher, having taught flute, percussion and world music to many hundreds of students at schools, colleges, camps and workshops throughout the country. She co-facilitates retreats, guiding music circles, most recently in Hawaii and Guatemala. She has practiced yoga for over 20 years, loves traveling, gardening, and hiking and has summitted 19,000′ peaks in the Himalayas.
| Autumn Monsoon |
| Enchanted Wind |
| Kingdom of Mountains |
| Miles Beyond |
| Mystic Journey |
| Whisper |
From:
https://www.classicistranieri.com/teng/
One of my favorite works for organ is the great Praeludium in E flat from Bach’s Clavier Übung III, which is usually followed in recital by the Fugue in E flat, called “St. Anne’s”, though in Johann Sebastian Bach’s manuscript the two are separated by the entire remainder of the work, 27 pieces in all. As a harpsichordist, the temptation was too great to not adapt these and other works to my own instrument. The Praeludium especially reminds me of the French Ouverture in ClavierÜbung II and the Ouverture of Partita #4 in ClavierÜbung I, both harpsichord works. I also have a great fondness for Bach’s Chorale Preludes, as well as his Fugues. ClavierÜbung III being organ music, often has pedal parts, though much is also for manuals alone, including the Duetti which are often performed on the harpsichord.
From: Magnatune
Listen to Track No. 8
Despite the sophistication of the Inventions and Sinfonias, and their value as teaching pieces of performance and compositional technique, these works were not published in Bach’s lifetime, but rather in 1801, 51 years after his death. The “simple” version we are all presently accustomed to comes from this 1801 publication (Neue Bach Ausgabe), though we now are aware of other handwritten copies, including by Johann Sebastian Bach himself. Begun as teaching pieces for his own son, Wilhelm Friedemann, they were likely finished in Leipzig, where he moved in 1722.
Perhaps “finished” is not quite the right word, as Bach continued to tinker with them. It is evident to me that as teaching pieces, personal instruction by Bach would have been invaluable to his pupils, as improvised ornamentation would have been encouraged, hence the varying versions that have come down to us. It is my opinion that the simpler versions were kept as such to allow for the freedom to exercise one’s own taste in regards to ornamentation (within reason). Unlike Francois Couperin, who was annoyed at anyone’s altering of his text, Bach expected it.
In the pupils’ versions I am working from I find it interesting that in many, suggested ornamentation of the main subject only appears at the beginning. I would think the student was expected to extend the logic through the entire piece, though in my performance, I mostly stick to the text, so that you, the listener, can hear what was passed down to us. In a few cases I do carry the ornamentation a bit further, (see above) but am pretty discreet. In several of the later Sinfonias, the students’ ornamentation is heavy throughout, as is also true in Bach’s final versions.
The two most radically different works, in Bach’s hand, are Invention #1 with triplets, and Sinfonia 5, highly ornamented in the French style. In the case of Sinfonia 5, I wonder if my simple performance is even remotely correct. I suspect not.
In this performance, I also do not play every conceivable ornament. Sinfonia 12, for example, has some appogiaturas in the subject (appearing only once), that I personally don’t care for, though I suppose one could get used to them, and maybe even like them if they were carried out in all voices. The same holds true of an appogiatura in the opening subject in Sinfonia 14, which to me sounds like an interruption. It all eventually boils down to taste.
on: Magnatune
Listen to Track No. 31
Known for the intricate artwork with which she adorns world-class harpsichords, the multitalented Janine Johnson’s style of playing is elegant yet extremely agile. Her German Keyboard Masters album highlights the splendid work of Dietrich Buxtehude, whom Johann Sebastian Bach walked for miles to hear and study, and Johann Pachelbel, who was Bach’s brother’s teacher–the brother who in turn taught Bach. This album makes a great pairing with her recordings of J.S. Bach’s, as these two composers had a profound effect on his work.
Listen to Track No. 2
German Keyboard Masters by Janine Johnson
A visual artist who adorns world class harpsichords with intricate artwork, the multitalented Janine Johnson is also a gifted musician and is known for her elegant yet extremely agile style of playing. This album of Johann Sebastian Bach by Johnson was recorded on an instrument commissioned specifically for the performance of his work; her selections were chosen to show off the unusual “organ-like colors” of this remarkable harpsichord.
Listen to track No. 10
Here comes Lara St. John’s newest recording, featuring the Simón Bolívar Youth Orchestra of Venezuela and Eduardo Marturet. The disc features Antonio Vivaldi’s seminal work, the Four Seasons, which is the top-selling classical work of all time.
