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Russian and World music CD DVD shop and Classic distribution

 
 

Instrumental, page 108

   Found CDs: 1118
 

Erkki Salmenhaara - The Complete Solo Piano Music - Jouni Somero, piano

Erkki Salmenhaara - The Complete Solo Piano Music - Jouni Somero, piano
ID: FCRCD-9707
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

25.00 eur Buy

LEOPOLD GODOWSKY (1870-1938), KLAVIERWERKE-WORKS FOR PIANO, MICHAEL SCHÄFER

LEOPOLD GODOWSKY (1870-1938), KLAVIERWERKE-WORKS FOR PIANO, MICHAEL SCHÄFER
ID: TLS052
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

25.00 eur Buy

J. RODRIGO - Como una Fantasia - Falla, Villa-Lobos, Tansman, Seco de Arpe - Works for cello and piano

J. RODRIGO - Como una Fantasia - Falla, Villa-Lobos, Tansman, Seco de Arpe - Works for cello and piano
ID: E135
CDs: 2
Type:
Collection: Instrumental
Subcollection: Piano and Cello

25.00 eur Buy

James Rhodes - Now Would All Freudians Please Stand Aside - Bach - Busoni - Beethoven - Piano Recital

James Rhodes - Now Would All Freudians Please Stand Aside - Bach - Busoni - Beethoven - Piano Recital
ID: SIGCD185
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

“As someone who has never been to a music college, done my diploma in piano playing or participated in any competitions, I feel particularly blessed to have been able to choose to learn pieces of music for the simple reason that I absolutely love them. I have never been forced to slave for hours over a piece of music that doesn’t make my skin crawl with pleasure or raise my heartbeat to almost viagra-induced levels. This CD is a perfect example of me as a musician and piano-fanatic choosing works that for as long as I can remember have blown my mind.”
James Rhodes
25.00 eur Buy

J.S. Bach - Well-tempered Clavier, Book 2, Jill Crossland, piano

J.S. Bach - Well-tempered Clavier, Book 2, Jill Crossland, piano
ID: SIGCD123
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

Following Jill Crossland’s successful release of J.S. Bach’s Well-tempered Clavier, Book 1 earlier this year, Signum are pleased to announce the release of Book 2 in this new 2CD set.

Completed by 1742, Book 2 was intended as a complement to Book 1, not as a replacement. It is generally far more difficult than Book 1 however, with greater technical and structural difficulty for the performer. It was the ultimate workbook, open to constant change and refining by Bach himself.

In Jill Crossland’s own words, ‘No other music is so perfect an integration of emotional expression and intellectual rigour’. Jill first performed the complete Well-tempered Clavier from memory as a student in Manchester.
25.00 eur Buy

WELL - tempered Clavier, Book 1 - J.S.BACH - Jill Crossland

WELL - tempered Clavier, Book 1 - J.S.BACH - Jill Crossland
ID: SIGCD113
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

Proving that Jill Crossland “well deserves her enviable reputation as a Bach pianist” (BBC Music Magazine), this superb recording of Bach’s Well-tempered Clavier, Book 1, is a great way to start the New Year on Signum. Colloquially known as the “48” from the two books of twenty-four preludes and fugues, these works form one of the great landmarks of keyboard repertoire.

Bach’s own description from the title page of his copy of Book 1 reads -

“Preludes & Fugues through all tones and semitones including (both) major & minor (keys).”

Schumann even referred to the work as his
“daily bread”.


Revered for her performances of Bach, Jill Crossland gives
concerts across the world, first performing the complete
Well-tempered Clavier from memory as a student in
Manchester.
25.00 eur Buy

J.S.Bach - Sonata per violino n.1 BWV 1001 in sol (1720) - Uto Ughi, violin

J.S.Bach - Sonata per violino n.1 BWV 1001 in sol (1720) - Uto Ughi, violin
ID: STR00506
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Violin

25.00 eur Temporarily out of stock

J.S.Bach - Das Wohltemperierte Klavier II - Jouni Somero, piano

J.S.Bach - Das Wohltemperierte Klavier II - Jouni Somero, piano
ID: FCRCD-9733
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

25.00 eur Temporarily out of stock

An Anthology of Finnish Piano Music Vol.1 - Jouni Somero, piano

An Anthology of Finnish Piano Music Vol.1 - Jouni Somero, piano
ID: FCRCD-9711
CDs: 2
Type: CD
Collection: Chamber Music

25.00 eur Buy

The Oboe 1903-1953

The Oboe 1903-1953
ID: CC2012
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Oboe

The 24-page CD booklet has a 6,000 word programme note in English by the compiler Geoffrey Burgess with a description of each performer, each track, and many unusual photographs.


