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Basson

   Les titres retrouvé: 24
 

Crusell, Bernhard Henrik: Concertante for Clarinet, Horn and Bassoon and other works

Crusell, Bernhard Henrik: Concertante for Clarinet, Horn and Bassoon and other works
ID: CDS1072-2
CDs: 1
Type: CD
Collection:
World Premiere Recording
Subcollection: Basson

WORLD PREMIERE
Here are some delicate concerts recorded by the excellent Ösgöta Woodwind Ensemble.They have a long tradition of playing their local composer Bernhard Crusell - a stylish early romantic well-known also for his three clarinet concertos.
12.00 eur Temporarily out of stock

Beethoven, Donizetti, Kuhlau - Trios for piano, flute and bassoon - K. Zaitseva / D. D. Mc Dermott / D. Bakenhus

Beethoven, Donizetti, Kuhlau - Trios for piano, flute and bassoon - K. Zaitseva / D. D. Mc Dermott / D. Bakenhus
ID: CR125
CDs: 1
Type: CD
Subcollection: Flute

12.00 eur Buy

J.S. BACH - GOLDBERG VARIATIONS - Homecoming Woodwind Ensemble

J.S. BACH - GOLDBERG VARIATIONS - Homecoming Woodwind Ensemble
ID: QTZ2051
CDs: 1
Type: CD
Subcollection: Oboe

The world premiere recording of Andrei Eshpai's specially commissioned arrangement of Bach's much-loved Goldberg Variations performed by one of the world's most notable young wind ensembles.

J.S. Bach - Goldberg Variations
Arranged by Andrei Eshpai

Dmitri Bulgakov, oboe
Pavel Strugalev, oboe
Claudia Hellbach, cor anglais
Uwe Rebers, bassoon
Homecoming Woodwind Ensemble
12.00 eur Temporarily out of stock

Melodic Lines - Oboe, Bassoon & Piano

Melodic Lines - Oboe, Bassoon & Piano
ID: CC2016
CDs: 1
Type: CD
Subcollection: Piano

The 24-page CD booklet has a 6,000 word programme note in English including interviews with Roderick Swanston (on Geoffrey Bush), Barbara Thompson (on Green), Roger Lord (on Madeleine Dring) and Richard Stoker (on his Miniatures). There are biographies of the composers and many photographs.


Has melody always been with us? Will it continue to flourish? Yes, and yes. The practise of creating pitched sounds is a universal human phenomenon, and the pentatonic scale has been found in many cultures all over the world. In the West it was present in some of the earliest examples of notated music, such as Gregorian Chant, and is with us today.

The melodies in Lalliet’s Terzetto, for example, are not universal - they are clearly a product of European culture in the 19th Century. But whatever form it takes, the existence of melody itself is universal. It seems likely that melody was linked to communication long before opera was invented; the pre-verbal vocalising of a baby could be said to be a kind of melody, and right from the start comes the idea that melody not just an abstract thing that we happen to like, but that it is linked with an emotional or physical state, and with the communication of that state. Melody is very fundamental to us, relating to our physiology, not just to our sense of beauty.

The history of melody has had, as it were, its ups and downs. In the classical period, a long melodic line was not considered flexible enough for symphonic development - all you could do was repeat it or make variations of it - and it was often replaced by a short motif that could be worked on. However, by the 19th Century, when the earliest piece on this CD was written (the Lalliet), melody was in its hayday. The scientist Hermann Helmholtz asserted that it was 'the incarnation of motion in music', the critic Eduard Hanslick saw in it 'the archetypal configuration of beauty', and Wagner asserted that there was no reason that a melody need ever end. In practice even Wagner ended his melodies eventually, but this was felt to be a choice and not a necessity. Surprisingly, the best example of an ‘unending’ melody on this CD comes from Wagner’s antithesis, Francis Poulenc, in the slow movement of his Trio.

In the 20th Century, melody suffered an eclipse from the followers of the Second Viennese School. This wasn't their original intention; Webern, for example, said he was looking for 'absolute melody', but this was at the expense of something you could hum, and advances in instrumental techniques, synthesisers and computers encouraged later composers to pursue ends other than melodic ones.

Meanwhile other developments, such as the incorporation of folk music, or the 'Socialist Realism' of composers such as Shostakovitch, as well as the rise of popular music as a separate genre, ensured the survival of melody. On this CD the operatic melodies of Casimir-Théophile Lalliet (circa 1870), the Romantic urges of Francis Poulenc (1928), the heartfelt melancholy of Geoffrey Bush (1952), the chirpy tunes of Richard Stoker (1963), the mediaeval references of Madeleine Dring (1971), and the sinuous lines of Barbara Thompson (2006), demonstrate that melody is alive and well.

