čes | eng | fra | deu

World music CD DVD shop and Classic distribution

 

MOZART, Wolfgang Amadeus - Les compositeurs, page 6

   Les titres retrouvé: 370
 

Mozart - The Greatest Operas -Five Complete Operas

Mozart - The Greatest Operas -Five Complete Operas
ID: BRV9806
CDs: 14
Type: CD
Collection:
Opera & Vocal Collection
Subcollection: Voices and Orchestra

Mozart:
Idomeneo, K366
25th March, 1971
Nicolai Gedda (Idomeneo), Jessye Norman (Idamante), Heather Harper (Ilia)
RAI Symphony Orchestra and Chorus, Sir Colin Davis

Le nozze di Figaro, K492
Salzburg, 1974
José van Dam (Figaro), Mirella Freni (Susanna), Frederica von Stade (Cherubino), Tom Krause (Count Almaviva)
Vienna Philharmonic Orchestra, Herbert von Karajan

Don Giovanni, K527
Rome, 12th May 1970
Nicolai Ghiaurov (Don Giovanni), Gundula Janowitz (Donna Anna), Alfredo Kraus (Don Ottavio), Sena Jurinac (Donna Elvira)
RAI Symphony Orchestra and Chorus, Carlo Maria Giulini

Così fan tutte, K588
Milan, 27th January 1956
Elisabeth Schwarzkopf (Fiordiligi), Nan Merriman (Dorabella), Luigi Alva (Ferrando), Rolando Panerai (Guglilmo), Graziella Sciutti (Despina), Franco Calabrese (Don Alfonso)
Orchestra & Chorus of La Scala, Guido Cantelli

Die Zauberflöte, K620
Salzburg, 27th July 1949
Irmgard Seefried (Pamina), Josef Greindl (Sarastro), Wilma Lipp (Queen of the Night), Walter Ludwig (Tamino)
Vienna Philharmonic Orchestra, Wilhelm Furtwängler
45.00 eur Buy

Legendary Performances of E. Schwarzkopf - Beethoven, Humperdinck, Mozart

Legendary Performances of E. Schwarzkopf - Beethoven, Humperdinck, Mozart
ID: BRV9908
CDs: 14
Type: CD
Subcollection: Voices and Orchestra

Elisabeth Schwarzkopf (soprano)

Beethoven:
Fidelio, Op. 72
Salzburg, 5th August 1950
Kirsten Flagstad (Leonore), Elisabeth Schwarzkopf (Marzelline), Julius Patzak (Florestan), Anton Dermota (Jaquino)
Wilhelm Furtwängler

Humperdinck:
Hänsel und Gretel
Milan, 10th December 1954
Elisabeth Schwarzkopf (Gretel), Sena Jurinac (Hansel), Rolando Panerai (Peter), Vittoria Palombrini (Witch)
Herbert von Karajan

Mozart:
Die Entführung aus dem Serail, K384
Vienna, 6th September 1945
Elisabeth Schwarzkopf (Konstanze), Anton Dermota (Belmonte), Emmy Loose (Blonde), Peter Klein (Pedrillo)
Rudolf Moralt

Don Giovanni, K527
Salzburg, 27th June 1950
Tito Gobbi (Don Giovanni), Elisabeth Schwarzkopf (Donna Elvira), Anton Dermota (Don Ottavio), Lluba Welitsch (Donna Anna)
Wilhelm Furtwängler

Le nozze di Figaro, K492
Milan, 5th February 1954
Elisabeth Schwarzkopf (Countess), Roladno Panerai (Figaro), Irmgard Seefried (Susanna), Sena Jurinac (Cherubino)
Herbert von Karajan

Così fan tutte, K588
Milan, 27th January 1956
Elisabeth Schwarzkopf (Fiordiligi), Nan Merriman (Dorabella), Luigi Alva (Ferrando), Rolando Panerai (Guglilmo), Graziella Sciutti (Despina), Franco Calabrese (Don Alfonso)
Guido Cantelli
45.00 eur Buy

THE CLARINET - Historical Recordings - Volume 2

THE CLARINET - Historical Recordings - Volume 2
ID: CC0010
CDs: 1
Type: CD
Subcollection: Music for Clarinet

In the second volume of the well-received series of historical clarinet recordings there are some rare and some well-known gems.

Full listing
La Garde Republicaine: Weber - Concertino
Frederick Thurston: Philip Browne - A Truro Maggot; Charles Lloyd - Gigue; Boldassare Galuppi arr Harold Craxton - Sonata in A minor Op.1 No.3 Largo; Sonata in C major Op.1 No.1 Allegro-Giocoso
Reginald Kell: Schubert - Der Hirt auf dem Felsen
Philip Dreisbach: Spohr - Concerto No.2 Adagio; Mozart - Clarinet Concerto KV622 Adagio
Rene Verney: Graffeuil - Fignolette
Louis Cahuzac: Magani - Mazurka-Caprice
Benny Goodman: Debussy - Premiere Rapsodie
Phil Cardew: Khachaturian - Trio (1st Movt)
Auguste Perier: Bournonville - Fantasie-Impromptu
Prof. Cicotti: Donizetti - Concerto-Maria Padilla
Paolo del Pistoia: Mozart - Quintet KV581 Larghetto
Charles Draper: Brahms - Quintet Op.115 Allegro & Adagio-piu lento. Payne/Bishop: Variations on Home Sweet Home.

