Ambrosia (midi classical music)

SOUNDBLASTER AWE64 GOLD

with loaded 4gmgsmt.sf2 or 8mbgmsfx.sf2
and 3D stereo enhancement recomended!

INTRODUCTION

We hail thee honorable stranger whoever thou art, regardless to the color of thine skin or nationality, faith or belief, gender or age. This musical page contains 1992-1997 opus of young Slovenian composer Gregor Rozman. We welcome thee to Ambrosia - a homepage of high quality short midi classic tunes (SBawe64gold and 4gmgsmt.sf2 based). 'Tis a lost page, torn from the ancient history book of mankind - some forgotten and yet some remembered by heroic deeds and disasters of one or many.

All the tunes are free to listen. Just click gargoyle wooden statue in front of the title of the midi tune thou likest to listen. Gregor Rozman composed some of the tunes, but some of them he only improved (thou mayest send compliments regarding his work of art to: gregor_rozman@hotmail.com or chat with GIGO when on mIRC). One of Gregor Rozmans' devotions is the art of composing, covering (improving) and editing classical midi songs of chamber music.

For his opinion composing classical chamber music is even greater art than his poetic devotion to a classic sonet form. It may be so as his poems are all in Slovene language and music is understood by every nation of this world, word is not. Regardless to the label of music, he does not feel to be conservative artist and thus value every progress in music. One of his qualities is preciseness. It costs him a lot of his spare time (composing, sequencing and most of all: listening every measure, every instrument solo - finding the perfect tune) thusly his work is precisly and highly rated.

His work is listed below in alphabetical order. Beside the titles there is a quality rank number evaluated by author himself and a year of arrangement. By our request Gregor Rozman also added his short comments regarding his every work (below the titles). If thou dost not have the time to listen all of them, than thou shouldst at least try the ones with higher quality ranks - 4 and 5 recomended.

THE MASTERPIECE OF GREGOR ROZMAN
1992 - 1997 OPUS

NOTE: The songs composed by Gregor Rozman are marked with © in forth of the year. The songs that are registered to other authors, but greatly variated or improved by me, are not marked. If thou wouldst download (no upload wanted) and listen the whole masterpiece (all 86 songs), than please decide which five songs thou like the most (composed or covered). E-mail votes for the best five songs in the proper order by filling the form in the "HAVE A CLEF!" section. The first receives five, second four, third three, fourth two and fifth one "clef". The song with the most clefs collected in a month becomes "Ambrosia of the month". The results of voting will be published every month (also in Have a clef! section) at the end of this page. Dost thou agree that casting yer five votes would be at least what ye can do to evaluate the work of one of the most tallented midi classical chamber music composers?

I. Apparition 1 1996 1:19

This short song is practicaly an introduction that must not be played loud. There is a cold feeling about that one; as cold as encountering the apparition could be... Covered.

A song starts with the explosion of long forgotten isle of advanced civilization of Atlantis that drowned in the south Atlantic ocean as still unknown catastrophy occured. That is why the song is sad. Few survived. Yet those who lived quickly forgot about the glory and achievements of Atlantis, only legend lived in their minds. What a pity for all mankind, that was forced to develop once more to the level it once posessed. The main mellody is created by high oboe and high basson. Slow strings make great escorting. The middle part of the song is mixture of flute, clarinet, french horn and also oboe with basson.

III. Attonement (we should be together) 3 1996 1:54

Although this song was ment to be a ballad, I later change its basics with “psychological atmosphere”. The tinkle-bell sound in the background creates an unstable feeling of twisted mind when listening.

This one is a proud battle song with the rhytm of action or parade, though the quality of mellody is lacking a bit. That is what every battle hymn should sound: lots of timpani (war drums), brass bass with french horn, low strings…

V. Behind the mirror 2 1994 1:46

The celesta or vibes (the second mentioned instrument is better on SBawe64 while the first prefers SBawe32) escorting the main mellody of this one makes the glass to break ensorcereling the legend of the paralelle world behind the mirror.

This song creates an environment of space, cosmos and a feeling of loneliness. Pluto is not the last of sun system's planets. It has a twin brother - Charon. But, are those two the very last two planets in our sun system?

In the dark and spooky night, traveling across the graveyard can be really “romantic” (to listen the singing of wraith and tortured souls, freezing underneath the tombstones)... Instrument no.054 was replaced by self recorded 'mezzosoprano.wav' in soundfont bank no.000 of my 4gmgsmt.sf2 and not in fundamental C in which tone standard sounfonts are based. So dost thou not be surprised if the tunes do not match when listening through different sound font banks.

