Nostalgia (Guitar)

Sorrow mov.1 - Peyman Yazdanian ("Suites" Hermes Records)

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Le Parapluie

Zbigniew Preisner - At The Beginning

Lekko

موسیقی : بهروز پاشایی

کمانچه : کیان فراهانی 
ویلونسل : سپیده سجادی
---------------------------
Behrouz Pashaei - Composer
Kian Farahani - Kamancheh
Sepideh Sajadi - Violoncello

Sparrows' Dream

Music by Ash Pirnia
Cover photo by Robert Fry
For Naser Farzinfar

Descent

Wasted – A High-Drama Operatic Ode to Getting Stoned

From BRITS, Tom Connell’s satirical take on British culture, comes Wasted—a tongue-in-cheek operatic ballad about rolling joints and getting stoned. Featuring the rich mezzo-soprano of Emily Arden and lyrics by Darin Bainbridge, this piece transforms a hazy pastime into a grand, theatrical spectacle. Performed by the London Contemporary Opera Society, it’s both beautiful and utterly ridiculous.

With soaring melodies, expressive drama, and a knowing wink, Wasted elevates late-night indulgence to high art. But maybe Emily should cut back on the smoking—those vocal cords are national treasures! A must-listen for fans of musical satire, operatic brilliance, and, well… a good roll-up.

BRITS

Wasted

Wasted 🚬

The "Benedictus" is a poignant movement in Bach’s Mass in B Minor, scored for a tenor solo, a single transverse flute, and continuo, contrasting with the work’s grander sections. Part of the final manuscript section ("Osanna | Benedictus | Agnus Dei et | Dona nobis pacem"), it follows the exuberant D major "Osanna" and precedes the "Agnus Dei." Its text, "Benedictus qui venit in nomine Domini," shifts from collective praise to personal reflection, a transition Bach marks with a contemplative mood in B minor, reinforcing the Mass’s tonal framework (noted by John Butt as tied to the opening Kyrie’s B minor chord).

Musically, it’s a da capo aria (ABA form) with a lyrical, siciliano-style rhythm in 6/8 or 12/8, evoking grace and serenity. The tenor’s warm, middle register conveys an intimate blessing, distinct from the Mass’s soprano or alto solos (e.g., "Christe eleison"). The lone flute, a modern instrument in Bach’s era, adds a galant, pastoral flavor, its delicate timbre weaving around the tenor in a duet-like texture, supported by continuo (organ/harpsichord, cello/bassoon). This sparse scoring stands out against the Mass’s broader orchestration—two SATB choirs, trumpets, and oboes—highlighting Bach’s innovative approach.

The flute’s solo role, rare in sacred works of this scale (cf. "Quoniam" with bassoon), underscores Bach’s expressive intent, possibly drawing from secular cantatas, though no source is specified (unlike the 1724 Sanctus). Composed in 1748–49, it reflects Bach’s late style, blending Baroque forms with emerging Classical elements. Its B minor key ties it structurally to the Mass’s opening, while the flute’s agility enhances the text’s ethereal quality.

Musicologically, the "Benedictus" exemplifies Bach’s ability to unify diverse material, as Butt notes, offering emotional depth amid the Mass’s expanse. Scholars like George Stauffer see it as part of Bach’s encyclopedic vision. Likely unperformed in his lifetime (first full Mass performance: 1859), its beauty emerged posthumously, distinct from Hasse’s Mass in D Minor (with chant and bass features absent here). The "Benedictus" is a gem of simplicity, its tenor-flute pairing a testament to Bach’s mastery of contrast and inventive genius.

JS Bach Mass B Minor (1749) 20. Benedictus - Furness Bach Choir, Ensemble Laus Deo

Legends of the Amber Coast

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This track is included in a free compilation of guitar solos performed by Esgi. 

Download link: http://music.esgi.co.uk/album/improvisation

JS Bach Mass B Minor (1749) 20. Benedictus - Furness Bach Choir, Ensemble Laus Deo

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