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Violin, page 22

   Found CDs: 283
 

Violin Concertos from Dresden

Violin Concertos from Dresden
ID: RK3105
CDs: 1
Type: CD
Collection: Instrumental

J.F. Fasch - Concerto in D, FaWV L: D8

G.F. Handel - Trio Sonata, HWV 392 in F major

J.D. Heinichen - Concerto in A minor for violin, strings and basso continuo (world premiere recording)

J.G. Pisendel - Concerto in G major for violin, horns, oboes, bassoon, strings and basso continuo (world premiere recording)

G.F. Telemann - Concerto TWV 51:Anh.B1 in B flat major for violin, strings & b.c. (spurious)
18.00 eur Buy

A. Vivaldi - The Four Seasons - Kati Debretzeni, violin, conductor - Orchestra of the Age of Enlightenment

A. Vivaldi - The Four Seasons - Kati Debretzeni, violin, conductor - Orchestra of the Age of Enlightenment
ID: SIGCD377
CDs: 1
Type: CD
Subcollection: Violin

With its vivid poetry and technical ingenuity, Vivaldi’s 'Four Seasons' was ground-breaking at the time of its composition and to this day remains as influential and transfixing as ever. In this recording, violinist Kati Debretzeni directs the Orchestra of the Age of Enlightenment based on the energetic, historically-informed performances given last February when, with renowned choreographer Henri Oguike, the OAE fused authentic performance with contemporary choreography.
The booklet includes a ‘Guided tour of the Four Seasons’, allowing listeners to follow the poetry that inspired Vivaldi as they hear the performances on the disc, including additional composer’s notes from Vivaldi’s own scores. Born in Transylvania, Kati Debretzeni studied with Ora Shiran and Baroque violin with Catherine Mackintosh and Walter Reiter at the Royal College of Music in London. Since the year 2000 she has led the English Baroque Soloists under Sir John Eliot Gardiner, and since 2008 is one of the leaders of the Orchestra of the Age of Enlightenment, which she has directed and lead in the UK, Europe and the US. Kati features as soloist on two versions of Bach’s Brandenburg concertos, with the European Brandenburg Ensemble under Trevor Pinnock (Gramophone Award, 2008), and again with the English Baroque Soloists. She has directed from the violin various ensembles in Israel, Poland, Norway, Iceland and the UK, and teaches the Baroque and Classical violin at the Royal Conservatory of Music in The Hague.
18.00 eur Temporarily out of stock

Nino Rota - For violin solo - Original soundtracks arr.Mauro Tortorelli

Nino Rota - For violin solo - Original soundtracks arr.Mauro Tortorelli
ID: STR15002
CDs: 1
Type: CD
Subcollection: Violin

TORTORELLI MAURO (violino)
La dolce vita (1960) (per violino solo
Notti di Cabiria (per violino solo)
Vitelloni (1953) (per violino solo)
Giulietta degli spiriti (1965) (per vioino solo)
Gattopardo (1963) Mazurca (per violino solo)
Boccaccio 70 (1962) (per violino solo)
I clowns (per violino solo)
8 1/2 (per violino solo)
Fantasia in Rotazione (per violino solo)
Capriccio fantasia
La strada (arr. per violino solo)
Lo sceicco bianco (arr. per violino solo)
Prova d'orchestra (1978) (arr. per violino solo)
18.00 eur Temporarily out of stock

Franco Gulli - Claudio Abbado - Tartini: Violin Concertos

Franco Gulli - Claudio Abbado - Tartini: Violin Concertos
ID: IDIS6681
CDs: 1
Type: CD
Subcollection: Violin

Tartini: Violin Concertos
Tartini:
Violin Concerto, D64
Violin Concerto in A minor D115
Violin Concerto in D D15
Violin Sonata in G minor 'Devil's Trill'
Claudio Abbado, piano
Franco Gulli, violin
Claudio Abbado

