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Lindsay Cooper / Schrödinger's Cat (Schrodinger's Cat)

Жанр: Avant-Prog
Носитель: CD
Страна-производитель диска (релиза): Germany
Год издания: 1991
Издатель (лейбл): Femme music
Номер по каталогу: FECD9.01093 O
Страна исполнителя (группы): UK
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 40:32
Источник (релизер): unknown
Наличие сканов в содержимом раздачи: да

Треклист:
01. The Realm of Possibility 1:43
02. The Particle Dance 6:12
03. Pas de Deux 1:23
04. Rock Climbing 1:42
05. Salmon Leap 0:36
06. Out of Nowhere 1:32
07. Salom Leap Reprise 1:35
08. Alpha Beta 1:35
09. The Eleven Million Mile High Dancer 1:27
10. Flying 2:30
11. Uncertainty Principle 1:50
12. Strange Ideas 1:27
13. Skating 2:39
14. Zen 2:26
15. Spin, Speed, Collision 1:29
16. At Least One Star 3:40
17. Story Telling 3:48
18. A Cat Dreaming 2:55
Код:
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DON'T MODIFY THIS FILE

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Copyright (c) 2008-2010 y-soft. All rights reserved
[url=http://y-soft.org]http://y-soft.org[/url]

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.

FILE: 18 - A Cat Dreaming.flac
  Size: 15701247 Hash: BF1457855FCFD785A2278B6300C41B99 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: AAB16016B33D01520FCB9C1E40A9E783473FD961
FILE: 17 - Story Telling.flac
  Size: 19120164 Hash: 6C2F2E97C4C8177FC083C31EEED4761B Accuracy: -m0
  Conclusion: CDDA 42%
  Signature: 9809BE551DEC9A8BE633FCA85E0F3B115B7774E6
FILE: 16 - At Least One Star.flac
  Size: 15833470 Hash: CB23100F26D7CEA7307B4EFA4AA9E32A Accuracy: -m0
  Conclusion: CDDA 49%
  Signature: D5D65EFA0DE05B47E42543DB4FC221B36A3D745F
FILE: 15 - Spin, Speed, Collision.flac
  Size: 7132286 Hash: 691D461E2D7230A0FF4672C876DE7DCB Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 28BAD1FBC24C98EC452A016B81AF528F3C48BF48
FILE: 14 - Zen.flac
  Size: 11184676 Hash: F7AFB9119466BBF1A2AFF03AE6DDC18B Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 06BC26EF41603ADC25A7B4DA6C0F5E1AAB8F42A7
FILE: 13 - Skating.flac
  Size: 11788089 Hash: DC4746A731EB004AA2E5DBC6F1CB9266 Accuracy: -m0
  Conclusion: CDDA 76%
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FILE: 12 - Strange Ideas.flac
  Size: 6928858 Hash: 65F1D9BEF653147BF23B2265BC6B7D37 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 51BD7BE57AD0641DC8BEE0995C1DACAB201E7A34
FILE: 11 - Uncertainty Principle.flac
  Size: 8748907 Hash: CF684A331DD0C83FC13D4A8F08E867B8 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 5FEC2CEABEB23FE3A1214650A6EE6C3CCF4D1D8B
FILE: 10 - Flying.flac
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  Conclusion: CDDA 100%
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FILE: 09 - The Eleven Million Mile High Dancer.flac
  Size: 6801111 Hash: 6078734CCEC54CDC1A58E994C575806B Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: D8EC8DCF06D84A2B397F8B374A67B4D4BF9E740D
FILE: 08 - Alpha Beta.flac
  Size: 9613753 Hash: 83A617C7F4DEDD60E917E0A4D4F04418 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 246F15304AF8DF78F0386CE4B5EB923F5DE26F0C
FILE: 07 - Salmon Leap Reprise.flac
  Size: 7829085 Hash: 9B12DC1C1DE880530D52AD84E187116E Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 7E354FBCE999856101F687F14141F220F03E29B0
FILE: 06 - Out of Nowhere.flac
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  Conclusion: CDDA 100%
  Signature: FC366F027B53BC39B80BE4EE7952E0312521E44A
FILE: 05 - Salmon Leap.flac
  Size: 2675550 Hash: E60DABB4C5E6DA7CEE443879B3CEEEE6 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 6F7E4EE0A4692C50434B007D61F2A135F90D1B0C
FILE: 04 - Rock Climbing.flac
  Size: 7737073 Hash: 921BD2093489E586E55704CFF645D9A2 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 0981AEE19998453F42FDDE9E8B68E37AA70F4F07
FILE: 03 - Pas de Deux.flac
  Size: 6170047 Hash: 78BCFF2928299BC4A7B30E20ACD5C4AC Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: A6E17A46AE91BF53E1529F0D14DDAC21D30FC958
FILE: 02 - The Particle Dance.flac
  Size: 31601373 Hash: A582CE2F6F043D15FAB827705A638751 Accuracy: -m0
  Conclusion: CDDA 86%
  Signature: 22611CA05916294562262B0396DF1DDF73341970
FILE: 01 - The Realm of Possibility.flac
  Size: 7855437 Hash: 39D149A985669B8FBDA191136577A41C Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: B58866E3612353E1A8B25549FDC917D7D12F5461
Доп. информация: All compositions by Lindsay Cooper, exc. 11 by Cooper, Brodrick, Jones, Whyman.

