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J. Brahms - Piano Concerto No.1 in D minor Op.15 / L. van Beethoven - Piano Sonata No.14 in C sharp minor Op.27 No.2 - “Moonlight”

J. Brahms - Piano Concerto No.1 in D minor Op.15 / L. van Beethoven - Piano Sonata No.14 in C sharp minor Op.27 No.2 - “Moonlight”
ID: PTC5186124
Disk: 1
Type: SACD
Podkolekce: Orchestr

Multichannel Hybrid SACD - DSD
21.00 eur Buy

J. S. BACH - Die Kunst der Fuge / The Art of the Fugue

J. S. BACH - Die Kunst der Fuge / The Art of the Fugue
ID: IFO07001
Disk: 1
Type: CD
Podkolekce: Organ

Jean-Christophe Geiser, Grandes Orgues FISK, Cathédrale de Lausanne (CH) / Elizabeth Sombart, Piano (Steinway)
21.00 eur Buy

Tony Palmer’s Film - Valentina Igoshina plays Chopin

Tony Palmer’s Film - Valentina Igoshina plays Chopin
ID: TPDVD161
Disk: 1
Type: DVD
Kolekce: DocumentaryPodkolekce: Klavír

Format: Color, DVD, NTSC
Language: English
Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
Screen (Picture) Format: 16:9
Aspect Ratio: 1.33:1
Number of discs: 1
Rated: NR (Not Rated)
Studio: United States Dist
DVD Release Date: May 4, 2010
Run Time: 58 minutes


This DVD of a specially recorded recital features the beautiful young Russian pianist, Valentina Igoshina performing much of the music contained in Tony Palmer’s classic film: The Strange Case of Delfina Potocka - The Mystery of Chopin.
Igoshina is an internationally acclaimed pianist who is best known for her interpretations of Chopin and Rachmaninoff. She has appeared as a soloist with many famous orchestras including the Royal Concertegebouw Orchestra, BBC Scottish Symphony Orchestra, London Philharmonic Orchestra and The Hallé.
In an article in Gramophone (September, 2008) "Chopin Reprogrammed and a Vital Young Russian Relishes the Task," Bryce Morrison said “she relishes every aspect of Chopin's enchanting urbanity, his alternating exuberance and introspection, his light and shade." Her recording “Chopin: Complete Waltzes” was chosen by Classic FM magazine as its November 2008 ‘Disc of the Month’.
21.00 eur Buy

Tony Palmer’s Classic Film -The Strange Case of Delfina Potocka. The Mystery of Chopin

Tony Palmer’s Classic Film -The Strange Case of Delfina Potocka. The Mystery of Chopin
ID: TPDVD160
Disk: 1
Type: DVD
Podkolekce: Biography Movie

Format: DVD, NTSC
Color mode: Colour and Black and White
Language: English, German Voice Over
Subtitles: German, Spanish, English
Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
Screen (Picture) Format: 16:9
Aspect Ratio: 1.33:1
Video: Widescreen 1.85:1 Color (Anamorphic)
Number of discs: 1
Rated: NR (Not Rated)
Studio: United States Dist
DVD Release Date: May 4, 2010
Run Time: 109 minutes

Performance Credits
Paul Rhys (Films)(Biography) -Chopin
Penelope Wilton (Films)(Biography) - Delfina/Paulina
John Shrapnel (Films) - Iwaszkiewic
Corin Redgrave (Films)(Biography) - Actor
Terence Rigby - Sydow
Patricia Quinn - George Sand
John Fortune -Actor
John Bird - Actor
Peter Woodthorpe - Actor
Michael Gough -Actor
Vernon Dobtcheff - Actor

Technical Credits
Tony Palmer - Director, Editor
Michela Antonello - Producer Writers
Rob Ayling - Executive Producer
Clive Barda -Cinematographer
David Forrest - Executive Producer

Reissue of director Tony Palmer’s 1999 feature film.
In 1945, the new Polish Government asked for the heart of Chopin previously buried in Paris. A woman called Paulina Czernika approached the Polish Government claiming to have some love letters from the composer to her greatgrandmother, the Countess Delfina Potocka. Eventually alarmed, the Ministry began a witch-hunt against Madame Czernika - Delfina Potocka was the only woman to whom Chopin had dedicated any music - these letters were said to be pornographic, anti-Semitic and thoroughly damaging to the image of the composer as a Polish hero. Czernika ‘committed suicide’ on 17th October 1949, 100 years to the day after the death of Chopin - or was she murdered, and if so, why? Were the letters in fact forgeries? And what was the truth about Delfina Potocka?
Tony Palmer’s dramatised film tells the story of Czernika Potocka, probing a veritable mystery in a series of parallel scenes from 1945 and 1845. New light is shed on Chopin himself, not least in the interpretation of the music brought to life miraculously by the beautiful young Russian pianist, Valentina Igoshina.
21.00 eur Buy

