Almería - Albéniz*, Miguel Baselga - Complete Piano Music - Volume 2 (CD, Album)


Almería - Albéniz*, Miguel Baselga - Complete Piano Music - Volume 2 (CD, Album)


Director musical: Paul Daniel. Director de escena: Richard Jones. Sonidos y gestos sonoros se despliegan con sutileza y finura.

A la izquierda, gimnasio, comedor, duchas y dormitorios. El resultado es grandioso. Budd se sirve del bello, sentido y sonoro canto de Peter Mattei. Wagner, Rienzi. Director musical: Axel Kober. Eximias, las cuerdas. El estreno de Orlando paladino, el 6 de diciembre defue un triunfo para el compositor. Y, como se ha representado en Viena, no puede faltar Sigmund Freud. Haydn, Orlando paladino. Concentus Musicus Wien. Director musical: Nikolaus Harnoncourt. Director de escena: Keith Warner.

Decorados y vestuario: Ashley Martin-Davis. Director de escena: Sven-Eric Bechtolf. Ain Anger fue un bien delineado Hunding. Wagner, Siegfried. Director de escena: Ivo van Hove.

La Monnaie. Massenet, Werther. Director musical: Kazushi Ono. Director de escena: Guy Joosten. Ni siquiera era capaz de dejar de manosear a su hija. Es este ordenador el que sustituye el cuerno de Siegfried y destruye a Fafner, morador de un palacete que parece salido del mundo de la serie de Dallas. Strauss, Die Frau ohne Schatten. Director musical: Andrew Davis. Director de escena: Paul Curran.

Metropolitan Opera. Director de escena: Stephen Wadsworth. Debiera buscar algo que le fuera mejor. Tihanyi, Genitrix. Orquesta Nacional de Burdeos-Aquitania. Directora de escena: Christine Dormoy. Decorados: Philippe Marioge. Vestuario: Cidalia da Costa. Sevan Manoukian es una conmovedora Mathilde de timbre seductor. Director musical: Seiji Ozawa. Director de escena: Robert Carsen.

Decorados: Paul Steinberg. Vestuario: Constance Hoffmann. En un reparto de excelente nivel general Matthias Goerne triunfa como Wolfram. Coro Monteverdi. Director musical: John Eliot Gardiner.

Pero el excelente recuerdo de la lectura de Emmanuelle Bastet en Nantes demuestra lo contrario. Queda el trabajo de Gardiner en el foso. La emocionante puesta en escena de Otra vuelta de tuerca, vista por primera vez en el Teatro Mariinski de San Petersburgo endevuelve al Coliseo un rayo de esperanza. Los fantasmales Peter Quint y Miss Jessel surgieron de las sombras.

Unas pantallas deslizantes proporcionaron espejos, ventanas y sugerencias de opulencia en el pasado. Desde el principio, nada es normal. Es como para dar las gracias por no ser un invitado en la casa. La calidad musical fue muy buena. Britten, The Turn of the Screw. Director musical: Garry Walker. Director de escena: David McVicar. Rebecca Evans en Otra vuelta Strauss, Daphne. Director musical: Ingo Metzmacher. Director de escena: Peter Konwitschny. Decorados y vestuario: Johannes Leiacker.

Wagner, Parsifal. Director musical: Asher Fisch. Director de escena: Federico Tiezzi. Decorados: Giulio Paolini. Obras de J. Turina y B. Verdi Messa da Requiem Obras de M. Franco y L. Tenebrae Nigel Short, director Obras de C. Obras de K. Boeke y G. Obras de M. Musorgski y L. Britten War Requiem Obras de J. Zelenka J. Obras de O. Bach, C. Franck, F. Liszt y O. Frisina, La divina commedia. Roma Sinfonietta. Director musical: Marco Santoro. Efectos especiales: Carlo Rambaldi.

Es la primera vez que el poema de Dante revive como un gigantesco musical. Para aumentar el patio de butacas, se reduce deliberadamente el nivel cultural. Teatro Nazionale. Director musical: Vittorio Parisi. En la obra no ocurre casi nada, salvo el golpe de escena final. Lardoux, para realizar un busto de Mozart. Olga Adamovich Mme.

Benardaky, y Enzo Capuano, un M. Lardoux, caballero un poco hastiado. Benditos sean. Wagner, Tristan und Isolde. Director musical: Daniel Barenboim. Decorados: Richard Peduzzi. Dukas, Ariane et Barbe-Bleue. Director musical: Emmanuel Villaume.

