Harry Williamson & Anthony Phillips - 1988 - Tarka (FLAC 24 48, vinyl, PRT PYL 18)


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Harry Williamson & Anthony Phillips - 1988 - Tarka (FLAC 24-48, vinyl, PRT PYL 18)
    pics
          ins_frag.JPG -
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          Book4.JPG -
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          Book3.JPG -
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          SideA.JPG -
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          SideB.JPG -
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          Book2.JPG -
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          Book5.JPG -
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          Book1.JPG -
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          cover.jpg -
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    tech
          4sp.jpg -
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          1sp.jpg -
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          4vol.jpg -
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          4fr.jpg -
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          1fr.jpg -
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          1vol.jpg -
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     02 Movement II.flac -
157.43 MB

     03 Movement III.flac -
152.03 MB

     01 Movement I.flac -
111.14 MB

     04 The Anthem.flac -
61.01 MB

     i.txt -
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     foo_dr.txt -
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     Torrent downloaded from demonoid.pw.txt -
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Description



Music : Classical : Lossless



24/48 vinyl rip. PRT Records PYL 18. LP made in England.

Side 1
1. Movement I
2. Movement II

Side 2
1. Movement III
2. The Anthem

(Harry Williamson / Anthony Phillips) - A1,A2,B1
(Anthony Phillips) - B2

Orchestration & arrangements:
(Williamson / Phillips) - A1
(Williamson) - A2
(Phillips) - B1
(Phillips / Heyworth) - B2

Produced by Simon Heyworth

Recorded by John Richards at CTS Studios, Wembley, London; John Gibbons at Gooseberry Studios, Tulse Hill, London
Assisted by David Robertson-Campbell, thanks also to Sacha
Additional recording at Vic's Place, Clapham, London
Mixed by John Gibbons, Simon Heyworth, Harry Williamson & Anthony Phillips
Digital edit and mastering by Mike Ross at CBS Studios, London

Except from the book 'Tarka The Otter' courtesy of Bodely Head and The Williamson Estate

Art direction and design by Mainartery London
Photography by Steve Speller

The acoustic guitar has always been a bridge between the tradition of English folk music and the classical and rock music disciplines. Throughout Europe there has been a tradition of using folk music melodies as the basis of major classical works.
TARKA, as both an evolution and as a piece of music, is broad-based enough to show off much of the above. During the time in which the work developed it came to represent (if one may draw a phrase from the world of art) a work in progress. To a large extent the process still continues as far as the main participants in the project are concerned.
Other works will follow, some with their roots as far if not even further back as the present piece. Indeed, this is the right moment for this current work to appear.
This is not an unusual process for the painter or the sculptor and much of what we see in TARKA, although we experience it through sound, is inspired by places that can be as readily seen as imagined. - Simon Heyworth, producer, 1988, England

Performed by Anthony Phillips & Harry Williamson - acoustic guitars and keyboards
with
Krysia Osostowicz: violin
Ann Morfee: violin
Janet Crouch: cello
Anne Glover: oboe
Ian Hardwick: oboe
Lindsay Cooper: bassoon
Nick Cox: clarinet and bass clarinet
Andrew Anscombe: french horn
Didier Malherbe: flute, piccolo and soprano saxophone
Julie Allis: harp
Guy Evans & Dave Sawyer: percussion
and
The National Philharmonic Orchestra conducted by Jeremy Gilbert

Vinyl etching:
Town House DMM B PYL 18 A2 -DMM-
Town House DMM C PYL 18 B2 -DMM-

This music waited a long time to get the recording treatment it deserved. Ant and Harry first wrote and demoed it in 1975, but it took until 1987 for some discerning (and financial) friends of Phillips' to make possible a full orchestral version. The inspiration for this work is the book "Tarka The Otter", written by Harry's father Henry Williamson, and the music, originally intended for a film soundtrack based on the book, takes on a filmic quality of its own. A most rewarding and emotive musical experience, superbly constructed and executed. In fact, a largely unsung work of genius. - P. Blight, amazon.com

Tarka was a difficult delivery. Guitarist/keyboardist Harry Williamson's father is Henry Williamson, author of the novel Tarka the Otter. The idea to write an orchestral cycle around the book was planted in 1975 when musician and ex-Genesis member Anthony Phillips lived for a while in the geographical space described in the tale. From that point, the music was written, submitted for a movie soundtrack, half-recorded, dropped, requested for another project, augmented, finished recorded, released on CD in 1996 by PRT Records, which went out of business immediately after, and finally made largely available by Blueprint in October 2001. The album begins like an early Phillips' Private Parts and Pieces, builds up to Mike Oldfield-ian symphonic proportions, and boils down to a latter-day new age Williamson solo album. The two musicians are accompanied by an 88-piece orchestra and a roster of soloists that includes bassoonist Lindsay Cooper, Gong flutist Didier Malherbe, and Van der Graaf Generator drummer Guy Evans. The music is well-written -- compelling at times, benign at others. The best moments are found in "Movement One: The First Years" (Phillips plays 12-string guitar) and "Movement Three: The Hunt" (good sense of drama and use of the orchestra). Those familiar with any of these two artists know their talent for cute, intelligent instrumental themes. - Francois Couture, AMG
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