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FAURÉ, Gabriel - Composers

   Found CDs: 86
 

Composer: FAURÉ, Gabriel ((1845-1924))
FAURÉ, Gabriel His/her music:
(contribution by A.B.C. Mardell <muu056 bangor.ac.uk>)Morceau de Concours for Flute and Piano (written 14/7/1898, for the 1898 Concours), Fantasie Op 79 and many other works for flute. (In 1905 Fauré was chosen to become the professor of the Paris Conservatoire. He had previously spent nine years as the professor of composition, counterpoint and fugue. These compositions were originally written purely to demonstrate the virtuosity of the musicain, but Fauré wanted to give more to his music, i.e. stlye. This music is simple but very expressive.)About his requiem (in Dutch/Nederlands(after program notes I once made)The version of the requiem that his commonly performed today is not the original one. The first performance of this work, composed in 1887, was on 16 January 1888 in La Madeleine in Paris. Then the work did not contain an Offertorium, and also the Libera Me was not included yet. In 1889 the Hostias was put in, and some time later also the "canon choir" O Domine Jesu Christe, which surrounds the Hostias. With that the Offertorium had its present form. The Libera Me was already composed in 1877, but was only added to the Requiem in 1890. The instruments in the original version were: first and second violas, first and second cellos, double bass, organ, french horns, trumpets, trombones, harp and solo violin in the Sanctus. The orchestration as we know it now, with woodwinds and violins, was only ready in 1900. Also only in that year the work was published. It is remarkable that in the beginning of this century the Requiem was not at all as popular as it is now.What makes this requiem so different from others is the fact that from the Sequenta (Dies Irae) only the last part remained (Pie Jesu), which ended up in place of the Benedictus. The Benedictus is thus missing. Further normally the Libera Me and the In Paradisum do not appear in a requiem. All in all this requiem has a very peaceful, restful character, especially because the often revoltingly sounding Dies Irae has been left out.
It is not clear how much his father's death in 1885 has contributed to the composing of this work (by the way, his mother died on 31 December, about two weeks before the first performance). About the reason why he composed the Requiem, Fauré writes in a letter to composer/conductor Maurice Emmanuel, who askes for program notes for a performance of the piece in 1910:Dear sir and friend,My requiem was composed just so... as a joke, if I may express myself thus! It was performed for the first time in La Madeleine for the funeral of some or the other parisher around 1890. I cannot tell you any more!Sincerely,Gabriel Fauré If my memory does not fail me the deceased of 1890 was a M. le Soufaché, which is not at all an ordinary name!The text of the requiem, with a translation into Dutch.The text of the requiem, with a translation into English.
[in Dutch].De versie van het Requiem die tegenwoordig altijd wordt uitgevoerd, is niet de oorspronkelijke. De eerste uitvoering van bet in 1887 gecomponeerde werk vond plaats op 16 januari 1888 in La Madeleine in Parijs. Het werk bevatte toen nog geen Offertorium, en ook bet Libera Me was nog niet opgenomen. In 1889 werd het Hostias ingelast en wat later ook nog bet "canonkoor" O Domine Jesu Christe dat het Hostias omringt. Daarmee ontstond het Offertorium in zijn huidige vorm. Het Libera Me was al in 1877 gecomponeerd, maar werd pas in 1890 aan het Requiem toegevoegd. De orkestbezetting was in de oorspronkelijke versie: eerste en tweede altviolen, eerste en tweede celli, contrabas, orgel, hoorns, trompetten, trombones, harp en vioolsolo in het Sanctus. De orkestratie zoals wij die kennen, met houtblazers en violen, was pas in 1900 gereed. Toen ook pas werd bet werk gepubliceerd. Opvallend is dat in het hegin van deze eeuw het Requiem lang niet zo populair was als tegenwoordig.Wat dit Requiem anders maakt dan andere is het feit dat van de Sequenta (Dies Irae) alleen het laatste stukje overbleef (Pie Jesu), dat op de plaats van het Benedictus terechtkwam. Het Benedictus ontbreekt dan ook. Verder komen het Libera Me en het In Paradisum normaal gesproken ook niet in een Requiem voor. Al met al heeft dit Requiem een heel vredig, berustend karakter: vooral ook omdat het vaak toch opstandig klinkende Dies Irae is weggelaten.In hoeverre de dood van zijn vader in 1885 heeft hijgedragen tot de totstandkoming van het werk is onduidelijk (overigens stierf zijn moeder op 31 december, zo'n twee weken voor de première). 0ver de reden waarom het Requiem geschreven is, schrijft Fauré in een brief aan componist/dirigent Maurice Emmanuel, die om programmatoelichting vraagt voor een uitvoering van het stuk in 1910:

