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ID: ART298
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Violin
Recorded in January 2011 - Sprague Hall, New Haven, USA (Tracks 1-3, 12-14 ) Recorded in October 2012 - Stuart, Florida, USA, (Live recording), (Track 4) Recorded in August 2010 - Sion, Switzerland, (Live recording), (Tracks 5-8, 9-11)
1-3, 12-14 - Igor Pikayzen (violin), Tatyana Pikayzen (piano)
4 - Igor Pikayzen (violin), Lindsay Garritson (piano)
5-8 - Victor Pikayzen (violin), Igor Pikayzen (violin)
Tatyana Pikayzen (piano)
9 - Victor Pikayzen (violin), Igor Pikayzen (violin)
10-11 - Tatyana Pikayzen (piano) |
| 17.00 eur Buy |
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ID: ART312
CDs: 2
Type: CD
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Subcollection: Violin
Ambartsumjan Violins quartets was established in 2009 when the Ambartsumjan family (Levon, Shakhida, Alexander and Anna, all violinists)
Levon Ambartsumjan and Evgeny Rivkin (CD 1: 1) Levon and Shakhida Ambartsumjan (CD 1: 2-4, 5-7) Levon and Mary Ambartsumjan(CD 1: 8) Levon, Alexander, Anna and Shakhida Ambartsumjan (CD 1: 9-10) Levon Ambartsumjan Alexander and Shakhida (CD 2: 1-7) Levon, Alexander, Anna and Shakhida Ambartsumjan(CD 2: 8-11) Levon Ambartsumjan Shakhida and Evgeny Rivkin (CD 2: 12-15) |
| 26.00 eur Buy |
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ID: CAN33013
CDs: 1
Type: CD
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| 21.00 eur Buy |
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ID: CC1009
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Piano and Cello
Franck, C: Cello Sonata in A major
Lekeu: Cello Sonata in G
Ysaye: Cello Sonata Op. 28 /Rêve d'enfant, Op. 14
Raphael Wallfisch (cello) & John York (piano)
Raphael Wallfisch and John York perform sonatas by Eugene Ysaye, and two fellow Belgian composers most associated with him, Cesar Franck and Guillaume Lekeu.
Cesar Franck’s ever popular Sonata in A is given a stirring performance here by the Wallfisch/York duo in their first recording for Cello Classics. Recorded in the peace and tranquillity of Champs Hill, West Sussex this is the first recording Rahael made using the Stradivarius cello that once beolnged to his former teacher, Amaryllis Fleming. By a happy coincidence the wonderful studio in Champ’s Hill has recently aquired the painting of Amaryllis by Augustus John, which was hung behind the musicians and watched over the entire proceedings!
Less familiar, even to violinists, for whom it was written, is Guillaume Lekeu’s Sonata in G major. The composer lived to be only 24 years old, but in that short time wrote some of the most passionately lyrical music of the age. This is a work that deserves to be far better known.
The remaining works on this recording are both by Ysaye himself. The Sonata for unaccompanied cello is a real tour-de-force and seldom heard on the concert stage. The Reve d’Enfant is played here in an arrangement for cello and piano by John York. |
| 15.00 eur Buy |
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ID: CHRCD102
CDs: 1
Type: CD
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Subcollection: Violin
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| 15.00 eur Buy |
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ID: E140
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Violin
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| 15.00 eur Temporarily out of stock |
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ID: IMLCD131
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Piano and Violin
Zino Vinnikov (1-13
Viktoriya Bogdashevskaya, piano (1)
Vladimir Nilsen, piano (4)
Irina Sukharebskaya, piano (2, 3, 5-7) |
| 15.00 eur Buy |
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ID: MELCD1002349
CDs: 10
Type: CD
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Subcollection: Piano and Orchestra
BOX set
Firma Melodiya presents a boxed set titled “International Tchaikovsky Competition. Phonographic Documents (1958-1986)”.
