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Chamber Music, page 5

   Found CDs: 957
 

Views of Vienna - The Galeazzi Ensemble (A musical journey through 18th century Vienna)

Views of Vienna - The Galeazzi Ensemble  (A musical journey through 18th century Vienna)
ID: LIR008
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

This is the Galeazzi Ensemble's 2nd recording on London Independent and follows on from the enormous success, both critically and commercially, of their first recording "The Age of Elegance".

Like their previous CD, this recording presents works by familiar faces - Schubert’s sumptuous string trio and Mozart’s flute quartet, written purely for money - but also introduces us to some less celebrated figures such as Gyrowetz, the young pretender to Mozart’s symphonic genius whose dainty quartet looks very much backwards into the classical era, Dittersdorf, the colourful favourite of the Austrian Empress, who effortlessly explores the nuances of string writing with energy and style, and Hoffmeister, the entrepreneur of the musical world - publisher, agent and banker - whose quartet is full of musical surprises!
11.00 eur Buy

Michele Benuzzi: Hamburg 1705 - Eighteenth-century works for harpsichod

Michele Benuzzi: Hamburg 1705 - Eighteenth-century works for harpsichod
ID: LIR021
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Harpsichord

A recording featuring some of the finest works to emerge from the musical society of early 18th-century Hamburg, including some Handel ‘favourites’, Mattheson’s delightful 3rd suite, and a rare chance to hear the work of Graupner, incredibly prolific in his output, but not yet achieving the recognition that he deserves. The Partita on this disc demonstrates admirably how well his works sit alongside those of his more famous contemporaries.

Michele Benuzzi studied harpsichord with Ottavio Dantone and obtained the harpsichord Performing Diploma at the Royal College of Music in London. He is noted for the intelligence and sensitivity of his interpretations, and for the extraordinary tonal qualities he obtains from the harpsichord.
11.00 eur Buy

The Galeazzi Ensemble: Haydn Revisited

The Galeazzi Ensemble: Haydn Revisited
ID: LIR019
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Quartet

Following the success of their two previous CDs on LIR, “The Age of Elegance” and “Views of Vienna”, the Galeazzi Ensemble continue their exploration of the classical flute quartet. J.A.Schmittbauer, about whom little is known, cleverly published his quartet under the name of his more prolific colleague, Haydn, to ensure his better sales. It is teamed on this CD with 2 of Haydn’s own quartets, not originally written for flute, but well-suited to the instrument in the flexible classical tradition, and one of his string trios.

The Galeazzi Ensemble was formed in 1995 in order to explore Classical and Early Romantic chamber music using instruments of the period and, as well as performing works from the standard repertoire, it aims to introduce many neglected works to today’s audiences. The group takes its name from the composer and theorist Francesco Galeazzi (1758-1818). Better known today for his theoretical writings, Galeazzi’s most influential work was a two volumed treatise entitled Elementi teorico-pratici di musica (1791-6).
11.00 eur Buy

Kartuli Musika • Music from Georgia by Nassidse, Loboda, Zinzadse

Kartuli Musika • Music from Georgia by Nassidse, Loboda, Zinzadse
ID: GMCD7279
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Orchestra

Sulchan Nassidse was a pianist, teacher of composition and, from 1962 onwards, a board member of the Georgian Orchestral Association. He ranks among the best-known Georgian composers. His creativity is expressed mainly through symphonic works, with compositions including three symphonies, two piano concertos, a violin concerto and two string quartets.