Geachte heer en vriend,Mijn requiem is zomaar gecomponeerd... voor de grap, als ik dat zo mag uitdrukken! Het werd voor het eerst uitgevoerd in La Madeleine voor de begrafenis van een of andere parochiaan rond 1890. Meer kan ik u niet vertellen! hoogachtend,
Gabriel Fauré

Als mijn geheugen me niet in de steek laat. was de overledene van 1890 ene M. le Soufaché, wat niet bepaald een gewone naam is!

De tekst van het requiem, met een Nederlandse vertaling.
De tekst van het requiem, met een Engelse vertaling.
His/her life:
(in Dutch/Nederlands)(after program notes I once made)On 12 May 1845 Gabriel-Urbain Fauré is born, youngest of six children, in Pamiers, near the Pyrenees. In 1854, the then nine year old is sent to Paris to the Ecole de Musique Religieuse et Classique, founded by Niedermeyer. There he receives lessons from, amongst others, Saint-Saëns in compositing, but also piano and organ. His first first pieces probably stem from around 1861. In 1865 Fauré wins a first prize for composition with (very likely) his Cantique de Jean Racine, opus 11. That same year he leaves school and subsequently occupies several places as organ player. He is one of the co-founders of the Socié Nationale de Musique, whose goal it is to perform works by young French composers (this was in 1871; in 1909 the Société Musicale Indépendante splits off from it, of which Fauré will be the first president). He becomes composition teacher at the Paris conservatory in 1896, and is director there from 1905 till 1920, when he has to resign because of hearing problems(!). He dies in Paris on 4 November 192
His musical style fits in French tradition, which he learned from Saint-Saëns. This is characterised, compared with more romantic French composers like d'Indy and Franck, by its moderacy, great logic and its going back to classic forms. He is seen as someone who paved the road for impressionism (he teached a.o. Ravel). His owes his fame mainly to his chamber music.
[in Dutch]
Op 12 mei 1845 wordt Gabriel-Urbain Fauré geboren, als jongste van 6 kinderen, in Pamiers aan de voet van de Pyreneeën. In 1854 wordt de dan negenjarige naar Parijs gestuurd naar de door Niedermeyer gestichte Ecole de Musique Religieuse et Classique. Daar krijgt hij les van onder meer Saint-Saëns in compositie, alsmede piano- en orgelles. Zijn eerste stukken stammen uit circa 1861. In 1865 wint Fauré een eerste prijs voor compositie met (waarschijnlijk) zijn Cantique de Jean Racine, opus 11. Datzelfde jaar verlaat hij de school en bezet hij achtereenvolgens diverse organistenplaatsen. Hij is een van de medestichters van de Société Nationale de Musique, die tot doel heeft werk van jonge Franse componisten uit te voeren (dit was in 1871; in 1909 splitst zich de Société Musicale Indépendante hiervan af, waarvan Fauré de eerste voorzitter wordt). Hij wordt compositieleraar aan het Parijs conservatorium in 1896, en is daar directeur van 1905 tot 1920, wanneer hij ontslag moet nemen wegens hardhorendheid(!). Hij st
Zijn muzikale stijl past in de Franse traditie die hij via Saint-Saëns heeft meegekregen. Deze kenmerkt zich, in vergelijking met romantischer Franse componisten als d'lndy en Franck, door het gematigde karakter, de grote logica en het teruggrijpen op klassieke vormen. Hij wordt wel als wegbereider van bet impressionisme gezien (hij was leraar van o.a. Ravel). Zijn bekendheid heeft hij vooral te danken aan zijn kamermuziek.

