Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of 2022 West Coast Tour Sampler, Live on Star's End Radio: August 29, 2021, All is Memory, Moments, Tortured Shapes, Live at The Gatherings (2019), Relic, Language of Loss, and 12 more. , and , . Purchasable with gift card Buy Digital Discography $11 USD or more (80% OFF) Send as Gift Share / Embed 1. A Lament (Live on WPRB) 11:58 buy track 2. Chains (Live on WPRB) 08:57 buy track 3. Deluge (Live on WPRB) 07:37 buy track 4. Cascading (Live on WPRB) 09:05 buy track 5. Remnants (Live on WPRB) 12:26 buy track 6. Untitled (Live on WPRB) 12:06 buy track about In the early morning hours of Saturday, June 18, 2016 Hotel Neon recorded a continuous live set, broadcast from 3-4 AM on the radio program "Music with Space". This is a raw soundboard recording of the set, and offers a glimpse into the first time a majority of these songs were played live. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released July 2, 2016 Thanks to Mike Hunter at Princeton University's radio station, WPRB 103.3 fm for hosting and recording this session. $(".tralbum-credits").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); license all rights reserved tags Tags ambient princeton drone experimental live meditation noise radio soundscape Philadelphia Shopping cart total USD Check out about Hotel Neon Philadelphia, Pennsylvania
Profound Meditation Program 3.0 [FLAC]l
This album is a compilation of live recordings featuring Mignarda and our guest artists, all recorded live between 2016 - 2019 at Immaculate Conception Church. Ron & Donna first met at "the Mac", singing together in the schola cantorum for the Latin Mass, and it seems fitting this year, when live concerts are so rare, for us to be able to share a taste of this evocative program in the glorious acoustic that suits our music so well.
This profound and passionate interpretation of the music for solo voice and lute from 16th century Italy is the distillation of Mignarda's delving into the art, literature and music of a people, place and period. The composers represented on this CD - from Tromboncino to Marenzio - flourished based on their skill in setting passionate poetry in the present tense to music that contained a measure of art paired with the pulse of the heart. As with visual art of the period, the superficial meaning might be grasped by the casual observer, but these songs offer a richer, more nuanced experience upon closer examination.
Our seventh release, this evocative recording highlights the intense devotional imagery of 16th century Spanish composers including Cristóbal de Morales, Francisco Guerrero, and Tomás Luis de Victoria. In returning to the sacred polyphony that brought us together, we have arranged the program as an extended meditation, following the example of our forebears in selecting and adapting the best examples of polyphonic sacred music for private devotions. Originally composed for four or five voices, we present them here in historically sensitive interpretations for solo voice and lute, interspersed with solo lute settings of motets and mass movements.
I bought this volume out of sheer curiosity, wondering why the producers had sqandered a disc on a collection of such seemingly trivial stuff when so many masterpieces under Celibidache's wondrous hands remained unissued. Now, after having heard it a half-dozen times, I'm still not sure. The Concerto presents some unusual sonorities and its central movement is sweetly atmospheric, but Celi's heavy hand in the rest seems at odds with their basically light, breezy nature. The Suite francaise in particular seems more suitable for background sound (or perhaps incidental movie music) than sustained listening. Presumably the purpose was to document the less pensive side of Celi's artistic personality, but I'm not sure that this program proves the point, as the humor and playfulness touted in the notes by his student Christoph Schluren emerge only rarely from beneath a blanket of sober and occasionally bombastic music-making. Indeed, Schluren insists that Celi established a reputation as a French specialist but denigates the sound quality of his recorded historical concerts. His Debussy (in an earlier volume of this Edition) and several Ravel bootlegs are indeed wonderful, so why didn't the producers seize this opportunity to remedy the perceived shortfall with more "official" releases of prime French repertoire? Overall, this volume strikes me as having little more than curiosity value, and of only passing interest for even that minor purpose.
On September 17, 1967, the Doors gave a memorable performance of "Light My Fire" on The Ed Sullivan Show.[40] According to Manzarek, network executives asked that the word "higher" be removed, due to a possible reference to drug use.[41] The group appeared to acquiesce, but performed the song in its original form, because either they had never intended to comply with the request or Jim Morrison was nervous and forgot to make the change (the group has given conflicting accounts).[42][43] Either way, "higher" was sung out on national television, and the show's host, Ed Sullivan, canceled another six shows that had been planned. After the program's producer told the band they would never perform on the show again,[41] Morrison reportedly replied: "Hey man. We just did the Sullivan Show."[40][44][45] 2ff7e9595c
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