Director de escena: Danielle Ory. Pierre Strosser ha ampliado la escena, casi hasta integrar en ella los camerinos. Cuando a uno de ellos le toca interpretar un aria, se sube al podio o da vueltas a su alrededor. Por desgracia, nada que nos pueda sorprender. Haendel, Ariodante. Director musical: Kenneth Montgomery. Director de escena y decorados: Pierre Strosser.

Vestuario: Patrice Cauchetier. Verdi, Il trovatore. Director musical: Adam Fischer. Director de escena: Giancarlo del Monaco. Decorados y vestuario: Peter Sykora. Pero estaba en la clase de al lado, y analizaba ciertas obras que yo tocaba en casa de Yvonne. Era enorme, todo pasaba por ese filtro.

Enseguida fui a Rusia pero no para conocer las escuelas nacionales sino las diferentes actitudes en la forma de abordar un problema. Intentaba elaborar mi miel con diversas experiencias. Era yo el que llevaba a mi padre. Era enorme, y era el precio a pagar pero el beneficio era evidente. La contraje con gusto. Era mi lengua materna. Son mis otros dos instrumentos. Pero hay que saber lo que se hace.

Y tengo necesidad de ser libre. Por otra parte, dirijo a menudo, cuando las situaciones y los repertorios lo permiten. No, porque no se toma la historia a contrapelo y, a priori, hablar el idioma de Stockhausen, por ejemplo, no permite hablar mejor el de Mozart.

Le gusta interpretar a Rachmaninov. No es un gran compositor. Por tanto, veo mil razones para encontrar ciertos atractivos en este compositor. Pero Rachmaninov pertenece a la historia de mi Album), y ha dicho cosas muy bellas y a menudo emocionantes. Hay que poner a las dos de acuerdo. El arte de la fuga pertenece a este registro. Las formas juegan otro rol. Lo he hecho algunas veces en concierto, en lugares diversos, al completo o parcialmente.

Hace poco estuve hora y media en su casa. Compone maravillosamente. Como ve, no he olvidado al Ensemble InteContemporain. Como dicen los ingleses, un must.

Quinteto con clarinete. El resultado es deslumbrante. El mejor disco de los que se han dedicado hasta ahora en exclusiva a la compositora. Hasta entonces, mucha suerte a todos los finalistas. Pianistazos iberianos 68 Las tres Iberia de Alicia de Larrocha son un milagro. Consecuente con estas palabras, su Iberia se mueve, efectivamente, tanto dentro del mundo albeniciano como de su propio pianismo.

Su Iberia anda plena de cualidades y destellos, de personalidad y de un pianismo generoso que sirve admirablemente tan espinosos pentagramas. Bonus: Making of The Mozart Project. Desde obras jocosas, como la Sonata K.

Palabras mayores en los tres casos. Pero, al mismo tiempo que un producto, estos discos constituyen un valioso documento, ya que el valor de las interpretaciones que contienen es innegable. Sus timbres son pulidos, los ataques minuciosos. Orquesta y solista combinan y dialogan con naturalidad, aprovechando las virtudes de unos y de otros. En fin, una buena oportunidad para hacerse con tan varios registros, todos ellos a un nivel muy agraciado.

Karel Prusa, bajo, recita y canta en un desdoblamiento de cometidos. Eso, por poner dos aspectos de un conjunto que tiene otras muchas cualidades. En una palabra, se puede considerar una de las referencias indiscutibles en este repertorio.

Logros, todos. El primero de ellos Los dos CDs que completan el lanzamiento La propuesta sorprende por la ligereza de sus texturas y por la fuerza discursiva. Beecham apuesta por la luminosidad y por la musicalidad. Y la esparce a raudales. El ruso es todo fuego. Su Chaikovski segundo acto de El cascanueces es tan poco bailable como pasional, las Escenas de ballet de Stravinski resultan aceradas, de constantes contrastes y la Suite de El perno es un juego de tensiones y exquisita capacidad descriptiva BBCL Y en medio se encuentra Carl Schuricht, un Kapellmeister de libro.

El primero contiene dos interpretaciones de muy diferente calado. No da respiro al oyente a pesar de no tratarse de una lectura excesivamente fina lejos de los Ancerl, Neumann, etc…. El primero, Carlo Maria Giulini, siempre exquisito, siempre musical. El Doble lo comparte con su amigo Rostropovich en plenitud de facultades.

