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Chamber Ensemble, page 16

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Wolfgang Rihm - Gejagte Form

Wolfgang Rihm - Gejagte Form
ID: KAI0012072
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

"Art, working with art and making art, is in itself an invitation to boundless freedom. There can be no submission here," writes Wolfgang Rihm. "Uncertainty predominates, the only potential for an agile mind." Four pieces of one of the most significant and provocative post-war composers whose titles speak for themselves: "Gejagte Form" or hunted form, "Verborgene Formen" or concealed forms, "Chiffre I" or cipher, and "Silence to be beaten (Chiffre II)". Four pieces of music that attempt to realise what Wolfgang Rihm considers "art's purpose": "Not to be a place of refuge but a reservoir of energy in regressive times."

Includes booklet with text by Wolfgang Rihm
21.00 eur Buy

Beat Furrer - Nuun

Beat Furrer - Nuun
ID: KAI0012062
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

The Austrian composer of Swiss origin considers his art to be a "view over the moving matter 'sound'": Beat Furrer does not develop sounds, he observes them, his music does not unfold dynamically with time, but attempts to rescind it: "No beginning", writes Furrer, "everything is present from the start". "nuun" thus filters out the individual layers of an initially almost impenetrable sound, as when you suddenly discover structures in a monochrome painting upon taking a closer look. Furrer then compares the sound dramaturgy of "still" with an electrical circular saw which when set into operation almost inaudibly unfolds greatest power and energy - until it encounters resistance.

Includes booklet with text by Klaus Haendl
21.00 eur Buy

ALBERTO POSADAS - Glossopoeia

ALBERTO POSADAS - Glossopoeia
ID: KAI0013112
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

Due to the style in which he combines and joins his sonic material, Posadas’ compatriots often refer to his music as “Francophile”. Beyond the Pyrenees and above all in Francophone countries, where many doors of opportunity were opened to him (including by Festival d’Automne in Paris, Agora Festival (IRCAM), Strasbourg’s MUSICA and Brussels’ Ars Musica), the opposite is true: there, he is viewed as a genuinely Spanish composer due to the power and aplomb that emanate from even his more transparent masses of sound.
(José L. Besada)

Includes booklet with text by José L. Besada
21.00 eur Buy

MANUEL HIDALGO - Hacia

MANUEL HIDALGO - Hacia
ID: KAI0012982
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

Concertmaster: Judita Haeberlin, Barbara Bultmann

The pieces of this cd are new compositions of Manuel Hidalgo and arrangements of works by Ludwig van Beethoven. Hidalgo was born in Atequera in 1956 and was a student of Helmut Lachenmann.
A glance at his catalogue of works reveals Hidalgo’s intense interest in the “Beethoven the giant,” whose music-alongside that of Mozart-has accompanied him since childhood. His Beethoven arrangements range from the Scherzo of the Symphony No. 9 op. 125 to the Heiliger Dankgesang op. 132 for voices, and from the Introduction and Fugue of the Hammerklavier Sonata op. 106 for accordion and orchestra to the variation movement from Beethoven’s Piano Sonata op. 109. The latest addition to this group of works is the Bagatelles. (Patrick Hahn)


Includes booklet with text by Patrick Hahn
21.00 eur Buy

WOLFGAG RIHM - Trios 1969-1994

WOLFGAG RIHM - Trios 1969-1994
ID: KAI0012892
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

This CD combines pieces for three instruments, trios - and yet it is very remote from the contemplatively muted frame-work of traditional chamber music. The small group of musicians does not establish intimacy, but causes the gaps, warpings, abysses in Rihm's music to widen even further instead. When the three instrumentalists position themselves as far away from each other in the calm scene "am horizont" (on the horizon), this is only an external sign for the extreme tension that prevails: delicacy of sound and wild noise, falling silent and eloquence, conglomeration and decomposition - accompanied by covert (auto)biographical allusions to Ingeborg Bachman or Karlheinz Stockhausen, Rudi Stephan or Maurizio Kagel.
21.00 eur Buy

HUGUES DUFOURT - L´Afrique et L´Asie d´après Tiepolo

HUGUES DUFOURT - L´Afrique et L´Asie d´après Tiepolo
ID: KAI0013142
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

Dufourt’s works typically appear to be something like the slow differentiation of an overarching “structural sound” (Lachenmann), like a “texture which tears apart and grows back together again, albeit with a unified note that prevents the work from disintegrating.” Here, harmonic objects are endlessly weighed, turned over, put under a magnifying glass, stretched, distorted slightly, filtered and rubbed to dust via instrumentation, with the fine line between chord and timbre drifting this way and that. (Martin Kaltenecker)

