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Instrumental, page 109

   Found CDs: 1134

Kenneth Leighton - Complete Piano Works - Angela Brownridge, Piano

Kenneth Leighton - Complete Piano Works - Angela Brownridge, Piano
ID: DCD34301-3
CDs: 3
Type: CD
Collection: Instrumental
Subcollection: Piano

Angela Brownridge piano

The complete solo piano works of Kenneth Leighton (1929-1988) are presented here for the first time on three discs, containing many premiere recordings. Written for Leighton's own instrument, and played here by his distinguished pupil Angela Brownridge, the varied nature of this programme spans Leighton's entire career as a composer.

Track listing

Kenneth Leighton
Disc 1
Five Studies Op. 22 (1952)
1 Allegro ma non troppo
2 Allegro leggerissimo
3 Allegro molto
4 Molto lento, molto espressivo, ed un poco liberamente
5 Presto con bravura
Sonatina No. 1 Op. 1a (1946)
6 Allegretto con moto
7 Andante expressivo
8 Prestissimo
Variations Op. 30 (1955)
9 Introduzione: Lento misterioso
10 Canzonetta: Allegro grazioso
11 Ninna-nanna: Cullante
12 Toccata: Allegro molto e ritmico
13 Notturno: Lento sostenuto
14 Valzer: Con moto, grazioso ma un poco ironico
15 Fanfara: Allegro molto
16 Interludio: Andante, dolce ed innocente
17 Fuga: Allegro marcato
Sonata No. 1 Op. 2 (1948)
18 Allegro
19 Scherzo: Presto
20 Lento e semplice
21 Rondo: Allegro molto e ritmico
Six Studies (Study-Variations) Op. 56 (1969)
22 Adagio molto
23 Allegro molto e secco, molto ritmico
24 Adagio molto, misterioso ma molto espressivo
25 Allegro leggiero e cappricioso
26 Allegro molto, nervosa
27 Presto con bravura

Disc 2
Sonata No. 2 Op. 17 (1953)
1 Allegro molto e sempre agitato
2 Lento sostenuto - elegiaco
3 Theme and Variations
4 Conflicts (Fantasy on Two Themes) Op. 51 (1967)
Four Romantic Pieces Op. 95 (1986)
5 Molto moderato
6 Presto capriccioso
7 Adagio molto
8 Allegro molto - con brio
Fantasia Contrappuntistica (Homage to Bach) Op. 24 (1956)
9 Maestoso ed un poco liberamente -
10 Toccata: Allegro molto e ritmico -
11 Chorale: Lento sostenuto -
12 Fuga I: Allegretto con moto -
13 Fuga II: Presto e gaio - Primo tempo

Disc 3
Sonatina No. 2 Op. 1b (1947)
1 Allegro
2 Andante sostenuto
3 Allegro molto
Nine Variations Op. 36 (1959)
4 Molto moderato, sostenuto ed uguale
5 Esitando molto
6 Allegro molto, con fuoco e molto ritmico (il più presto possible)
7 Lento sostenuto
8 Allegretto capriccioso con slancio ma un poco ironico
9 Presto con bravura, precipitoso
10 Alla Marcia (un pochiss. più mosso)
11 Adagio sostenuto e molto espress.
12 Andantino con moto, tempo giustissimo e sempre molto delicate
Sonata Op. 64 (1972)
13 Lento e chiaro
14 Chorale with contrasts: Adagio molto e sostenuto
15 Toccatas and Chorale: Presto precipitoso
Household Pets Op. 86 (1981)
16 Cat's Lament: Largo e cantabile
17 Jolly Dog: Presto con spirito
18 Goldfish: Adagio e calmissimo
19 White Rabbit: Allegro ma non troppo
20 Bird in cage: Largo e lamentoso
21 Squeaky Guinea-pig: Allegro molto
22 Animal Heaven: Lento e sostenuto, cantabile
23 Jack-in-the-Box (1959)
24 Study (1965)
25 Lazy-bones (1965)
Pieces for Angela Op. 47 (1966)
26 Clockwork Doll: Allegro alla marcia
27 The Swan: Andante con moto
28 Little Minx: Molto allegro capriccioso
29 Cradle-Song: Non troppo lento, dolce
30 A Sad Folk Song: Flowing and expressive
31 Leap-Frog: Allegro ritmico
32 Lament: Moderato espress.
33 Final Fanfare: Brisk and loud
Preludes (1988)
34 Prelude in D minor: Allegro con molto cantabile ed un poco agitato
35 Prelude in D major: Lentissimo dolce e cantabile
36 Prelude in E flat minor: Adagio molto (Tempo giusto)
37 Prelude in C major: Allegro molto chiaro e limpido
38 Prelude in C minor: Adagio molto sonoro e cantando
23.00 eur Buy

