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Vocal Collection, page 34

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A. Cattaneo - Trazos - Trío - Concertino - Ensemble Espai Sonor

A. Cattaneo - Trazos - Trío - Concertino - Ensemble Espai Sonor
ID: STR33893
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Voices and Chamber Ensemble

15.00 eur Temporarily out of stock

Wendy Nieper -first flight

Wendy Nieper -first flight
ID: FHR10
CDs: 1
Type: CD
Kolektion: Jazz

Recorded and mastered by Nick Taylor, Porcupine Studios.
With Special guest - Digby Fairweather - Trumpet

One of the leading jazz vocalists in the UK, Wendy Nieper is a very versatile, sophisticated jazz vocalist and a gifted scat singer. Her rich vocal colors are complemented by wonderful phrasing and great musicality. Her wide experience as a singer includes being a member of the Swingle Singers with whom she recorded five albums. She has appeared on numerous albums both as a classical and jazz singer and has toured extensively around the globe. On this album, Nieper is accompanied by a great band including the talented composer/ pianist Roland Perrin and the jazz legend Digby Fairweather. First Flight is an explosive mix of styles from Cuban to jazz and pop to funk. If you like Diana Krall, Stacey Kent, Claire Martin then we are sure you will love First Flight.

Booklet notes

When you break open the packaging of a new album and put it into the CD player, do you always start at the beginning? Maybe it is years of building radio programmes and reviewing CDs, but I tend to make for the standards first. Of course it is interesting to hear completely new music - and there’s plenty of it on offer here - but I confess to having started listening to this album with Good Bait and Ponciana. The reasoning goes that you’ll quickly get the measure of a singer and her accompanists according to how they tackle familiar material.
I wasn’t more than half a bar into Good Bait when my ears pricked up. Here was Tadd Dameron’s epitome of a four-four swing theme transferred into a dancing 6/8 rhythm. After a quick zip through the vocalise of the verse, a nice scat chorus is followed by some deft unison between voice and piano. Meanwhile, Ponciana escapes nicely from the shadow of Ahmad Jamal, and becomes a fresh-sounding piece, with some inventive vocal harmonies on the introductory theme and a sweetly sung chorus that steers a neat course between the gauche ingénue qualities of an Astrud Gilberto and the more knowing approach of a Julie London. Clearly Wendy Nieper is a singer who is prepared to tackle familiar material with originality, and she is paced every step of the way by pianist and, on several tracks, composer, Roland Perrin.
I knew Roland’s work from the Blue Planet Orchestra, and as a pianist who had worked with many visiting stars, especially the South Africans in exile who had congregated around the Brotherhood of Breath. I had not realised that like Wendy Nieper, he had a foot, if not an entire leg, in the classical world as well.
For pianists, there are plenty of precedents for straddling the classical and jazz worlds. Fats Waller and James P. Johnson were both accomplished classical players, as was Art Tatum. Bud Powell recorded his personal take on J. S. Bach, and more recently both Chick Corea and Keith Jarrett have moved effectively between the worlds of the Mozartian concert hall and the jazz club. It is less usual for a singer to make a reputation in both the jazz and classical worlds.
Wendy Nieper, however, is someone who has, with duo recordings of Chopin, Canteloube, Sondheim and Bernstein to her credit.
“I focussed on classical singing first,” she told me, “because it demands that you train your voice before you reach a certain age. Classical singing involves a completely different technique from jazz, because you have to develop a core sound, and aim for very clear pronunciation. I’ve always stressed that what I do involves two very different voices. The classical voice is designed to project. It’s very loud, and has a brilliance and ring to it. My jazz voice, on the other hand, is very quiet and intimate, and it plays on things that the microphone gives you. It can be breathy; you can distort your vowel sounds for effect, and be more casual about your consonants. It comes from a different place physically, so you have to change your vocal position.”


