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Chamber Music, page 21

   Found CDs: 959
 

Dvorak - Complete Concertos (piano, violin, cello) - Saint Louis Symphony Orchestra conducted Walter Susskind

Dvorak - Complete Concertos (piano, violin, cello) - Saint Louis Symphony Orchestra conducted Walter Susskind
ID: BRIL99763
CDs: 2
Type: CD
Subcollection: String instruments

12.00 eur Temporarily out of stock

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
12.00 eur Buy

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.
12.00 eur Buy

XIX Century Fantasias for Flute and Piano - Vieri Bottazzini, Lilian Tonella

XIX Century Fantasias for Flute and Piano - Vieri Bottazzini, Lilian Tonella
ID: CLS0302
CDs: 1
Type: CD
Subcollection: Piano

12.00 eur Buy

P. I. Tchaikovsky: Dumka, The Seasons Op.37bis, Piano Sonata / Polina Fedotova

P. I. Tchaikovsky: Dumka, The Seasons Op.37bis, Piano Sonata / Polina Fedotova
ID: CR102
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Polina Fedotova is an exceptionally interesting musician, whose concerts always attract true lovers of piano music. Her performances lack self-advertisement; they are marked with a wonderful sense of style and fine taste. Her brilliant virtuosity does not overshadow rich emotions and profoundness of her interpretations.
Music surrounded Miss Fedotova from the very first days. Her father - an outstanding conductor Victor Fedotov - worked at the Mariinsky Theater in St.Petersburg for almost fifty years, conducted ballet performances in the world's best theatres.
Polina studied at the St. Petersburg Conservatoire secondary school in the class of an eminent pedagogue V. Kunde. Later, she continued her education at the Moscow Tchaikovsky Conservatoire under professor Yevgeni Malinin, a famous pianist; she went on to post graduate course with professor Valeri Kastelsky. Both professors brought her up in the traditions of romantic school of Henry Neighaus. The beautiful "singing" touche that critics always appreciated in Polina's performances is one of the most characteristic features of the Russian piano school.
At the age of 13, she became a prize-winner of the International youth competition Concertino-Prague (2nd prize). Later she participated in other prestigious competitions: Sergei Rachmaninov Competiton in Moscow, where she was awarded a diploma, and Musica di camera in Italy (3rd prize). In 1992, she was the winner of Frederic Chopin International Piano Competition in Palma di Mallorca (1st prize and Gold Medal). A Spanish newspaper "Actualle" highly appraised performances of the young competitor from Russia: "Polina Fe-dotova has the real power and strength of the Russian piano school, which allows her to transmit all the subtlety of dynamics of the great Polish composer".
Polina Fedotova's repertoire is wide: Tchaikovsky and Bach, Rachmaninov and Beethoven, Mozart and Rimsky-Korsakov, Scriabin, Prokofiev and Chopin, Schubert, Liszt, Ravel. Miss Fedotova likes monographic programs. While preparing to such programs, she plunges into the "inner world" of the composer’s soul, emotional and intellectual. Her interpretations reveal the secrets of the composers' creations, fascinating the listeners with their high expression and deep feelings.
Polina Fedotova's concert life is very active and interesting. She is a soloist of the Moscow Philharmony and gives concerts in Russia and abroad. In 1999, she was awarded the important title of the Honoured Artist of Russian Federation. Since 1996, Polina Fedotova teaches piano at the Moscow Conservatoire.
"Music educates the human soul, says Polina Fedotova, and I would be happy to know that beautiful ideals of art that are so dear to me since my early childhood, would be preserved in the creative activity of my pupils".
© Classical Records
12.00 eur Buy

Mozart - Piano concertos. M. Voskresensky, L. Nikolaev

Mozart - Piano concertos. M. Voskresensky, L. Nikolaev
ID: CR100
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

