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▓▓ _a M█ █~ -, ▓▓ ! & ░▒ ░ ,░'* B[ ░ ▓▓ ~7g ~█ █`_mP q▓ ░ [B *'░, ░ 9░ p █ ▒ ▓ "M ,a @' P ▒ █ p ░9 &░░█ ▒ █░ b J ░█ ▒ █░░& ░▒W ▒ ▓░░ ▓ ▓ ░░▓ ▒ W▒░ ▒▒██M░░▓▓░░ ]c y' ░░▓▓░░M██▒▒ &Q▒▓█ ░▒▓█░ `*qmm*r*mm*^ ░█▓▒░ █▓▒Q& ▓▒0██ ░▓▓█░] ]░█▓▓░ ██0▒▓ '▒░░░▒▓▓███░ P R E S E N T S ░███▓▓▒░░░▒' ▒▒▒00██0# #0██00▒▒▒ ~~~` `~~~ ░ ░ -░░+ Grieg Piano Music Vol.7 (Naxos 553393) +░░- ,▓░ ░▓, ▒░ Release Date:12-02-2006 ░▒ ▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒ ░░▓_ █▒ Company:Naxos ▒█ _▓░░ |▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒| ░░u▒▓ ░█▒ Year:1995 ▒█░ ▓▒u░░ ▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒ ░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░ ░ ▓▒▒▒░ Songs:35 ░▒▒▒▓ ░ ▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒ ▓██░ ░ ░ ░██▓ █▓▒ ▒, Track List: ,▒ ▒▓█ █ ▒▒ ▒▒ █ ▓ ░▓ ▒▒░ 01 - norwegian melodies eg 108 - trip to the mo [01:02] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 02 - norwegian melodies eg 108 - were you not g [00:42] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 03 - norwegian melodies eg 108 - the birch bark [00:32] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 04 - norwegian melodies eg 108 - my cup runneth [00:46] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 05 - norwegian melodies eg 108 - the room song [00:51] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 06 - norwegian melodies eg 108 - langebergs son [02:14] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 07 - norwegian melodies eg 108 - throw the scou [01:15] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 08 - norwegian melodies eg 108 - sjugur and the [01:11] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 09 - norwegian melodies eg 108 - the girl and t [01:33] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 10 - norwegian melodies eg 108 - folk dance fro [00:26] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 11 - norwegian melodies eg 108 - the drinking s [00:59] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 12 - norwegian melodies eg 108 - olav trygvason [03:43] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 13 - norwegian melodies eg 108 - synnoves song [02:09] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 14 - norwegian melodies eg 108 - solvejge [02:01] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 15 - norwegian melodies eg 108 - guro from vald [00:36] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 16 - norwegian melodies eg 108 - everyone wants [01:00] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 17 - norwegian melodies eg 108 - the singers de [01:10] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 18 - norwegian melodies eg 108 - the students s [01:11] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 19 - norwegian melodies eg 108 - serenade [01:33] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 20 - norwegian melodies eg 108 - i was a servan [00:29] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 21 - norwegian melodies eg 108 - the boy and th [01:58] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 22 - norwegian melodies eg 108 - the church it [01:20] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 23 - norwegian melodies eg 108 - paul on the hi [00:45] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 24 - norwegian melodies eg 108 - the happy thou [01:01] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 25 - norwegian melodies eg 108 - on this earth [00:43] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 26 - norwegian melodies eg 108 - a singers pray [01:38] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 27 - norwegian melodies eg 108 - all my longing [01:22] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 28 - norwegian melodies eg 108 - the lion of no [01:16] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 29 - norwegian melodies eg 108 - st. thomas yod [01:40] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 30 - norwegian melodies eg 108 - ingerid slette [01:17] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 31 - norwegian melodies eg 108 - my heart and m [02:04] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 32 - norwegian melodies eg 108 - to the tri-col [00:55] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 33 - norwegian melodies eg 108 - the first meet [02:02] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 34 - norwegian melodies eg 108 - margretes lull [01:40] ░▒▒ ▓░ ▓ ▓ ░▓ ▒▒░ 35 - norwegian melodies eg 108 - the secret mee [02:10] ░▒▒ ▓░ ▓ ░ ▒ _▒░ ░▒_ ▒ ░ ▒▒ ▓▓ ▓▓ ▒▒ ░▒█ ▓▒u░ Total Length : [47:14 min ░u▒▓ █▒░ ░▒▒ ░ ▒▓█ █▓▒ ░ ▒▒░ ▒#▒ ░N░█ █░N░ ▒#▒ ▒ ▒▒ ▓▓░ ░▓▓ ▒▒ ▒ ▒9█ ▒ ▒ █9▒ ░# S█ ▒ ▒ █S #░ ░+▓█a a█▓+░ ▒░▓▓▓░░ ░░▓▓▓░▒ ▒ 9▓a▓▓ ▓▓a▓9 ▒ * ░ ▒▓░█ █░▓▒ ░ * ▒░░ ▓█▓ ▓█▓ ░░▒ ▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒ ▒░▒ # # ▒░▒ ▒░ ▒ - Einar Steen-Nokleberg, Piano ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ In 1874, the Danish music publisher, Edvard Wagner, ▒ ░▒ ▒░ ▒ asked Grieg to make a collection of folk-tunes and ▒ ░▒ ▒░ ▒ songs which would be published under the title: ▒ ░▒ ▒░ ▒ "Melodies of Norway". Grieg accepted the task in ▒ ░▒ ▒░ ▒ spite of having second thoughts. The intention was, ▒ ░▒ ▒░ ▒ according to the subscription invitation, that: "The ▒ ░▒ ▒░ ▒ songs would be, wasy-to-play Arrangements for the ▒ ░▒ ▒░ ▒ Piano, while at the same time presenting a degree of ▒ ░▒ ▒░ ▒ challenge to the performer and adhering to a certain ▒ ░▒ ▒░ ▒ Artistic standard". Immediately afterwards, Grieg ▒ ░▒ ▒░ ▒ kept his distance from the arrangements as he felt ▒ ░▒ ▒░ ▒ that they had nothing to do with art. It was simply ▒ ░▒ ▒░ ▒ a routine job he took to earn money. To Wagner, he ▒ ░▒ ▒░ ▒ insisted that he would accept the job on the ▒ ░▒ ▒░ ▒ condition that his name would not be mentioned in ▒ ░▒ ▒░ ▒ connection with the published work. Only much later ▒ ░▒ ▒░ ▒ did it become known that Grieg