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Instrumental, page 109

   Found CDs: 1115
 

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

Crossing Musical Boundaries - The Sheba Sound - 2 Oboes, Bassoon and Harpsichord

Crossing Musical Boundaries - The Sheba Sound - 2 Oboes, Bassoon and Harpsichord
ID: CC2014
CDs: 2
Type: CD
Subcollection: Bassoon

The 24-page CD booklet has a 6,000 word programme note in English containing the interview below, plus a detailed track-by-track description, including interviews with Gordon Langford about his arrangements and David Matthews about Toccatas and Pastorals. There are many photographs.

Jeremy Polmear talks to Catherine Smith about The Sheba Sound:

The Sheba Sound was founded in 1975 by Catherine Smith, and ran for an impressive 22 years. I asked her how it came about. "I was a freelance oboist working in London, and, to be honest, I felt that life was getting a bit repetitive. I needed a challenge, I needed to break out of the orchestral rut. I love making experiments, and exploring new areas of life.

"My starting point for the new group was two oboes, bassoon and harpsichord to play trio sonatas. I approached the oboist Deirdre Lind and the bassoonist Deirdre Dundas-Grant because they had both played in the BBC Concert Orchestra, and therefore had experience in playing all kinds of music. Neil Black [a prominent London oboist] suggested I contact the harpsichordist Harold Lester, who not only played early music with Alfred Deller, but contemporary music with Cathy Berberian and the London Sinfonietta. Our horizons were limitless. The name of the group reflects this - 'Sheba', in reference to the best-known baroque piece for two oboes, 'The Arrival of the Queen of Sheba' by Handel, - and 'Sound', being the kind of name you wouldn't use in strictly classical circles. All future members of the group shared this eclectic experience of musical styles. I am particularly grateful to the first members, who made financial sacrifices until we had established ourselves.

"As I wanted the group to be unique in every respect, I decided that we would play, if possible, unpublished Baroque music, so I spent hours and hours in libraries looking for interesting scores. Harold Lester brought his extensive knowledge of early harpsichord music, and arranged some of it; and I also wanted a more jazzy arranger. Brian Kay of the King's Singers suggested Gordon Langford, who had written beautifully for them; he wrote a Folk Song Suite for us [Kaleidoscope CD, tracks 15 -19], the first of many arrangements. Our subsequent commissions were not only contemporary serious music, but also jazz and rock.

"I decided that our presentation was very important. Our dresses were glamourous, shot silk, in bright reds, and the men had cummerbunds to match. Each work was introduced by a member of the group, which was unusual at that time. We commissioned special music stands from the furniture department of the Royal College of Art, and draped the funiture on the platform in red velvet.

"We played all over the UK, in concert halls, at music clubs and festivals, and we did regular London concerts at the Wigmore Hall. One was recorded, and is the source of several tracks on these CDs. We often worked with well-known actors such as Gabriel Woolf [The Bassoon Song, Kaleidoscope CD, track 7], Derek Jacobi, Nicolas Parsons and Spike Milligan, on whose TV programmes we appeared. We did lots of Children's Concerts too, at which the greatest success was a special story, 'The Key to the Zoo', written by humourist Miles Kington, with music by Stephen Oliver. In the story we each became an animal character, with an appropriate hat.

"We toured abroad too, especially in Germany, Italy and Arabia. In Italy they preferred to have a singer with the group, and we took people such as the contralto Margaret Cable and the tenor Christopher Underwood. We also played in Holland, and on TV in Flanders. We broadcast in the UK too - on the BBC music channel Radio 3, but I was also on the talk channel Radio 4, on 'Woman's Hour'. At the time I had three children under eight as well as my career - quite a new thing back in 1975 - and this created quite a lot of interest among the listeners, who then wanted to know what our music sounded like. This led to the BBC financing a recording, many of whose tracks appear here."
25.00 eur Buy

