RhoDeo 2122 Grooves

 Hello,  


Today's Artists consisted of singers Sunshine Jones and Moonbeam Jones, but also included many sit in and on-tour musicians over the years. Born in a rent party, Dubtribe Sound System distinguished itself as performers by performing live for many hours, rather than replaying their recordings from DAT tapes or portable computers, and touring without stopping, often bringing their own sound, lights, and traveling family with them. But unlike its few counterparts in North America, Dubtribe would depart from the warehouse movement and establish itself in the mid-1990s as a grass-roots tour de force, refusing help, press, or money from any outside interests.  ..  N Joy

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Throughout the 1990s, Dubtribe Sound System established a devoted following amid the West Coast house scene because of its live performances, record releases, and self-operated label, Imperial Dub Recordings. After Sunshine spent a summer on the Spanish party isle of Ibiza in 1989, "it started to make sense. All shapes and sizes getting together to dance", he says. "I wanted to share that. It changed me forever".Back in San Francisco, Sunshine had been leading an acid jazz band. When it needed a vocalist, he took on Moonbeam in 1990 ("I didn't want to meet anybody named Moonbeam," Sunshine says. "I had the shit beaten out of me for my name"). Inspired by Ibiza, he tried to transform his group into a live house-music act. Many of the band members bailed, leaving just Sunshine and Moonbeam to go it alone as Dubtribe. At first, it was a grind trying to get booked in a DJ-centric world, but the duo's DIY Come Unity events at the Bryant Street pad (the first event was a rent party) were a hit, and soon Dubtribe was making records
Comprised of Sunshine and Moonbeam Jones, the male-female duo met in San Francisco's thriving early-'90s house scene and soon after began making music together as Dubtribe. The duo's debut full-length, Sound System (1994), became a huge success, particularly the tracks "Sunshine's Theme" and "Mother Earth." The latter especially became a success, expanding Dubtribe's following beyond the West Coast. The duo began touring extensively, making its name more as a touring act than a recording one, in fact. Despite the relentless touring, Dubtribe did continue to release a steady output of music, mostly 12" EPs on its self-operated label, Imperial Dub Recordings. In 1999 the duo approached mainstream crossover success with Bryant Street, a high-profile album for Jive Electro released during the height of the late-'90s electronica boom. Following the hype, Dubtribe quietly compiled two double-disc archival releases in 2000 -- Archive, Vol. 1: Rare and Deleted, a collection of dancefloor tracks, and Archive, Vol. 2: Ambient 1994, a collection of tracks from the duo's Selene Songs era. The duo released these collections on Imperial Dub and hoped to attract the legion of new fans drawn in by Bryant Street. A year later, in 2001, Dubtribe released "Do It Now," its most popular dancefloor track to date. The track became so popular that the duo released an EP of remixes and one of versions. In the wake of this success the duo mixed Dubtribe Sound System vs. Chillifunk Records: Heavyweight Soundclash (2002), a 15-track mix showcasing the British house label.


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Part of this Archives double-disc set is the defacto complete  remastered  album, Selene Songs Recorded at various live dates, it presents the San Francisco dubsters at their most ambient, with few beats to disturb the feeling.


                                            
<a href="https://mir.cr/0WXT8ZKJ"> Dubtribe Sound System - Selene Songs </a> (flac  368mb)

01 Memory (Part One) 16:09
02 Sunshine's Theme (Sunshine's Remix) 8:09
03 Desert Moon 11:22
04 Quiet Earth 8:45
05 Sting Ray (Version) 5:53
06 Deep Flute Dub 8:55
07 Selene's Song 2:20