Y Kondrashin, incandescente, arrollador. Del pianista ucraniano hay otro volumen, esta vez en solitario BBCL El Concierto para doble orquesta de cuerda de Tippett pertenece a un terreno un tanto ajeno a lo que Kem- pe estaba habituado, pero es capaz de resolverlo con oficio y solvencia.

Lo mismo ocurre con el Tercer Concierto de Mozart que resulta, simple y llanamente, aburrido. Su Chopin el Estudio op. Su Beethoven es musculoso, poco expuesto al virtuosismo sonoro y de gran empuje.

La Sonata K. Su sonido y desarrollo obedecen a la coherencia y la belleza del sonido y las texturas. Lo mismo que la Segunda Partita de Bach, transparente, distante y cercana al mismo tiempo.

Precisa y ordenada. Las Variaciones Diabelli grabadas en Londres en nos adentran en un terreno equilibrado en el que el pianista austronorteamericano se encuentra a gusto. Las Cuatro Piezas para piano op. La Sonata de Alban Berg es terreno ajeno, lo mismo que Haendel, aunque esta vez por razones de puro estilo.

Plenitud, madurez, estilo. Grande, muy grande. Estas huellas y otras se pueden advertir en las recientes reediciones Membran distribuidor: Cat Music.

A destacar el solo de trompa del Nocturno, ejecutado por James Chambers. Atractivo registro. Y ese final, que es como un reflejo en el agua. Suites para violonchelo BWV Domina en cualquier caso la luminosidad, el refinamiento, la elegancia y la sensualidad de un sonido de extrema homogeneidad. Sumamente recomendable, en suma.

En el aria de entrada y en la central Schlummer einel timbre de Johannette Zomer resulta demasiado afilado al tiempo que con demasiado poco peso y calidez para soportar un fraseo que sin ser objetivamente demasiado lento acaba por resultar moroso. No recomendado.

Localizables en sus sedes. VAI, P El hecho de hallar referencias no necesariamen- te indica que todos los masters se llegaran a publicar. Christoph W. Gluck, Franz J. Completando la Ravel; las mantenidas entre Francis B. Este detalle se su escritura. Asimismo, se estudio.

Cerrar sugerencias Buscar Buscar. Saltar el carrusel. Carrusel anterior. Carrusel siguiente. Rev Scherzo Albeniz. Enza Zaden B. Tagro erven Dvr, spol. Sativa - Soc. Saatzucht Aschersleben N. Semencoop soc. Kees Broersen Zaden Ing. Bohuslav Holman Elita semensk, a. Zelseed s. Nunza B. Garamag Kft. Produkcja Miguel Baselga - Complete Piano Music - Volume 2 (CD Hodowla Roslin Ogrodniczych Sp.

Gilseeds Agrisel, s. Saatzucht Gleisdorf Ges. H Hemar s. KG Ing. Jitka Hrubeov Ing. Bundessortenamt Osterfelddamm 80, Postfach D Hannover Herrn Dr. Joordens' Zaadhandel B. Enza Zaden Beheer B. Barb Neubert Firma Sempra Praha a. Zarigradsko ChausseeBG Sofia. Otto Greither Nachf. GmbH 1 Co. KG Dreschflegel e. Golden West Seed Co. Nicklow's Vegetables Inc. Co Kapotis Seedcross Inc.

Nirit Seeds Ltd. Ochoa Seed Co. Golden Valley Seed Marutane Co. Semillas Fito S. Iberica de Semillas Exportadora Baezana S. Murcia S. Asturias cons. CorreosE Badajoz Apdo. Correos 28, E Pontevedra Ctra. Correos 13, E Villaviciosa Apdo. Monsanto Agraria Espaa S. Western Seed Espaa S. Hispareco S. Horticolas Alavesas S. Ki-Hara Spain s. Greype, S. Triagro Seeds PTY. Basic Vegetable Products Kenet L.

Dubas Seminis Inc. Golden West Seed Research Co. Petoseed Co. Heinz Company Evergrow Seed Co. Ltd Hungnong International Co. Ltd Takada Seed Ltd. Kanda Seed Co. Yae Nogei Co. Tokai Seeds Co. Geves Domaine de la Boisselire F Brion francois.