He is the only pianist in Russia to perform all of Chopin's piano compositions during one concert season (in 1982-83, in nine recitals in the Maly Hall of the Moscow Conservatoire).
Mikhail Voskresensky graduated from the Moscow Conservatoire where he studied under Ilia Klyachko, Boris Zemliansky, Yakob Milstein, Lev Oborin (piano) and Leonid Roizman (organ). As student of the famous Lev Oborin, the winner of the First Chopin's Competition in 1927, Voskresensky adopted his teacher's refined romanticism, and perfect taste in harmony with the piano's splendid sound. The images evoked by his playing suggest contrasting musical colours, never out of harmony, with a charming legato inducing the instrument to sing. "His playing fascinates audiences with its artistry, cordiality and ingeniousness. Mikhail Voskresensky is a very talented and intelligent musician", Oborin wrote about his pupil.
Voskresensky's repertoire includes Beethoven's 32 sonatas, all works of Chopin, and 56 piano concertos. He has performed with orchestras under the direction of more than 150 conductors, among them - Charles Dutoit, John Pritchard, Franz Kon-witschny, Kurt Masur, Eugeny Svetlanov, Kirill Kondrashin etc. His 40 CD's include recent recordings of all sonatas and etudes by Scriabin, "Pictures at an Exhibition" by Mussorgsky, Beethoven’s Hammer-klavier, works by Liszt, Schumann, Rachmaninov...
Mikhail Voskresensky began his pedagogical activities at the Moscow Conservatoire in 1959. For 8 years, he was an assistant to Professor Lev Oborin; since 1963 he has his own class. At present, Professor Voskresensky is the Head of piano chair at the Moscow Conservatoire. His pupils have won 111 prizes in international competitions, among them 49 gold medals.
He has participated as juror for international competitions in London, Leeds, Sydney, Tel Aviv and others as well as for the Tchaikovsky and Rachmaninov Competitions in Moscow. He continues to be Chairman of the Jury for the Scriabin International Competition in Moscow.
Mikhail Voskresensky is the President of the Scriabin International Society, and Guest Professor in the Toho Gakuen School in Tokyo.
Professor Voskresensky gives numerous master classes in Russia and abroad. In the last 3 years, he gave master classes in Bejing, Lissabon, Paris, and Tokyo. The Julliard School invited Professor Voskresensky to teach for the period of three weeks in this famous stronghold of American pianism.
This CD is dedicated to the memory of Ekaterina, Mikhail Voskresensky’s daughter , a brilliant pianist, who tragically died in a car accident in 1994.
Leonid Nikolaev studied at the Moscow Conservatoire with Boris Khaikin and Aron Shereshevsky. He was on special course in Vienna with a famous conductor Hans Swarovski. In 1974, he won Grand Prix of Herbert von Karajan Fund at the International Symphony orchestra competition in Berlin. Together with Leonid Slatkin and Zubin Mehta, he was the principal of the Russian-American International Youth orchestra from the moment of its creation in 1988. He recorded many CDs with music of Tchaikovsky, Beethoven, Berlioz, Shostakovich... Together with Mikhail Voskresensky, he recorded 2nd Piano concerto by Chopin with Great Radio and TV Symphony orchestra.
He appeared in all European countries, in Cuba, USA, Japan. He is a professor of the Moscow Conservatoire.
© Classical Records
12.00 eur Buy

Brahms - Elisaveta Blumina, piano.