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Around 1993 after the duo had spent nearly two years touring the States in a van in the wake of their success as Dubtribe on the burgeoning rave scene, they reconvened in San Francisco and found themselves suddenly drawn to ambient music. Throughout 1994, Dubtribe essentially operated as an ambient group, before eventually returning to up-tempo dancefloor material. Collected here are many tracks that were recording during this brief era; while the first disc concentrates on a variety of styles, the second disc collects three pieces they recorded with Ovid, a Stanford University professor of physics and scholar of kabalistic theory who contributed spoken word. With most ambient music, even the most amazing sounds and the most evocative aural atmospheres can get a bit boring. Granted, by nature they are intended to linger redundantly, but the genre's better artists -- Brian Eno, Aphex Twin -- are able to balance the fine line between poetry and redundancy. Dubtribe Sound System cross that line continuously on this collection. The first disc manages to flow rather smoothly, with the introductory track being epic and the latter tracks being a bit shorter; the ambient remix of "Sunshine's Theme" is an obvious highlight, harking back to the original's classic melodies, while the other tracks offer the listener enough variety to prevent the music from becoming too lulling. Unfortunately, the second disc overextends itself at times, particularly on the torturous "Physical and Kabalistic Forces of Creation." There are a few moments on this album such as the album-concluding "Weiss-Kopf in Pardess" when the minimal ambience evolves into full-blown dancefloor music, which also prove to be highlights. But for the most part, this is an uneven album. Unlike the genre's classics -- Aphex Twin's Selected Ambient Works, Brian Eno's Music for Airports, Plastikman's Consumed -- Archive Volume Two lacks a common motif or aesthetic to make it feel like an album. It would have proved much more effective had several of the pieces been edited and ultimately crammed onto a single disc.



<a href="https://www.imagenetz.de/bDPb5"> Dubtribe Sound System - Archive vol 2 ambients </a> (flac  361mb)

01 The Tree, The Ladder, The Chariot And The Self 30:53
02 Physical And Kabalistic Forces Of Creation 18:40
03 Weiss-Kopf In Pardess: Buildingblocks Of Creation 18:30

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Can house music really survive without Dubtribe Sound System? In the tradition of such aching yet genius swansongs as the Smiths' Strangeways Here We Come or (dare it be suggested) the Beatles' Abbey Road, Baggage was recorded with the bittersweet knowledge that it would be the last album that Sunshine and Moonbeam would ever make. And with that knowledge comes a somber tone that never before permeated the quite obviously hippie gatekeepers to West Coast house. But this is still Dubtribe, the duo who made a career from laying down some insanely popular dance tracks while sitting cross-legged on the floor of the rave. Who else could name their tracks "Shakertrance" and "Raggastronique" without being scoffed at in a time when house music is marketed as the soundtrack to overpriced cocktail consumption rather than the spiritual dance ritual that inspired Dubtribe and thousands of others at the start of the rave movement? "This Is the Time" pays homage to the music's roots in disco with a string-driven refrain that repeats the infamous mantra of party people, "Get down tonight," while the epic "Do It Now" (the hit that inspired this final Dubtribe outing) swells and falls and swells and falls, over and over again, like the best energy juice that dance music can offer. Mimicking both the continuous groove of the DJ and their own legendary ten-hour jam sessions, each track on Baggage flows into the next while still managing to maintain its own identity. Perhaps by making a timely exit, Dubtribe themselves will maintain their own identity, away from the generic groove cycle that most house music has become.



<a href="https://multiup.org/d47ee9b0fbd183b4a876444e6378ed27"> Dubtribe Sound System - Baggage </a> (flac  410mb)

01 Shakertrance    7:15
02 Freeway 4:33
03 Autosoul 5:09
04 This Is The Time 4:48
05 Raggatronique 4:02
06 Rideline 8:16
07 Nothing Is Impossible    7:08
08 The Rhythm In Your Mind 7:28
09 Lo Disco 5:30
10 Make Me Stronger 4:48
11 Do It Now 12:26

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RhoDeo 2122 Expanse 44

 Hello, now Babylon's in Ashes but we humans don't loose our hubris that easy after all we are used to celebrate ignorance..Anyway the story continues here this week.

 

Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..

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Before Einstein created his unique theorems on relativity, deflating Newton’s theories on gravity, Nikola Tesla posited the idea that electricity and energy were responsible for almost all cosmic phenomena. Tesla saw energy and electricity as an “incompressible fluid” of constant quantity that could neither be destroyed nor created.

    If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.

— Nikola Tesla

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A portion of Medusae Fossae on Mars. Credit: NASA/JPL/University of Arizona


What carved these landforms?