Nassidse composed his Chamber Symphony No. 3 in 1969, and dedicated it to the Georgian Chamber Orchestra. This work in one movement shows a fascinating intensity of expression and richness of tone colour, with its rapid changes of mood and a tonality suggestive of the Orient. The work tells a tale full of mysterious poetry and magic, in which an underlying mechanical menace and cries of anguish repeatedly break through to the surface. The conclusion remains open, unresolved and unclear. The soft dialogue between two solo violins suddenly falls silent. Nassidse’s unsurpassed feeling for tension and drama, coupled with a virtuosity of tonal expression which makes the highest possible demands upon the technical capabilities of stringed instruments, have produced a work in which the conventional symphonic framework is replaced by a linear, narrative structure.
IgorLoboda Our lives are multi-faceted. We experience a combination of passions, forces of nature, victories and defeats, love and hate. In this chaotic world, only one factor remains constant: time. Time moves on at a constant speed, and nothing or nobody can halt its progress.
Sulchan Fjodorowitsch Zinzadse, one of the most significant Georgian composers, began his musical career in the 1940s as a cellist with the Georgian State String Quartet. One of his earliest compositions, a collection of miniatures for string quartet based upon Georgian folk songs, was an immediate success. Although Zinzadse also composed a number of operas, ballets, symphonies and concertos, his compositions for string quartet and chamber orchestra remain his most significant works, and represent an important contribution to Georgian musical tradition. Zinzadse’s Miniatures for String Quartet (arranged for string orchestra by the composer himself) were written at various times in the composer’s career. They include transcriptions and arrangements of Georgian folk melodies, in which Zinzadse skilfully and impressively succeeds in transposing the contrasting nature of folk songs into the medium of the string quartet. Whether in lyrical pieces such as “Indi Mindi” and “Suliko”, the humorous “Zoli gamididgula” (the nagging wife), the highly effective “Satschidao” (a melody used to accompany sporting contests) or the “Mtskemsuri” (shepherds’ dance) - the composer has produced masterpieces which, whilst rich in tone colour, remain true to the simplicity of the folk tradition.
12.00 eur Temporarily out of stock

Piano Concertos by Rachmaninoff and Hummel - Felicja Blumental, piano

Piano Concertos by Rachmaninoff and Hummel - Felicja Blumental, piano
ID: BR0012
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Felicja Blumental demonstrates her skill and dexterity performing Rachmaninoff’s Piano Concerto No. 2, one of the most challenging works for pianists worldwide. This CD also includes the rarely heard Rondo Brilliant on a Russian Folk Theme by Hummel.
12.00 eur Buy

Vel • Lithuanian Chamber Music 1991-2001

Vel • Lithuanian Chamber Music 1991-2001
ID: GMCD7283
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

Recorded 28. -- 30.06.2001, SWR, Hans-Rosbaud-Studio Baden-Baden
12.00 eur Buy

Mozarteum Quartett: W.A. Mozart: String Quartets KV421, KV465, KV80

Mozarteum Quartett: W.A. Mozart: String Quartets KV421, KV465, KV80
ID: OC549
CDs: 1
Type: CD
Subcollection: Quartet

12.00 eur Buy

Boris Tishchenko - Violin Concerto, Cello Concerto, Suzdal

Boris Tishchenko - Violin Concerto, Cello Concerto, Suzdal
ID: NFPMA9967
CDs: 1
Type: CD
Subcollection: Violin

Manufactured at the plant.
Quality assured factory produced.

1, 2 - Victor Liberman, violin
1, 2 - Leningrad Chamber Orchestra
1, 2 - Edward Serov, conductor
3 - Mstislav Rostropovich, cello
3 - Anastassiya Tishchenko, harmonium
3 - Winds and percussions of the Leningrad Philharmonic Orchestra
4 - Anatoly Manukhov, tenor
4 - Valentina Kozyreva, soprano
4 - Kirov Opera Chamber Orchestra
3, 4 - Igor Blazhkov, conductor
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Ch. Delz - Sils, ‘Reliquie’, Drei Auszüge aus ‘Istanbul’ - T. Kordzaia, piano

Ch. Delz - Sils, ‘Reliquie’, Drei Auszüge aus ‘Istanbul’ - T. Kordzaia, piano
ID: GMCD7297
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Recorded: Radio Studio Zürich, 7-8 April, 2004