MOZAIK - Niels Bijl

MOZAIK - Niels Bijl
ID: ACDBH049-2
CDs: 1
Type: SACD
Collection: Instrumental
Subcollection: Saxophone

Internationally renowned Dutch classical saxophonist performs works by Fauré, Schuber, Scriabin and Folkert Buis.

There is often a thin line between composed and improvised music, and this recording mosaics the two styles to create a cross-section that is beautifully effective in its simplicity - often dramatic and melancholy but also light-footed and assured.

Since Guido of Arrezzo laid the basis for musical notation in the 11th Century, music aficionados have challenged each other with the question: Who is the best composer of all time? Although the answer is normally someone like Bach, Mozart or Schönberg, the composer Shane Fage has offered the most original answer: The writer Charles Dickens. “Your first job is that of the story teller. Owing to the power of Dickens’ language, one could see the room, smell the stale cigar in the ashtray, feel the warmth of the fire, everything.......And that is why Dickens is the best composer I have ever heard.”


Telling stories as the basis for music. An art form from long before Guido of Arrezzo, and one that is effective in all genres. The story behind El Cant dels Ocells (Song of the Birds) is the birth of Christ, until the legendary cellist Pau Casals transformed it into the epitome of the Catalonian soul, “The birds in this piece sing “Peace, Peace, Peace!” And the music is a music that Bach and Beethoven and all the greats would have loved and admired. It is so beautiful, and it is also the soul of my country, Catalonia.” If you compare Schubert’s Adagio, Fauré’s Nocturne and the fourth Prelude of Scriabin with the ancient traditional Catalonian folksong, it is apparent that both Fage and Casals are right. For centuries the craftmanship of composers has been defined by the ability to base music on a simple but very effective melody.

A craft that is being carried on by Folkert Buis. In his “The Devil and the Deep Blue Sea” the requisite beautiful melody is constantly interrupted by cold dissonance and the violence of blows on the piano. In the middle of the piece it seems that peace and quiet have triumphed, but it quickly becomes apparent that this is no more than the eye of the storm.

That the craft is genre-free is obvious in Kirkland’s Dienda. Even in improvised music simplicity is often the trump card, but sometimes a masterwork can be brought to a higher plain by Jazz musicians. uch as Branford Marsalis’ version on his album Royal Garden Blues. His brilliant phrasing of this melody is only surpassed by the story that he brings to it with his own improvisation.

The final composition by Paquito D'Rivera, a musician who has based his carrer on a perfect mix of musical tradition and enjoyment of performance. Ultimately it is all about emotion.
15.00 eur Buy

N. Obukhova, mezzo-soprano - "Opera Arias and duets, romances, songs" - Glinka -Dargomyzhsky - Yakovlev and etc...

N. Obukhova, mezzo-soprano - "Opera Arias and duets, romances, songs" - Glinka -Dargomyzhsky - Yakovlev and etc...
ID: AQVR321-2
CDs: 5
Type: CD
Collection: Vocal and Opera Collection
Subcollection: Voice, Piano and Orchestra

5CD BOX

CD1: AQVR 286-2 - Obukhova Nadezhda - Opera Arias and duets
Composers: Rimsky-Korsakov N. A., Tchaikovsky P. I.
N.Ozerov, tenor (5); An.Ivanov, baritone (Gryaznoy); V.Shevtsov, tenor (Bomeliy) (8);
I.Kozlovskiy, tenor (10) Orchestras of the Bolshoi Theater and All-USSR Radio
Conductors: S.Samosud (2, 3), L.Shteinberg (4, 5), A.Melik-Pashaev (8, 10)
K.Kondrashin (9), A.Orlov (12-16)
Piano: M.Sakharov (1, 11);
Violoncello: F.Luzanov (11)
Recordings dating 1937-1947