Mars has been the subject of many previous Picture of the Day articles. Since its surface is preserved in a desert-like deep freeze, and appears devoid of water erosion, it is an excellent observational laboratory for Electric Universe concepts.

One of the points emphasized by those who advocate the Electric Universe theory, is that the Solar System was the scene of catastrophic events in the recent past that took the form of massive electric discharges and other plasma phenomena. Those events are postulated to have taken place between 5000 and 10,000 years ago. Whatever agency was responsible—dense clouds of plasma from interstellar space, extraordinary solar flares, or the close passage of another electrically charged celestial body or bodies—the result was devastation on a planetary scale.

The Medusae Fossae region on Mars is something of a puzzle for planetary scientists. An area approximately 1000 kilometers long by 400 kilometers at its widest point is so inundated with dust that there is no way for orbital instruments to derive a spectrogram. That means that no one knows what is under the dust. Since there is no way to know what it is, the speculation is that it might be layers of volcanic deposits, sediments from an ocean that vanished billions of years ago, or “compacted wind-blown soils”. Another possibility exists.

When electricity makes contact and snakes around a solid body, such as a planet, electric currents pull charged material from the surface where the arc touches down. Neutral dust and stones are pulled along with the ionized particles. Craters are most often circular because electromagnetic forces cause the arcs to maintain right angles to the impact zone. In Medusae Fossae, semicircular craters are cut into the sides of many large hills, with the other half of the circle a trench. How can an impactor from space form a trench while cleanly slicing a rocky mesa?

Since two or more filaments rotate around the arc axis, it can behave like a drill, excavating steep side walls and “pinching” a rolled rim. Often, the filaments will leave behind a central peak. Minerals in the crater will be electrically heated, scorched, and melted.

As Electric Universe proponent Wal Thornhill suggested, a positively charged surface will be melted, while the electromagnetic forces within the arc might lift the surface to form a “lightning blister,” called a fulgamite. Olympus Mons, for example, demonstrates the results of such a discharge: a gigantic mound with several overlapping craters at the top and a vertical drop off at its edge. There is also a “moat” surrounding Olympus Mons, as well as other mountainous formations.

If the surface is negatively charged, an arc will travel, sometimes eroding elongated craters, like the enigmatic “boot-shaped” crater recently discussed in a recent Picture of the Day. The arc might also jump from high point to high point. Smaller craters on the rims of larger ones point to this phenomenon. A series of craters in a line, otherwise called a “crater chain,” is another sign of arcing to a negatively charged substrate.

The advantage of the electrical interpretation is that it directly explains the nature of the topography dominating the surface of Mars. Electromagnetic forces between Birkeland currents constrained to a surface will force them into alignment. Ionic winds can lift pulverized rock and carry it along in the direction of the current flow. Where a discharge channel bifurcates, the branches tend to remain parallel to each other and may rejoin. Orthogonal coronal discharges from parallel Birkeland currents generate ripples of finely divided material.

It is most likely electrical effects that carved the craters on Mars and in so doing formed the drifts of finely pulverized debris that covers several thousand square kilometers in Medusae Fossae.

Stephen Smith
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Scientists generally use the term "crisis in cosmology" to describe the numerous and growing evidences that contradict or undermine the Big Bang theory. For decades, numerous scientific papers have been published on the discordancy between the so-called expansion rate in the “early universe,” and the expansion rate in the “later Universe.”

In fact, recently the Keck Observatory issued a press release on the reported most reliable verification to date that the discordancy is real. And as we've reported ad nauseam on this series, the cosmological crisis runs much deeper and includes "surprising" discoveries at all scales throughout the cosmos.

In part one of this two-part presentation, physicist Wal Thornhill discusses some of the foundational problems with the standard cosmological model, and the real alternatives that the Electric Universe offers.

If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop-down box.  Then click on the subtitle that you would like.  

https://youtu.be/J4NffTr_GMk

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The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.