Maria Yudina, piano - Live in Kiev - Beethoven - Liszt - Prokofiev - F.P. Schubert - Borodin - Mozart - Mussorgsky

Maria Yudina, piano - Live in Kiev - Beethoven - Liszt  - Prokofiev - F.P. Schubert - Borodin - Mozart - Mussorgsky
ID: AQVR249-2
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

Live in Kiev Philharmonic Society 04. 04. 01954
23.00 eur Buy

Michael Nyman- SOUNDTRACKS

Michael Nyman- SOUNDTRACKS
CDs: 3
Type: CD
Collection: Instrumental
Subcollection: Piano

MNRCD107 - The Piano
MNRCD106 - Nyman and Greenaway Revisited
MNRCD104 - The Libertine

Michael Nyman's score for Jane Campion's 1993 film The Piano is one of the most successful film soundtracks of all time. The film itself won the prestigious Palme d'Or at the Cannes film festival in 1993 and went on to win several Oscars at the 1994 Academy Awards. The soundtrack of the film went on to become a multi-million seller. Perhaps surprisingly for music with such strong ties to its original source many of the pieces from The Piano were subsequently used in a variety of other settings in film, television and advertising making it some of the most performed/frequently heard orchestral music of the last twenty years.

Nyman/Greenaway revisited is a collection of the most popular music from the five soundtracks provided by the composer for Peter Greenaway's feature films from 1982 - 1991. Music from The Draughtsman's Contract, A Zed and Two Noughts, Drowning By Numbers, The Cook The Thief His Wife And Her Lover, & Prospero's Books is included.

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).
24.00 eur Buy

Antologia de la guitarra clasica - Vol.I, Renacimiento - MILAN - NARVAEZ - MUDARRA - SANZ - CHILESOTTI - Agustin Maruri, guitarra

Antologia de la guitarra clasica - Vol.I, Renacimiento - MILAN - NARVAEZ - MUDARRA - SANZ - CHILESOTTI - Agustin Maruri, guitarra
ID: E132
CDs: 1
Collection: Instrumental
Subcollection: Guitar

Luys Milán (1500-1561)
Pavana IV.
Pavana II.
Luys de Narváez (1503-1547)
Canción “Mille Regretz”
Cuatro Diferencias sobre “Guárdame las Vacas”
Alonso de Mudarra (1510-1589)
Fantasía X “que contrahaze la harpa en la manera de Ludovico”
Gaspar Sanz (1640-1710) - Suite
Óscar Chilesotti (1848-1916) - Suite
25.00 eur Buy

Antonio Vivaldi - Violin Sonatas -12 Sonatas, Op 2 - Walter Reiter, violin with Cordaria

Antonio Vivaldi - Violin Sonatas -12 Sonatas, Op 2 - Walter Reiter, violin with Cordaria
CDs: 2
Type: CD
Collection: Baroque

Traditionally known as the composer of the Four Seasons and the Gloria, the work of Cecilia Bartoli has shown that lesser-known works of the red priest from Venice can become hit records too.
Now Signum Records are delighted to introduce a two disc set on period instruments of the 12 Violin Sonatas, Opus 2. Cordaria features internationally-renowned baroque violinist Walter Reiter, "an artist who transcends authenticity to enter the universal" as one critic wrote, and an eminent continuo team of harpsichord, cello and theorbo.
Written in 1708, just before the 'L'estro armonico' concertos, these sonatas contain all the passion and the virtuosity, all the lyricism and emotion, which have made the concertos so eternally popular. In the words of the great Vivaldi scholar Michael Talbot, "Op. 2 is fully Vivaldian and certainly deserves to take its place among his other masterworks."
25.00 eur Buy

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


ID: TLS052
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

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

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
Collection: Instrumental
Subcollection: Piano and Cello

25.00 eur Buy
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