|
|
|
ID: MELCD1002093
CDs: 2
Type: CD
|
Collection:
Mazurkas
Subcollection: PianoFirma Melodiya presents a complete set of recordings of Frédéric Chopin's mazurkas performed by Yakov Flier.
Chopin's mazurkas are an inexhaustible wealth of images and moods, which is attractive for both a not that knowledgeable lover of music and a sophisticated connoisseur. Images of a distant and dear homeland, lyrical contemplation, a gross folk dance, poetic sketches, the rustle of ballroom gowns and the rattle of spurs - Chopin put his whole soul, inspired fantasy and artistic skills into these miniatures, many of which are as deep and serious as his sonatas and ballads. A lot of pianists included Chopin's mazurkas in their repertoire, but only few of them had the courage to play them all.
Yakov Flier was one of the most prominent representatives of the Soviet pianistic school and a successor of the Russian Chopinists' tradition. A performer and professor who educated a whole galaxy of bright students, Flier combined romantic spirituality with classical commensurateness, virtuosic freedom with a genuine artistic prowess. Chopin's mazurkas became Yakov Flier's last recording, his swan song where the artist achieve a new degree of musical depth, bright figurativeness and fine realization of "chamber' romantic pianism. |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1002109
CDs: 2
Type: CD
|
Collection:
Baroque
Subcollection: OrganA double-disc set of recordings of J.S. Bach's organ works performed by Leonid Roizman. This set includes recordings made in the 1960s when the organist's performing activity was in its prime. Roizman's performing style was distinguished by virtuoso organ technique (his teacher Alexander Goedicke is considered a founder of the Russian organ school), expressive performance imagery and noble interpretative austerity.
J.S. Bach
1. Toccata and Fugue in D minor,BWV 565
2. Chorale Prelude in G major, BWV 641
3. Chorale Prelude in A major, BWV 633
4. Chorale Prelude in A minor, BWV 691a
5. Chorale Prelude in G major,BWV 711
6. Chorale Prelude in B minor, BWV 727
7. Chorale Prelude in G major, BWV 734
8. Chorale Prelude in F minor, BWV 39
9. Chorale Prelude in D minor, BWV 614
10. Chorale Prelude in E major,BWV 732
11. Chorale Prelude in C minor, BWV 610
12. Chorale Prelude in A major, BWV 601
13. Chorale Prelude in C major, BWV 631
14. Chorale Prelude in D minor, BWV 629
15. Passacaglia and Fugue in C minor, BWV 582
CD2
1. Chorale Partita 'O Gott, du frommer Gott!' in C minor, BWV 767
2. Fugue in G minor, BWV 578
3. Prelude and Fugue in E flat major, BWV 552
4. Prelude and Fugue in C minor, BWV 549
5. Prelude and Fugue in E minor, BWV 533
6. Little Harmonic Labyrinth,BWV 591
7. Prelude and Fugue in C minor, BWV 546 |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1002154
CDs: 2
Type: CD
|
Subcollection: HarpsichordFirma Melodiya presents recordings by Alexander Korneyev, an outstanding flutist, People’s Artist of the RSFSR and laureate of the State Prize of Russia.
A world known soloist, Korneyev won the recognition primarily as a concert musician. He performed with well-known musicians such as Lev Oborin, Ivan Kozlovsky, Sviatoslav Richter, Emil Gilels, Mstislav Rostropovich and the Beethoven Quartet. A soloist of the Big Symphony Orchestra of All-Union Radio for many years, he played under the leadership of some of the most prominent maestros and at times performed as a symphony and chamber conductor himself. Also, he realized performing versions of a number of flute compositions.
The musician’s concert repertoire was extraordinary extensive, from early baroque to contemporary composers. He made dozens of recordings released on vinyl and CD. This album features one of the gems performed by Korneyev, a peak of baroque flute - six sonatas for flute and harpsichord, and the partita for solo flute by J.S. Bach.