The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

Novels
#     Title             Pages     Audio     
1     Leviathan Wakes     592     20h 56m
2     Caliban's War         595     21h     
3     Abaddon's Gate     539     19h 42m
4     Cibola Burn         583     20h 7m
5     Nemesis Games     544     16h 44m
6     Babylon's Ashes     608     19h 58m
7     Persepolis Rising     560     20h 34m
8     Tiamat's Wrath         544     19h 8m
9     Unnamed final novel

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Babylon's Ashes is a science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the sixth book in their The Expanse series. The title of the novel was announced in early July 2015[1] and the cover and brief synopsis were revealed on September 14, 2015

Synopsis

Following the events of Nemesis Games, the so-called Free Navy, made up of Belters using stolen military ships, has been growing ever bolder. After the crippling attacks on Earth and the Martian Navy, the Free Navy turns its attention to the colony ships headed for the ring gates and the worlds beyond. The relatively defenseless ships are left to fend for themselves, as neither Earth nor Mars are powerful enough to protect them. James Holden and the crew of the Rocinante are called upon once again by what remains of the UN and Martian governments to go to Medina Station, now in the hands of the Free Navy, in the ring station. On the other side of the rings an alien threat is growing; the Free Navy may be the least of humanity's problems.



<a href="https://multiup.org/e2dead0405c993b3ee0194999c15982d">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 07-13  </a> ( 154min  71mb)

James S.A. Corey - The Expanse Babylon's Ashes 07-13  154min



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RhoDeo 2122 Sundaze

 Hello,




Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant.
In 1958, he entered at the Tallinn Conservatoire & he became famous through USSR with his composition 'Our Garden'. At the beginning of the seventies, he began to use serialism in his works but he stopped. An interest for Gregorian chant & medieval music then brought a new dimension to his music. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

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 Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.

Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.

In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.

By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.

In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.

In 1995, Pärt was recognized for his many artistic achievements by being elected to the American Academy of Arts and Letters. His 2008 Symphony No. 4 was nominated for a Grammy for Best Comtemporary Classical Composition. He remains among the most popular serious composers of the late twentieth and early twenty-first centuries.


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The title track, the 34 minute "Miserere" really holds the disc on its own and is all you really need to hear, yet the other two tracks are not without their merits, and are most likely simply beyond what I can understand. Some might find all of the works here superb just from within their own worlds of sound, some will find them confusing and boring, and some will need a pairing of the ideas behind the composition and lyrics in order to get the full appreciation."Miserere" is the most listenable on its own, with a wide, rich dynamic and timbral range (holy s##t at 30:02-30:20--deep organ note and vocal suspension over it), along with a real sense of travel and dramatic tension--even if you don't know or care about the Latin text or its religious meaning. Part also achieves as much emotional leverage with his sparse opening minutes as he does with the climactic full ensemble moments. The lonely clarinet, oboe, and bassoon notes echoing in the hall in conjunction with the flowing vocal line is haunting and gives a sense of the immensity of space, both inner and physical.

"Festina Lente" starts busy and stays busy for its relatively short five minutes, and feels more like a time-filler or an exercise that Part might have written just to get ideas out of his head. It feels like a work he could have just as easily unraveled and stretched into a 54-minute study in intervals and layers.

"Sarah Was Ninety Years Old" is aptly titled since it feels like it takes ninety years to play out AMIRITE?
Kidding aside, what starts as near-comedy with a lone drummer playing a four-note, two-pitch motif in a steady journey that recalls the logic and work of an elementary student, turns into some absorbing, thought-provoking, and ultimately intense patterns of growth. The work has deeper religious meaning and context, but to me it sounds like someone at the end of life, lying still, waiting for death, which approaches in the gradual growth of the drum patterns. The vocal interludes in between representing reflection on the life lived, and the ending representing the passage to the afterlife. Since I have no connection and find little meaning in the biblical implications of the work, it's a testament to the writing that it still communicates to me, as does a majority of Part's music thus far.