There is tremendous interest in this orchestra, and this is the first time it has recorded with St. John following successful recordings with the Deutsche Grammophon label.
from: Magnatune
in https://www.classicistranieri.com/lara/Vivaldi%20-%20The%20Four%20Seasons/
Listen to track No. 1:
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| Total files: 12 |
| Total size of all files: 67.533.882 |
Described as “something of a phenomenon” by The Strad magazine and a “high-powered soloist” by the New York Times, Canadian-born violinist Lara St. John has performed as soloist with the Cleveland Orchestra, the Philadelphia Orchestra, the Toronto Symphony, the Montreal Symphony, the Franz Liszt Chamber Orchestra of Budapest, among many others, and given recitals around the world.
The Strad magazine selected her as one of “the stars of the next decade” and called her “an electrifying player, as deeply satisfying in Bach as she is bewitchingly seductive in Waxman’s ‘Carmen’ Fantasy. The L.A. Times has said: “St. John brings to the stage personal charisma, an unflagging musical imagination and genuine passion. Her two albums to date are bona-fide classics of the violin discography.”
In January 2002, Lara released her third CD on her own label. Bach: The Concerto Album and has received enthusiastic reviews. Gramophone Magazine placed the disc in its strongly recommended section, and wrote “It is difficult to argue with such a technically dazzling and unfailingly musical interpretation.”
During 1999/2000 highlights included engagements with the National Arts Centre Orchestra, Seattle Symphony, Vancouver Symphony, Buffalo Philharmonic, Shanghai Broadcasting Symphony, and Edmonton Symphony, while the 2000/01 season brought her debuts with the New Jersey Symphony under Hugh Wolff, the Tokyo Symphony (Paavo Jarvi), Hong Kong Philharmonic, Honolulu Symphony, and Calgary Philharmonic, among others. During last season she debuted with the Cincinnati Symphony, Prague Philharmonia, Sao Paulo Symphony, Opera de Marseille and performs numerous other concerto appareances in Canada and the US, as well as recitals at Ravinia, the Miller Theater in New York, in Montreal, Quebec City, and throughout China. Season 2002/03 continues the array of appearances on the recital stage and as soloist with orchestra, among them the symphonies of Portland, Delaware, Knoxville, the Florida Orchestra, and Northwest Sinfonietta. In addition she will undertake a nation-wide recital tour under the auspices of Community Cocerts. Other future engagements include debuts at Tanglewood with the Boston Pops under Keith Lockhart and performances with the Vancouver Symphony, among others.
She has been victorious in several competitions and in 1997 won the use of the 1702 Lyall Stradivarius for two years from the Canada Council for the Arts and an anonymous donor. Upon hearing her audition, the panel of judges exclaimed, “Today we have heard one of the great violinists of our time! Inspirational.” Currently, she performs on the 1779 “Salabue” Guadagnini thanks to an anonymous donor and Heinl & Co., Toronto.
Lara began playing the violin when she was 2 years old. She first soloed with orchestra at age 5, and made her European debut with the Gulbenkian Orchestra (Lisbon) five years later. She toured Spain, France, Portugal and Hungary at ages 12 and 13, entered the Curtis Institute at 14, and spent her first summer at Marlboro three years later.
Upon her graduation from Curtis, at age 17, Lara took off for Moscow to find out if there was really more to life than just music — there was. At this time, most teachers at the Tchaikovsky Conservatory (including hers) were indefinitely extending their journeys west, and being without a teacher for the first time gave her the opportunity to travel extensively throughout the former Soviet Union and Eastern Europe. She also spent two years in England at the Guildhall school, holds a certificate from the Mannes College in New York City, and an Artist’s Diploma from the New England Conservatory in Boston. Her teachers over the years have included Linda Cerone, David Takeno, Arnold Steinhardt, Felix Galimir and Joey Corpus.
Lara is a great fan of J.R.R. Tolkien, reptiles, and the American Museum of Natural History. She resides in New York City.
Lara St John lives in New York, USA.