Most evidently, Bach composed his flute works along with other chamber opuses in Köthen during 1717 to 1723. At the time, the composer focused on solo and ensemble instrumental music. Arguably, two of the six sonatas (BWV 1031, 1033) were penned by his son Carl Philipp Emanuel who later served at the court of Crown Prince Frederick of Prussia, a big lover of the flute.
The part of harpsichord was performed by a remarkable ensemble musician, People’s Artist of Russia, Alexander Bakhchiev. The recordings were made in 1971 and 1974. |
| 29.00 eur Buy |
|
ID: MELCD1002129
CDs: 2
Type: CD
|
Collection:
Opera Collection
Subcollection: Choir and OrchestraSoloists: Georgy Nelepp (Vakula), Elizaveta Antonova (Solokha), Andrei Ivanov (Devil), Maxim Mikhailov (Chub), Elena Kruglikova (Oksana), Sergei Krasovsky (Pan Golova), Fyodor Godovkin (Panas), Alexandr Peregudov (Schoolmaster), Olga Insarova (Tsarina), Alexei Ivanov (His Highness), I Ionov (Master of Ceremonies), Veniamin Shevtsov (Attendant), Ivan Sipayev ( Old Cossack), Mikhail Skazin (Wood Goblin)
Bolshoi Theatre Choir and Orchestra, Alexander Melik-Pashayev
Firma Melodiya presents a recording of a wonderful but now so rarely performed lyric and comic opera - Tchaikovsky’s Cherevichki.
The opera was initially named 'Vakula the Smith'. In 1874, Tchaikovsky won a competition announced by the Russian Music Society for the best opera to a libretto by Yakov Polonsky based on the famous story 'Christmas Eve' by Nikolai Gogol from his collection 'Evenings on a Farm near Dikanka'. However, Tchaikovsky was left displeased with his piece and reworked it in 1887. The opera was then staged at the Bolshoi Theatre, and the first night of Cherevichki became Tchaikovsky’s debut as a conductor.
Gogol was one of Tchaikovsky’s favourite authors. The composer liked to stay in the Ukraine, in his sister’s manor Kamenka. Tchaikovsky brought to life the characters from Gogol’s story, their lives, legends and emotions, with the help of folk tunes, dance rhythms and expressive lyric intonations. The opera also has a gallant intermezzo - the scene at St Petersburg court in the 18th century which also attracted the composer in a later opera, 'The Queen of Spades'.
This recording of Cherevichki was realized in the late 1940s by the Bolshoi troupe led by the outstanding conductor Alexander Melik-Pashayev and featured some of the best performers of the Bolshoi of the time, such as Elena Kruglikova, Elizaveta Antonova, Georgy Nelepp, Andrei Ivanov, Maxim Mikhailov and others. |
| 29.00 eur Buy |
|
ID: MELCD1002215
CDs: 2
Type: CD
|
Collection:
Orchestral Works
Subcollection: OrchestreOn the threshold of the 40th anniversary of death of the prominent 20th century French composer André Jolivet, Firma Melodiya presents a set of works by the French master.
“I want music to have its original ancient sense back, when it was an expression of a magical and invocating element of a religion which united people”, Jolivet wrote.
He was born in Paris to a family of an artist and a pianist, and became known as a member of the composers’ group La jeune France (Young France), which also included Olivier Messiaen. Edgard Varèse, one of the biggest master of musical avant-garde, was Jolivet’s teacher. Arnold Schoenberg’s works also had a certain influence on the young composer.
Jolivet’s works combined diverse features of 20th century art - on the one hand, new musical means (polytonality, atonality), echoes of jazz and non-European musical cultures and, on the other hand, choral polyphony of the renaissance era, and also clarity and accuracy of statement not devoid of theatrical affectation so characteristic of French art.
