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Evgeny Svetlanov - Mikhail Glinka - The Best Symphonic Works

Evgeny Svetlanov - Mikhail Glinka - The Best Symphonic Works
ID: MELCD1001449
CDs: 1
Type: CD
Collection: Orchestral Works
Subcollection: Orchestra

(7) - Bolshoi Theatre Symphony Orchestra - Evgeny Svetlanov, conductor
(1- 6, 8 - 12) - State Academic Symphony Orchestra of the USSR - Evgeny Svetlanov, conductor
16.00 eur Temporarily out of stock

J. Brahms- German Requiem (Ein Deutsches Requiem, Op. 45), (Live) - For Soloists, Chorus and Orch. In Seven Parts

J. Brahms- German Requiem (Ein Deutsches Requiem, Op. 45), (Live)  - For Soloists, Chorus and Orch. In Seven Parts
ID: MELCD1001445
CDs: 1
Type: CD
Collection: Requiem
Subcollection: Voice and Organ

Recorded in the Great Hall of the Moscow Conservatory in 1977, this performance by a famous Russian choir demonstrates their sonorous chorus technique and sound. The powerful basses give an added dimension.

The traditional Latin text of requiem mass repeatedly attracted attention of the most prominent composers in the world history. Some of them could discover new contents of austere divine service texts - that was the way the masterpieces like Mozart’s and Verdi’s ones appeared. The German composer of the 17th century Heinrich Schutz was the first who turned to the scriptural texts in his mother tongue translated by Martin Luther. Johannes Brahms followed him and named his requiem “German”. The passages, taken from Old and New Testaments and united in the composition, do not correspond the established order of the requiem mass. Probably, Brahms’ “Requiem” is some meditation on caducity of human life and inevitability of physical death that is expressed in vocal and symphony genre. Brahms was hatching the idea of this composition within ten years. His close friend Robert Chopin’s tragic death became some “starting point” of the idea. Moreover, his mother’s death served as reasonable grounds for completing of what had been started. The Old and New Testaments texts united in the composition form the basis of seven diverse parts. The first and the last parts - “Blessed are they that mourn…” and “Blessed are the dead…”- organically frame the cycle. The meditation on Death (“For all flesh is as grass…”) in the second part is balanced by the idea of Resurrection (“For here have we no continuing city…”) in the sixth one. The mournful third part (“Lord, make me know mine end…”) finds its consolation in the fifth one. The central part of the Requiem “How lovely are thy tabernacles” makes gradual transition from sorrow and mourns to hope for life after death. The Yurlov State Academic Chorus was named after Alexander Yurlov soon after the death of the talented musician and choir conductor. His unexpected death happened when the choir was rocketing to its peak of mastery. The group was obliged with this success to its brilliant leader. Within those fated 15 years that Alexander Yurlov and the choir worked together (1958-1973) they won fame of the best alliance of the singers and the conductor in the Russian chorus music of the Soviet period. Juri Ukhov who worked as chapel master of the choir since 1964 was brought up and matured in the heart of the choir. At that time he was a witness of brilliant performance of Brahms’ “Ein Deutches Requiem” and “Schicksalslied”. Several years later he got an opportunity to perform “Requiem” in the concert. The recording from the Great Hall of Moscow Conservatory gives the bright idea of the sonorous chorus manner of singing that was made of mellow timbre of female choir, silver ringing of tenors and powerful basses. The latter were especially valued for their uniqueness and fascination in our country.



Nadezhda Krasnaya (soprano), Sergei Yakovenko (baritone)
Moscow Philharmonic Orchestra, Dmitri Kitayenko
The Yurlov State Russian State Academic Choir -Yuri Ukhov
16.00 eur Temporarily out of stock

Samuel Feinberg - Concerto for Piano and Orch. No.2 - Suite for Piano No. 2 - Beethoven - Piano Sonata No. 11

Samuel Feinberg  - Concerto for Piano and Orch. No.2 - Suite for Piano No. 2 - Beethoven - Piano Sonata No. 11
ID: MELCD1001005
CDs: 1
Type: CD
Collection: Piano Concerto
Subcollection: Piano and Orchestra