Giuseppe Tartini: Violin Concerto in F Major, D. 64
I. Allegro non presto
II. Grave
III. Presto
Giuseppe Tartini: Violin Concerto in A Minor, D. 115, "A Sua Eccellenza Lunardo Venier"
I. Andante cantabile - Allegro assai
II. Andante cantabile
III. Presto
Giuseppe Tartini: Violin Concerto in D Major, Op. 1, No. 4, D. 15
I. Allegro
II. Cantabile
III. Allegro
Giuseppe Tartini: Violin Sonata in G Minor, "The Devil's Trill"
Violin Sonata in G Minor, "The Devil's Trill"
18.00 eur Buy

Tartini - Veracini - Violin Sonatas - Fantasticus - Guillermo Brachetta - Robert Smith - Rie Kimura

Tartini - Veracini - Violin Sonatas - Fantasticus - Guillermo Brachetta - Robert Smith - Rie Kimura
ID: RES10148
CDs: 1
Type: CD
Collection: Baroque
Subcollection: Violin

Rie Kimura (Baroque violin) & Fantasticus (Robert Smith - Baroque cello & Guillermo Brachetta - harpsichord)
Founder member of the acclaimed Baroque trio Fantasticus, and celebrated up-and-coming violinist, Rie Kimura, makes a sensational solo debut with this thrilling selection of four virtuosic violin sonatas.

Joined by Baroque cellist Robert Smith and harpsichordist Guillermo Brachetta from Fantasticus, Kimura presents scintillating works by Italian eighteenth-century luminaries Giuseppe Tartini (including his famous Devil’s Trill sonata) and Francesco Maria Veracini.
18.00 eur Buy

Signs, Games & Messages - Works for Solo Violin by Bartók and Kurtág - Simon Smith

Signs, Games & Messages - Works for Solo Violin by Bartók and Kurtág - Simon Smith
ID: RES10167
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Violin

Simon Smith (violin)
Renowned British violinist and pedagogue Simon Smith makes his Resonus debut with an extraordinary disc of intensely virtuosic works for unaccompanied violin by two Hungarian composers - the late Sonata for Solo Violin by Belá Bartók and Signs, Games & Messages by living composer György Kurtág, who recently celebrated his 90th birthday in 2016.

The idiomatic and skilful writing for solo violin by both of these composers shows the immense range possible on this instrument, taking the performer to the edge of what’s possible. Often lyrical and expressive, often dramatic and atmospheric with folk influences, Simon Smith tackles this repertoire with great dedication and panache.
18.00 eur Buy

L. van Beethoven - Violin Concerto D Major, Op. 61 - Mila Georgieva

L. van Beethoven - Violin Concerto D Major, Op. 61 - Mila Georgieva
ID: KUK80
CDs: 1
Type: CD
Collection: The Great Composers
Subcollection: Violin

21.00 eur Buy

The Art of Han de Vries - Oboe Concertos

The Art of Han de Vries - Oboe Concertos
ID: CC2004
CDs: 1
Type: CD
Subcollection: 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

Oboe: Berio & Beyond

Oboe: Berio & Beyond
ID: CC2015
CDs: 1
Type: CD
Subcollection: Oboe

The 24-page CD booklet has a 6,000 word programme note in English, with a description of the works, the performers, and many photographs.