CD2: AQVR 287-2 - Obukhova Nadezhda - Italian Songs
Nadezhda Obukhova mezzo-soprano
Composers:Leoncavallo, Tosti
Instruments Ensemble, N.Misailov artdirector
N.Sheremetev violin, V.Bochkov, N.Alexeyev guitar
M.Koreneva, M.Sakharov, O.Boshnyakovich piano
F.Luzanov cello

CD3: AQVR 288-2 - Nadezhda Obukhova, mezzo-soprano - Russian Folk Songs
Composers: (Glinka, Dargomyzhsky, Yakovlev, Gliere, Rimsky-Korsakov, Rubinstein, Mussorgsky, Grechaninov, Ippolitov-Ivanov etc.)
Piano: M. Sakharov (1-5, 7-10, 16, 17, 19, 20); O.Boshnyakovich (18)
Guitar: A.Ivanov-Kramskoi (11, 14)
Trio: L.Furer (violoncello), B.Fishman (violin), M. Sakharov (piano) (6, 15);
I.Soloduev (violin), F.Luzanov (cello), M. Sakharov (piano) (12, 19)
Recorded 1940s-1950s

CD4: AQVR 289-2 - Nadezhda Obukhova, mezzo-soprano - Romances and songs
Composers: (Brahms, Massenet, Pergolesi, Gounod, Schubert, Schumann, Faure, Wagner, Godart etc.)
Piano: M.Sakharov; Violoncello: F.Luzanov (2)
Instrumental trio: I.Soloduev (violin), B.Reentovich (violoncello), M.Sakharov (piano) (15);
I.Soloduev (violin), F.Luzanov (violoncello), M.Sakharov (piano) (18, 19)
Neapolitan ensemble, conducted by N.Misailov (20)
Recordings dating 1930-50’s.

CD5: AQVR 290-2 - Nadezhda Obukhova, mezzo-soprano - Russian romances
Composers: (Melio, Curtis, Denza, Tosti, Leoncavallo etc.)
Piano: M.Sakharov; Violoncello: F.Luzanov (2)
Instrumental trio: I.Soloduev (violin), F.Luzanov (violoncello), M.Sakharov (piano) (17)
Recordings dating: 1930-50’s.
47.00 eur Buy

Contrabasso Classic Cantabile - Bruch, Rota, Gliere, Granados and etc...

Contrabasso Classic Cantabile - Bruch, Rota, Gliere, Granados and etc...
ID: AV2100253
CDs: 1
Type: CD
Collection: World Premiere Recording

* World Premiere Recording
14.00 eur Buy

Divertissement -Paul Archibald and Juliet Edwards

Divertissement -Paul Archibald and Juliet Edwards
ID: BC3004
CDs: 1
Type: CD
Subcollection: Trumpet

1. Nikolay Rimsky-Korsakov (1844-1908) Capriccio Espagnol
2. Modest Mussorgsky (1839-1881) Gopak
3. Pyotr Ilyich Tchaikovsky (1840-1893) Ballet Suite
4. Dmitri Shostakovich (1906-1975) Prelude No 18
5. Modest Mussorgsky (1839-1881) Capriccio
6. Moritz Moszkowski (1854 - 1925) Moderato-Allegro
7. Moritz Moszkowski (1854 - 1925) Bolero
8. Moritz Moszkowski (1854 - 1925) Allegro brioso
9. Enrique Granados (1867-1916) Berceuse
10. Moritz Moszkowski (1854 - 1925) Con Moto
11. Léo Delibes (1836-1891) Waltz
12. Léo Delibes (1836-1891) Passepied
13. Maurice Ravel (1875-1937) Sonatine (2nd movement)
14. Claude Debussy (1862-1918) Passepied
15. Gabriel Fauré (1845-1924) Song Without Words
16. Maurice Ravel (1875-1937) Rigaudon
Georges Bizet (1838-1875) Carmen
17. Prelude and Chanson Bohème
18. Choeur des Gamins
19. Habanera
20. Entr’acte to Act IV
21. Seguedille
22. Overture