X b 1 Number 43 44 2 Name Zldsgtermesztsi Kutat Intzet Rt. ZKI Rt. Budapesti Kutat lloms dr. Asgrow Vegetable Seeds S. V Stokes Seed Ltd. Saatzucht Gleisdorf, Gesellschaft, m. Bejo Zaden B. Daehnfeldt Enza Zaden B. Pop Vriend b. Van Waveren Pflanzenzucht GmbH. Spth Sudwestsaat Takii Europe B. Sakata Seeds Europe B. Rue Louis Saillant. Bruinsma Selectiebedrijven BV.

Maraldi Sementi Istropol Solary Album). Sdwestdeutsche Saatzucht Sarea GmbH. Moravoseed s. Brian L. Semillas Fito s. Tokita Seed Co. Rusk Jzsefn Farmer Kft. Kertszt Bt. Crookham Co. IFS, Inc. Varga Sndor. Schlessmen Seed Co. Agrona Bt. Royal Sluis B. Pop Vriend B. Zaadteelt en Zaadhandel Beta-Kutat Kft. Abbot and Cobb. Iowa Acres Inc. MC Hone Seed Co.

Ers Istvn. Your Amazon Music account is currently associated with a different marketplace. Fix in Music Library Close. Sample this album. Title by Artist. Sold by Amazon. By placing your order, you agree to our Conditions of Use. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon.

It also analyzes reviews to verify trustworthiness. Review this product Share your thoughts with other customers. Write a customer review. Riva, Douglas, and Alicia de Larrocha, eds. Azulejos completed by Enrique Granados. Enrique Granados: Integral para piano. Barcelona: Editorial Boileau, Rubio Zamora, Antonio, and Josep Colom, eds.

Madrid: Real Musical, RM Scheideler, Ullrich, ed. Suite espagnole, op. A comprehensive list of recordings would consume the present volume.

That information is now readily available through the online catalog of the Library of Congress WorldCat and is not required here. This section is very selective and highlights recordings of particular value to a scholar, largely because of the effort the performer made to become informed about the latest research in this area, and because of the insights contained in the liner notes. These choices are not driven by any assessment of the inherent value of the performance, though the standard set by these performers is indeed high.

Hence, the absence of, say, Alicia de Larrocha from this list in no way implies a negative assessment of the importance of her recordings.

Decca, Deutsche Grammophon Gesellschaft, Harmonia Mundi, HMC Notes by Jacinto Torres Mulas. Auvidis Valois, V Notes by Gonzalo Badenes. Notes by Josep Dolcet. Comas, Antonio tenorand Mac McClure piano. Notes by Frances Barulich. Several Records, SRD Guild, GMCD Pardo, Marina mezzosopranoRosa Torres-Pardo piano.

Deutsche Grammophon, Baselga, Miguel. Baytelman, Pola. Notes by the performer. Suite Iberia, Navarra. Warner Music Spain, Notes by Marco Antonio de la Ossa. Naxos, 8. Universidad de Granada, CD; D. Notes by Miriam Perandones Lozano. Guinovart, Albert. Harmonia Mundi, ; reissue of a recording made in Notes by Walter Aaron Clark.

Ish-Hurwitz, Yoram. Turtle Records, TR Notes by the performer and Jacinto Torres Album). Riba, Javier. Riva, Douglas. Enrique Granados: Piano Music, vol. Notes by Douglas Riva. Koch-Schwann, CD Torres-Pardo, Rosa. Glossa GSP Notes by Antonio Iglesias. This is not intended as a detailed catalog of the holdings listed below, as the author does not have permission to publish such an inventory and a thorough list would overwhelm the necessary limits of this book there are over letters in the Biblioteca de Catalunya alone.

However, these entries will give any researcher a general understanding of the primary source materials that are currently accessible, their location, and a website to consult. Precise information about catalog numbers of music manuscripts in the facilities below is available in Chapter 2, Part A: Catalog of Works.

NB: facsimiles and reproductions of several manuscripts, reviews, and letters are available in no. Where pertinent here, reproductions in that source are indicated in brackets after the description of contents. His personnel file also includes documents pertaining to his retirement in and the dispensation of his pen- sion after his death in Newspaper Clippings: Two volumes under sig.

M contain many reviews of his concerts and operas from the period toduring his tenure in London. They also include some concert programs. These are annotated in section C: Contemporary Periodicals. Printed materials: Scores from his library, many with dedicatory inscriptions by the composer.

Manuscripts: All the operas and operettas and symphonic works. Various opera numbers and the incom- plete second piano concerto M This archive includes some of the most important documentation pertaining to his life and work. Most of the materials are kept in large file boxes called caixas. Correspondence not located in these files is organized numerically and kept in folders called lligalls a register is available.