Oboe+' brings together a group of works for oboe that, with the exception of Berio’s Sequenza VII, have not been recorded before. Sequenza VII was written at the end of the 1960s, a time that had seen a great deal of experimentation with composers exploring the wide range of new sounds available. The Sequenza is an exceptional work that brings together many of the sounds and techniques of the period and integrates them into a work of extraordinary beauty and power. Alongside the development of new sounds and extended techniques came music that demanded from the performer a great deal technically, musically and emotionally. The other works recorded here are fine examples of music from this genre. The ‘new sounds’ can be divided into different categories: Firstly there are the sounds that are easy to make on the instrument. The only example on this CD is the use of key-clicks - this is simply produced by tapping the keys of the instrument hard enough to make a noise. An obvious example of this on the CD can be heard in Argrophylax at 5:10 or 16:18. In the second example the sound is also amplified. Secondly, there are the new sounds that are an extension of techniques that already exist: double, triple and flutter tonguing, range extension and quarter tones. A combination of double and triple tonguing can be heard in Argrophylax at 9:20, while flutter tonguing can be heard in Ausgangspunkte at 2:9. The extension of the range can be heard in Ausgangspunkte at 6:20. Quarter tones are used extensively in many of the works, but a particularly fine example can be found in Pavasiya at 4:17. Sequenza VII uses a few microtonal trills an example of which can be heard at 1:14. Thirdly, sounds that take the oboe into new territory: multiphonics. The performer, through a careful use of exotic fingerings and careful control of the embouchure, creates several pitches simultaneously. Every work on the CD uses these sounds often in combination with other techniques. Recoil uses multiphonics extensively from the opening bar while in Sequenza VII the multiphonics are almost ‘ghost like’ at 6:50. You can also find examples of trilling between different multiphonics in Ausgangspunkte at 10:06. Circular breathing, the technique which allows oboists to maintain very long phrases without seemingly taking a breath is also used - the most obvious example can be found in ‘…sting of the bee…’ One of the striking feature of the music on the CD is the way in which the composers are thinking about and writing for the instrument, often creating a sound world that many would not relate easily to the traditions of the oboe. In a masterclass a few years ago I was demonstrating the highest notes of the instrument and was told that it 'didn’t sound like an oboe’. A better comment would have been ‘I have never heard an oboe sound like that before’. While the other composers on the CD may not necessarily point to Berio as an influence in their work, the Sequenza is a good starting point for music that explores some of the most technically challenging music in the repertoire. Berio had a great interest in virtuosity, which is expressed and explored in his series of Sequenzas. He emphasises, however, that this virtuosity is not simply that of fast fingers but a virtuosity of the intellect as well. Similar statements could be made about the other works on this CD. This is music that demands a great deal of listener and performer alike. It is virtuoso music in the sense that there are many notes and great technical challenges, but unlike much music that could be placed under the banner of ‘virtuoso’, this music is neither frivolous nor is it easy listening. There is great passion here, focused intensity, intellectual depth, it is music that is exuberant, moving and challenging. Michael Finnissy talks in his programme note for Pavasiya of stretching the ‘virtuosic limits of the oboe(s) to the utmost’. This statement could equally be applied at different levels to the other works on this CD, each of which stretches not only the instrument but also the performer. During the course of these works you will hear most of the significant technical developments that have taken place in recent years. One of the aims I had in the recording was to maintain the physical nature of this music. An essential aspect of a number of these works is that they live on the edge of being unplayable. In live performance things do go wrong, notes are missed, the performer can sound as if he/she is struggling to play the works. In this recording I have tried to maintain this quality by not editing out some of the struggles and obvious areas where I find the works technically challenging. The CD opens with one of my solo improvisations. Most of my recitals include improvisation not only in works that demand it, but also improvisations that I myself have developed over a period of time. Improvisation in the ‘classical’ world is seen usually to be the domain of the organist or of the expert baroque specialist, all of which I welcome. In my case however I perform solo (and sometimes duo/trio) improvisations to which I give names. Each improvisation has elements that I wish to explore. These can be technical ideas, formal ideas, pitch ideas etc, and the music is frequently a mixture of many different elements. But improvisation does not stop here. Many of the works on the CD have some elements of improvisation. The Berio asks for an improvisatory approach to the placing of some of the pitches within a very strict framework - the performer’s response to the written text is a vital part of the performance of this work. Young’s work also has a great deal of improvisation both in terms of choice of pitches and the pacing of the work through to the response to the computer’s input. copyright 2006 Christopher Redgate
21.00 eur Buy

NAJI HAKIM: 2 Concerti (organ & violin) S e a t t l e C o n c e r t o (2000)- World premiere recording

NAJI HAKIM: 2 Concerti (organ & violin) S e a t t l e C o n c e r t o (2000)- World premiere recording
ID: IFO00322
CDs: 1
Type: CD
Collection: Organ Collection
Subcollection: Organ

Benoraya Concert Hall, Seattle Washington (USA); 2000: 83/IV/P.

1 - 3 - M.-B. Dufourcet, organ / Seattle Symphony - G. Schwarz, conductor
4 - 6 - M. Delorme, violin / Ensemble Instrumental Vibrations - N. Simon, conductor
21.00 eur Buy

 
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