Produced & programmed by Charles Gray.
Recorded at HOW Studio, London, UK, September 1990 by Paul Westwater.
Mixed at Milo Studio, London, December 1990 by Charles Gray.
Music for Maclennan Dance & Company's EDGE.
Choreography by Sue Maclennan.
Born in 1951, composer, multi-instrumentalist, and political activist Lindsay Cooper was a fixture on the new music scene in both Great Britain and Europe after she first appeared with Henry Cow in 1974. Initially emerging with links to the Canterbury scene, a place and period in which prog rock and modern British jazz spawned groups such as Soft Machine, Henry Cow, Hatfield and the North, National Health, Matching Mole, and many others, Cooper's restlessness and talents soon far outstripped those geographical musical origins.

Cooper began playing piano at age 11 in her native Hornsey, a suburb of North London, and switched to bassoon a few years later. From 1965-1968 she played in the National Youth Orchestra of Great Britain and studied classical music exclusively. She later became a member of the Royal Academy of Music in London and relocated to New York for one year. It was in the United States that she first encountered recording projects outside the realm of classical music, doing spot work for film soundtracks.

Upon returning to the U.K., Cooper decided to leave classical music at the age of 20, and in 1971 joined a Canterbury band called Comus. Her stay in the band was brief (only a year), but it afforded her a look and listen to everything else that was happening at the time, and the experience changed her life. During this period she also began playing both oboe and flute. Cooper began doing session work for other musicians and more film work. She was one of the noted performers on Mike Oldfield's Tubular Bells and Hergest Ridge albums in 1973 and 1974, respectively. During a theater project, Cooper first met the musicians in Henry Cow and after Geoff Leigh left the band, she replaced him in 1974.

Cooper's musical restlessness was the perfect balance for the members of Henry Cow, who included Fred Frith, John Greaves, Dagmar Krause, Peter Blegvad, Tim Hodgkinson, and Chris Cutler. Cooper recorded two albums with the band, Unrest in 1974 and Western Culture in 1979, and also recorded both Slapp Happy albums with them -- Desperate Straits and In Praise of Learning, both released in 1975 -- and played on Steve Hillage's 1975 Fish Rising album. In addition, she reunited briefly with Comus, recording one album with them called To Keep from Crying (1974), played with Egg on their Civil Surface recording (1974), and contributed to Hatfield and the North's The Rotters' Club disc (1975). By 1975 Cooper had helped to found and become the musical director for the City, a theatrical rock band and first encountered the personages of Lol Coxhill, Evan Parker, and Derek Bailey. She began to improvise and play with them later that year.

Cooper was virtually everywhere and anywhere there was art music to be made in the 1970s, and in 1977 (a year rife with musical change all over the West) she co-founded the Feminist Improvising Group with Maggie Nicols, Sally Potter, Georgie Born, and pianist Irène Schweizer. During the same year, in order to broaden her contribution to the group, Cooper began playing soprano saxophone, a decision that was to change her life as both a composer and a conceptual artist. At this time she also gave up playing the flute.