<a href="https://multiup.org/8b293391663e253d9e878e6536d7afbe">  Arvo Part - Miserere   .</a> (187) mb)

01 Miserere 34:34
02 Festina lente 5:24
03 Sarah Was Ninety Years Old 25:28

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Like a multi-decker sandwich, this record alternates thick slices of Arvo Part's early work with the refined elegance of his later music, on which Part's currently high reputation rests. The three later pieces included here (Summa, Fratres and Festina lente) have all been recorded before. Of the four older works, three are not otherwise available on record (Collage teemal BACH, If Bach had been a Beekeeper and Credo); the Second Symphony has been championed once before by Neeme Jarvi, in the company of the Cello Concerto, Perpetuum mobile and the other two symphonies (BIS).
Tastes will differ, but I find myself enjoying the filling far more than the bread. Festina lente, for string orchestra, is one of Part's most exquisitely bell-like scores, and the Philharmonia here play it beautifully. On ECM, however, it's more strongly coupled with the Miserere and Sarah was ninety years old to form one of the most appealing Part records on the market. The short Summa is properly a setting of the Creed for four voices, and it has been sung perfectly by The Hilliard Ensemble (ECM, 9/87); Jarvi's new version is an arrangement for strings. Fratres also exists in more than one incarnation. Two other realizations, respectively for 12 cellos or for violin and piano, are available on ECM ((CD) 817 764-2). Now we have a third arrangement, for string orchestra. To my mind this is the most effective yet, and it has the advantage of including all nine of the intended variations. This track is probably the record's best selling-point.
Set beside these gentle delicacies, the four early pieces seem garrulous, confrontational and bewilderingly eclectic, with their uncomfortable mix of high modernism and variously digested quotation—largely of Bach, but also of Tchaikovsky in the Symphony No. 2. It's instructive to hear them, if only to learn more about the context from which Part's later music emerged. In their own right, however, I doubt if these scores would have earned the composer a fraction of the international acclaim he now enjoys.'



<a href="https://mir.cr/01RMEHKS">   Arvo Part - Collage </a> ( flac 216mb)

Collage Sur B-A-C-H (7:45)
01 I Toccata. Preciso 2:43
02 II Sarabande. Lento 3:31
03 III Ricercar. Deciso 1:26
04 Summa (1991 Version) 4:14
05 Wenn Bach Bienen Gezüchtet Hätte    7:28
06 Fratres (1983 Version) 9:51
Symphony No. 2  (14:37)
07 I    6:48
08  II    3:07
09 III    4:37
Festina Lente    
10 In Einem Ruhigen Zeitmaß. Molto Legato 5:44
11 Credo 12:38


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Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Pärt, commissioned by the Westdeutscher Rundfunk in Cologne, Germany, in 1984. Te Deum employs Pärt's signature tintinnabuli compositional style. Tintinnabuli is often described as a minimalistic compositional technique, as its harmonic logic departs from that of the tonal tradition of Western classical music, creating its own distinct harmonic system. Tintinnabulation is a process in which a chosen triad encircles a melody, manifesting itself in specific positions in relation to the melody according to a predetermined scheme of adjacency. In its most rudimentary form, Pärt's tintinnabuli music is composed of two main voices: one carries the usually stepwise melody (M-voice) while the other follows the trajectory of the melody but is limited to notes of a specific triad (T-voice). In the case of Te Deum, it is a D triad that is featured in the T-voice, and as such provides the harmonic basis for the entire piece.

The work is scored for three choirs (women's choir, men's choir, and mixed choir), prepared piano, divisi strings, and wind harp. According to the Universal Edition full score, the piano part requires that four pitches be prepared with metal screws and calls for "as large a concert grand as possible" and "amplified". The wind harp is similar to the Aeolian harp, its strings vibrating due to wind passing through the instrument. Manfred Eicher of ECM Records "recorded this 'wind music' on tape and processed it acoustically." The two notes (D and A) performed on the wind harp are to be played on two separate CD or DAT recordings. According to the score preface, the wind harp functions as a drone throughout the piece, fulfilling "a function comparable to that of the ison in Byzantine church music, a repeated note which does not change pitch."

On an ECM records leaflet, Pärt wrote that the Te Deum text has "immutable truths", reminding him of the "immeasurable serenity imparted by a mountain panorama." His composition sought to communicate a mood "that could be infinite in time—out of the flow of infinity. I had to draw this music gently out of silence and emptiness."