Sergei Bortkiewicz - Piano Works Vol. 8 and 9 - Jouni Somero, piano

Sergei Bortkiewicz - Piano Works Vol. 8 and 9 - Jouni Somero, piano
ID: FCRCD-9742
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

1. Impressions, Op 4
2. Ein Roman für Klavier, Op 35
3. Trois Morceaux, Op 6
4. Kindheit (Nach dem Roman von Leo Tolstoi), Op 39
Säveltäjä: Bortkiewicz, Sergei Eduardovich, (1877 - 1952)
Esittäjä: Somero, Jouni, piano
25.00 eur Buy

Rubinstein plays Chopin

Rubinstein plays Chopin
ID: RRC6010
CDs: 6
Type: CD
Collection: Instrumental
Subcollection: Piano

Chopin:
Ballades Nos. 1-4
Recorded in 1959

Scherzi Nos. 1-4
Recorded in 1959

Polonaise No. 1 in C sharp minor, Op. 26 No. 1
Recording first published in 1958

Recording first published 1956
4 Mazurkas, Op. 6
4 Mazurkas, Op. 17
4 Mazurkas, Op. 24
4 Mazurkas, Op. 30
4 Mazurkas, Op. 33
4 Mazurkas Op. 41
Mazurkas Op. 50 Nos. 1-3
Mazurkas Op. 56 Nos. 1-3
Mazurkas Op. 63 Nos. 1-3
Mazurkas Op. 59 Nos. 1-3
Mazurkas, Op. 68
Mazurka No. 51 in A minor 'Émile Gaillard'
Mazurka No. 50 in A minor 'Notre Temps'

Recording first published in 1958
Polonaise No. 2 in E flat minor, Op. 26 No. 2
Polonaise No. 3 in A major, Op. 40 No. 1 'Military'

24 Preludes, Op. 28
Recorded in 1946

Nocturnes Nos. 1-19
Recorded 1936-1937

Polonaise No. 4 in C minor, Op. 40, No. 2
Recording first published in 1958

Waltzes Nos. 1-14
Recording first published in 1955

Recording first published in 1958
Polonaise No. 5 in F sharp minor, Op. 44
Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Artur Rubinstein (piano)
25.00 eur Buy

1917: Works for Violin and Piano - Elgar - Debussy - Respighi - Sibelius

1917: Works for Violin and Piano - Elgar - Debussy - Respighi - Sibelius
ID: SIGCD376
CDs: 2
Type: CD
Subcollection: Piano

Debussy:
Violin Sonata
Elgar:
Violin Sonata in E minor, Op. 82
Respighi:
Violin Sonata in B minor
Sibelius:
Five Pieces, Op. 81

Tamsin Waley-Cohen (violin) - Huw Watkins (piano)


Rising-star violinist Tamsin Waley-Cohen is joined by the eminent pianist-composer Huw Watkins in a diverse programme of works that were all influenced in different ways by the era in which they were composed. The works were conceived at four very different points in the composer’s lives - Debussy, at the end of his life, Respighi in the first flush of fame, Elgar, although not old, enjoying his last creative period, and Sibelius in his prime composing prolifically.
These four contrasting works were all composed as the Great War drew to a close, but none of them specifically attempts to conjure up images of the conflict, nor act as any kind of programmatic memorial to its victims. Rather, these works are all conceived as absolute music, albeit, in the case of the Elgar and Debussy sonatas, imbued with a melancholy regret that may have been a reflection of those tragic four years.
25.00 eur Temporarily out of stock

Helmut Lachenmann - Salut für Caudwell . Les Consolations . Concertini

Helmut Lachenmann - Salut für Caudwell . Les Consolations . Concertini
ID: KAI0012652
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Guitar Music

CD 1:
Wilhelm Bruck, guitar / Theodor Ross, guitar / Schola Heidelberg / WDR Sinfonieorchester Köln - Walter Nussbaum
CD 2:
Klangforum Wien - Johannes Kalitzke

Program notes in German, English, and French, and texts with English translations (30 p.) inserted in container.