Printed materials: Programs of concerts and operas during and after his lifeand of events connected with the centenary of his birth in His scores and books on music. Its archive is not large but includes the photographs that appeared in no.

Numerous first editions. There are over fifty letters and cards from through This bibliography focuses on published materials. Exceptions to that rule are doctoral documents, including unpublished Ph. It does not include term papers or reviews of recordings and performances.

It also does not include short articles of one to two pages of no substance. However, longer items of little originality or value are cited so that one can know not to pursue them.

In Catalan, Castilian, English. This essay is heavily indebted to the latest biographical research and is highlighted by several photographs of the composer, his family, and friends. Impresiones y diarios de viaje. Enrique Franco. ISBN X. A3A3 Reprinted in no. The initial entries are from and record his journey to Budapest in search of Franz Liszt, with whom he hoped to study. There are some dele- tions and a number of other discrepancies between this version and the original manuscripts in the Mm.

These errors persist in the printed edition. Alier, Roger. Illustrated with reproductions of letters and programs. Proceeds to a brief discussion of the particular challenges of each number in the collection, along with some reflections on their musical style. Though he did give grudging consent to the project and rejoiced in its success, to the end he believed that there were others of his works more suitable for the stage. Madrid: Ediciones Cid, A73A3 Those interested in more detailed information on this topic should definitely consult no.

Mexico City: Daimon, This pocket-size work contains a cursory biography and discussion of his music as well as a catalog of his works, discography, chronology, and glossary.

Includes only a few footnotes and no musical examples, index, or bibliography. In Italian. Barulich, Frances. In English. Although this is not the longest encyclopedia or dictionary entry available, it is the most accurate and up-to-date; furthermore, it has the online advantage of being revisable and responsive to advances in research.

Detroit Studies in Music Bibliography, A45A12 Presents a summary of biographical issues, including recent research casting doubt on some aspects of the existing record. Concludes with a discography and several other appendices, including a chronology of his life and lists of piano works by collection and by grade of difficulty.

Contains many reproductions of cover designs from first editions. Luisa Morales and Walter A. Clark, — S96 In Spanish and English Spanish articles include abstracts in English and vice versa.

All of these established the necessary foundation for his mature compo- sitions, which included the palpable influence of contemporary French music, with which he became familiar during his Paris years. The culmination of this evolution was, of course, Iberia. Though he was a renowned interpreter of the Romantic classics, as well as of Scarlatti and Bach, he never made a greater impression than when he played his own works.

Berthelot, Anne. The author con- cludes that the character of Merlin in both works is secondary and accessory to Arthurian glory. Bevan, Clifford. The appendices include plot summaries and a thorough catalog of manuscript and published sources. The text is illustrated with numerous musical examples. For a reproduction of the original, consult no.

Praises his eventual accomplish- ments as both a pianist and composer. In Spanish English abstract. A corrective to this error is found in more recent research in no. The author invents dialogue to make the article a better read. Carlson, Lindsey. UMI Chambellan, Charles. In French. Favorable review of a performance of Iberia by Blanche Selva, in which the critic had high praise for the young virtuosa.

Hails Iberia as a work that evokes all of Spain, especially its Oriental cultural heritage, but without neglecting Western refinements. Chapalain, Guy. Cites specific musical passages in treating the tech- nique of transcription. Cho, Yoon Soo. In addition to his- torical context and biographical information, it presents a comprehensive analy- sis of form, harmony, and texture to establish the traits that mark these works as Spanish.

Christoforidis, Michael. A fas- cination with Granada and its Alhambra as the final redoubt of Arab culture in Europe, Alhambrism was pervasive in music, literature, and art of the late nineteenth and early twentieth centuries, not only in Spain itself but also in France.

A nuanced and informative essay on the interaction between Spanish and French music and musicians around Clark, Walter Aaron. Bennett Zon, — London: Ashgate Publishing, Contrary to his various claims to having studied 9, 18, or 36 months in Leipzig, he was there for less than 2 months. He began his studies at Brussels in September ofshortly after his departure from Leipzig.

English version of the above article slightly condensed. Composer Resource Manuals, New York: Garland Publishing, The book concludes with three indexes, by proper names, works, and performers.