Reginald Kell, Benny Goodman, Charles Draper etc. (all clarinet)
15.00 eur Buy

Gems of the Clarinet - Duke String Quartet and The Mühlfeld Ensemble

Gems of the Clarinet - Duke String Quartet and The Mühlfeld Ensemble
ID: CC0027
CDs: 2
Type: CD
Subcollection: Music for Clarinet

Victoria Soames Samek - clarinet with Elizabeth Ritchie - soprano Roger Heaton - basset horn Julius Drake and Jennifer Purvis - piano Duke String Quartet and The Mühlfeld Ensemble

The re-presentation of A Portrait of Heinrich Baermann and A Portrait of Simon Hermstedt in this specially priced Limited Edition Box Set.
Both CDs incorporate both major repertoire and rare gems from the 18th and 19th centuries - an exciting period of development for the clarinet. The Baermann and Weber Quintets sit beside the Spohr Six German Songs and Mozart's Aria from La Clemenza di Tito.

In re-presenting both CDs, with a special focus on the repertoire, this Limited Edition, special price box set offers listeners the chance to reacquaint themselves with both masterpieces from the repertoire and lesser known gems including Baermann's Air Varié and Paer's 'Una voce al cor mi parla'.

- Weber's glorious Quintet - one of the cornerstones of the chamber repertoire
- The two Konzertstück by Mendelssohn
- Songs and Arias by Spohr and Mozart for soprano and featuring an obligato clarinet
- Weber's Seven Variations Op.33

These are just some of the highlights on this double album. With more than 150 minutes of music, this wonderful collection features masterpieces which will be cherished by any lover of classical music.

Baermann, H: Air varié / Clarinet Quintet No. 3 in E flat major, Op. 23 / Mendelssohn: Concert Piece No. 1 in F major for clarinet, basset horn, & piano/orchestra, Op. 113 /Concert Piece No. 2 in D minor for clarinet, basset horn & piano/orchestra, Op. 114 /Mozart: Parto, parto, ma tu ben mio (from La Clemenza di Tito) / Müller, I: Quartet for clarinet & strings No. 2 in E minor / Paër: Sargino, Ossia L'Allievo dell'Amore, Una voce al cor mi parla / Spohr: Six German Songs for soprano, clarinet & piano, Op. 103 /Variations on a theme from "Alruna" for clarinet & orchestra in B flat major, WoO 15 /Weber: Clarinet Quintet in B flat major, Op. 34, J182 / Melody for solo clarinet in F major, J119
25.00 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

Mozartiana - Works for cello & fortepiano

Mozartiana - Works for cello & fortepiano
ID: CC1011
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano and Cello

The works on this recording reflect the richness of the cello repertoire from the late 18th and early 19th Centuries.

Mozart's unfinished Sonata movement in B flat is here, having been completed by Annette Isserlis. The disc also includes works by Mozarts's pupils: J N Hummel's "Variations à la Monférine" Op.54 and Wölfl's Sonata in D Op. 31 are both beautifully crafted and make virtuoso demands on the performers. Together with the exquisite Mozart inspired sonata by Hélène Liebmann, this is a CD of exhilarating and unjustly neglected masterpieces.

Cello Classics' founder Sebastian Comberti and fortepianist Maggie Cole play on instruments of the period, bringing these works to light in all their true colours.
15.00 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: Oboe

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

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

Ready Steady Blow! - Music for beginner oboists

Ready Steady Blow! - Music for beginner oboists
ID: CC2010
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Oboe

This CD is recorded by the Graduate Students of Trinity College of Music in London, who took their post-Graduate Diploma in performing in June 2004

In the CD booklet the oboists talk about how they got started on the oboe. It has 16 pages in full colour (English only), with more photos and information, and how to obtain the music.

The main purpose of this CD is to show that there is a wealth of good music, in many styles, available to the oboe beginner. These pieces are within the general Grade 3 level, and some of them can be played after just a few lessons, so that learning the oboe can be a musical experience right from the beginning. The tracks are marked 0 to 3, to indicate their general technical level, where 0 indicates a pre-Grade 1 piece.
There are two exceptions to the Grade 3 limit - Mozart's La ci Darem (Grade 4), because it points the way to a new world of musical expression, and Hedwig's Theme from Harry Potter, because, as one teacher put it, it is by far the nicest way to learn the bottom two notes on the oboe.
The selection was made in consultation with a number of teachers. I asked them which pieces their pupils responded to with enthusiasm. I soon noticed the same pieces being mentioned time and again. Some pieces were liked by some teachers and not by others, and I added in my own preferences, and take full responsibility for the final choice.
It was also necessary to stick to a smallish number of books or tutors, so that the pupil is not faced with a large music bill. Where only one piece has been included from a particular collection, it always means that there are other equally good pieces in that book. Exclusion of a book of pieces does not mean it is not good. Attention was also paid to the various exam syllabuses for Grades 1 to 3; some of these pieces appear there, some do not.
21.00 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

 
Client: not signed in

CD DVD SACD
Thematic search:
  • Les titres
  • Les compositeurs
  • Les interpretes 
  • Orchestre
  • Chef d'orchestre
  • Instruments
  • Genre
  • Marques
  • Les collections
  • Indice
 
We accept PayPal
facebook
With the purchase of more
than 5 CD - your discount
will be 10%. If more than 10 CD - 15%
© 2004 - 2020

Europe RCD - World music CD shop and Classic distribution.

All rights reserved.