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Vocal Collection, page 111

   Found CDs: 1229
 

SONGS - KEVIN KYLE

SONGS - KEVIN KYLE
ID: JCL515
CDs: 1
Type: CD
Subcollection: 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
16.00 eur Buy

Robert Schumann - Dichterliebe Op. 48

Robert Schumann - Dichterliebe Op. 48
ID: JCL513
CDs: 1
Type: CD
Subcollection: Guitar

Dichterliebe Op. 48
Robert Schumann (1810 - 1856)
Arranged by Carl Herring for Guitar and Voice, Observing original keys throughout

An original arrangement by Carl Herring of Schumann’s masterpiece, here recorded on the JCL label for the first time for Guitar and Tenor. Carl Herring and Kevin Kyle met whilst studying at the Royal Academy of Music, London and collaborate regularly as a duo performing classical and modern repertoire. This particular arrangement of Dichterliebe has been a work in progress ever since Carl and Kevin met and JCL Records are delighted to have facilitated this first of many recordings of the duo. The recording is complemented at the end by Carl performing Five Schubert Songs arranged by Johann Kasper Mertz.

Carl Herring
Carl is the leading British guitarist of his generation and has rapidly built up an international career, giving performances throughout the UK and in Cuba, Sri Lanka, Scandinavia and Europe.


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
16.00 eur Buy

Michael Nyman - Mozart 252

Michael Nyman - Mozart 252
ID: MNRCD113
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices

This album was designed to celebrate the 250th anniversary of the birth of Mozart in 2006, but it seemed more appropriate to miss the boat, by two years - hence the 252. It could equally have been Mozart 30, since it is 30 years since In Re Don Giovanni originally saw the light of day in 1977 in the very first Campiello Band concert, in the National Theatre foyer. The Campiello Band was born out of the onstage band used for my arrangements of 18th century gondoliers’ songs for Bill Bryden's production of Goldoni's ‘Il Campiell’, which opened the Olivier Theatre in October 1976 and was thus the father of the current Michael Nyman Band.

Two main bodies of Mozart-derived works are presented on Mozart 252; the soundtrack to Peter Greenaway's ‘Drowning by Numbers’ (1988), and songs and duets from ‘Letters. Riddles and Writs’, a TV film developed in 1991 with the director Jeremy Newson as part of BBC2's Not Mozart series, which marked the 200th anniversary of Mozart's death.

My “Mozart music” is best understood by reading Pwyll ap Sion's impressive analyses in his book The Music of Michael Nyman:Texts, Contexts and Intertexts (Ashgate, 2007). But, briefly the first Nyman/Mozart collaboration, In Re Don Giovanni effectively samples and remixes the first 16 bars the Catalogue Song from ‘Don Giovanni’, and Revising the Don (a Radio 3 commission for the 250th anniversary) is a lyrical and literal revisiting of In Re.

The ‘Drowning by Numbers’ score is derived, in accordance with Greenaway's strict instructions, entirely from the slow movement of the ‘Sinfonia Concertante’ for violin and viola: Trysting Fields simply 'lists', in order of occurrence and each repeated three times, all the “unprepared” dissonances, (appoggiaturas) from the Mozart piece, and at the end introduces the 8-chord E flat/C minor/A flat/B flat/C min/E flat/A flat/B flat 'rock 'n' roll' sequence which ends the exposition of the movement, and which, along with a kind of retrograde version, is heard throughout Sheep 'n' Tides, Wheelbarrow Walk, Fish Beach and Not Knowing the Ropes (so called because on the ‘Drowning’ soundtrack album it is erroneously called Knowing the Ropes!).

Wedding Tango is built out of a chord-by-chord alternation of both the minor key version (from the very end of the movement) and more familiar major key versions of the 8-chord sequence. Knowing the Ropes, like Trysting Fields is a musical list (though with more conscious structural organization) - this time of a wiggly semiquaver motif, which is threaded through the movement and ends with a grand statement of the theme that is accompanied by the 8-chord sequence in the Mozart original.