The opening track, Blower’s Daughter makes this point perfectly, with Wendy caressing the lyric in a manner a classical singer could not contemplate. Yet the purity of her sound and her use of different registers is a clue to the rigorous training she has undergone, and her mastery of vocal technique. Originally, she had intended to give the first chorus of Solomente a classical treatment, projecting her soprano voice over Perrin’s deft classically inspired rhythmic figures. But it sounded wrong, and instead she ended up with the humming chorus that introduces Pablo Neruda’s Spanish lyrics. The closest she comes to revealing her classical voice is in the link between these and the English version of what she describes as a “landscape song”.
Landscape is important to Wendy in her own song writing. In Roland Perrin, whom she met at a house party she threw a while ago, she has found a collaborator who shares her love of terrain, and of experiment. She says. “I love singing descriptive lyrics like in Empty Beach (a song about someone lost in thought on a seashore) where it runs ‘Clouds drift high in a vast rose sky, time dissolves in a sea bird’s cry’ or ‘Holding on to a silk thin thread, of images forming then quickly shed’. We experimented with the music so that in that same song we do a contrary motion scale (piano going up, voice going down) just before the words ‘Can Echo’ which I then echo in a different key!” From our conversation, I was intrigued to learn that Digby Fairweather’s Harmon muted trumpet here is representing a seagull!
Tree also explores landscape themes, although Wendy confesses this song has been with her a long time, saying, “The rhythmic theme came from a ditty that I wrote as a kid. And Roland kindly made it into something real and quite different.” Their partnership nods in the direction of the jazz tradition as well, on the quirky Monk-ish What’ll it be?, which was written about a waitress in a restaurant where Wendy once worked in Richmond, Surrey.
Overall, the album is a highly successful blend of new takes on old material, and new takes on new material. Although she and Roland had met and discussed the music before the session, Wendy stresses that it was recorded in the age-old manner of jazz records, where four musicians who had not recorded together before arrived on the day and played music that was new to all of them. Each take was an adventure, and the same applied to the second day of recording when Helder Pack replaced Guy Silk for another voyage into the unknown. And as a bonus, Wendy adds quite a few improvised sections at the end of the songs, scatting or humming as an instrumentalist, playing off her fellow musicians, and turning the entire album into a genuine musical conversation, which like all discourses, runs deep and shallow, and hot and cold, and fast and slow, as it develops.
© 2011 Alyn Shipton (Jazz critic, The Times)
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The Frostbound Wood - British Songs by Warlock - Howells, Howard and Roe

The Frostbound Wood - British Songs by Warlock - Howells, Howard and Roe
ID: SIGCD161
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Vocal and Piano

* world premiere recording

The 20th Century composers Peter Warlock, Herbert Howells, Michael Howard and Betty Roe were all inspired by the music of their country, both in the words they set in song and the music they composed. Tim Travers Brown, accompanied by Jeremy Filsell, explore the counter-tenor's role in British songwriting. Whilst Roe and Howard wrote specifically with the counter-tenor voice in mind, Warlock and Howells did not, providing the counter-tenor with a fantastic opportunity to highlight some of their best works in a new perspective.

This programme forms a delicate balance between modern styles and historical influences featuring the songs 'My Little Sweet Darling' and 'The Night' by Peter Warlock, 'The Painted Rose' by Michael Howard, 'When the Dew is Falling' by Herbert Howells and 'Noble Numbers' by Betty Roe.
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Sonett für Wien - Songs of Erich Korngold

Sonett für Wien - Songs of Erich Korngold
ID: SIGCD160
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Vocal and Piano

Erich Korngold is perhaps best known as the pioneering émigré composer whose grand orchestral scores defined the sound of film during the golden age of Hollywood. As well as this though, his output for voice in the form of Lieder and Song highlighted the strong bond that Korngold forever held with his homeland and the city of Vienna, a place inextricably linked to the High-Romantic style that Korngold so ably perfected.

This collection of songs and lieder are beautifully performed by Sarah Connolly (mezzo-soprano) and William Dazeley (baritone), accompanied by renowned pianist and broadcaster Iain Burnside.
15.00 eur Buy

What Sweeter Music -Songs and Carols for Christmas -Tenebrae -Nigel Short

What Sweeter Music -Songs and Carols for Christmas -Tenebrae -Nigel Short
ID: SIGCD182
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Christmas Music

Christmas Traditional Composer

Tenebrae is a professional chamber choir, founded and directed by Nigel Short in 2001. Often performing by candlelight, the choir creates an atmosphere of spiritual and musical reflection, where medieval chant and renaissance works are interspersed with contemporary compositions. The carefully selected team of singers use the acoustic and atmostphere of the building to enable the audience to experience the power and intimacy of the human voice.

Tenebrae has an exceptionally wide repertoire from early, through renaissance, baroque and classical music, to romantic and twentieth century works, plus a range of specially commissioned pieces, the most recent of which is Joby Talbot’s Path of Miracles. What Sweeter Music is a real festive treat, with a sumptuous collection of songs and carols for Christmas - touching on traditional favourites (Silent Night, Away in a Manger), modern classics (The Lamb, What Sweeter Music) and some new light-hearted arrangements (Jingle Bells, We Wish You a Merry Christmas).
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O. KLEMPERER IN AMSTERDAM - E. Schwarzkopf, G. Brouwenstijn - Mozart, Bach, Beethoven, etc...