The first ever Soviet music tournament instantly became one of the world’s most prestigious competitions. The piano jury was chaired by Emil Gilels for many years, while David Oistrakh and Mstislav Rostropovich headed the violin and cello juries, respectively. Alexander Sveshnikov, an outstanding choirmaster and chancellor of the Moscow Conservatory, was a chairman of the vocal jury. For the fifty years of its existence, the Tchaikovsky Competition discovered numerous distinguished performers such as Van Cliburn, Vladimir Ashkenasi, Grigory Sokolov, Eliso Virsaladze, John Lill, Michail Pletnev, Viktor Tretiakov, Gidon Kremer, Vladimir Spivakov, Oleg Kagan, Natalia Gutman, Elena Obraztsova, Maria Gulegina, Vladimir Atlantov, Yevgeny Nesterenko and Paata Burchuladze to name but a few. The set captures the brightest moments of eight Tchaikovsky Competitions in all categories. The recordings, including a number of never-before-released ones, were made immediately during the competition auditions
and at the prize-winners’ recitals. The release is dedicated to the 175th anniversary of the great Russian composer. |
| 48.00 eur Buy |
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ID: QTZ2002
CDs: 1
Type: CD
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Subcollection: Piano
The debut disc by one of the most talented and acclaimed young violinists to emerge in recent years. Liebeck has established an international reputation for mature, intense and virtuosic performances and this disc of early 20th Century works demonstrates these characteristics in abundance. Partnered here by the virtuoso, award-winning pianist, Katya Apekisheva, this is duo playing of the highest calibre.
Works for Violin & Piano
In 1943, Sergei Prokofiev (1891-1953) was evacuated, along with many other prominent artists, to Alma-Ata (Almaty) in modern-day Kazakhstan while the Soviet army fought against the Germans in the West. It was here that he wrote his Sonata for Flute and Piano Op 94 which, at the suggestion of David Oistrakh, he transcribed the following year for violin. The amount of revision needed was minimal and indeed the piano part is exactly the same in both versions.
The Sonata is in stark contrast to the huge upheaval that was taking place on the other side of the country and Prokofiev himself described the work as "perhaps inappropriate at the moment, but pleasant". The key of D Major is perhaps a conscious reference to the Classical Symphony and certainly the Sonata follows the classical model closely, even incorporating all elements of the standard first-movement sonata-form structure although the boisterous Russian finale has more in common with later models. Prokofiev was reputedly inspired to compose the Sonata after hearing the French flautist Georges Barrere, one of the great exponents of 19th Century French flute music as well as the dedicatee of Edgar Varese's experimental Density 21.5 and it is perhaps appropriate that he should have been the motivating force behind this work which harks back to earlier forms and yet is very much of its time.
The violinist Eugene Ysaye (1858-1931) was held in high esteem by his Parisian contemporaries as a powerful interpreter of their works. These famous figures included Saint-Saëens, Debussy, Franck and Chausson who all dedicated works to him (indee Chausson's Poeme was written for Ysaye).
As he was primarily a performer, Ysaye not compose a large catalogue of works and almost all of them were violin pieces. Ysaye's six solo violin sonatas were inspired by the young Joseph Szigeti's performance of a Bach solo sonata in 1923. Ysaye is said to have been so inspired that he immediately locked himself away for twenty four hours and emerged with all six in sketch form. Each sonata was dedicated and tailored to a violinist of his time; Szigeti, Thibaud, Enesco, Kreisler, Crickboom and Quiroga. The First and Second Sonatas follow a similar movement structure to Bach's solo Sonatas and Partitas. Ysaye even quoted the E major Partita in his 2nd sonata ("Obsession") symbolising and perhaps teasing Jacques Thibaud about his obsession with its opening.
By the Third Sonata (featured here), Ysaye ideas started to move more into his own unique and personal sound world with more chromaticism and free-flowing movement. The sonata is dominated by a fiery and distinctive main thematic idea that develops right until the very end of the piece. He managed to combine this idea with many different episodes of colour and figuration in a way that only a musician with intimate knowledge of the mechanics and capabilities of the violin could. Technically very demanding though the piece is, it is so well tailored to the nature of the violin that it is very playable and has become one of the staples of the violin repertoire. JL.
Ernest Chausson (1855-1899) came to music relatively late in life and was often considered something of an outsider, partly by virtue of his relatively well-off background which meant that he was financially independent throughout his life but also for purely musical reasons.