Brahms  - Elisaveta Blumina, piano.
ID: CR098
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Pianist Elisaveta Blumina has established herself across Europe as an eminent soloist, enthusiastic teacher, and chamber musician of exceptional qualities. Born in St. Petersburg, Russia, Ms. Blumina began studying piano at the Conservatoire and continued her studies at the Musikhochschule in Hamburg and at the Conservatoire in Berne. Among her teachers are Mara Mednik, Evgeni Koroliov, Karl-Heinz Kammerling, Andras Schiff and Bruno Canino. She took master classes with the Alban Berg Quartet, Ivry Gitlis, the Melos Quartet and Paul Badura Skoda. Ms. Blumina has won numerous international piano competitions in Russia, Germany, Italy and Belgium. In addition, she has been awarded five times the prize of the best accompanist, in particular at the Sarasate International Violin Com-petition (Spain) and at the Pfitzner International Voice Competition (Germany). The pianist has raised her profile at many festivals, including the Schleswig-Holstein, the Carinthian Summer, Mecklenburg Vorpommern, Campos de Jordao, Verbier and Colmar festivals. She has performed in some of the world's major concert halls such as the Berlin Philharmonic, the Musikhalle in Hamburg, the Carnegie Recital Hall in New York, the Beethovenhalle in Bonn and the Conservatoire in Milan. Ms. Blumina has been guest soloist with the Dresden Philharmonic, the Moscow Virtuosi, the Sinfonia Varsovia, the Hamburg Philharmonic, the Philhar-monic of Bonn, the Romanian State Orchestra, the Symphonic Orchestra of St. Petersburg, the Halle Philhar-monic and others. She performed with conductors such as Yuri Temirkanov, Vladimir Spivakov, Christian Simonis, Gerd Albrecht and Andrey Boreyko. Television appearances and many radio recordings (NDR, ZDF, ORF, WDR, Radio de la Suisse Romande and Radio Nacional de Espana) have also contributed to her exceptional reputation. Various CD recordings (with Syrinx, Oehms-Classic, Harp-classics, La bottega discantica, Genuin Music Production, Charade, Es-Dur) have been well received by the international critique. Elisaveta Blumina is a member of the "Euro-pean Chamber Music Association", and a founding member of the "Trio Eremitage". Her regular chamber music partners include Pierre Amoyal, Daniel Hope, the Artemis Quartett, Yosif Feigelson, Hans-Udo Heinzmann, Henrik Wiese, Eduard Brunner, Dmitri Makhtin and Soloists of the Bolschoi Theatre.
© Classical Records
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Levon Ambartsumian - Evgeny Rivkin - B.Bartók. Two sonatas for violin and piano

Levon Ambartsumian - Evgeny Rivkin - B.Bartók. Two sonatas for violin and piano
ID: ART174
CDs: 1
Type: CD
Collection: Russian Virtuosos 21th century
Subcollection: Violin

12.00 eur Buy

Mussorgsky, Bartók, Prokofiev - Alexander Mndoyants, piano

Mussorgsky, Bartók, Prokofiev - Alexander Mndoyants, piano
ID: CR095
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Alexander Mndoyants is a thinker by his musical nature; in his art, the romantic emotion and intellectual balance go hand in hand. In his playing, every nuance, every feeling is thought through, and the creative idea of the work is always inspired. Elena Dolinskaya Alexander Mndoyants was born in Yerevan. He began his music studies at the Special Music school under Yerevan Conservatoire. In 1960 - 68, he continued at the Moscow Special Music School. Later, he studied at the Moscow Tchaikovsky Conservatoire in the class of Bella Davidovich (graduated in 1973). Jakob Flier said about Alexander Mndoyants: "He is an exceptionally gifted mu-sician. His interpretations are very attractive by their deepness and seriousness as well as his skills and mastery on the piano. In his playing, there is nothing that would seem unnatural or forced. He performs monumental forms and piano miniatures equally well. Another feature of his art is his high intellect and perfect taste". In 1976 - 78 he made his post graduate studies in Moscow Gnessin musical pedagogical institute (Russian Academy of music) under the guidance of professor A. Yokheles. In 1977, he became a prize winner at the International Van Cliburn Competition in USA. After that, Alexander Mndoyants started his concert activities. Over the past years he went to all parts of the former USSR with concerts, made his appearances almost in all capital cities of the former Union republics, as well as in Poland, Finland, Japan, France, Brasil, Israel, Taiwan, Portugal and others. He played with numerous well-known conductors such as F. Mansurov, V. Jordaniya, V. Gergiev and D. Kakhidze. Critics appraised the colorfulness of his interpretations and his bright temperament. He also played a lot of chamber music, with his partners having been such well-known musicians as D. Sitkovetsky, A. Korsakov, I. Gavrysh, A. Vinnitsky, M. Tol-pygo, A. Kamyshev, V. Yagling, K. Rodin, Tchaikovsky Quartet, Moscow Virtousi Quartet. He started his pedagogical activities in 1979 at the Central Music School under Moscow Tchaikovsky Conservatoire. Since 1990, he also works at the Conservatoire itself (since 2004 he is a professor). Since 2002, he is also a professor at the Maimonid State Classic Academy. Among his pupils, there are more than 30 prize winners of different international and national competitions; many of them has become famous concert pianists. Alexander Tchaikovsky wrote about him in the beginning of the 90-s: "Mndoyants is truly one of the best pedagogues in Russia; he really deserves his reputation of a 'perfectionist', and he is perhaps almost unrivalled in his generation of piano pedagogues who might develop the individuality of young talents". He served as jury member and chairman of jury in various international and national competitions. He made his TV appearance in different cities of the country. The recordings made by A. Mndoyants at the All-Union Radio have invariably been highly appraised by the Artistic Council and are frequently broadcast. Various sound recording companies put out discs with the pianist's recordings.
© Classical Records
12.00 eur Buy

