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SATIE, Erik - Komponisten

   Titels gefunden: 8
 

Komponist: SATIE, Erik ((1866-1925))
SATIE, Erik

Piano Music for Children (2 CD Set)

Piano Music for Children (2 CD Set)
ID: BRIL92304
CDs: 2
Type: CD
Kolektion: Music for ChildrenSubkolektion: Piano

Beethoven: Für Elise
Schumann:Scenes from Childhood
Debussy:Children’s Corner
Brahms:Lullaby
Grieg:March of the Dwarfs a.o.
Children’s Corner PIANO MUSIC FOR CHILDREN
25.00 eur Buy

The Oboe 1903-1953

The Oboe 1903-1953
ID: CC2012
CDs: 2
Type: CD
Kolektion: InstrumentalSubkolektion: 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

Piano Sensibile, Vol. 1, Boris Mersson

Piano Sensibile, Vol. 1, Boris Mersson
ID: DRC5007
CDs: 1
Type: CD

Beethoven: Adagio Cantabile (ausder Sonate Pathétiquw Op. 13)
Brahms: Intermezzo No. 1, Op. 119 (Adagio)
Chopin: Prelude in Des-Dur, Op.28, No. 15 (Sostenuto) ; Nocturne in Cis-Moll, Opus posthume (Largo)
Debussy:
Field: Noctrune in B-Dur No. 5 (Andantino)
Janáček: La fille aux cheveux de lin (aus Preludes cahier 1) (Tres calme et doucement expressf)
Liszt: Consolatino No.3 (Lento placido) in Des-Dur
Mendelssohn (-Bartholdy): Lieder ohne Worte No.18, Op. 38 (Andante con moto)
Satie: Gnossienne No. 2 (Avec étonnement)
Schubert: Impromptu No. 2, Op. 142 (Allegretto) in As-Dur
Schumann: Träumerei (Aus Kinderszenen Op. 15); Vogel als Prophet (Aus Waldszenen Op. 82) (langsam, sehr zart)
Smetana: La Consolation (Aus < Reves > six morceaux caractéristiques pour piano a 2 mains) (Moderato)
Tchaikovsky: Barcarolle No.6 (Aus die Jahreszeiten Op.37) (Andante cantabile)
18.00 eur Buy

NAKED TANGO - Svetozar Ivanov, piano

NAKED TANGO - Svetozar Ivanov, piano
ID: GD327
CDs: 1
Type: CD
Kolektion: InstrumentalSubkolektion: Piano

Svetozar Ivanov has a successful international career as a pianist. He has made numerous appearances as recitalist and orchestra soloist in Europe and North America. Recent venues include Festival “Peter the Great” in the Netherlands, Robert Helps International Festival at Merkin Concert Hall in New York City, Fox River Chamber Music Festival in Wisconsin, Chautauqua Music Festival in New York, Sequoia Concerts in San Francisco, The Steinway Series and the Encore Series in Florida and numerous concert series at universities throughout the USA. He is a piano professor at University of South Florida and serves on the Artist Faculty at Green Mountain Chamber Music Festival in Vermont and as Artistic Director of the Steinway Piano Series in Florida. Svetozar Ivanov was born in Bulgaria and is a graduate of the Pancho Vladigerov Bulgarian National Conservatory. He holds the Doctor of Musical Arts degree from University of Michigan. The first CD of the pianist released by Gega New includes works by Debussy, Berg, Schoenberg and Scriabin (GD 322). The second CD features pieces which present the development of music art within a period of four centuries. Svetozar Ivanov says about the present program: “In 1914 Erik Satie composed Perpetual Tango which was meant to be repeated eternally. Seventy years later John Cage wrote a piece with the same title, shape and structure as Satie's tango. Separately and superimposed, these two works encircle this CD endlessly. The title, Naked Tango is borrowed from a stunning work (reproduced on the cover) by Argentine artist Guillermo Kuitca. I was very fortunate to know Robert Helps during the last few years of his life and he remains a great inspiration for me as a person and as a musician. His music, which is the heart of this CD, along with timeless sounds from the distant past (Tisdall, Rameau) is woven into the perpetual rhythm of the tango as expressed by Nazareth, Stravinsky, Shchedrin and Barber.”
15.00 eur Buy

OUTSTANDING MUSICIANS OF ST PETERSBURG - ANASTASIA BRAUDO, organ

OUTSTANDING MUSICIANS OF ST PETERSBURG - ANASTASIA BRAUDO, organ
ID: IMLCD167
CDs: 1
Type: CD
Kolektion: Organ CollectionSubkolektion: Organ

Live archival recordings made in the1960th at the Grand Hall of the Leningrad Philharmonic

Anastasia Braudo, harpsichord (1-14), organ (15-25)
Leningrad Chamber Orchestra conducted by Lazar Gozman (1-3)
15.00 eur Buy

SONGS - KEVIN KYLE

SONGS - KEVIN KYLE
ID: JCL515
CDs: 1
Type: CD
Subkolektion: Vocal and Piano

Kevin Kyle has been the recipient of numerous awards, was finalist in the 2004 Handel singing competition and made his proms debut in 2005 under the baton of Sir John Eliot Gardiner. This recording on JCL gives Kevin Kyle the opportunity to show his diverse range and in his own words - “ …my voice is the means by which those composers and poets tell their stories through the medium of music, regardless of language”.

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
18.00 eur Buy

Nettle & Markham in France - 28 tracks of popular light French classics

Nettle & Markham in France - 28 tracks of popular light French classics
ID: NEMACD300
CDs: 1
Type: CD
Kolektion: InstrumentalSubkolektion: Piano

15.00 eur Buy

Erik Satie - The Velvet Gentleman (Piano Masterpieces)

Erik Satie - The Velvet Gentleman (Piano Masterpieces)
ID: RRC1227
CDs: 1
Type: CD
Subkolektion: Piano

15.00 eur Buy

 
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