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BEETHOVEN, Ludwig Van - Composers, page 5

   Found CDs: 391
 

The Early Clarinet Family

The Early Clarinet Family
ID: CC0004
CDs: 1
Type: CD
Subcollection: Music for Clarinet

The first in a series of recordings featuring the sounds of period clarinets.
Keith Puddy - early clarinets
Gary Brodie, Paul Price - early clarinets Susan Dent - baroque horn
Alistair Mitchell - 8 keyed bassoon Malcolm Martineau - fortepiano

Full listing
Anonymous Duets; George Frederick Handel - Overture; Johann Christoph Graupner - Suite; Ludwig Van Beethoven - Duo No.3 in B flat, WoO 27.
15.00 eur Buy

Luigi Amodio - La Scala Virtuoso

Luigi Amodio - La Scala Virtuoso
ID: CC0028
CDs: 1
Type: CD
Subcollection: Music for Clarinet

An exciting historical recording featuring the playing of clarinettist Luigi Amodio.

Known principally for his playing in La Scala Opera Orchestra under Arturo Toscanini, Amodio produced nearly all his solo discs from just before the start of World War 2 until 1942 when his early death from cancer cut short his flourishing career. He travelled widely and played with all the major string quartets.

This valuable disc includes:
Beethoven's masterful Clarinet Trio Op. 11
Brahms Sonata No.1 Op.120. The first European recording
Mozart Quintet in A K.581
Luigi Amodio (clarinet) / La Scala Opera Orchestra, Arturo Toscanini
15.00 eur Buy

L. van Beethoven - KREUTZER SONATA - John York piano · Yuko Inoue viola

L. van Beethoven - KREUTZER SONATA - John York piano · Yuko Inoue viola
ID: CC1014
CDs: 1
Type: CD
Subcollection: Piano and Cello

Beethoven's Kreutzer Sonata - written "in the style of a concerto" - has long been considered one of the great challenges in the chamber music repertoire. Here a recently discovered transcription by the composer's pupil and friend Carl Czerny receives its world premiere recording by the distinguished partnership of Raphael Wallfisch and John York.
Coupled with Beethoven's own transcription of his Horn Sonata and the rarely heard 'Eyeglass' Duet with Yuko Inoue, this Cd fulfils Cello Classics' remit to bring rare and neglected repertoire to the world stage.
15.00 eur Buy

The Oboe 1903-1953

The Oboe 1903-1953
ID: CC2012
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Oboe

The 24-page CD booklet has a 6,000 word programme note in English by the compiler Geoffrey Burgess with a description of each performer, each track, and many unusual photographs.