Includes booklet with texts by Hugues Dufourt and Martin Kaltenecker
21.00 eur Buy

The Art of Han de Vries - Oboe Concertos

The Art of Han de Vries - Oboe Concertos
ID: CC2004
CDs: 1
Type: CD
Subcollection: Violin

The CD booklet contains an interview with Han de Vries (printed in English, French and German), in which he talks about
all the works on the CD. There are photos of him throughout his career, and of his extensive instrument collection.

Jeremy Polmear talks to Han de Vries about two of the concertos on the CD:

BACH CONCERTO FOR VIOLIN AND OBOE:
JP: Am I right in thinking that this recording has not been issued commercially before?
H de V: Yes, it was commissioned by a major Dutch bank - the Verenigde Spaarbank - for its employees. This bank is a good sponsor of the arts as well as sport, and I am glad that one of its products is coming out into the wider world.
JP: And you had no conductor; how did you work out the interpretation?
H de V: The Concertgebouw Chamber Orchestra is made up of the best players in the Concertgebouw Orchestra, and when I played with that orchestra Jaap van Zweden the violin soloist was the leader, and they are wonderful musicians who have worked with Harnoncourt, with Chailly. So the way to approach this music was very clear to us.
JP: By 1986 when you made this recording, you had played Baroque oboe for many years, but here you are playing Baroque music on the modern oboe. Were you influenced by baroque practices?
H de V: Yes of course, and I've been playing Baroque instruments since I was 28. But to play in the Baroque style on the modern oboe, with little or no vibrato, would sound cold and unfeeling. I also have a loyalty to my teachers, to the style of the Concertgebouw, to the musicians I admire, and to the other players. I don't want to be an island of 'I am right'. I want to be somebody who communicates with other musicians, and to the ears of the audience; if I have the joy of being surrounded by very good musicians then I feel I am at my best.

ANDRIESSEN, ANACHRONIE II ('furniture music'):
JP: Let me start by asking you not about the music, but about the words. There seems to be what sounds like railway announcements at the beginning, at the end, and a bit in the middle of this concerto, and as a non Dutch speaker I must ask you - what is the gentleman saying, and does it matter?
H de V: It doesn't matter. In the score there is written a part for Radio. So it can start witrh a weather forecast, or anything. And then the music is a tapestry of quotations, and crazy humouristic, or agressive moments. It starts like Michel Legrand. Then we get a quasi Vivaldi oboe concerto, then an incredible crazy cadenza that ends with the soloist becoming totally insane. Then comes a sort of funeral march of drunken horns. This piece comes from 1969 where all music was quoting others, with bits of Stravinsky and everything mixed upside-down; it is a reaction against so-called 'beautiful music'. Andriessen said to use no vibrato. Sometimes I couldn't resist it, because I thought 'this is too much, too long, too ugly'.
JP: Did you commission the piece?
H de V: I asked him to write an oboe concerto, but the ideas are all his; and he never asked me whether what he had written was possible or impossible to play. In the cadenza he wanted a sort of shawm sound - he actually said 'like a bagpipe' - and I must say it should have been much more agressive and ugly, but there I felt I had to fight for my oboe, and not destroy the ears of my listeners.
JP: But I couldn't help noticing when you were listening to it, the part that amused you most of all was the bit in the cadenza where you honk on low and high notes. Why is that so much fun to hear?
H de V: Yes, because that's the utmost ugly playing, it's leaving behind everything that is beautiful on an oboe - as if a drunken man picks it up and tries to play it. And I laughed because I had to give up all the beauty I always worked for in my life. © 2002 Han de Vries and Jeremy Polmear
21.00 eur Buy

Baroque Spirit - La Fontaine

Baroque Spirit - La Fontaine
ID: CC2001
CDs: 1
Type: CD
Subcollection: Chamber Ensemble

Based in Tokyo, the ensemble "La Fontaine" was founded in l996. Six months after its first concert in October 1996, the ensemble was a prizewinner at the Yamanashi/Tokyo Early Music Competition. In 1998 they participated in the York Early Music Festival in Britain. Two years later, they performed at the International Early Music competition in Bruges, where their performance won the second prize, the audience prize, and an invitation by Philip Pickett to participate in the 2001 Early Music Festival at London's South Bank Centre.