Rather short song. It has significant rhytm.

This midi was ment to be included in volume 1, but was edited separately. It has the horror ending to the vol.1 chorale.

One of rarely happy songs reminds thee of circus carneval going through the newly established french puritan village of the collonies of North America (somewhere in eastern Canada).

XI. Court feast ball 2 1996 1:32

The courtesy of men to impress women on the court feast and dance. Flute, recorder and the escorting have a significant role in this one.

Listening the song gives thee confusion and spookiness. In the long deserted mines a giant worm resides. It feeds on the bones of men who braved those mines. It has stony skin and is undefeatable.

XIII. Crying 3 1996 1:11

The whistle or ocarina for main mellody and string-pizzato for escorting make the song cry and tears to fall. There is a short grotesque story about that song that I wrote when composing this short song. Once a young boy wanted to cure his blind sister and learned about the tears of the queen of the dead, which were a cure for blindness. Boy ventured to get the elixir, but was killed by the ghouls when entering the unknown underworld - domain of the queen. A small ghoul went to the blind girl that night, crying at her bed. His tears fell... When she woke up in the morning she was able to see; yes, able to see a rotten corpse of her ghastly brother beside her bed.

Freezing the time lasts as the film slowly and slowly becomes the picture and stays frozen. I wonder what is happening in paralelle much faster time and space continuum. Is there unknown force moving among us and our world that is from their aspect frozen in time. Another song of an unknown dimension. A song with rhytm of 'round dances' of Balkan nationalities that are so hostile to each other, a man would like to freeze them in time that the children, women and wounded could be carried out of the battle fields to real care.

That song has that rhytm and that mellody-vawes, that connect the whole song to the completion. A song for “jiggle dance” of the middle-aged castles of anglo-saxon counties; also a dance song for the legendary male faerie creatures. If thou have 1-16 channel midi player, thine ears will be able to hear a laughter of that short and naughty 'thing'.

XVI. Dark rider 2 1996 4:36

A 'modern' classic. The song is missing the connection between oboe solo and the excorting orchestra with church-organ. The song is a covering of a modern dance song. I tried to make the song into melodic whole, but was forced to drop it as the re-mix source of this song has no musical fundament but the dance rhytm. I did not cover the song from dance label to classic label because I would like the song, but because of possibility of improving the mellody that is cut in so many parts, that did not work out...

Death is my passion and my love goal. Not fame, not riches of this world neither beautiful women... All of that, even the sweetest desire to live, yields to my death wish. I wish death to accur at the end of the first half of my life. If not, I will have to accept living in the old age. Yet there is an entity, which defies death. This entity is of musical nature. So the song is an ode to Anubis of Two-lands. This song is one of my first and that is why it is so short and so beautiful.

One of better songs. Eleven midi-channels used, so if thou dost not have sixteen midi-channels media player, thou willst not hear the river of lava. Slow strings express the rope-lowering to Hades, the antic-greek legendary underworld of dead. When timpani drum joines the mellody, it creates a feeling of reaching the hot moulted lava floor with small hard rocks to walk (jump) over lava river.

The song gives the listener a feeling of slow and continual rising in the sky with strings and harph. After rising, oboe solo means the flying above the antic and mystic world. Fortissimo solo start also represents a jump of a dragon.

The longest song, long as a place with no escape may be. A stereo choir, string-pizzato and celesta (or vibes) keep vawing through the whole song, creating a "looking for escape" 3D sound surrounding. The song is a little boaring and too long.

XXI. – XXVI. Duo for viola & cello and symphonic orchestra

Regardless to Guitarium, this quintal duo was all composed or covered in 1996 and has one similarity about which all these songs can be recognized: an element of water.

Proud introduction to my first classical quintal musical work (the second is Guitarium).

1. Poseidon 4 1996 5:16

The first of five songs is about summoning the Poseidon, a god of sea. His appearance appears above the sea surface, when bass strings join the harph and “famous” duo.

2. Mermaids 3 1996 2:30

The second starts with accoustic guitar and is joined by cello and later by viola and ocarina or whistle. The last of the mentioned instruments means the singing of mermaids.