Virtuoso Oboe Music by Antonio Pasculli - Ch.Redgat, oboe and S. Robbings, piano

Virtuoso Oboe Music by Antonio Pasculli - Ch.Redgat, oboe and S. Robbings, piano
ID: CC2006
Disk: 1
Type: CD
Podkolekce: Oboe

The CD booklet contains a 2,000-word essay by Christopher Redgate on the music and life of Antonino Pasculli in English, Italian and German. The photos include two of Pasculli and one of his Triébert oboe.


Antonino Pasculli was born in 1842. The great violin virtuoso Paganini had died two years previously (also an Italian, a performer and a composer) and Franz Liszt was touring Europe as a dazzling virtuoso. Some have likened Pasculli to Paganini and perhaps for good reason; he must at least have known the reputation of these two giants.

But there were others. The concept of the performer/composer was very common in both the 18th and 19th centuries. Many of them wrote music for their own use, and often specifically to display their techniques. There were many fine oboist/composers during this period - Casimir Lalliet (1837-92) and Stanislas Verroust (1814-63) to name but two. What sets the music of Antonino Pasculli apart, however, is the extreme technical demands he makes upon the oboist (I know of nothing else from the 19th century repertoire to compare with the challenges he poses), and the creative ways in which he uses his chosen material. copyright Christopher Redgate 2003
21.00 eur Temporarily out of stock

Rare Goossens - Oboe Concertos

Rare Goossens - Oboe Concertos
ID: CC2005
Disk: 1
Type: CD
Podkolekce: Oboe

Recorded between 1925 and 1947

The CD booklet contains an essay (in English, French and German) about Goossens and his art by Melvin Harris which has recieved much praise - "Melvin Harris' excellently supportive booklet note" (Classical Music Web); "Melvin Harris, author of the excellent insert note" (Gramophone). There are photographs from Goossens' early and middle life, including some not seen before.


Of Léon Goossens it was once said: "There is perhaps only one other musician who can so etherialise his instrument. One thinks of Casals and his cello."

But it was not always so. In his early days Léon Goossens was dissatisfied with the models he was expected to emulate. His first teacher was Charles Reynolds, the renowned lead oboist of the Hallé Orchestra. Great though he was at teaching breath control and practice passages, his tone and phrasing held no magic for his young pupil. Etherealisation was absent from a tone that was broad, without vibrato and, as Léon put it, "bullish". Indeed, to mute his instrument, Reynolds used to hang a robust pocket handkerchief over his music stand and project into it!

Later studies at London's Royal College of Music brought no real inspiration, for the oboe professor there was William Malsch, a kindly man, but an unlovely player. He was dropped from the Queen's Hall Orchestra since his tone set Sir Henry Wood's teeth on edge. An American critic agreed, when he wrote "His tone bites like sulphuric acid".

The great breakthrough came when Léon heard the Belgian oboist Henri De Busscher play at the Queen's Hall. De Busscher's playing was delicate and expressive, with a marvellous singing quality about it. His long, sensitive phrases were a marvel. His cameo-like tone was endowed with a warm vibrato. This was the inspiration that Léon had yearned for. Night after night he listened out for De Busscher's solos, then went back to his room to emulate and aim for the same subtle and singing control over his oboe. He was an eager and gifted pupil, so much so that when De Busscher left for New York, Henry Wood chose the 16-year-old Goossens to take his place. copyright Melvin Harris, 2002
21.00 eur Buy

Though Lovers be Lost -Music shadowing the two World Wars

Though Lovers be Lost -Music shadowing the two World Wars
ID: CC2008
Disk: 1
Type: CD
Podkolekce: Oboe

The CD booklet contains a 2,000-word essay by Emily Pailthorpe on the music and the times in English, French and German. The photos include more of the performers, composers and the recording session.