They perform regularly in major cities throughout Japan, including the prestigeous Casals Hall in Tokyo. They have been broadcast several times on Japanese Radio (NHK-FM). This is their second CD.


The CD booklet contains an article (in English, French and German) by Stephen Pettit on the lives of the composers, and also on the social and economic circumstances in which the pieces were written, and for whom. There are more details on the instruments and the players.
21.00 eur Temporarily out of stock

Mozart - The Oboe in Mozart Chamber Music

Mozart - The Oboe in Mozart Chamber Music
ID: CC2007
CDs: 1
Type: CD
Subcollection: Oboe

The CD booklet contains a 2,000-word essay by Diana Ambache on the music in the CD in English, Italian and German. The photos include more from the K452 recording session and two entries from Mozart's Catalogue written in his own hand.

Human feeling is always at the centre of Mozart's music, and the collection of oboe works here illustrates this with colour and variety. As ever, Mozart excpresses everything from exuberant joy to deep melancholy, with a profound understanding of the expression of emotion. His paradoxes intrigue us; his humour entertains us; he seduces us with his beauty -and the oboe is an excellent vehicle for all this. The five works on the CD include three originally written for the oboe and two fine adaptations.

The year 1781 was an eventful one for Mozart. As well as having the première of 'Idomineo' on his 25th birthday, he also wrote the Oboe Quartet and Sonata featured here, as well as the Concerto for Two Pianos, K365. In May he had the now famous row with his patron Archbishop Collerado, which resulted in his move to Vienna and a new life as a freelance musician.
© 2003 Diana Ambache

Jeremy Polmear (oboe, cor anglais), the founder of Oboe Classics, is a freelance musician who has performed as a guest player with a number of London's chamber and ballet orchestras including the City of London Sinfonia, the London Mozart Players, Lontano, English National Ballet and The Ambache. He was a member of the National Youth Orchestra of Great Britain, and after a Science degree at Cambridge University he spent some time with IBM before turning to music as a career.


AMBACHE CHAMBER ENSEMBLE

Sophie Langdon (violin) is a professor at the Royal Academy of Music, and leader of the Fourth Dimension String Quartet. She has played concertos with the BBC Symphony Orchestra, among others.

Martin Outram (viola) is a member of the celebrated Maggini String Quartet and a Professor of the Royal Academy of Music. He has given important broadcast premières of works for solo viola by Benjamin Britten and Peter Maxwell-Davis.
Susan Dorey (cello) is principal cello with the City of London Sinfonia, and a member of the Academy of St Martin-in-the-Fields. Previously she played with Trio Zingara and Kent Opera.

Helen Keen (flute) is a founder member of the Endymion Ensemble, and a member of the London Mozart Players and the Orchestra of St John's. She plays frequently as guest principal flute with the London Sinfonietta, and the RPO and the BBC Symphony Orchestra.

Joan Enric Lluna (clarinet) has recorded the Mozart Clarinet Concerto with the English Chamber Orchestra and other European Orchestras. He has performed at Festivals in Bath, London, Paris and Perth.

Brian Sewell (bassoon) played for 30 years as Principal Bassoon of the Orchestra of St John's. He has performed on over 250 recordings with all the major London symphony, chamber and period orchestras. He is also a founder member of the Professional Speakers Association.

Susan Dent (horn) specialises in all types of early horns. She is principal horn of the Orchestra Revolutionnaire et Romantique and the English Baroque Soloists. Outside period performance, Susan plays in the Academy of St Martin-in-the-Fields and the Endymion Ensemble.
21.00 eur Temporarily out of stock

Howard Skempton - Ben Somewhen

Howard Skempton - Ben Somewhen
ID: NMCD135
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Chamber Ensemble

Howard Skempton’s first full-length disc for NMC - following the best-selling single Lento - is Ben Somewhen. It pairs chamber music performed by BCMG - ranging from solo cello to the exuberant yet very English Chamber Concerto - with choral music sung by EXAUDI, including the dancing, evocative setting of Shelley, The Voice of the Spirits. The title work takes its inspiration from the witty line drawings of Ben Hartley.

This disc contrasts Skempton’s choral works-including the dancing, evocative setting of Shelley’s The Voice of the Spirits and the spiritual Rise up, my love-with chamber music ranging from solo cello (the Suite from ‘Delicate’) to the exuberant, yet very English, Chamber Concerto.
22.00 eur Buy

 
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