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CD12,99 Fr.

Keltische Musik - Erschienen am 2. November 2010 | Alia Vox

Booklet Auszeichnungen 4 étoiles Classica
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CD17,99 Fr.

Keltische Musik - Erschienen am 1. Januar 1971 | Universal Music Division Mercury Records

Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES22,99 Fr.
CD19,99 Fr.

Keltische Musik - Erschienen am 26. August 2013 | Warner Classics International

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CD13,59 Fr.

Keltische Musik - Erschienen am 17. Februar 2009 | Keltia III

Auszeichnungen 4F de Télérama
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HI-RES20,99 Fr.
CD13,99 Fr.

Keltische Musik - Erschienen am 16. April 2021 | Coop Breizh

Hi-Res Booklet
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CD12,99 Fr.

Keltische Musik - Erschienen am 18. Mai 2009 | Alia Vox

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CD11,99 Fr.

Keltische Musik - Erschienen am 12. März 2021 | Compass Records

Booklet
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HI-RES23,02 Fr.
CD17,27 Fr.

Keltische Musik - Erschienen am 1. Januar 1991 | Quinlan Road

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Loreena McKennitt's fourth release, and first for a major label, is a quietly majestic tapestry of worldbeat and Celtic pop that effortlessly weaves together traditional and contemporary songs into lush showcases for her fluid voice and harp. The multi-talented Canadian utilizes all of her strengths here, resulting in her most rewarding batch of tunes to date. With larger production values and more ambitious arrangements than the sparse Elemental and Parallel Dreams, her flair for the dramatic and the theatrical runs rampant throughout. Whether she's toasting the souls of the departed with Pagan glee on the delicious "All Souls Night," or reinterpreting King Henry VIII's "Greensleeves" through Tom Waits, it's never without both feet in the water. Often when artists attempt to blend modern instruments (keyboards, guitars, etc.) into the traditional folk idiom, the results are instantly dated and horribly overwrought. McKennitt, however, never allows the two to compete, and it's a testament to her belief in the songs themselves that they don't devolve into garish new age drivel. Her adaptation of Alfred Lord Tennyson's "The Lady of Shalott," which utilizes an opening melody lifted -- probably unknowingly -- from the bagpipe solo at the end of AC/DC's "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)," is The Visit's most powerful moment. Clocking in at 11 minutes, the poet's lovelorn tale of Camelot's most famous peasant maiden is rendered brief by McKennitt's breathless delivery and atmospheric and austere presentation. The Visit is Loreena McKennitt at her most comfortable, creative, and soulful. © James Christopher Monger /TiVo
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CD15,99 Fr.

Keltische Musik - Erschienen am 26. Januar 1999 | Hearts of Space Records

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HI-RES23,02 Fr.
CD17,27 Fr.

Keltische Musik - Erschienen am 30. September 1997 | Quinlan Road

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Loreena McKennitt begann ihre Karriere als New Age-Popsängerin, erfüllt von keltischer Folk-Mystik und besessen von einer dünnen, ätherischen Stimme. Im Verlauf ihrer Karriere hat sie sich an verschiedenen Extremen im Pop-Format versucht, bleibt auf The Book of Secrets aber dem Geist der traditionellen Balladensänger treu. Mit der Unterstützung von Spitzenmusikern wie Danny Thompson und David Rhodes webt sie ein Netz von fantasievollem, feinen Folk-Rock, das sich nicht vor Schönheit scheut, während es Zuhörer auf beruhigenden, geradezu hypnotische Weise in den Bann zieht. © TiVo
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CD10,99 Fr.

Keltische Musik - Erschienen am 1. Dezember 2016 | Coop Breizh

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CD12,99 Fr.

Keltische Musik - Erschienen am 14. Dezember 2007 | Culburnie Records

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CD10,59 Fr.

Keltische Musik - Erschienen am 14. August 1992 | Dolphin

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HI-RES16,49 Fr.
CD10,99 Fr.

Keltische Musik - Erschienen am 18. Mai 2018 | Coop Breizh

Hi-Res
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HI-RES23,02 Fr.
CD17,27 Fr.