3. Rhyme of an ancient mariner 3 1996 3:05

The third one is about an ancient mariner that dived to the bottom of the sea. The duo is "far away", so it gives the feeling of soul singing in depths of sea, mariner dived into (the same title as the lyrics of Samuel Clemence is only coincidental).

4. Eternal Villain flame 3 1996 3:59

This one is as a bright blue flame, cold to the touch, slowly burning. The song begins with guitar and is excorted by slow, soft strings. Viola and cello slowly join the main mellody and begin to take control of the entire song mellody when guitar stops playing until the basson end. The very end of the song is “the end of Villain flame” after the last of the keepers of the flame died...

5. Aqua (epilogue) 3 1996 1:44

A perfect fifth song for ending this quintal duo, as end of song fades out – the drowning of long forgotten isles of Atlantis.

Very beautiful song indeed. An antic-greek expression is conjured, an expression of the fields in the Hades that are the other side for all good of this side that was chosen to die someday. First time whistle and then oboe, they both exchange their solo position through the song, yet whisle is the first and oboe the second solo.

A song was composed with fundamental low bass strings, timpani and big-volumenal bells (listen the first 34 measures of song). The second part of a song also includes higher strings, oboe and organ. It is not yet finished (I think, I will never end the song, for it has no way out), that’s why the song title is added “long version”.

Definition of this song: battle hymn with the victorious and enough guts for rebellion. One of my rarely composed heroic battle songs.

XXX. Fistful of snow 2 1994 1:54

A snow song and sort of “winter romanza”… It is snowing. Listen… The harph and the strings make that almost perfect winter and snowing impression, as the harp represents falling snow and strings represent the footsteps just made and in progress by “snow-happy” child.

A bassoon solo. Thirteen midi-channels in this song included. Have a 16 midi-channels media player and thou wouldst hear the proper ending of this 'elemental' song. Another song I am so proud of. A real classical “muse” and short symphony. In the ancient time, in the old times of ancient Greece (before famous philosophers’ era) there exsisted a common belief in the four elements: earth (Gaia), water (Poseidon), air (Uranus) and fire (Hephaistes). Later came a belief, that all of the four elements together once formed the fifth element – life (listen a heart-beat).

This is a song of shapeshifting. Legend has it, that shapeshifting is a process of turning the beasts of night to a normal human beings after sunrise or after being seriously wounded. The song starts with the evening atmosphere and ends with flute as representing the dawn of morning and first sun beams – a relief to all living and sleep to undead. It is so that human praises a sun beam more than a moonlight.

Song is slow. It reminds me of times when I liked heavy metal music. As many youngsters I too had a very excentric youth. In this song bass strings repeat the rhytm through the all song (it is like thrash metal riffs of bass guitar repeating endlessly). Ghoul walks slowly... It cannot walk faster as it does. It is a human corpse, rosen from the grave or unburied, brought to life by mystical forces. It feeds on the flesh of young and alive because it needs to restore the ectoplasmic power that keeps the miserable undead creature able and willing to exsist.

In (Two-lands) ancient Egypt ‘t was Nephertari (who was only half-godess). Her beauty was such, that in her presence beggars, people of Two-lands, pharaohs and even gods turned away to wheep. But, now, there lives a maiden in this world that is so beautiful that she is my goddess of beauty. The song is one of the most beautiful ones. This mellody is so beautiful, yet slightly sad as the woman, my goddess of beauty, is for not knowing me.

XXXV. – XL. Guitarium

Guitarium was composed in different times, so mellodies may prove to be of contrast to one another. It is a guitar solo collection which will increase in 1998 (just working on it).

@ Spring (Introduction to Guitarium) 4 1997 0:32

Short intro. with slow strings and guitar solo.

1. Confusion 3 1995 1:30

The title is because of somewhat confused trailing, medium mellody and first guitar. All three mellodies are the same, yet they trail one another and are differently transposed.

2. Heaven 4 1993 1:37

That is a real representation of skills of three solo guitar-players. It is trailed by soft slow strings that represent a 'sky-way' to haven.

3. Musicuum 5 1994 1:48

The finest of all guitar solos. Although it is not really a guitar solo, as all instruments play significant role in this song, it was selected to be lead song of Guitarium, regarding to its high class and not its baroque music style.

4. Sunrise 3 1996 5:00

This was originally entitled “Song for my children”. Author unknown. It is the cower of the song - I only improved the song to 3D surrounded sound and changed instrumental definition. Piccolo is solo in this one, but recorder, oboe and guitar have significant role. Because of endless guitar parts and thus sometimes boring listening of the song make this one in rank three out of five.