André Jolivet’s works are performed by well-known Soviet and Russian musicians such as Mstislav Rostropovich (cello), Alexander Korneyev (flute), Valery Popov (bassoon) and others.
Radio France Philharmonic Orchestra, Ensemble of Soloists of the USSR State Symphony Orchestra, State Symphony Orchestra of the Latvian SSR, Moscow Radio Symphony Orchestra, André Jolivet (Composer), G. Rozhdestvensky (Conductor), V. Sinaisky (Conductor), A. Jolivet (Conductor) & 7 more
Jolivet:
Concerto for Flute and String Orchestra (1949)
Cello Concerto No. 2 (1966)
Concerto for Bassoon, String Orchestra, Harp and Piano (1954)
Concerto for Piano and Orchestra
Symphony No. 1
Five Ritual Dances
Rhapsody for Seven |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1002227
CDs: 2
Type: CD
|
Collection:
Piano Concerto
Subcollection: Piano and OrchestraMelodiya presents a set of Prokofiev’s piano concertos performed by Vladimir Krainev.One of the brightest composers/pianists of his time, Prokofiev reflected in his piano concertos the most recognizable features of his artistic individuality like in a mirror. Having resolutely deserted the romantic tradition of the concerto genre, he created a new type of it. The motive toccata style, a splendid technique of scales and passages - all combined with fragile lyricism; sharp grotesque contrasts - and a sunny emotion of life-asserting; a crystal clear form and pattern - and sudden twists of the musical “plot”… This is what a figurative world of these works appears to be with each of them being individual realization of the genre and never continuing the line of the previous one.People’s Artist of the USSR Vladimir Krainev is indeed among the best interpreters of domestic music of the 20th century. While a student of the Moscow Conservatory, he became a world-famous pianist after his victories at the international competitions in Leeds and Lisbon. In 1970, he won the first prize of the International Tchaikovsky Competition.Apart from his flawless technical skills and rich sound palette, Vladimir Krainev was notable for a bright temperament which often roused the artist to do bold and even risky interpretations (one of the Austrian newspapers dubbed him “a tiger of keys on the arena”). That is probably why Prokofiev’s music was so dear to Krainev, who always had the composer’s concertos, sonatas and numerous piano pieces in his repertoire. Vladimir Krainev recorded Prokofiev’s five piano concertos were recorded with the Academic Symphony Orchestra of the Moscow Philharmonic Society conducted by Dmitri Kitayenko. |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1001911
CDs: 2
Type: CD
|
Collection:
Piano Concerto
Subcollection: Piano and Orchestra22 October, 2011 is the 200th anniversary of the birth of Franz Liszt (1811-1886), the brilliant virtuoso pianist, genius composer, renowned educator and music critic, one of the brightest stars of the musical Olympus of the 19th century. As a daring innovator, Liszt stirred up a revolution in both the art of piano playing and composing. Being a classic of the Hungarian national music who imbibed cultural tradition of other countries, Liszt exerted influence upon on the course of European music in general. "If not for Liszt, the fate of new music would have been different," wrote music critic Vladimir Stasov. The piano remained Liszt's favourite instrument throughout his artistic life. His innovative approach to the instrument showed up in his orchestral and symphonic interpretation. He created a multitude of virtuosic transcriptions of his own works and ones composed by others authors such as operatic numbers and songs by Schumann, symphonies by Beethoven. "In the span of its seven octaves, [the piano] embraces the range of a whole orchestra, and the ten fingers of a single man suffice to render the harmonies produced created by the concurrence of a hundred musicians," wrote Liszt. In the field of symphonic music, the composer created a whole new genre - single movement symphonic poem (Tasso, Les préludes, Orpheus, Prometheus and others). This release dedicated to the 200th anniversary of Liszt's birth includes compositions by Franz Liszt performed by some of the best musicians such as Alexander Slobodyanik (his recording of a Hungarian Rhapsody and Piano Sonata in B minor brought him a Franz Liszt award in Hungary, in 1976), Gennady Rozhdestvensky, Vladimir Ashkenazi, Gleb Akselrod, Mark Ermler, Lazar Berman, Vladimir Ovchinnikov and Kirill Kondrashin.
