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Performed with Orchestral Tools "MIROIRE"

J.S BACH BWV 62 Test with Orchestral Tools Miroire

that's my new ambient track long time didnt make abmient sounds so that's my ambient track " La Colère" means " The anger"
 For more Info or if you want to get it please contact  me at: https://www.facebook.com/pages/Dj-Shayni/136538133109152?ref=hl

with all my greetings 
Cheers DjShayni

La Colère

David Garrett (Niccolo Paganini) Caprice 24 [The Devil's Violinist] BPriot

01 The Protecting Veil

From "Fantasier og Capricier af Quantz"
Transcription for traverso and viol by Marco Casonato

Matteo Gemolo - traversiere(copy of J.W. Oberlender XVIII sec. made by Martin Wenner)

Marco Casonato - viola da gamba

Enrico Pigozzi - sound engineer

Johann Joachim Quantz (Pierre-Gabriel Buffardin) - II Mov. Menuet für Flöte solo

Mondonville: Grands Motets

Psalmus CXXIX "De profundis clamavi": II. Fiant aures tuæ (feat. Les Arts Florissants & Maarten Koningsberger)

Hasse - Sinfonia VI

0:00 Allegro
2:20 Andante
4:51 Allegro

Johann Adolf Hasse: Sinfonia VI (Op. 5, No. 6) - Live recording at Concertgebouw Amsterdam

Jürg Frey: Chorals and vague canons (2011) 
written for the Peckinpah Trio

Jürg Frey: Chorals and vague canons: Choral 3

Mondonville: Trio Sonatas Op. 2

J.-J.C. de Mondonville: Trio Sonata Op. 2, N. 6 - Allegro

Alfred Deller: Madrigals, Complete Deller Vol. 5

Madrigalls to Foure Voyces... The First Booke, vii (1594) - In dew of roses

Alfred Deller: The Complete Vanguard Classics Recordings - Folk Songs And Ballads

Thomas Arne- Which Is The Properest Day To Drink

Górecki: Symphony No. 3

Symphony No. 3, Op. 36: II. Lento e Largo - Tranquillissimo

Uit Dix Mélodies Francaises van Henriette Bosmans, m.m.v. Ben Martin Weijand, piano

H. Bosmans, 'Complainte du petit cheval blanc'

A delightful collection of Claude Debussy's most notable works.

Debussy Amazon
https://www.amazon.com/Claude-Debussy-Essential-Collection/dp/B00I6CEZQO/

Debussy Spotify
https://open.spotify.com/album/0Mmayh49XRWTXp53uf3jtF

Best of Debussy iTunes
https://music.apple.com/gb/album/claude-debussy-the-essential-collection/819582576

Debussy Compilation
https://listen.tidal.com/album/26275698

Claude Debussy
https://www.deezer.com/us/album/7429526

Best of Debussy Playlist
https://www.youtube.com/watch?v=eXtAfPp-70I&t=76s

Claude Debussy - The Essential Collection

iTunes

Children’s Corner, L.113: III. Serenade for the Doll

Voor het blad Muziek en Liturgie maakte ik afgelopen jaar een compositie op het lied 'Wij moeten Gode zingen' van Willem Vogel. Het werk moest op 4 kantjes passen (dat was een gepropt) dus het is beperkt in omvang, maar kan een mooie plek hebben in de liturgie of concert.