Rachmaninov - Anna Shelest, piano - Moment musicaux, Etudes - tableaux

Rachmaninov  - Anna Shelest, piano - Moment musicaux, Etudes - tableaux
ID: CR093
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Hailed by critics as "a phenomenal rising star," "a female reincarnation of Liszt," and "a piano lioness," Anna Shelest (Polusmiak) is an international award-winning pianist who has thrilled audiences throughout the world with her sincere and compelling interpretations. Born in Kharkov, Ukraine, Anna began her piano studies at the age of six. She attended the Kharkov Special Music School for Gifted Children, where she was a student of Gary Gelfgat and later of Sergei Polusmiak. At the age of eleven she performed at the UNESCO Headquarters in Paris as the youngest prize winner of the Milosz Magin International Piano Competition. In 1998, Anna's family moved to the United States, and she continued her studies with Sergei Polusmiak at Northern Kentucky University, where she was a recipient of numerous scholarships and awards, including the Corbett Scholarship, the Regents Award, and recognition as an Outstanding Senior in the College of Arts and Sciences. Anna made her orchestral debut with the Kharkov Symphony Orchestra at the age of twelve, playing Rachmaninoff's Piano Concerto No. 1. Since then she has been a soloist with some of the world's most renowned orchestras-such as the Montreal Symphony Orchestra, the St. Petersburg State Academic Philharmonic Orchestra, the Cincinnati Symphony Orchestra, and the Netherlands Symphony Orchestra. Other appearances include the Cincinnati Chamber Orchestra, the Corpus Christi Symphony Orchestra, the Lugansk Philharmonic, the Northwest Florida Symphony Orchestra, the Kentucky Symphony Orchestra, the San Francisco Russian Chamber Orchestra, the Minnesota Sinfonia, and the Jefferson Symphony Orchestra. As a recitalist, Anna has performed in Canada, France, Mexico, Netherlands, Russia, Ukraine, and the United States. Her chamber music collaborations include performances with the Amernet String Quartet, the Cincinnati ARC Ensemble, and musicians from the Cincinnati Symphony Orchestra. Anna is a winner of over a dozen international piano competitions, including the Louisiana International Piano Competition (2005), the Third International Piano Competition for Young Musicians, Enschede, The Netherlands (2004); the Corpus Christi International Competition for Piano and Strings (2004), and the Ludmila Knezkova-Hussey International Piano Competition, Bathurst, New Brunswick, Canada (2000). The Louisiana International Piano Competition, LIPC, was founded in 2004 by a group in Alexandria, Louisiana, USA, for the purpose of offering selected young concert artists an opportunity to participate in a new venture; introducing audiences in the central part of Louisiana to the highest caliber performers of classical piano literature. Along with Artistic Director, Nikita Fitenko, I am pleased to introduce the Grand Prize winner of our inaugural festival, Anna Shelest (Polusmiak) from Ukraine. This initial LIPC event was held October 10-16, 2005, less than two months after hurricanes Katrina and Rita ravaged our state and our people. The spectacular efforts of our original 27 concert artists was testament to the kind of survival skills all performing artists must possess in order to be successful. The example of these young talented pianists, representing 19 countries served to invigorate our lives, reminding us of what is truly good in our ever-changing world. Richard Gwartney, Executive Director, LIPC.
© Classical Records
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