čes | eng | fra | deu

World music CD DVD shop and Classic distribution

 

BACH, Johann Sebastian - Skladatelé, page 9

   Nalezeno titulů: 479
 

FEUERMANN IN CONCERT - Emanuel Feuermann, cello

FEUERMANN IN CONCERT - Emanuel Feuermann, cello
ID: CC1013
Disk: 1
Type: CD
Kolekce: Cello CollectionPodkolekce: Cello

Cd Includes:
Film of Dvorak Rondo Op.94,D. Popper -Spinning Song, Theodore Saidenberg, piano. Hollywood, California1939, (PC and MAC compatible)
Program and biographical notes (16 p. : ill., port.) inserted in container.

Participant:
Emanuel Feuermann or Steven Isserlis (playing missing bars 550-557 in 4th work), violoncello ; Franz Rupp (1st, 3rd), Arpad Sandor (2nd), or Theodore Saidenberg (film), piano ;
New York Philharmonic Symphony Orchestra, Arthur [i.e. Alexander] Smallens, conductor (4th). Event:Recorded Aug. and Dec. 1939, New York (1st, 3rd works), Oct. 27, 1932, Berlin (2nd), and Aug. 16, 1939, Lewisohn Stadium, New York (Saint-Saëns and Bach Suite). Section of Saint-Saëns performed by Steven Isserlis recorded in 2004. Film recorded 1939, Hollywood, Calif.

As many Feuermann enthusiasts will know, this dazzling live performance from 1939 has remained unheard by the public due largely to the fact that the original suffers from a 20 second break in the recorded sound during the last movement. Now with the expertise of Steven Isserlis (who plays the 'de Munck' Stradivarius used by Feurmann) and some engineering wizardry, Cello Classics has been able to 'fill' the gap so that the performance can be enjoyed uninterrupted. This was achieved by a very small (5 seconds) insert of new recorded material and the re-use of an existing section to cover the rest of the missing music. Of course it is an outrageous thing to do, to tamper with an original performance of such stature! How can one justify this? Well, it is possible, by omitting the inserted material, to listen to the original performance in its unedited state, if the listener so wishes. A great deal of care was taken to ensure that the spirit of the original is preserved as much as possible. Of course any keen eared listener will detect the work done, but the object was to allow a complete hearing of the work and it is felt that this has been achieved.

The other major attraction on this new Enhanced CD is the very rare film that was made also in 1939. As the only footage of its kind we can at last watch the great cellist perform two of his popular show pieces, Dvorak's Rondo and Popper's Spinning Song, and marvel at the spectacular bowing technique and Feuermann's phenomenal command of the instrument. The film can be viewed by placing the CD into a PC or Mac computer.

The rest of the CD is given to other short rarities - previously unheard takes of works by Bach and Fauré plus the Popper Papillon that was never released in Feuermann's lifetime.
15.00 eur Buy

The Art of Han de Vries - Oboe Concertos

The Art of Han de Vries - Oboe Concertos
ID: CC2004
Disk: 1
Type: CD
Podkolekce: 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

From Leipzig to London - Duo Sonatas from the 18th and 20th Centuries

From Leipzig to London - Duo Sonatas from the 18th and 20th Centuries
ID: CC2013
Disk: 1
Type: CD
Podkolekce: Oboe

The 24-page CD booklet has a 3,000 word programme note in English and German, detailing the origins of both the Bach and the 20th Century works, with a description of the performers, and many photographs.


The oboe played an important role in eighteenth-century musical society, with composers such as Handel, Vivaldi and Telemann making wide use of it as a solo, chamber and orchestral instrument. A favourite with J.S. Bach, the oboe and its family featured significantly in the composer's life in Leipzig where many of his large scale choral works were produced.