All arrangements by Paul Archibald
15.00 eur Buy

Sounds of Splendour -Music for Trumpet and Organ from Norwich Cathedral

Sounds of Splendour -Music for Trumpet and Organ from Norwich Cathedral
ID: BC3009
CDs: 1
Type: CD
Subcollection: Organ

The magnificence of a cathedral organ, combined with the brilliance of the trumpet, stimulates the imagination of all music lovers. Australian trumpeter, John Coulton, along with English organist David Dunnett, give superb performances of this recital repertoire. The range of the program offered here gives an insight into the versatility of this musical combination: joyful and glorious music from the Baroque, beautiful and soulful melodies found in Faure and Gounod, and powerful forces of transparent colour found in the work by Petr Eben.

Albinoni: Organ Concerto in F major / anon.: Gloria in Excelsis Deo /Trad. Arr. Jean Thilde /Charpentier, M-A: Te Deum, H146: Prélude /Eben: Okna (Windows) /Fauré: Requiem: Pie Jesu /Franck, M: Suite de Danses /Gounod: Ave Maria /Hovhaness: Prayer of Saint Gregory, Op. 62b /Martini, G B: Toccata /Purcell: Sonata for Trumpet and Strings Z850 / Torelli: Sinfonia con tromba
15.00 eur Buy

G. FAURE - Quartets For Piano Op.15,25 - Ronan O'Hora, piano - Alberto Lysy, violin - Sophia Reuter, viola - Antonio Lysy, cello

G. FAURE - Quartets For Piano Op.15,25 - Ronan O'Hora, piano - Alberto Lysy, violin - Sophia Reuter, viola - Antonio Lysy, cello
ID: BNL30025
CDs: 1
Type: CD

12.00 eur Buy

Songs With and Without Words - Annette Celine, soprano / Christopher Gould, piano

Songs With and Without Words - Annette Celine, soprano  / Christopher Gould, piano
ID: BR0006
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Vocal and Piano

Soprano Annette Celine and pianist Christopher Gould perform a selection songs transcribed for voice and piano. Includes Percy Grainger’s solo piano arrangement of Fauré’s ‘Après un rêve’. Other composers on this disc include Cui, Granados and Obradors.
12.00 eur Buy

Was It A Dream? - Christopher Gould, piano / Annette Celine, soprano

Was It A Dream?  -  Christopher Gould, piano / Annette Celine, soprano
ID: BR0011
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Vocal and Piano

Composers such as Sibelius and Tchaikovsky are more often than not, recognised as masters of larger scale works. This collection of songs expose their smaller masterpieces and demonstrates the art of the French masters; Fauré and Duparc.
12.00 eur Buy

Piano Concertos by Grieg and Liszt/Busoni - Felicja Blumental, piano

Piano Concertos by Grieg and Liszt/Busoni  - Felicja Blumental, piano
ID: BR0015
CDs: 1
Type: CD
Collection: Great Performers
Subcollection: Piano

This CD partners the wonderfully Romantic Piano Concerto in A minor, by Grieg with the Rhapsodie éspagnole by Liszt, arranged by Busoni. Also on this disc is the charming and rarely recorded Fantasie for Piano and Orchestra by Gabriel Faure.

1 - 3: Felicja Blumental, piano / Vienna Pro Musica Orchestra - Hans Swarowski, conductor
4 - Felicja Blumental, piano / Philharmonia Orchestra -Rudolf Schwarz, conductor
5- 7: Felicja Blumental, piano / Prague Symphony Orchestra - Helmut Froschauer, conductor
12.00 eur Buy

Ave Verum - Popular Choral Classics

Ave Verum - Popular Choral Classics
ID: BRIL6323
CDs: 1
Type: DVD5
Collection: Choral Collection
Subcollection: Choir

1 DVD 16:9
Total time: 01:25:23
Region: (All) PAL, 2.35:1 ALL FORMATS
Sound Tracks: Dolby Digital 5.1, Dolby Digital Stereo 5.1
12.00 eur Buy

 
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