CD 1:
(1) - Vladimir Ashkenazy (piano)
(2) - Lazar Berman (piano)
(3) - Vladimir Ovchinnikov (piano)
(4) - Gleb Akselrod (piano)
(5) - Alexander Slobodyanik (piano)
CD2:
(1) - Pavel Serebryakov (piano) / Moscow Philharmonic Orchestra - Kirill Kondrashin
(2) - Moscow Radio Symphony Orchestra - Gennady Rozhdestvensky
(3 - 5 ) - USSR Ministry of Culture Symphony Orchestra - Mark Ermler |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1001879
CDs: 2
Type: CD
|
Collection:
Symphony
Subcollection: OrchestreThis release features Schumann’s symphonies edited by George Szell.
These versions were a result of the conductor’s tremendous experience combined with a most delicate feeling for style and were the choice of Rozhdestevensky for these performances.
Schumann: Symphonies Nos. 1-4 (complete) edited by George Szell
"Among the German composers, the first place, after Beethoven, indisputably belongs to Schumann… Schumann's symphonies yield to Beethoven's Ninth only … in thought, his overtures are more diverse and deeper than Mendelssohn's ones," the Russian composer and music critic César Cui said about Robert Schumann's symphonic works. The composer's symphonic heritage includes four symphonies written within the 1840-1850s: symphony No. 1 in B flat major (known as Spring), Op. 38; symphony No. 2 in C major, Op. 61; symphony No. 3 "Rhenish" in E flat major, Op. 97; and symphony No. 4 in D minor, Op. 120. This Firma Melodiya release features Schumann's symphonies edited by George Szell and performed by the Estonian Symphony Orchestra conducted by the celebrated Gennady Rozhdestvensky. "The remarkable conductor George Szell made superb versions of Schumann's four symphonies. These recordings have been made based on his versions … they are a result of the conductor's tremendous experience combined with a most delicate feeling for style…" that's how the maestro explained his choice of Szell's versions. |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1001959
CDs: 2
Type: CD
|
Collection:
Ballet Music
Subcollection: OrchestreIn spring of 1896, Alexander Glazunov received a commission from the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky to compose the score to the ballet Raymonda. Despite being busy (Glazunov was already a well-known composer at the time whose works were loved by the public, an author of five symphonies, chamber and instrumental pieces), Glazunov found the offer interesting and agreed. "Acceptable orders to write compositions did not tie me. On the contrary, they heartened me. For example, I composed the ballet Raymonda quickly enough with special fervour and enthusiasm," he wrote later. It was the composer's first experience with a score for a ballet performance. However, he had had some creative experience of realizing the principles of dancing. It would suffice to recall his previous opuses such as Characteristic Suite and Ballet Suite, and concert waltzes. The libretto was written by Princess Lidya Pashkova, a traveler and columnist of the Parisian newspaper Le Figaro, who also wrote novels and librettos. The script plot belonged to Marius Petipa, an illustrious ballet master who staged ballets in Russia in the second half of the 19th century. The story involved characters who actually existed (Jean de Brienne and King Andrew) and fictional ones, and was historically inaccurate. But that was not a serious obstacle for the composer who started to think over the first ten numbers of Raymonda and wrote them down in summer of 1897 before he even received the script. The first two acts were finished in August, and the third one in autumn of 1897. The score autograph has the composer's inscription: "The ballet finished 21 October, 1897. Orchestrated within 1 year." While working on the music, Glazunov closely cooperated with the author of the script. Marius Petipa gave the composer a thoroughly developed plan of each scene with tempos, measures, and even the number of times. In that way Glazunov perceived the nature of choreography. Spending a great deal of time at the theatre working with the ballet dancers, musicians and the ballet master, he left all his other business behind to a great chagrin of Mitrofan Belyayev, who was Glazunov's partner in not only the same music circle, but in publishing activities as well (Glazunov helped Belyayev publish works by the contemporary Russian composers in Leipzig). Pyotr Lambin, Orest Allegri and Konstantin Ivanov worked on the sketches of the ballet set. Many of the costumes for the first staging were created by Ivan Vsevolozhsky himself. The premiere took place on 7 (19) January, 1898, on the stage of the Mariinsky Theatre and was conducted by Riccardo Drigo. The main parts were performed by Pierina Legnani as Raymonda, Sergei Legat as Jean de Brienne and Pavel Gerdt as Abderakhman. The performance was a real triumph. The encores began as early as after the first act. Glazunov was presented a laurel wreath, and the artists read a letter of greetings to him. One of the reviews explained the success of the ballet as a combination of three factors - "beautiful, melodic and captivating music, the ballet master's unfading talent and the artists' wonderful performance." Glazunov's progress in symphonic music obviously influenced the music of the ballet with its principles of through development and diverse techniques of orchestral writing. The music plays a huge role in Raymonda (in that way, Glazunov continued the reforms in the art of ballet initiated by Pyotr Tchaikovsky). The musical content facilitates the expansion of the plot line, at times prevailing over the plot thanks to its depth and vivid development of the musical characteristics so important to the dramaturgic function of dance and pantomime. The dances in Raymonda are not illustrative yet efficient as they embody the situation, the state and disposition of the characters. The continuing symphonic development, wealth of melodic patterns and organic integrity of the work are what help us perceive the performance as completely as possible. The destiny of Raymonda has been happy. The ballet has been staged many times both in the Soviet Russia and overseas. Synopsis France in the time of crusades Act I Tableaux 1 Pages and court ladies have gathered in a big castle of Countess Sybille de Doris to congratulate the countess's niece Raymonda on her name day. Awaiting Raymonda, the pages play the lutes and viols, some compete in fencing. A few girls leave their fancywork to dance with the pages. Soon, Countess Sybille appears. Her coming ruins the common merriment. The countess tells the young ones about the foremother of the Doris family, who was known as the White Lady. It is her statue that stands on the terrace. The White Lady does not stand idlers and can strictly punish those who do not fulfill their duties, but she always protects the members of her household, and every time one of them is in danger she shows up and warns. The young people do not take the countess's words seriously and continues to amuse themselves. Before long, a messenger appears sent by Jean de Brienne, Raymonda's fiancé, who is crusading with Andrew II of Hungary. The messenger hands Raymonda a letter from de Brienne, in which he informs Raymonda that he is returning home in triumph and he will be at the Doris castle the next day. Raymonda rejoices. She orders a sumptuous reception in honour of her fiancé. Vassals and peasants congratulate Raymonda on her name day, and dances begin. The day is over and the evening comes. Exhausted, Raymonda falls asleep on the terrace. Tableaux 2 Illuminated by the light of the moon, the White Lady comes down from her pedestal. With a gesture, she orders Raymonda to follow her. The garden around the castle gets covered in fog. Tableux 3 The garden has transformed. Jean de Brienne appears before the amazed Raymonda. The beloved are happy. Suddenly, she sees Abderakhman who has taken the place of her fiancé. The White Lady tells Raymonda to be cautious. Abderakhman declares his passionate love for her, but she is frightened. Corpse lights and imps surround her. Raymonda is perturbed. It is dawning. The pages and maids of honour come and find Raymonda unconscious on the terrace. Act II Sybille and Raymonda surrounded by the pages, maids of honour and guests come out to the courtyard. Fanfares sound announcing the arrival of new guests. However, it is not Jean de Brienne, but Saracen Abderakhman accompanied by his suite. Raymonda recognises the stranger seen in her dream. She is agitated, and Sybille reassures her. Captivated by Raymonda's beauty, Abderakhman