The period between the two World Wars was one of violence, conflict, loss, nostalgia, yet great creative energy - qualities which are reflected in this collection of works for oboe and piano. These pieces conjure up a time in which loss was familiar, change seemed relentless, and yet a frenzy of exuberant artistic work was taking place. In her book 'Testament of Youth' (1933) Vera Brittain writes of the time: "Only gradually did I realize that the War had condemned me to live to the end of my days in a world without confidence and security, a world in which every dear personal relationship would be fearfully cherished under the shadow of apprehension."

The five composers represented in this disc were each directly affected by the extraordinary circumstances of the inter-war period, and their reactions were personal and diverse. Together, these pieces create not only a varied recital programme but also a window into this highly charged time. Living in the shadow of such desolation it is awe-inspiring and affirming that these men chose still to express themselves through the universal language of music. They speak clearly to us across the gulf of time in a way that is best expressed by these words of Dylan Thomas:

Though Lovers be lost, love shall not;
And death shall have no dominion.

copyright 2003 Emily Pailthorpe
21.00 eur Temporarily out of stock

Schumann, Robert & Clara: Music for Oboe and Cor Anglais

Schumann, Robert & Clara: Music for Oboe and Cor Anglais
ID: CC2002
Disk: 1
Type: CD
Podkolekce: Klavír

The CD booklet contains an article by Keith Fraser (in English, French and German) on the relationship between Robert and Clara Schumann and a description of each piece, accompanied by session photographs.


How much do pictures reflect reality? The image on the front of this CD is an anonymous copy of a photograph taken of Robert and Clara Schumann in 1850, the year after most of the pieces here were written. Robert, standing soberly by the piano, was actually addicted to wine, women and song. His drinking was referred to by Clara's father Friedrich Wieck in his attempts to prevent their marriage, and Robert's affairs were a problem for Clara. Not so the songs, of which he wrote more than 100 in 1840, the year he married Clara. He was 40 years old in this picture, by this time a thoroughly respected composer, though more successful in some genres than others. His earlier intention, to be a concert pianist, had been thwarted by a (possibly self-inflicted) injury to his right hand. And what of Clara? She was 31 and an acclaimed pianist. She had already given birth to six of her eight children (of whom seven survived). At this period she was also performing, but her pregnancies (and Robert's encouragement) had led to a flowering of her compositional skills. Her face - in common with other photos of her - seems to express a kind of abstracted melancholy. But here the copyist has lied; in the original photograph she is almost smiling. Certainly the years from her marriage until Robert's physical and mental health began its final decline in 1852 contained much ecstatic happiness. As she wrote in her diary soon after their marriage: "I am supremely happy, and becoming more so all the time - if my Robert is as happy as I am, then I will wish for nothing further - because of my love I could sometimes hurt him with my kisses; instead of becoming quieter (as they say one gets to become in a marriage) I become more fiery! - my poor beloved husband! Their relationship was one of mutual love and mutual support, though perhaps Clara was able to support Robert more than the other way round. She encouraged him constantly, and by performing his works at her concerts brought them into the public domain. Robert sometimes described her as his own "right hand". She was sociable and outgoing, he more private and reserved outside his own circle of friends. He needed her support, and indeed sometimes felt inadequate and depressed on her concert tours when she was the star soloist and and he could no longer play the piano properly. Clara's encouragement of Robert was from a position of equality, and the anonymous illustrator has made a blatent distortion in the picture by moving the angle of her head from upright in the original photograph to a more submissive position - forward and down. Copyright Jeremy Polmear 2002
21.00 eur Temporarily out of stock

L. van Beethoven - Piano Sonatas Nos. 5-7: Mari Kodama, piano

L. van Beethoven - Piano Sonatas Nos. 5-7: Mari Kodama, piano
ID: PTC5186377
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

J. Brahms: Complete works for Violin and Piano: A. Steinbacher, violin / R. Kulek, piano

J. Brahms: Complete works for Violin and Piano: A. Steinbacher, violin / R. Kulek, piano
ID: PTC5186367
Disk: 1
Type: SACD
Podkolekce: Klavír

Multichannel Hybrid SACD - DSD

The outstanding artist Arabella Steinbacher has chosen the Brahms Violin Sonatas for her most recent release. Her previous CD of the Bartók Concertos (PTC 5186350) received excellent reviews “a fearsomely talented violinist.” Telegraph; Gramophone Editor’s Choice; BBC Music Magazine 5* Recording
21.00 eur Buy
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