Love, Strings and Jobim is a 1966 album by various Brazilian artists who play new Brazilian songs by various composers. Because Antonio Carlos Jobim is pictured on the cover and mentioned in the title, he has been and continues to be credited to be the performing artist on the album. Jobim does not appear on the album except as a composer. The original Brazilian title of this album is "Tom Jobim Apresenta" and it appeared on the Elenco label.
Poco prima della morte Carlos Castaneda raccolse e sottopose ad attenta revisione le opere seminali che, scritte nell’arco di trent’anni, descrivono il suo percorso di iniziazione allo sciamanesimo. Ne nacque questa straordinaria raccolta di citazioni - il distillato essenziale dei suoi insegnamenti, tratto da testi fondamentali come Gli insegnamenti di don Juan, Viaggio a Ixtlan, Una realtà separata, L'isola del tonal. …
This CD includes 17 de Seixas sonatas, of which 10 are in the single movement form favored by Scarlatti. There are nine sonatas with two movements and one sonata with three movements. The movements tend to be brief as compared to Soler's multi-movement sonatas. The multi-movement works usually include an allegro and dance movements such as a gigue or minuet. The sonatas are mostly short. They range in time on this CD from 1:15 for the sonata no 45 in G major to 9:37 for the single movement sonata no. 16 in c minor. The works do not follow Kastner's ordering on the CD. The CD opens with five single movement works, and the remainder of the disk includes multi-movement works interspersed with single movement compositions. The initial work in Kastner's ordering, a short, sprightly single movement sonata in C major appears late in the CD. Of the sonatas 12 are in the major key and 5 in the minor.
A student and younger contemporary of Domenico Scarlatti on the Iberian peninsula, Portuguese composer Carlos de Seixas (1704-1742) wrote harpsichord sonatas in much the same vein as his teacher. Since precise dates for the compositions of either composer are hard to come by, it is even possible that the student might have influenced the teacher in some ways. His sonatas here don't harness the differentiation of texture to the new possibilities of harmonic rhythm in quite the precise ways that Scarlatti's do, and the multimovement structure of many of the sonatas makes them a little diffuse as compared with Scarlatti's.