Christoph Delz was a pianist as well as a composer. He was born in January 1950 in Basle and received instrumental and theoretical lessons early on in life. He interrupted his time at grammar school to acquire his teaching as well as his concert diploma for piano in Basle. He then took his A-levels. From 1974 to 1981 he continued his studies in Cologne: piano with Aloys Kontarsky, composition with Karlheinz Stockhausen, conducting with Volker Wangenheim. Occasionally he had lessons in composition with Henri Pousseur in Ličge, at the same time working for an electronic studio at the academy of music in Cologne with Hans Ulrich Humpert. He also stayed in Cologne after his actual studies. Christoph Delz did not return to Switzerland until 1989, where he lived in a large house in Riehen near Basle for the remaining four years of his life. During this time, the life of Christoph Delz was dominated by the final stage of his aids infection. Two works were created during this time in Riehen, the “Joyce-Phantasie” (“Joyce Fantasia”) op. 13 and “Istanbul” op. 14 - and in addition the completion of the Schubert fragment. Christoph Delz died in Basle on 13 September 1993.
It becomes quite clear, even from this brief summary, that the piano played a central part in the life of Delz. It is taken into account in almost all his work: in chamber musical instrumentations, as a concert solo instrument with orchestra, as a partner instrument in vocal works, and once even reduced to a percussion instrument. Thus it is not a coincidence that the very first work by this pianist-composer was a piano piece. Opus 1 titled “Sils”, lasting just under 12 minutes can only have been written by someone, who knows the piano very well from all sides; only a pianist is able to achieve such differentiated sound effects. And perhaps it is only possible for an experienced interpreter to develop such a sense for temporal proportions, for the expansion and sequence of individual tonal processes as a composer. In addition, the title “Sils” indicates an inspirational source for this music. Christoph Delz spent many a holiday in Sils in the Engadine. He concerned himself with the Upper Engadine in an artistic way, both as a painter in pictures as well as a composer with sounds. In the music from “Sils” there is the one sentence before the piece begins: “Composed from ideas for sound during a walk across the frozen Lake Silser in the Upper Engadine (Switzerland)”.
During the last months of his life Delz occupied himself with a piece of work of monumental historico-cultural expanse: “Istanbul” for soprano, baritone, solo piano, choir and large orchestra (with all kinds of special instruments ranging from the alto oboe to the baroque harp). Delz is at his most independent where he keeps closest to legacies, “Reliquie” (relic), to the history of music and literature or to experiences made with the world surrounding him.
“Istanbul” is a code for a place where different cultures and religions and with them different music and literature from all times encounter one another. “Istanbul” as a metaphor for the meeting of the ancient world, Christianity and the modern world, in the neighbourhood of the town of Troy, around which an archaic war had been fought, in which all utterances of negotiating and suffering had already occurred, vividly described by Homer in his epics. In Delz’ work, which lasts a good three-quarters of an hour, texts from the “Odyssey” meet with love poems from the ancient Roman world and famous parts from the bible, plus a poem by Hölderlin, even an excerpt from Tschaikowsky’s opera “Eugen Onegin”, and also a speech made by a national socialist prime minister from 1942 during the war. These texts are intermingled with each other and in addition with curses and text extracts from dietary plans. All in all, it is about suffering and hunger, about masculinity, death and salvation, and at the end of both halves of this work there is the Luther choral “Mitten wir im Leben sind, mit dem Tod umfangen” (“We are in the middle of life, surrounded by death”).
When Delz returned from Cologne to Basle in 1989, he planned an increasing number of concerts on a domestic scale. Perhaps there was the justified fear in the back of his mind that playing publicly might no longer be possible for him in the future. It is possible that the “Drei Auszüge aus Istanbul für Klavier oder Synthesizer” (“Three scores from Istanbul for piano or synthesizer”) were created for such a performance. They go back to movements 1, 6 and 12 and are truly scores: the first movement “Ein Nachmittag in Istanbul” (“An afternoon in Istanbul”) is a piano score of the initial movement from “Istanbul” with three short additional inserts of few bars each. The movement “Apotheose” “Apotheosis” is an extended adaptation with internal repetitions only of the piano voice of that original movement with strong choir participation, and in “Misterioso and Signatur” the “score” follows the original voice of the baroque harp and afterwards summarises its own piano voice up to the open cadence chords, which round off the entire work.
After completing “Istanbul”, Christoph Delz, already close to death, turned more intensively to a single piece of work and therefore to a composer of the past, the sonata in C major D 840 by Franz Schubert. It was created, together with two further sonatas in April 1825, but Schubert did not finish the third movement (minuet) and the finale (rondo). For this reason, the piece of work already received the epithet “Reliquie” (“Relic”) in the 19th century; this sonata was even considered Schubert’s last piano work.
The scherzos and/or minuets of the other two sonatas from spring 1825 have a simple ABA form, i.e. roughly the sequence minuet, then trio and afterwards the word-for-word repetition of the minuet part. The trio in G sharp minor from Schubert’s “Reliquie” has completely survived, there are twenty bars or a few more missing from the minuet part. Christoph Delz completed the fragment whilst preserving the original material as far as possible, but in such an order that another fragment resulted from it. First he copied Schubert’s fragment note by note. Where it breaks off, he changed the tone F sharp into an e, which can then directly and without any further addition move to the D sharp at the beginning of the trio. After the trio, however, the minuet does not connect from the front, but instead Delz begins in the middle of an intensified phase, more precisely: from bar 44 on. From this point on he takes over the original word-for-word: after 14 bars the confusions start: the following bar is compressed, a bar excerpt from the trio links up, a minuet bar, a newly composed 6/8 hemiole time and a Ľ time as a joint. All these detours replace bar 59 of the original, there follows a continuation until the original breaks off. This time he changes the point differently: the original F sharp becomes an f, and after two additional bars the minuet starts from the beginning. The beginning is thus played bar by bar again up to the point where the minuet has set in again after the trio, then the movement breaks off, and the rondo finale follows directly.
At first the arrangement follows the original for 146 bars. Then a quaver is inserted: 1/8 time. From then on interferences pile up: bars sound in slow-motion and are then corroded after all, single tones and ranges of voices are lost, the dynamics are changed: forte turns into pianissimo, articulation is interfered with; pauses are added, change of time, even changes in tempo determine the movement which is increasingly falling apart. Suddenly only the first bar halves are played, the second crammed together to a chord, and above them it says in the notes: “Mahler?” This point is a first part, as it were penetrating from the outside. Such short parts will alternate in the sequence with longer phases, which are oriented more towards the original. The second such foreign point brings bars from the minuet trio into reverse, i.e. bars 7 to 5 and 27 to 16. After this confusion of place and time the rondo theme is heard as a false start, but only for 6 bars. And now the crucial part of this completion starts: from now on whole parts are played backwards again and again from where the fragment breaks off, not only bar by bar, but note by note, i.e.: melodic characteristics, rhythm and harmony are so twisted that hardly anything from the original remains perceptible. In between the reverse keeps getting mixed up: the pianist gets hooked on one tone, pauses slip in, whole pause bars, and still foreign bodies penetrate this backward movement. This course stretches from the back end of the fragment backwards to nearly the beginning. The last melody notes lead into an excerpt from the “Unvollendete” (“Unfinished”) symphony by Schubert, a point from the execution of the first movement. There follows a melody. Delz wrote above it again: “Mahler”?. In truth, however, it is not a Mahler excerpt, but the main theme of the head movement of the entire “Reliquie” sonata. This pseudo excerpt submerges into the pianissimo - the movement has ended.
Christoph Delz, the composer, whose life will end before it is completed, completes an unfinished composition by leaving it unfinished, even finishing with an excerpt from the “Unvollendete”. The piece which began as the arrangement of a fragment but was really newly composed, finally blows itself up, it manages a quick jump into another excerpt, but has used up its energy, has eaten itself up from inside just like a slowly dying body. As in “Istanbul” the composer Delz has projected himself and in particular his aids infection into the work of art, not as a euphemistic stylisation, but as a relentless portrayal of what was threatening his life.
12.00 eur Temporarily out of stock