5. Hallucination 3 1996 1:53

Like previous two songs, guitar is not really a solo, but an escorter, yet all other instruments do not overtake the solo part, as they all change solo positions through the song.

Sneaky song. Some sort of battle song with lots of breaks and turnovers. A song of dark places in unknown dimensions of witchcraft era.

Regardless to volume one song, this, second song of the shadows is rather calm. The song bears a tale, or legend if thou likest, of where do all shadows hide after the dusk in the night. To other dimension?

XLIII. Hunting 3 1996 0:48

Hunting song. Listen the french horns and piccolo. Rather short. Origin unknown.

Summoning song to the demon which finds the way from the other dimension to be summoned on this world in the circle of a flame, that it can not escape even if it beats the summoner down in blood stains to his still beating heart.

XLV. Ice caverns 2 1993 1:45

Cold song. Piano, triangle, drum and oboe solo.

Carefully on the thin ice! Slowly transfer the weight of one step to another. The song is a harp romanza (this time oboe and bassoon aren't solo) of late-baroque music style.

XLVII. Land of the rising sun 3 1996 3:26

Distant land on the east… So long unknown to the ancient civilization of the centre of the world. Koto, shakuhachi and pan-flute are the significant instruments in this one. I wished bass strings to be more trembling as they are in 4gmgsmt.sf2, so I changed them with extra SBawe64gold soundfont instrument (tremolos.wav). User needs to do the same if not satisfied with sound performance of one of the 128 instruments.

Perhaps my greatest song, perhaps my best mellody. It is a trumpet solo as I decided after testing all the favourable instruments I thought to include. Every person who listened this piece of art was very delighted about the mellody. It is really a sad heroic ode to a fallen hero who yield in front of the wit foe. Oboe half-solo and bassoon escorting sound very convincing as the bell chimes and timpani thunders the softness of slow strings.

Short and slow song. Slowly lava stream eats the surface and flows towards inhabited valley of Pompei… So slow, yet so little time to run for thy lives.

L. – LIII. March of Camelot

Symphony of four of my better songs with five symphonic sentences (one better than another).

Battle hymn as the war cause has been set and thus the knights of rounded table challenged. A cause for the battle for a castle of Camelot. Parade drums give the significant value to this symphonic sentence.

After the war, survivors and dead are counted (the first symphonic sentence of the ballad). The second symphonic sentence of the ballad lifts the spirits of the fallen in the sky to meet their final judgement at Valhalla.

A consequence of this war is king Arthur’s victory over the traitorous alliance. Celebrations can start and congratulations are in the order of the day...

Merlin used his magical powers to restore and thus re-built the nearly ruined castle of Camelot. Listen the sliding sound (left and right).

Slow battle song. Slowly building up… It has no main or solo mellody.

Dance of the rodents in the sewers. Now one here, now one there. Then nothing more, until the whole “nest” moves by…

Horrible song. There is no escape from this monster’s grasp. The only way to stay alive and not eaten is to be quiet… So sneak around like the breaking mellody of this song does.

The echoes of french horn can be heard in this one and solo trumpet mellody in the introduction of the song, which is followed by calm mellody.

The most beautiful song I’ve composed so far. It could not be real operetta because of the midi music format. I once planned a solo with possible mezzo-soprano (notes of two choir A in the file) and record her singing with this midi escorting mellodies. But my dreams did not became real. Opereta sings about the beautiful Nemesis who was the ancient greek goddess of revenge and divine executioner of mankind. Her invisible bow and quiet arrows from never-empty quiver sang a deadly song. We could say, she was (what we now legendary think when talking about unavoidable destiny and end of life) - a death.

Bloody song. The walls are blood red. Nosferatu has been slain. But the beast will rise again as this disease of blood never ends. The song of special instruments that do not suit one another in normal classic songs or symphonies: tremble piano, slow strings, taisho koto, church organ, bariton choir, pizzicato and timpani.

The first song of misteria as the pulsar in orion misterical can be. The instruments in this one are: guitar, strings, flute, choir aahs, french horn and rhytm (strings-pizzicato and glockenspiel).

