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ID: BRV9915
Disk: 15
Type: CD
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Podkolekce: Legendary Voices
A 15-CD collection that will have great appeal for the collector; live recordings and performances of 7 complete operas with Joan Sutherland. The accompanying booklet contains a biographical essay on Sutherland, rare historic photos, complete cast lists and a short synopsis of each opera.
Joan Sutherland (soprano)
Bellini:
Beatrice di Tenda
recorded live in Milan on 10th May,1961
Joan Sutherland (Beatrice di Tenda), Raina Kabaivanska (Agnese), Dino Dondi (Filippo Maria Visconti), Giuseppe Campora (Orombello), Piero De Palma (Anichino), Walter Gullino (Rizzardo)
Orchestra & Chorus of La Scala Milan, Antonino Votto
Norma
recorded live in Buenos Aires in 1969
Joan Sutherland (Norma), Fiorenza Cossotto (Adalgisa), Charles Craig (Pollione), Ivo Vinco (Oroveso), Tatiana Zlatar (Clotilde), Orazio Mastrango (Flavio)
Orchestra & Chorus of the Teatro Colón, Richard Bonynge
Handel:
Rodelinda
recorded live on 24th June, 1959; sung in English
Joan Sutherland (Rodelinda), Janet Baker (Eduige), Margreta Elkins (Bertarido), Patricia Kern (Unulfo), Alfred Hallet (Grimoaldo), Raimund Herincx (Garibaldo)
Philomusica of London, Chandos Choir, Charles Farncombe
Haydn:
L'anima del filosofo, ossia Orfeo ed Euridice
recorded live in Edinburgh in 1967
Joan Sutherland (Euridice), Nicolai Gedda (Orfeo), Spiro Malas (Creon)
Scottish National Orchestra & Opera Chorus, Richard Bonynge
Meyerbeer:
Les Huguenots
recorded live in Milan on 7th June,1962
Joan Sutherland (Marguerite de Valois), Giulietta Simionato (Valentine de Saint-Bris), Fiorenza Cossotto (Urbain), Franco Corelli (Raoul de Nangis), Wladimiro Ganzarolli (Compte de Nevers), Giorgio Tozzi (Compte de Saint-Bris), Nicolai Ghiaurov (Marcel), Walter Gullino (Bois-Rosé), Piero De Palma (De Tavannes), Giuseppe Bertinazzo (De Cossé), Manuel Spatafora (De Thoré), Antonio Cassinelli (De Retz), Alfredo Giacomotti (De Meru), Silvio Maionica (Maurevert)
Orchestra & Chorus of La Scala Milan, Gianandrea Gavazzeni
Rossini:
Semiramide
recorded live in Rome in 1968
Joan Sutherland (Semiramide), Monica Sinclair (Arsace), Mario Petri (Assur), Ottavio Garaventa (Idreno), Ferruccio Mazzoli (Oroe), Giovanni Gusmeroli (L'Ombra di Nino), Gino Sinimberghi (Mitrane), Angela Rocco (Azeme)
Orchestra Sinfonica e Coro di Roma della RAI, Richard Bonynge
Tippett:
The Midsummer Marriage
recorded live in London on 27th January,1955
Richard Lewis (Mark), Joan Sutherland (Jenifer), Otakar Kraus (King Fisher), Adele Leigh (Bella), John Lanigan (Jack), Edith Coates (The She-Ancient), Michael Langdon (The He-Ancient), Oralia Dominguez (Sosostris), Monica Sinclair (A Voice)
Orchestra & Chorus of Covent Garden, John Pritchard |
| 48.00 eur Buy |
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ID: CC0004
Disk: 1
Type: CD
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Podkolekce: Music for Clarinet
The first in a series of recordings featuring the sounds of period clarinets.
Keith Puddy - early clarinets
Gary Brodie, Paul Price - early clarinets Susan Dent - baroque horn
Alistair Mitchell - 8 keyed bassoon Malcolm Martineau - fortepiano
Full listing
Anonymous Duets; George Frederick Handel - Overture; Johann Christoph Graupner - Suite; Ludwig Van Beethoven - Duo No.3 in B flat, WoO 27. |
| 15.00 eur Buy |
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ID: CC2010
Disk: 1
Type: CD
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Kolekce: InstrumentalPodkolekce: 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 |
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ID: CC2012
Disk: 2
Type: CD
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Kolekce: InstrumentalPodkolekce: 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 |
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ID: CC2014
Disk: 2
Type: CD
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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 |
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ID: CC2018
Disk: 1
Type: CD
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Kolekce: Opera CollectionPodkolekce: Oboe
The 24-page full colour CD booklet has a 6,000 word programme note in English
with full details of each item, setting it in its operatic and historical context.
There are biographies of all the players and many photographs.
Emily Pailthorpe (the youngest winner of the Gillet International oboe competition) joins Elaine Douvas (Principle Oboe of the Met Opera Orch.) to give an oboist’s-eye-view of opera.
Introduction by Emily Pailthorpe:
This is a CD for lovers of opera and lovers of the oboe alike. Indeed it is often the vocal quality of the oboe to which listeners and players are drawn. Whether reaching out from the pit orchestra in accompaniment, or taking centre stage for a chamber work, playing the oboe does feel like singing. Portrayed here are some of the great oboe moments in opera (Fidelio, Meistersinger) as well as many that we always wanted to stand up and sing ourselves! (For example the 'Queen of the Night' aria from Mozart's Magic Flute, the Duo from Donizetti's Lucia di Lammermoor.) Both the Diva and the gracious accompanist appear here - often swapping seamlessly from one role to the other.
My own love affair with opera grew when I was a student at The Juilliard School in New York, and my teacher Elaine Douvas gave me standing passes to come and hear the productions at the New York Metropolitan Opera, where she was principal oboe. It is a great pleasure to collaborate on this CD with her and her colleagues from the Met, and also to highlight the opera connection of players from the London CONCHORD Ensemble. Daniel Pailthorpe was principal flute at English National Opera for ten years and Andrea de Flammineis is principal bassoon at the Royal Opera House. I think that in this recording the operatic experience of all these players shines through. |
| 21.00 eur Buy |
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ID: CLS0102
Disk: 2
Type: CD
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Kolekce: Vocal CollectionAngelo Manzotti, sopranist. Tito Ceccherini, conductor. Baroque Ensemble Rocinante. Violin: Tuomo Suni (ConcertMaster), Lotta Suvanto (ConcertMaster), Marika. Holmqvist, Mervi Kinnarinen, Siiri Rasta. Viola: Laura Kajander. Cello: Ville Sirvio. Double Bass: Maria Vahervuo. Oboe: Jasu Moisio, Regina Hamarikivi. Flute: Lorenzo Cavasanti. Bassoon: Jani Sunnarborg. Harpsichord: Assi Karttunen. CD 2: Multimedia Booklet (PC & Mac Compatible) Includes pictures, detailed biographies, bonus mp3 files, the music in full score and more! (Requires a Java enabled browser like IE or Netscape, version 4 or better). |
| 25.00 eur Buy |
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