Introduction by compiler Geoffrey Burgess: It would be hard to claim the oboe as a main player in the rise of the phonograph in the early years of the twentieth century. In both contemporary literature and retrospective histories, oboists barely rate a mention alongside the Carusos, Melbas, Elgars and Kreislers, and the lack of a comprehensive discography or historic anthology backs this up. But why have early oboe recordings been silent for so long? It is time to discredit the popular belief that of the few recordings of oboists that have survived, most are worthless from a musical standpoint. While not featured as frequently as most other instruments, the oboe was not entirely silent in the recording studio: however, the problem lies much more in how and where to retrieve those distant echoes. Catalogues, reviews and the like cite specific recordings, but this is only a beginning. The next and harder step is to track down serviceable copies of this material which in most instances was considered of merely ephemeral value. We have to consider ourselves lucky with what has survived. Contrary to what we might think, the scarcity of oboe recordings is not a reflection of the difficulties encountered in capturing its tone. Even the earliest acoustic recordings demonstrate that, with the player projecting directly into the recording horn, the oboe sounded better than many other instruments. The reason for the scant presence of the oboe on disc has to do more with its musical and cultural persona. Just as now, the recording industry in the early decades of the twentieth century was dictated by popular taste. Not only did the Classical selections in gramophone catalogues constitute a small percentage of the total offerings, but they were dominated by operatic excerpts and rousing tunes performed by bands. In such a climate the oboe was not exactly a winner, rather it was considered a novelty, of interest to the refined connoisseur. It’s not needles, but the records themselves that need hunting down in the haystacks of archival repositaries and collectors’ attics. Artists’ names and instruments were given only rarely on the discs. Manufacturers’ catalogues can help but it is often necessary to resort to intelligent guesswork. According to the renowned audiofile Melvin Harris, it was Louis Gaudard who made the earliest oboe recording in 1899, but this claim is still to be substantiated. The oldest surviving recordings date from the first decade of the 20th century, with showy solos of ephemeral appeal usually accompanied by band, orchestra or, more rarely, piano. Despite the scant examples, we are blessed with multiple recordings of some favorites such as Une Soirée prčs du lac and standard orchestral repertoire like the overture to Guillaume Tell. These multiple versions allow direct comparison between different oboists, although it should always be borne in mind that the different settings and the recording process contributed in no small measure to the total sonic record. This anthology spans the acoustic and electric eras and all recordings are monoaural. Léon Goossens was the most widely recorded oboist of the first half of the 20th century, but otherwise, all of the oboists featured in this anthology were active before the rise of the oboe “heroes” still familiar today - André Lardrot, Pierre Pierlot, Heinz Holliger, etc. Many were celebrated in their own day, but most are now forgotten. We have intentionally avoided duplicating the already copious quantity of re-released material. Oboists like Roger Lamorlette, who can be heard playing Poulenc’s trio for oboe, bassoon and piano with the composer, have been omitted, and well known players like Goossens and Tabuteau whose work is already widely available, are represented only by noteworthy selections hitherto unavailable. There is no natural terminus ad quem for this anthology. Stylistic changes in oboe playing tended to overlap advances in recording technology in complex ways. Still, it seems appropriate to draw the line at the mid century with the dawn of the LP era with the Viennese recording of Beethoven’s variations on La ci darem (CD II track 21). Direct contact with these remarkable performances from the past is still hampered by the limitations of the available recording technology and the state of preservation of this delicate material. Most of the original recordings used here are in an exceptionally fragile state and the audio quality of many is quite simply deplorable. Any wax cylinder or shellac disc that has miraculously survived the junk yard inevitably bears the signs of abuse - damaged through overuse, poor storage conditions, or the jostle of the flea market before falling into the hands of a responsible collector. Every effort has been made to locate clean copies, but in some cases there was simply no choice. To understand these vestiges of players from the past, we have to learn to listen “through” the recording technology. Most early recordings have what today would be an unacceptable signal-to-noise ratio. The distraction of surface noise and crackles and limited frequency response and can hinder drawing conclusions on individual players’ tone. Most acoustic recordings registered a relatively narrow band of frequencies from 1000-3000Hz. With the introduction of microphones this was expanded to 200-6000Hz, but this is still far short of present standards which were set in the stereo LP era at 20Hz-20KHz. To those used to digital stereo, the monoaural configuration of early recordings may seem one-dimensional and, particularly in the case of acoustic recordings, the insensitivity of the technology to dynamics often obliterated nuance, and can also give a false sense of balance. At the same time we must listen “with” the technology. That is, we must learn to respond to what the technology could register faithfully - tempo, intonation, vibrato and questions of ensemble - always mindful that, once in the recording studio, players may have had to make adjustments from their regular practices. Up to the use of magnetic tape in the recording process in the 1940s, all recordings were “live” in the sense that virtually no editing was possible. Realizing that durations of 2 to 4 minutes (the length of a side of a disc) were recorded as complete takes makes it easier to forgive occasional slips - indeed, it should enhance our admiration for these players. It is always dangerous to draw general conclusions from limited data, so rather than viewing these recordings as documents of the essential characteristics of each oboist, it is wiser to treat them as “snapshots” of unique performances. Out-of-focus or underdeveloped due to the shortcomings of the recording apparatus, these passing glimpses are the closest we can get to the artistry of these lost musicians. Despite this material’s limitations, it’s revelations are manifold. The recordings of Georges Gillet CD I track 2) and his pupils (Gaudard, CD 1 track7; Mercier, CD I track 8; Brun, CD I track 9; Longy, CD I track 11; and Bleuzet, CD II tracks 5-8) show that prior to World War II French players did not all cultivate the bright tone typical of the younger players of the Paris Conservatoire school. We can appreciate why Tabuteau praised Bruno Labate (CD I track 16), and why Goossens could not have failed to have been impressed by Henri de Busscher’s playing (CD II tracks 13-15). The different performances of the J.C. Bach Sinfonia, Brahms’ Violin Concerto and the Beethoven Variations provide invaluable comparisons of different schools of oboe playing.
29.00 eur Temporarily out of stock