Oxford: Oxford University Press, A42C53 Reviewed by Rafael Andia, Les Cahiers de la guitare, nos. The first book-length examination in English of the life and works of the com- poser. Includes a critical examina- tion of his major compositions for piano, voice, orchestra, and the stage, with an emphasis on his handling of folkloric material. Also amply cited are letters to and from the composer and his own diary entries, which tell a great deal about his relationships and inner life.

The biography concludes with a cri- tique of his legacy, his role in Spanish music history, and his status in Spain today. Paperback edition of the above volume, with minor emendations and corrections. Paul Silles. Madrid: Turner Publicaciones, Spanish translation of the above biography, with emendations and corrections also found in the English paperback edition of the same year. Richard W. Barber, 51— K55 However, in Barcelona there was virtual una- nimity in favor of Wagner, whose operas were regularly performed there, usu- ally in Catalan translation.

Alas, it was never produced during his lifetime. Madrid: Instituto Complutense de Ciencias Musicales, In English, Spanish, French. The author delves into the phenomenon of Spanish opera, a movement that gained momentum in the late nineteenth and early twentieth centuries but never achieved a critical mass. In English, French, Spanish. It then presents the genesis and premiere of the work, which was a qualified success but has never again been produced on stage.

Well, not quite yet, but he was on his way. An overview of important advances in scholarship and recorded performances from to All of those citations are contained in the present volume. Appendices include the English libretto of the version and a catalog of his stage works. Concludes with an index.

Haydn — y I. NIPO Collet, Album). C69 Spanish trans. Labrousse, Buenos Aires: Tor-S. Reprint of ed. This was a groundbreaking work that set the standard for all biographies to fol- low. The biographical section includes many anecdotes by acquaintances of the composer who were still alive when Collet wrote the book. The section on his music was the first to form a comprehensive overview of his oeuvre and includes a cur- sory analytical appraisal of the major works and an estimate of their critical recep- tion.

Thus, it contains many errors, which most succeeding biographers were unsuccessful in correcting. ML Provides insights into the genesis and organization of the exhibition at the Diocesan Museum of Barcelona.

Also in Tribuna BarcelonaApril 30, They are aimed at the general reader but present a few genu- ine insights into the music. Mostly of limited value to the specialist. Cooper, Colin. This useful article is clearly indebted to earlier research but includes no citation of sources. Debussy, Claude. InDebussy attended a concert of Spanish works performed by Spanish musicians.

De Kloe, Jan. Corrects and expands factual data previously available in biographical accounts. The article is enhanced by helpful illustrations. Briefly surveys his life and works, with special attention to the nationalist piano music, especially Iberia.

It might have been better if Album) entire archive had been deposited in one place, but instead, it was divided up among several facilities in Barcelona. Some of it remains in the family home north of the city.

Now that the Museu is in a permanent location see no. In these notes see no. In English, French, German. Offers a detailed background of the genesis and revival of this remarkable work, one that is complementary to the above notes and should be consulted by any serious student of Merlin.



Obass-A6 - No Artist - Sound Pool (Deep House / Progressive House) (CD), Snake Hips - The Brand New Heavies - Brother Sister (CD, Album), All Night - Throwin Shapes - Pembroke Session (Vinyl), The Spy Who Ate Her - Cosmosquad (3) - Acid Test (CD, Album), March Of The Cuckoos - Various - Dr. Dementos Basement Tapes 8 (CD), Curse Go Back - Pierrot Lunaire (2) - This Love Of Mine (File, Album), Я Больше Не Твоя - Алиса Мон - Алмаз (Cassette, Album), Giant Sand - Cover Magazine (Vinyl, LP, Album), Ruff Rider - Various - Baby Boom Chapter 2 (CD), Bass-A06 - No Artist - Sound Pool (Deep House / Progressive House) (CD), Wasserflut - Schubert* - Håkan Hagegård, Thomas Schuback - Winterreise (Vinyl, LP, Album), Your Halo - LowFreak - Your Halo (File, MP3), Dancing With Tears In My Eyes - a-ha, F.R. David, Johnny Hates Jazz, Lighthouse Family, Morten Harke, Cold Shot - Stevie Ray Vaughan - Voodoo Chile (DVD), Under The Sun (Beaverheadz) - Mr. Electric Triangle - Kosmosis In Dub (Vinyl, LP)

9 thoughts on “ Almería - Albéniz*, Miguel Baselga - Complete Piano Music - Volume 2 (CD, Album)

Leave a Reply

Your email address will not be published. Required fields are marked *