‘Letters, Riddles and Writs’ deals in general, through texts taken from Mozart’s letters and riddles (the writs have to do with my frequent theft of Mozart's music) with his relationship with his father (O my dear Papa, a remake of O Isis und Osiris from The Magic Flute), with his own mortality (I am an Unusual Thing, which uses the texts from one of the riddles that Mozart wrote and distributed in Vienna during the 1787 Carnival and is based entirely on extract from two of his Haydn quartets) and with his business acumen [Profit and Loss, modeled on In Re Don Giovanni)
16.00 eur Buy

Michael Nyman - Acts of Beauts - Exit No Exit

Michael Nyman - Acts of Beauts - Exit No Exit
ID: MNRCD109
CDs: 1
Type: CD
Subcollection: Piano

The album Acts of Beauty / Exit no Exit couples two world premiere recordings.

Acts of Beauty is a song cycle based on miscellaneous texts on beauty from a 1556 text of Vincenzo Cartari, which looks at the measurements of beauty by comparing buttocks to beauty in the urban environment as viewed by Kurt Scwitters and Dzuga Vertov to Martial's Epigrams on another kind of sexual measurement: the weighing of penis. It presents an entirely different Nyman approach to vocal writing than is found in Six Celan Songs/The Ballad of Kastriot Rexhepi.

Exit no Exit began life as Beckham Crosses, Nyman Scores, a 'homage' to the England football team as part of an extended documentary broadcast on BBC Radio 3 to celebrate the end of the World Cup finals in Japan / Korea in 2002. Nyman decided to take extracts from John Motson's commentary to the England v Argentina match and sample, loop and 'instrumentalise' them in the manner of Steve Reich's Different Trains: translating the loops repeating rhythmic and melodic patterns played without variation.

Rewritten for the Shobana Jeyasingh Dance Company in 2006, John Motson's voice is now replaced with a bass clarinet which not only imitates the commentator's highly idiosyncratic speech patterns, but also takes off from these with a concertante part of some virtuosity. A completely new, multi-section closing 10 minutes sequence was written specially for Exit no Exit, premiered on 7 February 2006 at Brighton's Gardner Arts Centre.

Cristina Zavalloni soprano
Sentieri Selvaggi
Carlo Boccadoro conductor

EXIT no EXIT - Premiere recording
Andrew Sparling bass clarinet
Nyman Quartet
Music composed by Michael Nyman
16.00 eur Buy

Michael Nyman - The Libertine

Michael Nyman - The Libertine
ID: MNRCD104
CDs: 1
Type: CD
Collection: Movies
Subcollection: Film Music

Working alongside director Laurence Dunmore, Nyman has composed the music for his latest film - The Libertine. The film is a version of the celebrated Stephen Jeffreys play and stars Johnny Depp, John Malkovich and Samantha Morton. It tells the story of the 17th century Earl of Rochester (Depp), his friendship with King of England Charles II (Malkovich) and his affair with actress Elizabeth Barry (Morton).

The Earl of Rochester was a legendary rake of the era and the film has been described as "outrageously sexy". He managed to reconcile being a sensitive poet and a pornographer, was simultaneously a republican and friend of King Charles II and was passionately in love with both his wife and mistress. The film captures the sense of new possibilities at the dawn of the age of enlightenment.

Nyman has been fortunate to work with directors who understand that music can add greatly to the overall impact of a film, directors who have allowed the music to have a solid presence in their films rather than simply act as background filler. Director Laurence Dunmore has wanted to work with Michael since he first heard his music in 'A Zed and Two Noughts'. For Nyman, there's a direct link back to his first major soundtrack The Draughtsman's Contract as both films are 17th Century based, visually stunning, comedies of manners. Once again the composer and his long-standing band deliver a stunning score, rich in detail with driving, baroque influenced tunes counter-balanced by a series of haunting, elegiac melodies of the sort that has made Nyman's work familiar to millions.

Composed, conducted and produced by Michael Nyman
Performed by the Michael Nyman Orchestra
Hillary Summers contralto
Capital Voices

Music composed by Michael Nyman
Performed by the Michael Nyman Orchestra
16.00 eur Temporarily out of stock

Haydn: The Creation - Sung in English

Haydn: The Creation - Sung in English
ID: OP008_9
CDs: 2
Type: CD
Subcollection: Voices and Chamber Ensemble

The Oxford Philomusica is the professional orchestra in residence at the University of Oxford and has been described as ‘a musical resource for the city and beyond.’ To celebrate their 10th Anniversary the Oxford Philomusica release Hadyn’s masterpiece, The Creation, recently performed live at the Cadogan Hall to rapturous applause.

