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Vocal Collection, page 11

   Titels gefunden: 614
 

Robert Schumann - Dichterliebe Op. 48

Robert Schumann - Dichterliebe Op. 48
ID: JCL513
CDs: 1
Type: CD
Subkolektion: Guitar

Dichterliebe Op. 48
Robert Schumann (1810 - 1856)
Arranged by Carl Herring for Guitar and Voice, Observing original keys throughout

An original arrangement by Carl Herring of Schumann’s masterpiece, here recorded on the JCL label for the first time for Guitar and Tenor. Carl Herring and Kevin Kyle met whilst studying at the Royal Academy of Music, London and collaborate regularly as a duo performing classical and modern repertoire. This particular arrangement of Dichterliebe has been a work in progress ever since Carl and Kevin met and JCL Records are delighted to have facilitated this first of many recordings of the duo. The recording is complemented at the end by Carl performing Five Schubert Songs arranged by Johann Kasper Mertz.

Carl Herring
Carl is the leading British guitarist of his generation and has rapidly built up an international career, giving performances throughout the UK and in Cuba, Sri Lanka, Scandinavia and Europe.


Kevin Kyle
Kevin is rapidly developing his career as an international singer and has performed throughout the UK and Europe for the Longborough Festival Opera, Carl Rosa Opera Company, Opera Works, the Early Music Company, Le Concert d’Astree and the Armonico Consor
12.00 eur Buy

Robert Schumann - Dichterliebe / Liederkreis Op.24...

Robert Schumann - Dichterliebe / Liederkreis Op.24...
ID: OC571
CDs: 1
Type: CD
Kolektion: Vocal Collection

Roman Trekel, constant participant in the Bayreuth Festival since 1996, contributes an important element to the Schumann anniversary in 2006 with his publication of the Heine songs. Heine's poetry became the epitome for modern weltschmerz in the arrangement by Robert Schumann. For Roman Trekel, it is a matter very dear to his heart.
12.00 eur Temporarily out of stock

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
CDs: 1
Type: CD
Subkolektion: Voices

Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times


The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.


Introduction by Melinda Maxwell:

The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.

The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.

In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.

Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".

Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".

The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.

Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow.
12.00 eur Buy

J. Haydn - Songs and Cantatas - S. Ryden, soprano - M. Tatlow, keyboard

J. Haydn - Songs and Cantatas - S. Ryden, soprano - M. Tatlow, keyboard
ID: CP039
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Vocal and Piano

12.00 eur Temporarily out of stock

Boris Pevzner's Moscow choral theatre - Mikhail Bronner. Long return (Book of songs)

Boris Pevzner's Moscow choral theatre - Mikhail Bronner. Long return (Book of songs)
ID: ART245
CDs: 1
Type: CD
Subkolektion: Choir

12.00 eur Buy

An Anthology of English Song

An Anthology of English Song
ID: DSPRCD055
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Folk Music

This is a wonderful collection of English song and folk song including Annabel Lee, Linden Lea, Blow the
Wind Southerly and Sea Fever recorded by some of the greatest British singers including Thomas Allen, Stuart Burrows and Valerie Masterson.

1 - 3 Stuart Burrows,tenor
4 - 6 Valerie Masterson, soprano
7 - 9 Thomas Allen, baritone
10 - 12 Sarah Walker, mezzo-soprano
13 - 15 Peter Jeffes, tenor
16 - 18 Raimund Herincx, baritone
19 - 23 Patricia White, voice / Jonathan Rees, violin
12.00 eur Buy

Antoine Brumel - Hilliard Live 3, Live Recording- Hilliard Ensemble

Antoine Brumel - Hilliard Live 3, Live Recording- Hilliard Ensemble
ID: COR16052
CDs: 1
Type: CD
Kolektion: Renaissance

The Hilliard Ensemble's Hilliard Live series, now three discs strong with a fourth on the way, has offered superior live performances of Renaissance and Medieval sacred pieces. These male singers mix clarity and a kind of gutsy lyricism that are rare in performances of this music but in their hands seems totally appropriate. The programs are based on a good deal of scholarly investigation and aim to communicate something of the contexts in which it would originally have been used -- the Antoine Brumel Missa Victimae paschali laudes heard here is interspersed with motets and Italian-language laude -- monophonic devotional pieces. (It may seem odd to hear Italian [actually Old Tuscan] in the middle of a mass, but these pieces apparently took on liturgical use.) There is nothing "scholarly" about the performances, however.

The Hilliard Ensemble is one of the world's finest vocal chamber groups, and is probably unrivalled for its formidable reputation in the fields of both early and new music. This series was only previously available direct from the group but has never before been fully available at international retail.
12.00 eur Buy

F. Schubert - Winterreise / Die Schone Mullerin (Desderi, Ciani)

F. Schubert - Winterreise / Die Schone Mullerin (Desderi, Ciani)
ID: IDIS6462-63
CDs: 2
Type: CD
Kolektion: Vocal CollectionSubkolektion: Vocal and Piano

Muller, Wilhelm-Lyricist
Live Recordings, 1973 and 1974
12.00 eur Buy

NELLA ANFUSO - Sigismondo D’India - Madrigali

NELLA ANFUSO - Sigismondo D’India - Madrigali
ID: SN8828
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Voices

Elena Polonska - Renaissance harp
12.00 eur Buy

NELLA ANFUSO - Monodia Toscana (XVI - XVII sec.)

NELLA ANFUSO - Monodia Toscana (XVI - XVII sec.)
ID: SN8809
CDs: 1
Type: CD
Kolektion: Vocal CollectionSubkolektion: Voices

12.00 eur Buy
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