Compositie voor M&L over het lied Wij moeten Gode zingen (W. Vogel)

THE PARIS ALBUM

S. de Brossard: Sonata in A Minor "Detta la Primogenita"

MURCOF + PHILIPPE PETIT: 1st chapter
(LP + CD + Digital / Rev. Lab. - Aagoo)

Release date: September 2013

www.aagoo.com
www.revlaboratories.com

Fernando Corona
Hailing from Tijuana, on the Mexico/US border, and now a Barcelona resident, Fernando Corona rose to attention as part of Mexican collective Nortec, mostly for his work as Terrestre, but it is with another project, Murcof, that he has made an extremely strong impact. Merging micro-beats with samples of contemporary classical music, his work, often crystallised into sweeping haunting pieces, bridges the gap between Arvo Pärt or Henryk Górecki and part of the electronic scene of today. He is credited with being one of the main influences of the likes of Erik Skodvin and of many of the artists who have appeared on Miasmah in recent years.
www.murcof.com

Philippe Petit
This self-styled musical activist began his career as a journalist and DJ in his native Marseille, and went on to form Pandemonium Rdz., a label with which he explored the outer reaches of experimental rock, before turning his interest to electronic music by setting up BiP_HOp Records at the beginning of the noughties. Since 2009, his focus has shifted once again, this time on his own music, a refined blend which can incorporate elements of experimental rock rock or classical music and can take the form of complex electronic, electro-acousticism, experimentation or turntablism. Although Petit occasionally works alone, it is in the collaborative space where he truly thrives, casting his sonic world against that of the likes of Eugene S. Robinson, Lydia Lunch, Pietro Riparbelli, Bella Emerson, Cosey Fanni Tutti, Asva & loads more... 
www.philippepetit.info

The album
The meeting of such unconventional musicians was always going to result in a pretty incredible piece of work, but confronting such strong identities and getting them to work together was not a given. For the past three years, Philippe Petit and Fernando Corona have regularly played live together, undoubtedly refining their collaboration with each new performance and finding the right balance between their respective sound worlds. The result is this album which equally finds its roots in Murcof’s modern classical influences and Petit’s coarse post modernist soundscaping.
The album may barely reach the forty minute mark, but in the space of three tracks, Corona and Petit create a magnificent soundtrack which teems with haunting choral chants, lush string work and unsettling atmospherics. This album is rooted in ancient myths and legends, borrowing from Greek mythology for "The Call Of Circé", daughter of Helios and powerful enchantress, and winged divine horse "Pegasus", or from Nordic tales of giant squid-like sea monsters on "The Summoning Of The Kraken". This very much characterises the epic proportions of this album, echoing in parts the amplitude of Murcof’s "Cosmos" (Leaf, 2007), and in others Petit’s equally ambitious "Off To Titan" (Karlrecords 2010), but they temper this with much more delicate moments, for which they assemble incredibly detailed and refined atmospheric passages.
Clocking at just over twenty minutes, the opening piece "The Call Of Circé" is articulated around a series of sequences which range from stern, doom-like guitar stabs and harsh percussive noises to eerie choral laments and theatrical vocal flourishes. The haunting melodies and ambiences of the first half are slowly broken apart by the recurring thuds of metallic percussions. When these recede, the mood has become darker, grittier, more oppressive, and remains as such for much of the remainder.
"Pegasus" recalls some of the more baroque treatment Murcof experimented with on his commissioned work for Les Grandes Eaux Nocturnes de Versailles, especially through his use of the viola de gamba as a primary sound source, but this sound source becomes corrupted as the track progresses, perhaps subject to Philippe Petit’s radical decay processing, until only a few distorted strands of grating bowed strings remain.
With the last track, Corona and Petit opt for an overall softer, warmer atmosphere, but there is a lingering feeling of impending danger lurking below the surface of the whole piece. This is marked by the use of sparse percussions, magnified vinyl crackles and processed guitars and textures which, assembled in various combinations, weight heavily on the otherwise almost pastoral nature of the composition.
Philippe Petit knows how to find collaborators with whom he can go beyond his own sonic universe and make them venture into unfamiliar territories, and he is an expert in making these collaborations gel perfectly. And this is one hell of a collaboration: two artists, each with this visionary approach, working together to create a truly magnificent piece.
WRITTEN BY Bruno Lasnier / January 2013 (www.themilkfactory.co.uk/st/)

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Oswaldo Denso Mogollón