<a href="https://www.imagenetz.de/JXQEd">  Arvo Pärt - Te Deum </a> ( flac 230mb)

01 Te Deum 28:43
02 Silouans Song ("My Soul Yearns After The Lord ...") 5:35
03 Magnificat 6:38
Berliner Messe   
04 Kyrie    3:09
05 Gloria    3:42
06 Erster Alleluiavers    0:52
07 Zweiter Alleluiavers    1:10
08 Veni Sancte Spiritus    4:57
09 Credo    3:56
10 Sanctus    4:04
11 Agnus Dei    2:41
 
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Drawing from the writings of St. John Chrysostum (c. 349-407), whose prayers for daily hours comprise the font from which Arvo Pärt anoints this musical setting, the Estonian composer spins a soft thread of light with limited information. Like the equally visceral settings of Tchaikovsky and Rachmaninoff before him, Pärt’s is utterly moving and uniquely colored by the sensitivity of his instrumental writing, such as listeners have encountered in his Miserere and Passio. The voices of Litany seem to arise out of their orchestral surroundings as if they have been hiding within it and are only now choosing to reveal themselves. Such is the effect of the Hilliard Ensemble’s unity throughout. Tubular bells and horns make their presence known. Subtle clues from orchestra and choir announce the hours as women’s voices pour their glorious shine like starlight from an alabaster jar. Philip Glassean punctuations of winds enhance the spell. The volume builds, only to subside, returning to the silence of a head bowed in contemplation. Under the guidance of Tõnu Kaljuste, the Tallinn Chamber Orchestra and Estonian Philharmonic Chamber Choir, along with the Hilliard Ensemble, have given us a most selfless reading of this masterful composition.

Following this are two pieces performed by the Lithuanian Chamber Orchestra at the baton of Saulius Sondeckis, under whose direction the world at large was first introduced to the music of Arvo Pärt through ECM’s Tabula Rasa. Originally conceived as a string quartet, Psalom emerges here as one of the composer’s most heartrending pieces for strings, second perhaps only to Silouans Song. Each phrase is lifted before it fades, blurring “vocal” lines like breath in winter air. Trisagion also takes its inspiration from St. John Chrysostum. Like a landmass over time, it falls into the inevitability of erosion, so that only the abstract remains untouched by the limits of tangibility. It ends on a repeated proclamation that would be overbearing in its insistence, if not for its decline in volume and number, mathematically reduced to zero.

Pacing is absolutely essential to the mood and architecture of the entire album, and this the musicians accomplish with uncanny immediacy. One of the more powerful post-Te Deum releases, Litany is sung and performed with unparalleled dedication. Countertenor David James is the perfect foil for Pärt’s anti-dualism, and emerges as the voice of reason in an unreasonable era.

<a href="http://depositfiles.com/files/jhfi1fz94">  Arvo Part - Litany</a> ( flac 141mb)

01 Litany 22:45
02 Psalom 6:45
03 Trisagion 11:53

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Sacred minimalism at its best.Beautiful, quiet and epic, just perfect.....



<a href="https://multiup.org/cfd874e1ce8be4ab554bb3b3de6f2ddd">   Arvo Pärt - Theatre Of Voices, Paul Hillier - De Profundis</a> ( flac 261mb)

01 De profundis (Psalm 129) 8:19
Missa sillabica
02 Kyrie 2:21
03 Gloria 2:16
04 Credo 3:44
05 Sanctus 1:20
06 Agnus Dei 2:35
07 Ite missa est 0:28
08 Solfeggio 5:14
09 "And One of the Pharisees" 10:05
10 Cantate Domino (Psalm 95) 2:50
11 Summa (Credo) 6:24
Seven Magnificat Antiphons
12 O Weisheit 1:50
13 O Adonai 2:52
14 O Sproß aus Isais Wurzel 1:07
15 O Schlüssel 1:57
16 O Morgenstern 2:21
17 O König 1:29
18 O Immanuel 3:26
19 The Beatitudes 8:08
20 Magnificat 6:47

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