was responsible for ▒ ░▒ ▒░ ▒ this selection and the arrangements. In 1877 Wilhem ▒ ░▒ ▒░ ▒ Hansen took over the publishing rights for, ▒ ░▒ ▒░ ▒ "Melodies of Norway", because Wagner went bankrupt. ▒ ░▒ ▒░ ▒ There were, of course, those who had guessed that ▒ ░▒ ▒░ ▒ Grieg had had something to do with them, because in ▒ ░▒ ▒░ ▒ the revised edition, the publisher wrote: "The songs ▒ ░▒ ▒░ ▒ that would be easy-to-play Arrangements for Piano, ▒ ░▒ ▒░ ▒ while at the same time presenting a degree of ▒ ░▒ ▒░ ▒ challenge to the performer and adhering to a certain ▒ ░▒ ▒░ ▒ Artistic standard, have, by virtue of this Man's ▒ ░▒ ▒░ ▒ Name who assisted the Editors... (a Name not unknown ▒ ░▒ ▒░ ▒ among the Grestest Musicians in Norway)... be the ▒ ░▒ ▒░ ▒ best guarantee for the quality of the selection and ▒ ░▒ ▒░ ▒ the great care that has been taken in the ▒ ░▒ ▒░ ▒ rearrangements of the pieces". ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Towards the end of his life, Grieg looked upon these ▒ ░▒ ▒░ ▒ adaptations in a more positive light, and when he ▒ ░▒ ▒░ ▒ was critized by Gerhard Schjelderup, who described ▒ ░▒ ▒░ ▒ them as "scandalously common, and completely lacking ▒ ░▒ ▒░ ▒ in sophistication", he defended them by saying, that ▒ ░▒ ▒░ ▒ one had to evaluate them in relation to the public ▒ ░▒ ▒░ ▒ for whom they were intended. The publisher, Wagner, ▒ ░▒ ▒░ ▒ intended that, "Melodies of Norway", would be a ▒ ░▒ ▒░ ▒ collection for the "amateur piano player": the ▒ ░▒ ▒░ ▒ arrangements should not be too difficult ▒ ░▒ ▒░ ▒ technically, but still be at a level that would ▒ ░▒ ▒░ ▒ appeal to, and satisfy the taste of, the average ▒ ░▒ ▒░ ▒ music lover. In the above mentioned subscription ▒ ░▒ ▒░ ▒ invitation to the first edition. it was also stated: ▒ ░▒ ▒░ ▒ "As the Name 'Melodies of Norway' suggests, this ▒ ░▒ ▒░ ▒ Work should be a collection of all the beautiful, ▒ ░▒ ▒░ ▒ the national, the home loving and appealing, that ▒ ░▒ ▒░ ▒ Norwegian Song Literature has to offer". The Grieg ▒ ░▒ ▒░ ▒ succeeded in doing this, is evident from the fact ▒ ░▒ ▒░ ▒ that new editions of the collection were constantly ▒ ░▒ ▒░ ▒ being published. ▒ ░▒ ▒░ ▒ After Grieg's death, the collection was expanded ▒ ░▒ ▒░ ▒ considerably with new arrangements by the composer ▒ ░▒ ▒░ ▒ Eyvind Alnaes (1872-1932), who continued using the ▒ ░▒ ▒░ ▒ same guidelines that Grieg established with his own ▒ ░▒ ▒░ ▒ arrangements. Even today, "Melodies of Norway", is a ▒ ░▒ ▒░ ▒ collection that is widely used and highly ▒ ░▒ ▒░ ▒ appreciated in very many Norwegian homes, and for ▒ ░▒ ▒░ ▒ thousand of Norwegians has been the first -and for ▒ ░▒ ▒░ ▒ many the most important- first experience with their ▒ ░▒ ▒░ ▒ national music. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The greater part of "Melodies of Norway" consists of ▒ ░▒ ▒░ ▒ songs, romances, and songs for male choir. In 1870s ▒ ░▒ ▒░ ▒ the vast majority of these compositions already ▒ ░▒ ▒░ ▒ belonged to the established Norwegian Song Heritage. ▒ ░▒ ▒░ ▒ Even though some of them were relatively new, they ▒ ░▒ ▒░ ▒ were able to hold their own, and soon were accepted ▒ ░▒ ▒░ ▒ as a regular part of the repertoire. In addition, ▒ ░▒ ▒░ ▒ Grieg included a long list of folk-tunes, not just ▒ ░▒ ▒░ ▒ songs, but also pure instrumental folk-music. ▒ ░▒ ▒░ ▒ Altogether, the folk-tunes are about a third of the ▒ ░▒ ▒░ ▒ collection. Most of the folk-music is from L. M. ▒ ░▒ ▒░ ▒ Lindeman's collection "Older and Newer Norwegian ▒ ░▒ ▒░ ▒ Mountain Melodies", which from the middle of the ▒ ░▒ ▒░ ▒ last century, and far into this, has been the most ▒ ░▒ ▒░ ▒ important source of folk-music inspiration for ▒ ░▒ ▒░ ▒ Norwegian composers. ▒ ░▒ ▒░ ▒ This collection: "Lindaman's Great Collection", as ▒ ░▒ ▒░ ▒ it often called, consists of piano arrangements of ▒ ░▒ ▒░ ▒ memoranda which were collected primarly by Lindeman ▒ ░▒ ▒░ ▒ during his yearly travels, through most of the ▒ ░▒ ▒░ ▒ valleys in Southern Norway, in order to search for ▒ ░▒ ▒░ ▒ new material. He took the first os such journeys as ▒ ░▒ ▒░ ▒ early in 1848, and several generations of Norwegian ▒ ░▒ ▒░ ▒ composers have found their folk music raw material ▒ ░▒ ▒░ ▒ from that collection since then. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The original edition of, "Melodies of Norway", which ▒ ░▒ ▒░ ▒ is recorded here, is completely and totally Grieg's ▒ ░▒ ▒░ ▒ work. Even though he would not have his name ▒ ░▒ ▒░ ▒ connected to the collection, he did put his name on ▒ ░▒ ▒░ ▒ six of the folk-tune arrangements (Nos.6, 22, 45, ▒ ░▒ ▒░ ▒ 59, 125, 126). These were the ones that he ▒ ░▒ ▒░ ▒ rightfully acknowledged as his own arrangements. L. ▒ ░▒ ▒░ ▒ M. Lindeman is named as the one who made the ▒ ░▒ ▒░ ▒ folk-tune arrangements for eight of the pieces ▒ ░▒ ▒░ ▒ (Nos.36, 81, 87, 96, 115, 123, 127, 146). Grieg made ▒ ░▒ ▒░ ▒ only small changes in those, such as transposing ▒ ░▒ ▒░ ▒ down to a simpler key or mode (for example from A ▒ ░▒ ▒░ ▒ major to G Majos: Nos.115, 123, 146). In the above ▒ ░▒ ▒░ ▒ folk-tunes, where most of them are from Lindeman's ▒ ░▒ ▒░ ▒ collection: "Older and Newer etc. ...", the changes ▒ ░▒ ▒░ ▒ from Lindeman's original arrangement are greater, ▒ ░▒ ▒░ ▒ and Lindeman is therefore not given credit for these ▒ ░▒ ▒░ ▒ arrangements. ▒ ░▒ ▒░ ▒ Lindeman was a marvelous organist and a learned ▒ ░▒ ▒░ ▒ church musician, but his arrangements can often seem ▒ ░▒ ▒░ ▒ somewhat overdone and some of the counterpoint can ▒ ░▒ ▒░ ▒ seem unnecessary. Grieg's changes very often improve ▒ ░▒ ▒░ ▒ these superfluous things, and as the astute piano ▒ ░▒ ▒░ ▒ pedagogue that he was, he retained the essential ▒ ░▒ ▒░ ▒ uniqueness of the folk-tune. The compromise between ▒ ░▒ ▒░ ▒ what on the one hand should be playable for the ▒ ░▒ ▒░ ▒ average amateur, and on the other hand should have a ▒ ░▒ ▒░ ▒ certain artistic content, cannot have been easy to ▒ ░▒ ▒░ ▒ accomplish. Even more the reason to admire the ▒ ░▒ ▒░ ▒ results Grieg achieved in this collection. As for ▒ ░▒ ▒░ ▒ the remaining compositions in the collection, the ▒ ░▒ ▒░ ▒ reworking is reduced to writing the melody for voice ▒ ░▒ ▒░ ▒ to highest voice for the right hand, something which ▒ ░▒ ▒░ ▒ in most cases leads to changes in the piano ▒ ░▒ ▒░ ▒ movement. Sometimes Grieg has also made improvements ▒ ░▒ ▒░ ▒ or simplifications which were not dependent upon the ▒ ░▒ ▒░ ▒ transcription from one medium to another. ▒ ░▒ ▒░ ▒ The songs are often transposed down, generally from ▒ ░▒ ▒░ ▒ a whole note and then as a rule to a key with fewer ▒ ░▒ ▒░ ▒ sharps and flats, and often one that made it easier ▒ ░▒ ▒░ ▒ to play. Just as often he seems to do this to make ▒ ░▒ ▒░ ▒ it easier for the unscholed voice to sing it as ▒ ░▒ ▒░ ▒ well. In some of the compositions he also makes ▒ ░▒ ▒░ ▒ relatively large changes, in, for example, preludes ▒ ░▒ ▒░ ▒ and epilogues, and sometimes he cannot resist the ▒ ░▒ ▒░ ▒ temptation to make certain harmonic improvements. ▒ ░▒ ▒░ ▒ Whereas at other times, there are little or no ▒ ░▒ ▒░ ▒ changes made from the original. The latter are ▒ ░▒ ▒░ ▒ primarily where the original song is the "ballad ▒ ░▒ ▒░ ▒ type" and where the song's melody is already in the ▒ ░▒ ▒░ ▒ piano's upper register. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Perhaps it is understandable that Grieg, at the end ▒ ░▒ ▒░ ▒ of the 1870s, was afraid of being exposed as the one ▒ ░▒ ▒░ ▒ responsible for "Melodies of Norway", among other ▒ ░▒ ▒░ ▒ things, considering that ten of his own songs were ▒ ░▒ ▒░ ▒ among those in the selection. He was probably ▒ ░▒ ▒░ ▒ concernd that these seemingly unpretentious and ▒ ░▒ ▒░ ▒ popular arrangements would undermine his own ▒ ░▒ ▒░ ▒ artistic reputation. Where his own reputation as a ▒ ░▒ ▒░ ▒ serious composer and artist was concerned, he was ▒ ░▒ ▒░ ▒ very sensitive and vulnerable. However, his ▒ ░▒ ▒░ ▒ selection of works of other Norwegian composers who ▒ ░▒ ▒░ ▒ were represented shows that he was interested first ▒ ░▒ ▒░ ▒ and foremost in quality. Halfdan Kjerulf, ▒ ░▒ ▒░ ▒ (1815-1868) is represented by sixteen of his finest ▒ ░▒ ▒░ ▒ romances and songs for the choir. Grieg included ▒ ░▒ ▒░ ▒ thirteen songs from Rikard Nordraak (1842-1866), ▒ ░▒ ▒░ ▒ from his relatively scant production. In all, there ▒ ░▒ ▒░ ▒ are twenty Norwegian composers represented, and with ▒ ░▒ ▒░ ▒ his thoroughness and sense for detail, Grieg has ▒ ░▒ ▒░ ▒ obviously left his mark on the collection as a ▒ ░▒ ▒░ ▒ whole. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Finally, one must not forget that, "Melodies of ▒ ░▒ ▒░ ▒ Norway", as the first printing directly from Grieg's ▒ ░▒ ▒░ ▒ hand, was not just a collection of melodies. It also ▒ ░▒ ▒░ ▒ includes some of the most praiseworthy Norwegian ▒ ░▒ ▒░ ▒ lyric poetry written during the previous century. ▒ ░▒ ▒░ ▒ Bjornstjerne Bjornson (1832-1910) has as many as ▒ ░▒ ▒░ ▒ thirty-three of his poems included, but then, since ▒ ░▒ ▒░ ▒ the middle of the last century he has been the ▒ ░▒ ▒░ ▒ Norwegian poet whose works have most often been set ▒ ░▒ ▒░ ▒ to music. Others, who through poetry have left their ▒ ░▒ ▒░ ▒ mark on the collection, are Johan Sebastian Welhaven ▒ ░▒ ▒░ ▒ (1807-1873) with eleven poems, Henrik Wergeland ▒ ░▒ ▒░ ▒ (1808-1845) with ten, and Andreas Munch (1811-1884) ▒ ░▒ ▒░ ▒ with five. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ "According to my judgement some melodies are well ▒ ░▒ ▒░ ▒ suited for a small organ, and were definitely played ▒ ░▒ ▒░ ▒ on such. Other tunes have a resemblance to the ▒ ░▒ ▒░ ▒ Norwegian folk music instrument 'Langleik' whose ▒ ░▒ ▒░ ▒ sound is very close to the clavichord. The ▒ ░▒ ▒░ ▒ Graf-piano (1850) was used for recalling the ▒ ░▒ ▒░ ▒ ambience of the nineteen century in more ▒ ░▒ ▒░ ▒ instrumental pieces. The combination with melodies ▒ ░▒ ▒░ ▒ and pieces played on the modern piano might well ▒ ░▒ ▒░ ▒ have been closen in another way but this was my ▒ ░▒ ▒░ ▒ personal choice in this particular recording." ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Einar Steen-Nokleberg ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ - Einar Steen-Nokleberg - ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ The Norwegian pianist Einar Steen-Nokleberg, an ▒ ░▒ ▒░ ▒ early winner of the German High School Piano ▒ ░▒ ▒░ ▒ Competition. Other prizes incude the Norwegian Piano ▒ ░▒ ▒░ ▒ Competition in 1972, and in 1975 the Norwegian ▒ ░▒ ▒░ ▒ Critics Prize for Best Performance, awarded after a ▒ ░▒ ▒░ ▒ performance of Grieg's "Piano Concerto" at the ▒ ░▒ ▒░ ▒ Bergen Festival. In 1976 he was honoured for the ▒ ░▒ ▒░ ▒ Norwegian recording of the Year for a recital of ▒ ░▒ ▒░ ▒ music by Norwegian Baroque composers. Other awards ▒ ░▒ ▒░ ▒ include the Grieg Prize in 1985 and in 1992. From ▒ ░▒ ▒░ ▒ 1975 to 1981 Einar Steen-Nokleberg was professor of ▒ ░▒ ▒░ ▒ piano at the Hanover Musikhochschule and in recent ▒ ░▒ ▒░ ▒ years has enjoyed an international career, with ▒ ░▒ ▒░ ▒ recitals throughout Europe, in the United States of ▒ ░▒ ▒░ ▒ America and in the former Soviet Union. ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ ▒ ░▒ ▒░ ▒ Recorded at Lindeman Hall, Norwegian State Academy ▒ ░▒ ▒░ ▒ of Music, Oslo, on 14th and 15th March 1994. ▒ ░▒ e░██ ██ ██ ██░e ▒░░▒e▒▒▒ ██ ██░e ▒░░▒e▒▒▒ ██ ██░e ▒░░▒e▒▒▒ ╔═════════════════════╗ ▒▒▒e▒░░▒ #░░ ▒ ║ Greetings To: ║ ▒ ░░# ▓ i░ ╚═════════════════════╝ ░i ▓ █▒ ▒█░ ░█▒ ▒█ █ █░ Amok - cnmc - AMRC - ViC - ss - tfamp3 - MTM - WoA ░█ █ ░▓ █ ░ FFF - BERC - NuHS - Tronik - DH - DRUM - aZTeK ░ █ ▓░ ▓▒ █*░ ░*█ ▒▓ ▓i█ ▓▓▓░# Especiales Saludos a Nuestros compatriotas de: #░▓▓▓ █i▓ ▒▓▓▒░ ░▒▓▓▒ ▓▒#░ &, StyLe ░#▒▓ ▓ ░░ #█W▓a ░░ ▓ ▓|░ ]M█▓&1 _ ░|▓ ▓ ~███M ,agMB##^MQw_ ▓ N▓▓█F% _pm▓▓▓DQ*"^"**%4&m ^&▓▓▓+p ,4KBQ0*^ "0@&, ▓ "#▓▓,^▓m*w,mpq#O#Mb&^ b#@N&▓▓ "-WQB███▓▓QRDN"~ mea▓qM███▓▓ ~^"~!^` `*▓▓█████▓ ~#&███▓f ^S██▓t Bw█▓ "Qp▓ R8▓ N uerzaspañola de eleasesndependientesonficiencia ^