Beethoven:
Piano Sonata No. 11 in B flat major, Op. 22
Recorded in 1960

Feinberg:
Concerto for piano and orchestra No.2, Op. 36
Recorded in 1946

Suite for piano No.2, Op. 25
Recorded in 1939

Samuel Feinberg (piano)
The USSR State Symphony Orchestra, Nikolai Anosov
16.00 eur Temporarily out of stock

Khachaturian - Piano Concertо in D-Flat Major & Symphony No. 3 - Yakov Flier (piano)

Khachaturian - Piano Concertо in D-Flat Major & Symphony No. 3 - Yakov Flier (piano)
ID: MELCD1001006
CDs: 1
Type: CD
Collection: Piano Concerto
Subcollection: Piano and Orchestra

In Khachaturian’s first masterpiece, the outstahding Piano Concerto in D flat major, composed in 1936, his own personal style is organically intertwined with the groundwork of the genre’s history. A priority for the composer was the romantic model of the piano concerto. The key, the sound image and the textural aspect of the concerto’s initial theme are close to the theme of the introduction of Tchaikovsky’s First Piano Concerto, whereas the general principles of the dialogue between the piano and the orchestra are similar to Rachmaninov’s Piano Concertos. That for Khachaturian the main sense for utilizing sonata form is, first of all, in establishing the contrast between the themes-images, we are convinced by the first movement of the Concerto Allegro ma non troppo e maestoso, in D flat major. The monumental romantic main theme, endowed with a flavor of Eastern exoticism, is stated in the first movement three times: at the beginning of the exposition, at the beginning of the recapitulation and after a spacious cadenza, in the place of the coda. Its middle section presents itself as a concentration of piano virtuosity.
16.00 eur Temporarily out of stock

Tolibkhon Shakhidi - Sado, Death of Usurer, Siyavush, Rubai Hayam & Clarinet Concerto

Tolibkhon Shakhidi -  Sado, Death of Usurer, Siyavush, Rubai Hayam & Clarinet Concerto
ID: MELCD1002007
CDs: 1
Type: CD
Collection: Orchestral Works
Subcollection: Orchestra

This CD reveals the creative genius of remarkable Tadjik composer Tolibkhon Shakhidi. This is festive music from the East in all its burning beauty. It is superbly performed by both orchestras conducted by the world renowned Valery Gergiev.


(1 - 9) Valery Gergiev: London Symphony Orchestra
(10 - 12) Valery Gergiev: Orchestra of the Mariinsky Theatre
16.00 eur Buy

Arensky - Symphony Nos. 1 and 2 and Overture to Opera "Dream on the Volga, USSR Symphony Orchestra - Evgeni Svetlanov

Arensky - Symphony Nos. 1 and 2 and Overture to Opera "Dream on the Volga,  USSR Symphony Orchestra - Evgeni Svetlanov
ID: MELCD1000149
CDs: 1
Type: CD
Collection: Orchestral Works
Subcollection: Orchestra

16.00 eur Temporarily out of stock

Works for Violin & Guitar: Gragnani - Paganini - Giulini: Kogan,violin

Works for Violin & Guitar: Gragnani - Paganini - Giulini: Kogan,violin
ID: MELCD1000655
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Violin and Guitar

Giuliani, M:
Trio for Cello and Guitar in A major
Gragnani:
Duet for Guitar and Violin in A major
Sonata for Violin and Guitar in F major
Paganini:
Sonata for Violin & Guitar No. 1 in A major
Sonata No. 10 for Violin and Guitar in A minor Op. 3 No. 4

Leonid Kogan (violin), Alexander Ivanov-Kramskoy (guitar) & Fyodor Lusanov (cello)
16.00 eur Temporarily out of stock

Evgeny Kissin (piano) - Rachmaninov - Scriabin - Prokofiev: Russian Piano School Vol. 4

Evgeny Kissin (piano) - Rachmaninov - Scriabin - Prokofiev:  Russian Piano School Vol. 4
ID: MELCD1000749
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