O. KLEMPERER IN AMSTERDAM - E. Schwarzkopf, G. Brouwenstijn - Mozart, Bach, Beethoven, etc...
ID: GM4.0086
CDs: 2
Type: CD
Kolektion: Vocal CollectionSubkolektion: Vocal and Piano

Recording place:Amsterdam
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Pachelbel Vespers - The King's Singers - Charivari Agréable

Pachelbel Vespers - The King's Singers - Charivari Agréable
ID: SIGCD198
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Choir

The music contained in this CD represents a selection of Vespers movements written by the organist Johann Pachelbel. They have in common the distinctively sonorous scoring of four or five-part choir, accompanied by a six-part string orchestra to which is added, at the composer’s express request, a bassoon.
‘Charivari Agréable is one of the most versatile Early Music groups around at the moment; under its benign director, Kah-Ming Ng, it appears to be infinitely adaptable, finding musicians who can fit into any of its many and varied programmes’ International Record Review. They represent ‘a new and very exciting phase of the early music revival, one that enriches the existing repertory and can bring us ever closer to the spirit of the original music’ Gramophone.
Described by The Times as a group that has “stayed in character over four decades, yet retuned itself to the times” and by Gramophone as “enchanting the ear from first to last note” The King’s Singers are truly remarkable. They continue to be one of the most sought-after and critically acclaimed vocal ensembles in the world, performing a rich and varied repertoire from Gesualdo to György Ligeti and Michael Bublé. Internationally recognised for their work in the classical field, they retain the sparkle that delights so many fans when they perform much loved numbers from the lighter end of the repertoire. Whatever the music The King’s Singers are instantly recognisable for their spot-on intonation, their impeccable vocal blend, the flawless articulation of the text and incisive timing.
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One Star - Carols for a new Millennium - The BBC Singers, dir. by S. Cleobury

One Star - Carols for a new Millennium - The BBC Singers, dir. by S. Cleobury
ID: SIGCD067
CDs: 1
Type: CD
Kolektion: Choral CollectionSubkolektion: Choir

When an ensemble like the BBC Singers, renowned for its commitment to the music of our own time, sets out to record a Christmas CD you can be sure that the repertoire will include material rather different from the usual run of popular standards and arrangements!
One star at last includes eight new carols (six of them specially-commissioned by BBC Radio 3), several premiere recordings, and a selection of music - serious and light-hearted, contemplative and joyful - by some of the leading British, European and North American choral composers of the day.

Eleanor Bron - spoken vocals
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Anna Cramer - Songs - Nathalie Mees, soprano

Anna Cramer - Songs - Nathalie Mees, soprano
ID: ACDBH051-2
CDs: 1
Type: SACD
Kolektion: Vocal CollectionSubkolektion: Voices and Orchestra

Anna Cramer was born in Amsterdam on July 15th, 1873. She studied at the Conservatory of Music in Amsterdam, and on her graduation in 1897 she travelled to Germany to study composition with Wilhelm Berger and Max von Schillings. She enjoyed some early successes, and in 1906-07 several of her songs were performed in The Netherlands and Germany. Between 1907 and 1910 her songs op.1 - 4 were published in Germany.

The time she spent in Germany and Austria brought Anna Cramer into close contact with the latest compositional developments of the day. Her songs are products of German romanticism, although she created her own distinctive style. Despite not being avant-garde by the standards of the early twentieth century, Cramer was capable of writing passages of striking modernity. She felt her debt to Wagner and Strauss, and acknowledged the influence of Mahler, Wolf and Berg, but also incorporated features of folk music and cabaret into her songs. It would appear that Cramer often composed with an orchestra in mind, and Jeppe Moulijn’s orchestration of her Sechs Lieder, op.4 is a natural step forward in the exploration of her oeuvre, which is still widely unknown.

Soprano Nathalie Mees performs the lost works of Dutch composer Anna Cramer, discoverd after her death. Ably backed by the Leiderdorps Chamber Orchestra, Mees' light vibrato and monochrome approach highlights the musical treature that has been uncovered and recorded by Aluid Records: A true labour of love.
15.00 eur Buy

Moonstruck - Songs of FG Scott

Moonstruck - Songs of FG Scott
ID: SIGCD096
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Vocal and Piano

Francis George Scott is a key figure in Scotland's musical history. Often referred to as Scotland's Hugo Wolf, his poetic settings draw on material from such writers as Robert Burns and Hugh McDiarmid to convey an extraordinary range of emotions and themes.
This new recording featuring masterful performances by Lisa Milne, Roderick Williams and Iain Burnside helps to shed light on an often overlooked composer, whose work stems from both the spirit of his national identity and the tradition of the great European song composers.
15.00 eur Buy
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