The second volume of the Orion pulsar consists of mainly same instruments as its 'preluding brother'. Only flute excluded. Extra instruments are basson, oboe and rhytm program (midi channel 10). Check out 'guitar double 3D' if having SBawe64gold or 'guitar double' if having only SBawe32.

A legendary underground orthodox dwelling of the legendary evil race orcs, who came out to punish humanity for their bad behaviour. The song is a “battle hymn ballad”; hideous isn’t it – in one part innocent ballad and in the other... Listen the 3D changing of the pipe flutes.

A pact with death is billaterral treaty, between the dark one and the very death, when first deity in the land has no control over the evil forces. Although spiritual meanings of the song are very significant, song is naturally a battle-hymn.

She is a mage. A mage studying 'destructicum', a negative mages study, repelled to destroy. Her foe is to be burn alive! The song has a magickal peril and slow flame atmosphere. Short song, as short is spell casting and as short the effects of spell last.

Another fine and soft song. Three-partial solo: oboe, recorder and clarinet. When I want to change my current 'aggressive mood' to more pleasant one, I listen this one. A peaceful and silent short symphonical sentence with the birds singing escortion (that makes the songs quality rank equal five). The perrenial garden – the long lost paradise – so fresh, so green and white - a place where thine dreams come true - a place of warmth, love and prosperity; this garden shines bright. Its end is the end of all light...

LXVI. Pharaoh's rest 3 1993 2:36

This song’s origin is in “Godrest”. I greatly improved and thus covered, that song which now rightfully bears my name.

LXVII. Rain and vawes over the lake of Gaia 3 1993 1:37

The very first rain disturbs the surface and causes the vawes on the lake of the first artificial generated planet Gaia (goddess of earth by ancient-greek mythology). This feeling is ensorceled with piano and muted acoustic bass. The mellody is richer with oboe and basson and is escorted by the rain all the time.

Song of action and riding in the wind. Sort of a battle hymn after the introduction. I named it also the western scene movie song but it can also be used in other prehistorical movies including fast horse ride. All brass instruments with strings says it all.

The rising can not be stopped by merely mortals. The Titans are slowly awakening… A really titanic song (lend an ear on forte timpani and tambourine). A huge song by meaning, yet so short in time.

The greatest “spiritual song” I wrote so far. In dark cathedral a ritual takes place. As may be dark outside, in our minds a monk in dark coat enlightens our thoughts... Although we can not see his face, the ritual is all that matters. After that his misterial figure vanishes into darkness. The song creates a listener wonderful gothic monestery atmosphere. The main instruments are choir, oboe solo and church organ ofcourse, all escorted by three slow strings.

Good french horn solo song. It is song about slow march through the desert. It should play faster, but I wanted to compose slower one – camel is slower than horse. Around the desert of Sahara on a quick and thirsty Arabic horse or cross the desert of Sahara on slow, but moisted Egyptian camel?

One of greatest misterial songs. Medusa’s look was petrifying… Her head did not have hair, but alive snakes instead. That was her curse for angering the Zeus with beauty complex and jealousy.

Look in the bright blue skies and imagine to fly in the rhytm of modern waltzer, then close thine eyes and listen the oboe solo with scale velocity changing and the escorting of choir.

One of my classical spiritual songs. The main instruments are church organ and oboe tremble. The spirit is a misterial entity. When we die; where will it go? Will it just disappear? Still remains a great mystery as Darwin's hypothesis is believed to be wrong. Are we really monkeys or supreme power creations?

LXXV. Sri Lanka 3 1996 1:28

Good oriental sub-tropical song with mainly shakuhachi with shamisen and tremolo strings escorter. Koto later joins the show in quite boring tunes.

Great symphonic sentence with changing scale velocity and mellody full of breaks. Indeed, symphony of war it is: in some parts sad in some parts fighting spirit.

Praise the strongest half-god, who was strong in his good deeds for mankind as in battle, fighting evil minions of gods in the theater of Olympicus. French and later english horn solo fighting ode with left and right trombone echoes.

Another soft and beautiful song of after-ancient era. Like the other songs of that kind, this one includes clarinet, oboe, basson, harp and strings. Sometimes I feel like my very soul has been transfered to somekind of a void - I just stare, not thinking, lacking subconsciousness, deaf to surroundings. This is the song about that feeling.

Ah, ancient Egypt - Two-lands - buried in the sands and ruined by Arabic Musleems, I always loved ancient songs of thine and I composed that one. The song has no strict mellody and rhytm. It has no melodic order, we might say, but I tried to compose a real egypt mistic song. Three of the typical instruments of this music label are included in this one: sitar, ocarina and oboe. The low strings and bassoon give the song more symphonical sounding.