Oboe Divas!-Operatic Duos and Ensembles from Handel to Wagner

Oboe Divas!-Operatic Duos and Ensembles from Handel to Wagner
ID: CC2018
CDs: 1
Type: CD
Collection: Opera Collection
Subcollection: Oboe

The 24-page full colour CD booklet has a 6,000 word programme note in English
with full details of each item, setting it in its operatic and historical context.
There are biographies of all the players and many photographs.

Emily Pailthorpe (the youngest winner of the Gillet International oboe competition) joins Elaine Douvas (Principle Oboe of the Met Opera Orch.) to give an oboist’s-eye-view of opera.


Introduction by Emily Pailthorpe:

This is a CD for lovers of opera and lovers of the oboe alike. Indeed it is often the vocal quality of the oboe to which listeners and players are drawn. Whether reaching out from the pit orchestra in accompaniment, or taking centre stage for a chamber work, playing the oboe does feel like singing. Portrayed here are some of the great oboe moments in opera (Fidelio, Meistersinger) as well as many that we always wanted to stand up and sing ourselves! (For example the 'Queen of the Night' aria from Mozart's Magic Flute, the Duo from Donizetti's Lucia di Lammermoor.) Both the Diva and the gracious accompanist appear here - often swapping seamlessly from one role to the other.

My own love affair with opera grew when I was a student at The Juilliard School in New York, and my teacher Elaine Douvas gave me standing passes to come and hear the productions at the New York Metropolitan Opera, where she was principal oboe. It is a great pleasure to collaborate on this CD with her and her colleagues from the Met, and also to highlight the opera connection of players from the London CONCHORD Ensemble. Daniel Pailthorpe was principal flute at English National Opera for ten years and Andrea de Flammineis is principal bassoon at the Royal Opera House. I think that in this recording the operatic experience of all these players shines through.
21.00 eur Buy

Mozart & Beethoven Piano Sonatas

Mozart & Beethoven Piano Sonatas
ID: CCCR101
CDs: 1
Type: CD
Collection: Chamber Music

Jill Crossland is a brilliant pianist who is now recording and increasing her concert performances. She gives a fresh and exciting dimension to these well known works.

Mozart: Piano Sonata in F major, K.533/494
Beethoven:Piano Sonata no.17 in D minor, Op.31, no.2 (“Tempest”) / Piano Sonata no. 31 in A flat major, Op.110
15.00 eur Buy

Kendlinger - Beethoven 5, Schubert 7 - K&K Philharmoniker, M. G. Kendlinger

Kendlinger - Beethoven 5, Schubert 7 - K&K Philharmoniker, M. G. Kendlinger
ID: CD912
CDs: 1
Type: CD
Collection: Symphony
Subcollection: Orchestra

18.00 eur Buy

Opera Choruses by Kendlinger, Matthias/K & K Philharmoniker

Opera Choruses by Kendlinger, Matthias/K & K Philharmoniker
ID: CD915
CDs: 1
Type: CD
Collection: Opera Collection
Subcollection: Choir

18.00 eur Buy

L. van Beethoven - Symphony No. 3 (Eroica) / Egmont Overture

L. van Beethoven - Symphony No. 3 (Eroica) / Egmont Overture
ID: CD917
CDs: 1
Type: CD
Collection: Orchestral Works
Subcollection: Orchestra

18.00 eur Buy

Ceremonial works. St. Peterburg Big Military Brass band.

Ceremonial works. St. Peterburg Big Military Brass band.
ID: CDMAN062-01
CDs: 1
Type: CD
Collection: Ceremonial Music
Subcollection: Brass

Composers:
Oginski Michal, Mendelssohn Felix Glier Reingold

Mendessohn - Wedding March
Gliere -Hymn to a great City etc...
18.00 eur Buy

 
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