speaks of his love for her. She is frightened and rejects him with contempt but feels attracted to him at the same time. Dancing goes on. Wishing to impress Raymonda, Abderakhman calls his servants. Jugglers, Arab boys and Saracens appear. The dances follow one after another becoming bacchanal. Using the bustle, Abderakhman's servants abduct Raymonda. But at that moment, Jean de Brienne and the knights stands on the Saracens' way. Raymonda is freed. King Andrew II of Hungary allows de Brienne to challenge Abderakhman to a duel, during which de Brienne kills Abderakhman. De Brienne requests the king to be present at his wedding. The king agrees. The procession enters the castle. Act III The garden in Jean de Brienne's castle. A celebration for the wedding of de Brienne and Raymonda. King Andrew II comes out surrounded by the retinue and guests. Everyone greets the bride and groom. One dance is followed by another. A knightly tournament on the occasion of the wedding. The anxiety of the past is forgotten. |
| 29.00 eur Temporarily out of stock |
|
ID: MELCD1001946
CDs: 2
Type: CD
|
Collection:
Orchestral Works
Subcollection: OrchestreThis collection includes some lesser known works by Borodin, including his Petite Suite for piano which is performed here in Glazunov’s instrumentation. Symphony No.3 was never finished. Borodin often played it to his friends and we can listen to it thanks to Glazunov writing down the first movement. All the works are interpreted by the expert Russian conductor Svetlanov.
Symphony No. 1 by A. Borodin composed in 1862-1867 and performed in 1869 is original in the image content. The music, epic according to its scope and Russian by nature, bears the genuine symphonism of the development of the major thematic grain. It was conceived in the land of endless valleys and grand deliberate rivers, it evokes in one's imagination the pictures of the spring waters, awakening of the life forces. The third movement of the symphony has the Oriental intonations. It took a long time (from 1869 to 1876) for Borodin to write Symphony No. 2. The premiere performance took place in 1877. The symphony was composed parallel with the opera “Prince Igor” which is close to the symphony by its imagery and character. The symphony was later called “Heroic” which is in perfect harmony with the music, full of spontaneous force, audacity and scope, the music monumental by its proportions, original by its image con tent which evokes in memory the Russian bylinas. Each of four movements is individual by nature: powerful, ponderous march of Allegro, irresistible in its flight Scherzo, songful Andante, reminding of the legendary singer Bayan, solemn Finale all this is united in the whole monumentary fresco painted with the bold wide strokes. Alexander Borodin began to work over the Third Symphony in winter 1883-84. The work over the Symphony continued up to the end of his life. He often played music of the Symphony to his friends, but he didn't write it down and unfortunately it remained unfinished. Now we can listen to it thanks to A. Glazunov who remembered the author's performing of the first movement of the Symphony and used Borodin's Scherzo, intended initially for a Quartet, for the second movement according to A. Borodins will. As a result of this now we have the score of two movements of the Third Symphony known as “Unfinished”. First the Symphony was performed on October 24, 1887 at a concert dedicated to A. Borodin's memory. The "Petite Suite" for Piano was written in 1885 in usual for the genre inter change of programme and dance miniatures. It is quite an original composition because of expressive manners and innovatory approaching of art task. "Petite Suite" is recorded on this disc in A. Glazunov's instrumentation. In Finale he used music of Borodin's piano Scherzo, repeating it twice in different instrumentation. Orchestral version of the Suite was premiered on October 28, 1889 in St. Petersburg, performed by the orchestra under Rimsky-Korsakov. Overture to the opera “Prince Igor” was written from memory and orchestrated by A. Glazunov, who heard its piano version in the author's performance. It is based on contrasts of Russian and oriental, polovtsian images, on opera's melodies and tunes. |
| 29.00 eur Temporarily out of stock |
|
|