Introduction by compiler Geoffrey Burgess: It would be hard to claim the oboe as a main player in the rise of the phonograph in the early years of the twentieth century. In both contemporary literature and retrospective histories, oboists barely rate a mention alongside the Carusos, Melbas, Elgars and Kreislers, and the lack of a comprehensive discography or historic anthology backs this up. But why have early oboe recordings been silent for so long? It is time to discredit the popular belief that of the few recordings of oboists that have survived, most are worthless from a musical standpoint. While not featured as frequently as most other instruments, the oboe was not entirely silent in the recording studio: however, the problem lies much more in how and where to retrieve those distant echoes. Catalogues, reviews and the like cite specific recordings, but this is only a beginning. The next and harder step is to track down serviceable copies of this material which in most instances was considered of merely ephemeral value. We have to consider ourselves lucky with what has survived. Contrary to what we might think, the scarcity of oboe recordings is not a reflection of the difficulties encountered in capturing its tone. Even the earliest acoustic recordings demonstrate that, with the player projecting directly into the recording horn, the oboe sounded better than many other instruments. The reason for the scant presence of the oboe on disc has to do more with its musical and cultural persona. Just as now, the recording industry in the early decades of the twentieth century was dictated by popular taste. Not only did the Classical selections in gramophone catalogues constitute a small percentage of the total offerings, but they were dominated by operatic excerpts and rousing tunes performed by bands. In such a climate the oboe was not exactly a winner, rather it was considered a novelty, of interest to the refined connoisseur. It’s not needles, but the records themselves that need hunting down in the haystacks of archival repositaries and collectors’ attics. Artists’ names and instruments were given only rarely on the discs. Manufacturers’ catalogues can help but it is often necessary to resort to intelligent guesswork. According to the renowned audiofile Melvin Harris, it was Louis Gaudard who made the earliest oboe recording in 1899, but this claim is still to be substantiated. The oldest surviving recordings date from the first decade of the 20th century, with showy solos of ephemeral appeal usually accompanied by band, orchestra or, more rarely, piano. Despite the scant examples, we are blessed with multiple recordings of some favorites such as Une Soirée prčs du lac and standard orchestral repertoire like the overture to Guillaume Tell. These multiple versions allow direct comparison between different oboists, although it should always be borne in mind that the different settings and the recording process contributed in no small measure to the total sonic record. This anthology spans the acoustic and electric eras and all recordings are monoaural. Léon Goossens was the most widely recorded oboist of the first half of the 20th century, but otherwise, all of the oboists featured in this anthology were active before the rise of the oboe “heroes” still familiar today - André Lardrot, Pierre Pierlot, Heinz Holliger, etc. Many were celebrated in their own day, but most are now forgotten. We have intentionally avoided duplicating the already copious quantity of re-released material. Oboists like Roger Lamorlette, who can be heard playing Poulenc’s trio for oboe, bassoon and piano with the composer, have been omitted, and well known players like Goossens and Tabuteau whose work is already widely available, are represented only by noteworthy selections hitherto unavailable. There is no natural terminus ad quem for this anthology. Stylistic changes in oboe playing tended to overlap advances in recording technology in complex ways. Still, it seems appropriate to draw the line at the mid century with the dawn of the LP era with the Viennese recording of Beethoven’s variations on La ci darem (CD II track 21). Direct contact with these remarkable performances from the past is still hampered by the limitations of the available recording technology and the state of preservation of this delicate material. Most of the original recordings used here are in an exceptionally fragile state and the audio quality of many is quite simply deplorable. Any wax cylinder or shellac disc that has miraculously survived the junk yard inevitably bears the signs of abuse - damaged through overuse, poor storage conditions, or the jostle of the flea market before falling into the hands of a responsible collector. Every effort has been made to locate clean copies, but in some cases there was simply no choice. To understand these vestiges of players from the past, we have to learn to listen “through” the recording technology. Most early recordings have what today would be an unacceptable signal-to-noise ratio. The distraction of surface noise and crackles and limited frequency response and can hinder drawing conclusions on individual players’ tone. Most acoustic recordings registered a relatively narrow band of frequencies from 1000-3000Hz. With the introduction of microphones this was expanded to 200-6000Hz, but this is still far short of present standards which were set in the stereo LP era at 20Hz-20KHz. To those used to digital stereo, the monoaural configuration of early recordings may seem one-dimensional and, particularly in the case of acoustic recordings, the insensitivity of the technology to dynamics often obliterated nuance, and can also give a false sense of balance. At the same time we must listen “with” the technology. That is, we must learn to respond to what the technology could register faithfully - tempo, intonation, vibrato and questions of ensemble - always mindful that, once in the recording studio, players may have had to make adjustments from their regular practices. Up to the use of magnetic tape in the recording process in the 1940s, all recordings were “live” in the sense that virtually no editing was possible. Realizing that durations of 2 to 4 minutes (the length of a side of a disc) were recorded as complete takes makes it easier to forgive occasional slips - indeed, it should enhance our admiration for these players. It is always dangerous to draw general conclusions from limited data, so rather than viewing these recordings as documents of the essential characteristics of each oboist, it is wiser to treat them as “snapshots” of unique performances. Out-of-focus or underdeveloped due to the shortcomings of the recording apparatus, these passing glimpses are the closest we can get to the artistry of these lost musicians. Despite this material’s limitations, it’s revelations are manifold. The recordings of Georges Gillet CD I track 2) and his pupils (Gaudard, CD 1 track7; Mercier, CD I track 8; Brun, CD I track 9; Longy, CD I track 11; and Bleuzet, CD II tracks 5-8) show that prior to World War II French players did not all cultivate the bright tone typical of the younger players of the Paris Conservatoire school. We can appreciate why Tabuteau praised Bruno Labate (CD I track 16), and why Goossens could not have failed to have been impressed by Henri de Busscher’s playing (CD II tracks 13-15). The different performances of the J.C. Bach Sinfonia, Brahms’ Violin Concerto and the Beethoven Variations provide invaluable comparisons of different schools of oboe playing.
25.00 eur Temporarily out of stock
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