It may also be that it is in the nature of the oboe and bassoon to play tunes, to connect to the human voice, and this has encouraged these composers to be more 'melodic' when writing for these instruments. Today's advanced instrumental techniques enable both oboe and bassoon players to make music of extraordinary complexity, but I can't help feeling that when our remote ancestors first punched finger holes in a wooden tube, it was a melody they had in mind.
© 2006 Jeremy Polmear
12.00 eur Temporarily out of stock

CELTIC INFLUENCES

CELTIC INFLUENCES
ID: GD267
CDs: 1
Type: CD
Subcollection: Piano

The ancient Celts appeared in Europe eight to ten centuries before the birth of Christ. Travelling through the whole territory of Eurasia, they were exposed to the cultural influence of the local tribes which inhabited these lands. Thus, along with the Celtic core, their tradition is also influenced by elements of the native tribal groups. In order to show these influences, the three musicians make a music survey of the regions that have enriched the Celtic culture.
Emile Naoumoff was born in Sofia in 1962. At the age of eight he began taking piano lessons with Nadia Boulanger and became her student over the following ten years, until her death. In the course of his solo carrier he has worked closely with great conductors (Bernstein, Rostropovich, Casadesus, Lombard, etc.) and famous orchestras (the Los Angeles Philharmonic, the Philharmonic Orchestra of Radio-France, the NHK Symphony, Tokyo, etc.). He has also taught at the Concervatory of Paris, the University of California, Berkley, and at Stanford University. Currently, he is Associate Professor of Piano at the School of Music at Indiana University, Bloomington. He also directs his own Summer Music Academy near Paris.
Catherine Marchese was born in 1961 in New York. She studied bassoon with William Pollisi and, later, with Loren Glickman while she attended the Juilliard School. In 1986 she was awarded the Diplome Superieur d'Execution at the Ecole Normale de Musique de Paris. She has performed as soloist with different ensembles (Ensemble Orchestral de Paris, the Prague Symphony, the Polish and Norwegian Chamber Orchestras, etc.). Her repertoire includes all famous works for bassoon. She has made recordings for Sony Classical, Sude Productions, Gega New, and Saphir Productions.
Sarah Stevens-Estabrook was born in Indianapolis. She studied bassoon with Leonard Sharrow and received her Bachelor of Music Education degree at the Indiana University School of Music in 1976. In addition, she studied accordion with Ken Ksobiech, teacher at the Milwaukee Accordion Conservatory, and jazz piano at Indiana University with David Baker and Luke Gillespie. She received her Ph.D. in Instructional Systems Technology from Indiana University in 1986. Since 1976 she has taught music in the public schools of Bloomington, Indiana. During that time she has written several musicals which have been published by Dramatic Publishing. Most recently Ms. Stevens-Estabrook taught and performed at the Nadia Boulanger Academie in Gargenville, France.


Catherine Marchese, bassoon
Sarah Stevens-Estabrook, bassoon and accordion
Emile Naoumoff, piano

Recorded live at the Lily Reid Holt Memorial Chapel in Lake Forest, Illinois, November 18, 2000
12.00 eur Buy

Nedosekin Vyacheslav (bayan). Sounds. (Haydn, Nedosekin, Händel)

Nedosekin Vyacheslav (bayan). Sounds. (Haydn, Nedosekin, Händel)
ID: ART186
CDs: 1
Type: CD
Subcollection: Bayan

1-12 - Vyacheslav Nedosekin, bayan 5, 6 - Valeriya Danilova, oboe 5, 6 - Maxim Makhonin, bassoon 4, 5 - Sergei Arkhipov, flute 4, 5 - Timur Kolodyazhny, cello
12.00 eur Buy

Vivaldi - Bassoon and Flute Concertos - M.Lussier, bassoon baroque - C. Guimond, flute

Vivaldi - Bassoon and Flute Concertos - M.Lussier, bassoon baroque - C. Guimond, flute
ID: EMCCD7764
CDs: 1
Type: CD
Subcollection: Flute

This CD presents four bassoon concertos, two flute concertos, along with a concerto for flute and bassoon entitled ‘La notte’. For this recording, Arion performs as a chamber ensemble of 9 musicians and features bassoonist Mathieu Lussier and flautist Claire Guimond.


Vivaldi:
Bassoon Concerto, RV 497 in A minor
Flute Concerto, Op. 10 No. 3 in D major, RV 428 'Il gardellino'
Bassoon Concerto, RV 493 in G major
Flute Concerto in A minor RV440
Bassoon Concerto, RV 484 in E minor
Flute Concerto, Op. 10 No. 2 in G minor, RV 439 'La notte'
Bassoon Concerto, RV 503 in B flat major
12.00 eur Temporarily out of stock

Valery Popov: Bassoon Recital - V. Popov, bassoon - A. Bakhchiev, harpsichord - D. Miller, cello: Boddecker - J. F. Fasch -Corrette etc...

Valery Popov: Bassoon Recital - V. Popov, bassoon -  A. Bakhchiev, harpsichord - D. Miller, cello: Boddecker - J. F. Fasch -Corrette etc...
ID: RCD30301
CDs: 1
Type: CD
Collection:
Bassoon Collection
Subcollection: Basson

13.00 eur Buy

Pascal Gallois - SOLO - Neuwirth - Boulez - Berio

Pascal Gallois - SOLO - Neuwirth - Boulez - Berio
ID: STR37020
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Basson

13.00 eur Temporarily out of stock

Yuri Kasparov - Works for bassoon - Valeri Popov, bassoon

Yuri Kasparov - Works for  bassoon - Valeri Popov, bassoon
ID: VVCD-00200
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Basson

Valeri Popov, bassoon (1-4)
Renat Ibragimov, double bass (2)
Sergri Ampleyev, percussion (2)
Natalia Savinova, cello (3, 4)

Recorded: 1992(1), 1993 (2), 1996 (3-4)
13.00 eur Buy

 
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