Music by Paul Müller-Zürich

Music by Paul Müller-Zürich
ID: GMCD7194
CDs: 1
Type: CD
Subcollection: Piano

Recorded: [1]-[4] Switzerland 1963 [5]-[17] St Silas, Chalk Farm, London 20-21 March 2000

Track 1-4 - Swiss Radio Orchestra under Edmond de Stoutz / Gerhard Wieser, viola
Track 5-10 - Andrew Zolinsky, piano
Track 11, 12 - Roland Roberts, violin /Andrew Zolinsky, piano
Track 13-15 - Alan Hacker, basset-horn / Miranda Davis, viola / Oliver Gledhill, cello
Track 16, 17 - Roland Roberts, violin/ Alan Hacker, clarinet / Oliver Gledhill, cello / Adrew Zolinsky, piano

Paul Müller-Zürich was born in Zurich on 19 June 1898. He studied with Philipp Jarnach and Volkmar Andreae at the Zurich Conservatory, then with Jean Batalla in Paris. Müller-Zürich was appointed to the Zurich Conservatory in 1927 as a lecturer in music theory, and remained there until 1968. As teacher, conductor, composer and organiser he belonged to the most significant personalities in Swiss musical life in the twentieth century. He was awarded the Music Prize of the city of Zurich in 1953 and in 1958 received the composition prize of the Swiss Musicians’ Association, whose president he became in 1960. Paul Müller-Zürich died in Zurich on 21 July 1993. His manuscripts lie today in the Zentralbibliothek Zürich.
12.00 eur Temporarily out of stock
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