16.00 eur Temporarily out of stock

Armenian Sacred Music of the 5th-8th Centuries - Ensemble of Ancient Music of Armenia

Armenian Sacred Music of the 5th-8th Centuries - Ensemble of Ancient Music of Armenia
ID: MELCD1001747
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Ensemble

( 1 - 18) - arr. Yervand Yerknanian

Armenian Sacred Music of the 5th-8th Centuries - Ensemble of Ancient Music of Armenia
Armenian sacred music is one of the most ancient branches of Christian culture. Armenia’s church singing tradition took shape on the basis of its ancient music culture which has been in existence for more than three millenniums. So, the initial branches of the ancient Armenian music - peasant, goosan (music of national singers and poets) and cult (heathen), as well as its monodical (one-voice) rhyme were formed back in the 3rd century BC, during a period when a single-language state was in the making. With adoption of Christianity in the year 301, creation of the Armenian written language, and translation of the bible into the Armenian language (the 5th century), the foundation for development of the Armenian Christian church music became available. The very first sharakans (sacred hymns) were composed by St. Mesrop Mashtots (the creator of the Armenian written language) and St. Sahak Partev (Mashtots’ associate, a supreme patriarch, scholar and translator. The term sharakan originates from an Armenian word shark which stands for a number or succession, and means a sacred song canonized by the church and include in a series of hymns collected in Sharaknotse (Gimnaria) in course of time. These numbers of sacred hymns traditionally included pieces of three genres - ktsurd (troparion), katsurd (kontakion), and canon. Katsurd (kontakion) began to develop in the Armenian sacred arts in late 6th century. The hymn ‘The Souls Who Dedicated Themselves’ by Catholicos Komitas Akhtsetsi is one of the outstanding and highly artistic katsurds of the 7th century. Beingfully based on the national tradition and distinguished with special melodiousness, this piece by Komitas raised the art of Armenian sacred songwriting to a new level and facilitated its further development. Catholicos Nerses Shnorali (12th century) was one of the prominent and most esteemed writers of sacred hymns. His works enriched both the poetic and musical language of the Armenian sacred hymnody. Thanks to him, rhyme became finally firmly established in Armenian poetry. Composer, a laureate of the State Prize of Armenia (2009), Yervand Vaganovich Yerkanian was born on 5 November, 1951, in Leninakan. In 1975, he graduated from the Yerevan Conservatory. Yerkanian is one of the most known and distinctive representatives of contemporary Armenian music. He is an author of numerous works created in various genres - operas, ballets, symphony, chamber and vocal compositions. Historical themes have always been the basis of the composer’s work. In 1987, Yerkanian became an artistic director and conductor of the instrumental ensemble Tagaran. Since then, the ensemble’s repertoire was promptly filled with wonderful renditions of sacred hymns, and very soon after that the ensemble’s name got a world-wide recognition. All renditions and arrangements of the compositions on this album have been done by Yervand Yerkanian. Armenian Sacred Music of the V-XIII Centuries. Edited and arranged by Yervand Yerkanian (1 - 18) Tagaran, Ensemble of Ancient Music of Armenia Artistic director - Yervand Yerkanian. Tagaran: Karen Shushanian, flute; Dina Khusnunts, flute; Zhirair Tigranian, oboe; Grachia Grigorian, bassoon; Lilia Karapetian, percussion; Tereza Voskanian, organ; Sahak Karapetyan, violin; Gayane Topchan, violin; Tigran Yerkanian, viola; Sarghis Gonosian, cello Soloists: Greta Antonian, Ruben Telunts, Grachia Niksalian, Vardeni Davian, Ovsanna Nalbandian Sound engineer: A. Vetr
16.00 eur Temporarily out of stock

Russian and Bulgarian Spiritual Music - Chesnokov - Christov - Dinev and etc... (Live)

Russian and Bulgarian Spiritual Music - Chesnokov - Christov - Dinev and etc... (Live)
ID: MELCD1001701
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Voice and Choir

16.00 eur Temporarily out of stock

 
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