Keltische Musik - Erschienen am 21. November 2006 | Quinlan Road

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Mit dem 2006 erschienenen An Ancient Muse, Loreena McKennitts erstem Studioalbum seit The Book of Secrets von 1997, hat sich die kanadische Sängerin und Multiinstrumentalistin als eine der besten Vertreterinnen atmosphärischer, weltumspannender Musik neu aufgestellt. Während der sanfte, gefühlsgeladene „Penelope's Song“ an Ihre Altersgenossin Sarah McLachlan erinnert, sind Titel wie „The Gates of Istanbul“ und „Sacred Shabbat“ viel exotischere Werke, die von der opulenten Äethetik des Nahen Ostens durchdrungen sind. Fans, die fast ein Jahrzehnt auf dieses Album gewartet haben, werden nicht enttäuscht sein. © Eric Schneider /TiVo
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CD10,59 Fr.

Keltische Musik - Erschienen am 12. August 2013 | Vertical records

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HI-RES23,02 Fr.
CD17,27 Fr.

Keltische Musik - Erschienen am 22. März 1994 | Quinlan Road

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Press play and enter the world of Loreena McKennitt, where walls dissolve into thick, billowing mists as the ground beneath your feet turns to compacted earth and the sky above opens up to reveal a black cloak dotted with shimmering stars draped beneath silk-like clouds. Were McKennitt's composing and songwriting abilities lacking of any luster (as they most certainly are not), her voice would still possess the strength to hold her fifth album, The Mask and Mirror, up on its own. But the combination of this talented woman's vocal prowess and songwriting ability makes her all the more similar to her work -- ethereal and almost unbelievable in its level of quality. A mythical menagerie, The Mask and Mirror contains songs that lift the veil to reveal the soul of McKennitt's work in eight dreamlike, Celtic-inspired tracks. The opening track, "The Mystic's Dream" (featured on the TNT movie The Mists of Avalon, based on the novel by Marion Zimmer Bradley), is a haunting tune that features McKennitt at her most heavenly peak as a vocalist, evoking the spirits of the instruments and Gregorian chant-like background vocals that accompany her on the track. The album excels at conjuring up mythical visions in the listener's imagination, as with the gypsy-like tune "Marrakesh Night Market," which echos of the picturesque scene the title invokes. The soul-searching "Full Circle" best exhibits McKennitt's ability to transpose the true meaning of the lyrics into her songs. Even after the song ends, the somber mood lingers softly in the air. The balalaika (a three-stringed triangular-shaped instrument), the bouzouki (an eight-stringed instrument), and the hurdy-gurdy (a stringed instrument that also has keyboard and percussion parts) are among the rare, strange instruments introduced on many of the songs, including the lighthearted, uplifting "Ce He Mise Le Ulaingt? (The Two Trees)," on which these instruments demonstrate their incredible quality and prowess. The lyrics of this track are none other than the words of the poem of the same name by William Butler Yeats. McKennitt's unique use of the lyrical words of William Shakespeare, combined with her skillful adaptation of the words to the heavenly, undulating music, make the final track, "Prospero's Speech," an inspiration in itself. © Kerry L. Smith /TiVo
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CD10,99 Fr.

Keltische Musik - Erschienen am 4. Juli 2012 | Cló Iar-Chonnacht

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CD17,27 Fr.

Keltische Musik - Erschienen am 12. November 2010 | Quinlan Road

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Canadian singer/harpist Loreena McKennitt returns to her roots on The Wind That Shakes the Barley, making an album more in the traditional style of her 25-year-old debut, Elemental, than the more adult alternative hybrid efforts that have been more typical of her work since. Thus, the Celtic side of her music is emphasized in the inclusion of Scottish and Irish traditional songs like the title track, "The Star of the County Down," and "On a Bright May Morning." The last song prominently features her harp, as does the instrumental "Brian Boru's March," and she is accompanied by her usual backup musicians, including Ben Grossman (hurdy-gurdy), Brian Hughes (guitar), Caroline LaVelle (cello), and Hugh Marsh (violin). The chief attraction continues to be her haunting voice, which she employs to ethereal effect much of the time, although "The Star of the County Down" finds her taking a livelier, more direct approach, while in "The Wind That Shakes the Barley" her vocal is not so much ethereal as eerie. For many of McKennitt's fans, this will be an album they have been waiting to hear for a long time. For others, it may be a change of pace in which an artist reveals the sources of her individual style. © William Ruhlmann /TiVo
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CD10,99 Fr.

Keltische Musik - Erschienen am 1. Januar 2003 | Acoustic Music Records