Henry Cow broke up in 1978, and the aforementioned illustrious Western Culture arrived the following year, with one side of the album devoted solely to Cooper's compositions. This was no mean feat for a woman coming out of the rock world in the late '70s. (But then, Henry Cow weren't an ordinary rock band, were they?) She joined National Health for a short time but left as the group struggled through lineup changes and record company indifference during the ascent of punk. She recorded her first solo album, Rags, in 1980, which featured her first collaboration with Phil Minton along with Born, Potter, Chris Cutler, and Fred Frith. She also recorded a stunning duet with bassist and vocalist Jöelle Léandre in early 1982.

Cooper, Born, Nicols, Potter, and Schweizer kept the Feminist Improvising Group alive through 1982, and during this time, Cooper also recorded and performed with Mike Westbrook, Maarten Altena, David Thomas & the Pedestrians, and in that same year, she founded her own group, the Lindsay Cooper Film Music Orchestra. With this band she wrote and performed many film and TV scores, the most notable of which, at the time, was for Sally Potter's debut feature film, The Gold Diggers. From 1983 to 1986, Cooper recorded two of her signature albums, Music for the Small Screen, a collection of television pieces, and Music for Other Occasions with Alfred 23 Harth, Kate Westbrook, Krause, Nicols, and others.

Cooper did not, however, limit her activities to her own band. As the decade progressed she also joined Chris Cutler, Dagmar Krause, and Zeena Parkins in the group News from Babel. The band issued two albums: Work Resumed on the Tower in 1984 and Letters Home in 1986. Cooper wrote the music for both albums and Cutler wrote lyrics for Krause. Cooper was perhaps best known for her 1987 song cycle Oh Moscow. Featuring herself, Minton, Potter, Hugh Hopper, Marilyn Mazur, Harth, and Elvira Plenar, it was recorded in 1989 at the famed FIMAV festival in Quebec.

In 1991 Cooper was diagnosed with multiple sclerosis. She declined to tell anyone and went on performing all over the world and issued her collection of dance pieces, Schrödinger's Cat, another collection of dance works called An Angel on the Bridge, and premiered "Songs for Bassoon and Orchestra" in Bologna. She also performed the debut of her "Concerto for Sopranino Saxophone and Strings" at the British Conservatory. A two-CD collection called Songs from the Bridge, which included these and other works, was issued in 1998. Cooper's last major work was the haunting and harrowing Sahara Dust, in collaboration with Australian singer/writer/director Robyn Archer. Sahara Dust is a meditation on the Gulf War. A studio recording for the venerable Intakt label, Cooper enlisted Minton, Plenar, Robyn Schulkowsky, Dean Brodrick, and Paul Jayasinha for the recording session. Arguably, it, and not Oh Moscow, is Cooper's masterwork, given its haunting theme of the world being reduced to Sahara dust (rain bearing particles of sand from the Middle East) little by little as people watch the conflict from their television screens, coming to realize that this is not a distant situation with far-flung consequences, but one on which the idea of community and collective survival depends. The interplay between Minton's voice singing and ringing out the poetry with the hypnotic winds, reeds, piano, and electronics is almost unbearable in its import. Yet it is so seductive the listener cannot help but to draw nearer to the sound.

In 1998 Cooper's battle with MS had become such a rigor that she was forced to disclose it to the musical community. She became largely inactive after that time as all of her energy and resources -- as a musician she had no health insurance proper and public assistance was hardly adequate -- were spent dealing with her disease. Active or not, Cooper remained a hugely respected and influential figure throughout Europe, with her works regularly performed and, in some visionary conservatories, even taught. In September 2013 Lindsay Cooper died from complications of the multiple sclerosis that had, many years previously, curtailed her unique and visionary musical career. ~ Thom Jurek, Rovi
сборник пьес для танцев «Schrodinger's Cat»
Lindsay Cooper: bassoon, sopranino saxophone
Dean Brodrick: keyboards, piano, accordion, bassoon
Stuart Jones: trumpet, cello, bass guitar
Peter Whyman: alto + soprano saxophones, bass clarinet
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