During the nineteenth century, the instrument was almost entirely relegated to the orchestra; only a handful of composers regarded it as a suitable solo instrument. However it was revived in the twentieth century by pioneers such as Léon Goossens and Janet Craxton studying, performing and teaching in London. Other players helping to reaffirm the musical capabilities of the oboe as a solo instrument included Evelyn Rothwell (Lady Barbirolli), who with her duo partner Valda Aveling (harpsichord) realized the potential of combining these two instruments. They encouraged some of England's most respected composers to use the harpsichord in duo sonata form for the first time since the eighteenth century, and this CD presents four pieces which were written for them in 1963 and 1972. Copyright Althea Ifeka and Katharine May 2005

As of 2008, Althea Ifeka is changing her name to Althea Talbot-Howard.

Althea Ifeka and Katharine May began their association in 1994 as scholars on the Countess of Munster Musical Trust Recital Scheme, and have given numerous recitals at music clubs, festivals and universities throughout the United Kingdom. In 1996 they broadcast for both Classic FM and RTE Ireland, and also undertook a concert tour of Eire, co-sponsored by the British Council. This is their first CD.
21.00 eur Temporarily out of stock

Crossing Musical Boundaries - The Sheba Sound - 2 Oboes, Bassoon and Harpsichord

Crossing Musical Boundaries - The Sheba Sound - 2 Oboes, Bassoon and Harpsichord
ID: CC2014
Disk: 2
Type: CD
Podkolekce: Fagot

The 24-page CD booklet has a 6,000 word programme note in English containing the interview below, plus a detailed track-by-track description, including interviews with Gordon Langford about his arrangements and David Matthews about Toccatas and Pastorals. There are many photographs.

Jeremy Polmear talks to Catherine Smith about The Sheba Sound:

The Sheba Sound was founded in 1975 by Catherine Smith, and ran for an impressive 22 years. I asked her how it came about. "I was a freelance oboist working in London, and, to be honest, I felt that life was getting a bit repetitive. I needed a challenge, I needed to break out of the orchestral rut. I love making experiments, and exploring new areas of life.

"My starting point for the new group was two oboes, bassoon and harpsichord to play trio sonatas. I approached the oboist Deirdre Lind and the bassoonist Deirdre Dundas-Grant because they had both played in the BBC Concert Orchestra, and therefore had experience in playing all kinds of music. Neil Black [a prominent London oboist] suggested I contact the harpsichordist Harold Lester, who not only played early music with Alfred Deller, but contemporary music with Cathy Berberian and the London Sinfonietta. Our horizons were limitless. The name of the group reflects this - 'Sheba', in reference to the best-known baroque piece for two oboes, 'The Arrival of the Queen of Sheba' by Handel, - and 'Sound', being the kind of name you wouldn't use in strictly classical circles. All future members of the group shared this eclectic experience of musical styles. I am particularly grateful to the first members, who made financial sacrifices until we had established ourselves.

"As I wanted the group to be unique in every respect, I decided that we would play, if possible, unpublished Baroque music, so I spent hours and hours in libraries looking for interesting scores. Harold Lester brought his extensive knowledge of early harpsichord music, and arranged some of it; and I also wanted a more jazzy arranger. Brian Kay of the King's Singers suggested Gordon Langford, who had written beautifully for them; he wrote a Folk Song Suite for us [Kaleidoscope CD, tracks 15 -19], the first of many arrangements. Our subsequent commissions were not only contemporary serious music, but also jazz and rock.

"I decided that our presentation was very important. Our dresses were glamourous, shot silk, in bright reds, and the men had cummerbunds to match. Each work was introduced by a member of the group, which was unusual at that time. We commissioned special music stands from the furniture department of the Royal College of Art, and draped the funiture on the platform in red velvet.

"We played all over the UK, in concert halls, at music clubs and festivals, and we did regular London concerts at the Wigmore Hall. One was recorded, and is the source of several tracks on these CDs. We often worked with well-known actors such as Gabriel Woolf [The Bassoon Song, Kaleidoscope CD, track 7], Derek Jacobi, Nicolas Parsons and Spike Milligan, on whose TV programmes we appeared. We did lots of Children's Concerts too, at which the greatest success was a special story, 'The Key to the Zoo', written by humourist Miles Kington, with music by Stephen Oliver. In the story we each became an animal character, with an appropriate hat.