The curiosity and unknown subterranian corridors are leading us to the Underworld that is, what we think, inhabited... Inhabited by whom, with what?

The glory of each victory has significant value to one victorious, as this song has significant value to me.

Soft spooky song. Only heard souls can be from the other dimensions, only heard and nothing more, so: listen carefully this song and its vocals for it has been greatly improved in my second edition…

W7, the gallaxy. There are so much, that we do not have names for all of them… This song is short and somewhat confused. It is rather impressionistic.

Quiet song. An ode to the returning to the home village… People are gathering and saluting their ex-villager. The happy memories of the childhood are brought back and live in the present. A tear in the eye. So many home people will never be seen by me again as they died of disease or in battle. Only few remain in that long forgotten village.

LXXXV. Wings 2 1996 3:41

To fly... One of the longest impossible goals claimed by mankind. Was this goal achieved in ancient Atlantis and then destroyed? The ocarina in the song is trying to tell that, but is not loud enough, so it remains a mistery…

French horn / basson introduction to this song creates misterial atmosphere of the world beyond our own. Dost thou dare to approach the world beyond our own - a world of unknown paralelle dimension - well, dost thou?

INSPIRATIONS

Thou shallst find inspirations of Gregor Rozman on the four pages of his four world greatest componists of all time and on a special page for other known world componists. His favourite four componists are mentioned in this "favourite" order: Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Piotr Ilich Tchaikowsky.

HAVE A CLEF!

Vote for midi classical songs of the masterpiece of Gregor Rozman, opus 1992-1997 (chosen between 86 files above). The ambrosia of the month of January are all the files ranked with no5, as this site was then established and all the songs were seeded with the authors starting ranks. The voting is possible by sending thine e-mail (one vote makes five songs per month). The votes received by the end of first month will count in the ambrosia of the second month. It is selected in advance (for example: in the whole January is voted and on 1st February selected ambrosia of February). Here is a mailing form (we need to know the adress if thou win the contest at the end of the year - you can stay anonymous and not get the eventual prize):

Vote and win a full CD with audio recorded finest work of Gregor Rozman. The CD includes his first four suites: "Atlantis", "Antica", "Crusades" and "Gothic" (all parts of suites are on this page but in midi format).

At the end of the year 1998 (actually in the beginning of December) all votes will be counted and a voter with the most clefs collected for the winning song - Ambrosia of the year 1998 - will recieve this CD.

7 seeded Ambrosia of January Death (ode to Anubis) 5 Guitarium, Musicuum 5 Last song of a fallen hero 5 March of Camelot, Ballad (weeping fields) 5 Nemesis 5 Perrenial garden 5 Ritual of enlightenment 5	~~VI.~~ CURRENT TOP STANDINGS FOR CONTEST AMBROSIA OF THE YEAR 1998 1. Last song of a fallen hero 35 2. Four elements 33 3. Perennial garden 32 4. Guitarium - 3. Musicuum 31 4. Seen by Medusa 31 6. Nemesis 30 7. Goddess of Beauty 28 7. The void 28 9. Elysian fields 27 9. Atlantis 27 10. Death (ode to Anubis) 26 11. Orion pulsar, vol.1 25 12. Dragon in the skies 22 12. Ice steps 22 12. Ritual of enlightenment 22 15. Orion pulsar, vol.2 21 16. Descend to Hades 20 17. March of Camelot - 2.Ballad & 3.Weeping fields 19 18. Dance of the faerie king Joker 18 18. Tutankamon 18 20. Symphony of war 17 21. Welcoming ode 16 21. Pharaoh's rest 16 23. The almighty Hercules 15
Ambrosia of February Nemesis 7
Ambrosia of March Elysian fields 10
Ambrosia of April Tutankamon 10
Ambrosia of May Four elements 11
Ambrosia of June Last song of a fallen hero 10 Guitarium - 3. Musicuum 9 Orion pulsar, vol.1 8 Pharaoh's rest 8
Ambrosia of July
Ambrosia of August
Ambrosia of September
Ambrosia of October
Ambrosia of November
Ambrosia of December

'Twas a great honour counting ye to who tasted Ambrosia since the 1st March 1998.

M I D I M A S T E R P I E C E