Recorded at Funkhaus Wallrafplatz, Nov. 8-9, 2005 (1st work); Kölner Philharmonie, Nov. 9-10, 2005 (2nd work); Wien Modern, Konzerthaus, Grosser Saal, Nov. 1, 2006 (3rd work).

What I want...
is always the same: a music which in order to be grasped, does not require a privileged intellectual training, but can rely uniquely upon its compositional clarity and logic; a music which is at the same time the expression and the aesthetic form of a curiosity able to reflect everything - including the illusion of progressiveness. Art as a foretaste of freedom in an age without freedom.
(Interview with Ursula Stürzbecher, 1971)

Includes booklet with text by Helmut Lachenmann
26.00 eur Buy

A. Dvořák / L. van Beethoven - Leonora Milà - Pieces for piano and chamber music

A. Dvořák / L. van Beethoven - Leonora Milà - Pieces for piano and chamber music
ID: RTAC013
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

Berliner Streichquintett:

Detlev Grevesmühl (violin)
Joan Pastor (violin)
Andrei Gridtchouk (viola)
Ralf Kosubek (viola)
Michael Hussla (violoncello)

Leonora Milà: piano

- String Quintet in C major. Op. 29
(Ludwig van Beethoven)
- Piano concerto“for the left hand”, Op. 46
(Leonora Milà)
- String Quintet in E-flat major, Op. 97
(Antonín Dvoràk)
26.00 eur Buy

J. S. Bach - Das Wohltemperierte Klavier - Leonora Mila, piano

J. S. Bach - Das Wohltemperierte Klavier - Leonora Mila, piano
ID: RTAC001
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

24 preludes and fugues Vol. I
26.00 eur Temporarily out of stock

Vazgen Vartanian (piano) Plays Chopin - Schumann - Liszt

Vazgen Vartanian (piano) Plays Chopin - Schumann - Liszt
ID: MELCD1002234
CDs: 3
Type: CD
Collection: Instrumental
Subcollection: Piano

Firma Melodiya presents a set of romantic piano music performed by Vazgen Vartanian.

Vazgen Vartanian is one of the brightest representatives of the new generation of the Russian pianistic school. A graduate of the Moscow Conservatory, he has also studied at the Julliard School in New York where he was conferred the degree of Master of Fine Arts.

At different times, Vartanian was a pupil of such famous masters as Lev Vlassenko, Dmitri Sakharov, Andrey Pisarev and Jerome Lowenthal.

The geography of the pianist’s concerts is vast - he has played at some of the best venues of the world, including Lincoln Center in New York, USA, the Tonhalle in Zurich, Switzerland, the Verdi Milan Conservatoire in Italy, the Seoul Arts Centre in South Korea, and others.

This release features three concert programmes by Vazgen Vartanian, performed at the Big and Small Halls of the Moscow Conservatory, as well as at the concert hall of the Russian Gnessin Music Academy in 2010 and 2011, and dedicated to the 200th anniversaries of three great composers of the romantic period - Frédéric Chopin, Robert Schumann and Franz Liszt.


Chopin:
Ballades Nos. 1-4
Scherzi Nos. 1-4

Liszt:
Réminiscences de "Don Juan" (after Mozart), S. 418
Nuages gris, S199
Benediction de Dieu dans la solitude (Harmonies poétiques et religieuses, S. 173 No. 3)
Consolation, S. 172 No. 3 in D flat major
Sonetto 104 del Petrarca (Années de pèlerinage II, S. 161 No. 5)
Après une lecture du Dante, fantasia quasi sonata (Années de pèlerinage II, S. 161 No. 7)
Vallée d'Obermann (Années de pèlerinage I, S. 160 No. 6)

Schumann:
Blumenstück, Op. 19
Études symphoniques, Op. 13
Fantasiestücke, Op. 111
Romances (3), Op. 28
Vazgen Vartanian (piano)
26.00 eur Buy
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