BBC Music magazine Disc of the Month: An intimate and powerful performance. Packaged in a 10th-anniversary limited edition slipcase; sung in English with both English and German text printed in the booklet.
16.00 eur Temporarily out of stock

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
CDs: 1
Type: CD
Subcollection: 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.
16.00 eur Buy

F. Schubert: Die schöne Müllerin - Eric Tappy - Ruben Lifschitz

F. Schubert: Die schöne Müllerin - Eric Tappy - Ruben Lifschitz
ID: CLAVES501105
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Vocal and Piano

Swiss Tenor Eric Tappy was well-known for his stage performances, particularly in Monteverdi’s Orfeo or the big Mozart operas. This unexpected Schöne Müllerin is therefore a total surprise, and it is worth explaining the circumstances of this first edition. We are back in 1974, Eric Tappy and his pianist Ruben Lifschitz feel they are ready, after many months of rehearsals, to present Schubert’s wonderful cycle to the public. The day before the recording, they were invited to the Chamber music room of the Concertgebouw Amsterdam and gave a highly successful first public performance. Serene, the artists went to Hilversum and recorded the whole cycle in a single day, for radio broadcast. A few weeks later, the cycle was broadcast on Dutch Radio KRO; one of the listeners recorded the programme on his Revox and sent the tape to Eric Tappy in Switzerland, who put it safely away, hoping that he would find time to listen to it some day. Indeed he did, but thirty-five years later…. As for the listener who sent the precious tape in 1974, he was none other but one of the greatest Swiss composers of the 20th century, Frank Martin, who was at the time living in Naarden in the Netherlands, and who was a friend of Eric Tappy’s.
16.00 eur Temporarily out of stock

Tony Palmer's Film About Callas - M. Callas: La Divina - A Portrait: 30th Anniversary:

Tony Palmer's Film About Callas - M. Callas: La Divina - A Portrait: 30th Anniversary:
ID: TPDVD103
CDs: 1
Type: DVD
Collection: Documentary

Region Code: NTSC Plays in all territories
Medium:DVD Video
Presentation: Wide Screen
Sound: Dolby Digital Stereo
Language: English
Subtitles: French, Italian, German, Spanish
Color mode: Colour
Screen (Picture) Format: 16:9, Aspect Ratio
Duration: 92 mins



There are so many astonishing facts about Maria Callas...

First, she was born not in Greece but in Manhattan and went to school there. Second, considering her colossal influence and in contrast to the pumped-up, preposterous, overpaid pipsqueak divas of today, her actual international career was tiny - 18 years at most. Third, and in spite of her reputation, her cancellation record was the lowest of any great singer of her day. Fourth, she rarely looked at the conductor during an opera, simply because she could not see him - she was very short-sighted, and often appeared (partly as a result) to be in a trance while on stage. Fifth, she was betrayed by most of those intimate with her throughout her life, and eventually abandoned by many of those who should have known better and who claimed to have loved her. Sixth, she died almost penniless - even her grotesquely rich long-time lover, Onassis, whose marriage to Jackie Kennedy she only discovered by watching the 6 o'clock news, had invested her money in half a cargo boat, which sank. Paradoxically, although she died 30 years ago, her records today outsell every other recorded classical artist, and single handedly keep EMI Classics afloat. Last, hers was not the most beautiful voice of her time, as she frequently admitted. Some days it worked; other days it just didn't.

In the end, those who met her in Paris in the seventies agree that she was one of the loneliest, most desperate of women they had ever encountered, slowly drugging herself to death. "Every day, thank God, is one day less", she told Di Stefano. A summons to tea (for half an hour at most) often lasted until the early hours, with the guest or guests pleaded with not to leave.

It was pathetic and horrible, but it was Callas. It was always Callas, and that was the secret and the magic. We witness on stage a broken woman who sings nakedly from her heart, about herself and her life, who acts with such incredible power and unashamed truth that we stagger back before what we know, in our hearts, is all of her. No artifice here; no vulgar posturings to which her absurd imitators - and there are many - aspire. Gheorghiu, Battle, Garrett - they cannot touch her hem.

Maria - just a woman, who often spoke of Callas in the third person, in trouble, asking, begging sometimes, for our understanding and our love. She deserves it, because there was no greater singing actress in our time. And she was only 53 when she died.Tony Palmer
16.00 eur Buy

Martucci - Respighi - Brigitte Balleys - OCL - Lopez-Cobos

Martucci - Respighi - Brigitte Balleys - OCL - Lopez-Cobos
ID: CLAVES509807
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices and Orchestra

16.00 eur Temporarily out of stock
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