His music bears the hallmarks of many of the great influences of his day, including Franck, Massenet and Wagner but also exhibits the outcome of his own personal interests and explorations. Towards the end of his life, Chausson became increasingly interested in Russian literature and the work of the Metaphysical poets and the Poeme is based on a short story by Turgenev. Originally titled "Le chant de l'amour triomphant: Poeme symphonique pour violon et orchestre" it was subsequently reduced to "Poeme pour violon et orchestre" and finally simply "Poeme".
The Poeme was written for and dedicated to the man who gave its premiere, Eugene Ysaye Although the Poeme was written for one of the greatest virtuosos of his day, it is essentially lyrical in style and focuses on emotional intensity rather than technical pyrotechnics, an approach that reflected Ysaye view that virtuosity should never be an end in itself but, rather, a valuable tool in the violinist's overall technique. It is seamlessly constructed in one movement and demonstrates Chausson's ability to combine complete command of form and structure while allowing the music to sound freely rhapsodic and lyrical.
Of Chausson, one contemporary wrote "all his works exhale a dreamy sensitiveness which is peculiar to him. His music is constantly saying the word 'cher"
In common with his younger contemporary Fauré chamber music runs across Camille Saint-Saëns (1835-1921) sizeable (and now neglected) output - from the often bravura ensemble works of the 1860s and '70s to the autumnal sonatas and character pieces of his last years. In 1885, his First Violin Sonata was written for and dedicated to Martin Marsick - teacher of, among others, Thibaud, Enescu and Flesch. The influence of Liszt is evident in the thematic transformation which operates throughout the piece, as also in the linking of the movements into two complementary pairs - a procedure which Saint-Saëns repeated only in his 'Organ Symphony', written in memory of Liszt the following year.
The darkly sensuous idea which opens the first movement has a fluid, rhythmic profile - in marked contrast with the wistful second theme, which retains its formal outline throughout. There is no development as such, but a modified reprise of the two themes, followed by a sombre coda which tapers away in a poetic transition to the Adagio. The main melody, a beautifully-judged dialogue, treads a fine line between sentimentality and pathos typical of Saint-Saëns. It twice alternates with a more impulsive (though related) idea, and closes in a mood of tranquil tenderness.
The Mendelssohnian scherzo evolves almost entirely from the tripping five-bar phrase with which it begins. Note how, in the brief trio section, the piano continues the underlying rhythm while the violin derives from it a more songful melody. A curtailed reprise, then a passage of pensive anticipation - leading into the finale. The main theme is a brilliant moto perpetuo, culminating in a high-flown melodic gesture. As in the opening movement, these ideas are modified rather than developed as such - working up to a coda which effectively integrates the two and rounds off the whole work in a stream of exhilarating passagework.
Copyright: Richard Whitehouse, 2003 |
| 18.00 eur Buy |
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ID: QTZ2016
CDs: 1
Type: CD
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Subcollection: Violin
This is the sparkling debut CD from the accalaimed winner of the 2004 Uralsk International Violin Competition. This colourful and varied recital includes sensational virtuoso masterpieces by Wieniawski and Ysaye as well as the delicately beautiful To The Air of Time by contemporary Japanese composer Isao Matsushita. The recital opens with Dvorak's tender and intimate, folk-influenced Sonatina.
Atsuko Sahara appears here with the celebrated pianist, John Lenehan.
Violin Recital
The second Uralsk International Violin Competition was held between January 16th and 20th, 2004 and was made possible through the generous support of Mr. Krymbek Kusherbayev (Akim of West Kazakhstan Oblast) and Karachaganak Petroleum Operating bv, under the leadership of John Morrow. First Prize was awarded to Atsuko Sahara (Japan). This CD commemorates her fine achievement in a competition of the very highest standard featuring young soloists from Kazakhstan, Russia, Europe, East Asia and other countries. The celebrated Kazakh violinist and Chairman of the Jury, Marat Bisengaliev announced the award of the joint first prize after the Final on January 21st, 2004. It is with sincere and grateful thanks to the Akim, Mr. Kusherbayev and to Mr. John Morrow (from KPO), that the making of this CD and the staging of the competition were made possible. |
| 18.00 eur Buy |
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