| Bach Violin Concertos |
| CD1 – Bach – The Six Sonatas and Partitas for Solo Violin |
| CD2 – Bach – The Six Sonatas and Partitas for Solo Violin |
| Vivaldi – The Four Seasons |
from: Magnatune
“Celosity” by Claire Fitch is now available for free download (OGG):
| 01-Ambit-Claire Fitch_.ogg | 11.143.622 | 24/01/2016 18:55 |
| 02-Winding Zone-Claire Fitch_.ogg | 8.997.554 | 24/01/2016 18:55 |
| 03-Journey-Claire Fitch_.ogg | 5.238.043 | 24/01/2016 18:55 |
| 04-Orbit-Claire Fitch_.ogg | 8.895.968 | 24/01/2016 18:55 |
| 05-Celocity-Claire Fitch_.ogg | 9.923.058 | 24/01/2016 18:55 |
| 06-Lament-Claire Fitch_.ogg | 5.458.062 | 24/01/2016 18:55 |
| 07-Momentum-Claire Fitch_.ogg | 10.470.666 | 24/01/2016 18:55 |
| 08-Dark Surface-Claire Fitch_.ogg | 8.464.431 | 24/01/2016 18:55 |
| 09-Circle the Course-Claire Fitch_.ogg | 11.140.228 | 24/01/2016 18:55 |
| Total folders: 0 |
| Total files: 9 |
| Total size of all files: 79.731.632 |
from: https://www.classicistranieri.com/fitch/Celocity/
“Ambiencellist II” by Claire Fitch is available for free download (OGG format):
| 01-Cellosphere-Claire Fitch_.ogg | 6.639.776 | 24/01/2016 18:54 |
| 02-Four Days-Claire Fitch_.ogg | 5.363.582 | 24/01/2016 18:54 |
| 03-Full Cycle-Claire Fitch_.ogg | 9.961.596 | 24/01/2016 18:54 |
| 04-Horizon-Claire Fitch_.ogg | 6.269.149 | 24/01/2016 18:54 |
| 05-Longest Day-Claire Fitch_.ogg | 6.734.752 | 24/01/2016 18:54 |
| 06-Mist-Claire Fitch_.ogg | 4.582.017 | 24/01/2016 18:54 |
| 07-Seascape-Claire Fitch_.ogg | 5.956.908 | 24/01/2016 18:54 |
| 08-Spectralcellist-Claire Fitch_.ogg | 6.743.456 | 24/01/2016 18:54 |
| 09-Vapour Trail-Claire Fitch_.ogg | 7.822.992 | 24/01/2016 18:54 |
| 10-Oceanic Memories-Claire Fitch_.ogg | 7.303.416 | 24/01/2016 18:54 |
from: Magnatune
“Ambiencellist” by Claire Fitch is available for free download:
| 01-Landscape-Claire Fitch_.ogg | 5.179.499 | 24/01/2016 18:53 |
| 02-Ambiancellist-Claire Fitch_.ogg | 6.924.062 | 24/01/2016 18:53 |
| 03-Lunarsheen-Claire Fitch_.ogg | 4.746.767 | 24/01/2016 18:53 |
| 04-Calm pad-Claire Fitch_.ogg | 4.382.832 | 24/01/2016 18:53 |
| 05-Ice Field-Claire Fitch_.ogg | 6.028.625 | 24/01/2016 18:53 |
| 06-Underwater-Claire Fitch_.ogg | 5.428.042 | 24/01/2016 18:53 |
| 07-Really-Claire Fitch_.ogg | 5.659.486 | 24/01/2016 18:53 |
| 08-Shortest day-Claire Fitch_.ogg | 5.856.194 | 24/01/2016 18:53 |
| 09-Still reaction-Claire Fitch_.ogg | 4.999.121 | 24/01/2016 18:53 |
| 10-After-Claire Fitch_.ogg | 5.077.266 | 24/01/2016 18:53 |
All files are provided in OGG format.
Listen to the first track (“Landscape”) using our audio-player:
An exciting blend of acoustic cello and effects opens the door on the music genre, “electro-acoustic-ambient” . Cellist Claire Fitch is always eager to introduce new sounds and possibilities to the worlds of ambient music and classical music. Influenced by working with some of Irelands best musicians in 2007, Celocity is the result of inspiration and creative free thinking.
Celocity was recorded at the Fitchsounds studio, which overlooks the Cooley Peninsula and is situated at the edge of the Boyne Valley. The energy created by this magical place is evident in the influence of ancient and modern celtic Ireland. Claire uses a Thomas Smith cello which was made in 1774.
“Playful melancholy” is how Celocity has been described. The core of which draws on a rhythmic energy not previously seen in the other Ambiencellist releases. Take a musical journey into the world of acoustic-electric cello soundscapes. Let your consciousness be awakened by the hypnotic sound of Claire Fitch’s cello playing.
Two other albums, Ambiencellist and Ambiencellist Part II, are also available.
Complete discography:
| Ambiencellist |
| Ambiencellist Part II |
| Celocity |
Listen to the track “Landscape”:
from: Magnatune
Download MP3 files:
In Nova Cantica featured soprano Elisabeth Engan, tenor Neal Rogers, Eileen Hadidian on flute and recorder, Shira Kammen on vielle, violin and harp as well as singing alto, Kit Roberson on vielle and viola da gamba, and David Tayler on lute and baroque guitar.
Each of these musicians was or has become well known and a highly respected member of the Early Music community in the Bay area and the United States.
Listen to the track No. 1
| Total folders: 0 |
| Total files: 23 |
| Total size of all files: 52.556.101 |
This album in OTHER audio formats:
| nnovat-tradcarols-aac |
| innovat-tradcarols-alac |
| innovat-tradcarols-flac |
| innovat-tradcarols-mp3 |
| innovat-tradcarols-ogg |
| innovat-tradcarols-opus |
from: Magnatune
Valerio Di Stefano