"We toured abroad too, especially in Germany, Italy and Arabia. In Italy they preferred to have a singer with the group, and we took people such as the contralto Margaret Cable and the tenor Christopher Underwood. We also played in Holland, and on TV in Flanders. We broadcast in the UK too - on the BBC music channel Radio 3, but I was also on the talk channel Radio 4, on 'Woman's Hour'. At the time I had three children under eight as well as my career - quite a new thing back in 1975 - and this created quite a lot of interest among the listeners, who then wanted to know what our music sounded like. This led to the BBC financing a recording, many of whose tracks appear here."
29.00 eur Buy

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
Disk: 1
Type: CD
Podkolekce: 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.
21.00 eur Buy

Jill Crossland: Johann Sebastian Bach Keyboard Works

Jill Crossland: Johann Sebastian Bach Keyboard Works
ID: CCCR102
Disk: 1
Type: CD
Kolekce: BaroquePodkolekce: Klavír

Jill Crossland is a brilliant pianist who is now recording and increasing her concert performances. Bach is one of her specialist areas, and she gives a fresh and exciting dimension to these well known works.
15.00 eur Buy

Sacred Seasons: A Christmas Album

Sacred Seasons: A Christmas Album
ID: CDC005
Disk: 1
Type: CD
Podkolekce: Christmas Music

Philharmonia Orchestra, Carl Davis, conductor, Timothy West, narrator


A Christmas Carol - Ballet Suite,Carl Davis (arr. N. Raine)

The Nativity Story
Carl Davis (based on his score for Ben Hur - 1925)
Narrated by Timothy West,(orch. C. Matthews)

Serenade of Carols (in four movements),Morton Gould

Sacred Seasons
J S Bach- (arr. C. Davis / D. Matthews)

Prayer (Mozartiana)
(movement 3 - After a transcription of Liszt),(arr. Tchaikovsky)


Christmas need not only be celebrated at home and church but also in ballet, opera, musicals, the concert hall and pop.
Carl Davis’s new CD offers a varied buffet of Seasonal goodies and premieres an adaptation of his Ben Hur score with narration drawn from the Gospels and read by the marvellous actor, Timothy West, as well as new orchestral settings of Bach’s most loved chorale preludes.
18.00 eur Buy

J.S. Bach - PASTORALE- Transcriptions for guitars by Vladimir Kuznetsov

J.S. Bach - PASTORALE- Transcriptions for guitars by Vladimir Kuznetsov
ID: CDMAN057-00
Disk: 1
Type: CD
Kolekce: BaroquePodkolekce: Guitar

Vladimir Kuznetsov, guitar
Anton Fomichev, guitar
Sergey Zolotaryov, guitar
18.00 eur Buy

J.S. Bach - Sinfonia - Transcriptions for guitars by Vladimir Kuznetsov - Projectus

J.S. Bach - Sinfonia - Transcriptions for guitars by Vladimir Kuznetsov - Projectus
ID: CDMAN085-02
Disk: 1
Type: CD
Kolekce: BaroquePodkolekce: Guitar

Projectus:
Vladimir Kuznetsov, guitar
Anton Fomichev, guitar
Sergey Zolotaryov, guitar
18.00 eur Buy

J.S. BACH: Famous Organ Works - S. Tsatsorin, organ

J.S. BACH:  Famous Organ Works - S. Tsatsorin, organ
ID: CDMAN100
Disk: 1
Type: CD
Kolekce: Organ Collection

18.00 eur Buy

 
Zákazník: neřihlášen

CD DVD SACD
Thematic search:
  • Tituly
  • Skladatelé
  • Interpreti 
  • Soubory
  • Dirigenti
  • Nástroje
  • Žánr
  • Labelů
  • Kolekce
  • Abecední výpis
 
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.