# xmcd CD database file
# Copyright (C) 1993-1996 Ti Kan
#
# Track frame offsets:
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# Disc length: 3260 seconds
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# Revision: 1
# Processed by: cddbd v1.4b16PL0 Copyright (c) 1996-1997 Steve Scherf
# Submitted via: xmcd 2.0
#
DISCID=5f0cb909,600cba09
DTITLE=Adiemus / Songs of Sanctuary
TTITLE0=Adiemus
TTITLE1=Tintinnabulum
TTITLE2=Cantus Inaequalis
TTITLE3=Cantus Insolitus
TTITLE4=In Caelum Fero
TTITLE5=Cantus Iteratus
TTITLE6=Amate Adea
TTITLE7=Kayama
TTITLE8=Hymn
EXTD=Jenkins Rathledge\nCDVE 925\n7243 8 40428 2 0\n\n(C) 1995 Jenkins Ra
EXTD=thledge LTD\n\nKarl Jenkins  Mike Rathledge & Miriam Stockley\n\nSon
EXTD=gs of Sanctuary is an extended choral-type work based on the\nEur
EXTD=opean classical tradition. But wherethe vocal sound is more akin
EXTD=\nto "ethnic" or "world" music. The idea was to have some themati
EXTD=c unity\nwithin the work as a whole, rather than a collection of 
EXTD=disparate\npieces in song form\n\nThe tsructures of songs of sactua
EXTD=ry were influenced in the main\nby classical form, eg modified ro
EXTD=ndo, ternary, da capo aria. This was\nof extra importance because
EXTD= of the lack oflyric message that sustains con-\nventional song f
EXTD=orm. The text was written phonetically with the words\nviewed as 
EXTD=instrumental sound. The idea being to maximise the melisma (an\ne
EXTD=xpressive vocal phrase) by removing the distraction, if one can 
EXTD=call it\nthat, of words, the sound is universal as is the languag
EXTD=e of music.\n\nMiriam was indispensable to the concept, not only f
EXTD=or thebeauty\nof hervoice, but also for the variety, control and 
EXTD=perfect intonation\nshe possesses. In addition her downward range
EXTD= is unusual - an octave\nbelow midle c. Also by using, in the cla
EXTD=ssical sense, an untrained voice\nthere were possibilities for a 
EXTD=unique sound. We wanted the choruses to\nsound "tribal". Therefor
EXTD=e Miriam and Mary Carewe, who also sang on those sections, were 
EXTD=required to sing fortissimo and without vibrato.\nIf you listen t
EXTD=o most ethnic music (African, Maori, etc) this is a feature\nof t
EXTD=he genre. Miriam grew up in south africa and was exposed to thes
EXTD=e\nkinds of sound. The solo parts are intoned in a sometimes eccl
EXTD=esiestica\nsometimes celtic manner.\n\nApart from religious connota
EXTD=tions 'sanctuary' means a place of refuge.\nThis music is somewhe
EXTD=re to escape to. This is not to say that the music is\nintrospect
EXTD=ive and sombre. We believe the emotion to be more wde ranging.\n\n
EXTD=\nAll tracks feture Miriam Stockley (Vocals) and the London Philh
EXTD=armonic\n\nComposed and orchstrated by Karl jenkins\nProgrammed per
EXTD=cussion arranged by Mike Rathledge\n\nThe London Philharmonic cond
EXTD=ucted by Karl Jenkins\nOrchestra Leader Robert St. John Wright\nAd
EXTD=ditional Vocals by Mary Carewe\nImprovised percussion by Frank Ri
EXTD=cotti\nAdditional percussion by Jody Barrat Jenkins\nQuena Solo on
EXTD= Adiemus by Mike Taylor of Incantation\nRecorder Solos on Tintinn
EXTD=abulum, Cantus Insolutus\n& In Caelum Fero by pamela Thorby\n\n\n
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