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Instrumental, page 94

   Found CDs: 1122
 

Beethoven: Piano Sonatas Mark Swartzentruber, piano

Beethoven: Piano Sonatas Mark Swartzentruber, piano
ID: SLR2
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

16.00 eur Temporarily out of stock

Scarlatti, Domenico: Sonatas: Mark Swartzentruber, piano

Scarlatti, Domenico: Sonatas: Mark Swartzentruber, piano
ID: SLR1
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

16.00 eur Temporarily out of stock

Shostakovich: Preludes & Fugues, Volume II.: M.Papadopoulos, piano

Shostakovich: Preludes & Fugues, Volume II.: M.Papadopoulos, piano
ID: OP006_7
CDs: 2
Type: CD
Collection: Instrumental
Subcollection: Piano

16.00 eur Buy

Shostakovich: Preludes & Fugues, Volume I.: M.Papadopoulos, piano

Shostakovich: Preludes & Fugues, Volume I.: M.Papadopoulos, piano
ID: OP005
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

16.00 eur Buy

Beethoven Piano Sonatas Sonatas Op. 109, 110, 111: M. Papadopoulos

Beethoven Piano Sonatas Sonatas Op. 109, 110, 111: M. Papadopoulos
ID: OP004
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Marios Papadopoulos has all the attributes of one of the world s greatest piano players, and his recordings of the Beethoven Sonatas have been set on a level with those of Schnabel or Kempff.
16.00 eur Buy

Beethoven Piano Sonatas Sonatas Op 14, Nos 9, 10 / Op. 22, No. 11: M. Papadopoulos

Beethoven Piano Sonatas Sonatas Op 14, Nos 9, 10 / Op. 22, No. 11: M. Papadopoulos
ID: OP003
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Judging by the critical acclaim Marios Papadopoulos recitals and
recordings have received, his position among the great pianists is
widely recognized. His recordings of the Beethoven Sonatas have
been set on a level with those of Schnabel, Brendel, Barenboim,
and Kempff.
16.00 eur Buy

Beethoven Piano Sonatas Sonatas Op 10, Nos 5, 6, 7: M. Papadopoulos

Beethoven Piano Sonatas Sonatas Op 10, Nos 5, 6, 7: M. Papadopoulos
ID: OP002
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Marios Papadopoulos has all the attributes of one of the world's greatest players. Judging by the critical acclaim his recitals and recordings have received, his position among today's great pianists is now widely recognized. His recordings of the Beethoven Sonatas have been set on a level with those of Schnabel, Brendel, and Kempff.
16.00 eur Buy

Stravinsky, Janacek: Concerto for Piano & Wind Instruments - Royal Philharmonic Orchestra, M.Papadopoulos

Stravinsky, Janacek: Concerto for Piano & Wind Instruments - Royal Philharmonic Orchestra, M.Papadopoulos
ID: OP0010
CDs: 1
Type: CD
Subcollection: Piano

Since his London debut in 1974, Marios Papadopoulos’s career as pianist and conductor has been world-wide. This electrifying performance was originally recorded and issued on Hyperion Records and its return to the catalogue is warmly received.
16.00 eur Buy

Beethoven Piano Sonatas Sonatas Op 2, Nos 1, 2, 3: M. Papadopoulos

Beethoven Piano Sonatas Sonatas Op 2, Nos 1, 2, 3: M. Papadopoulos
ID: OP001
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

16.00 eur Buy

Music for Oboe, Horn and Piano

Music for Oboe, Horn and Piano
ID: CC2022
CDs: 1
Type: CD
Subcollection: Oboe

The 20-page full colour CD booklet has a 3,000 word programme note in English with full details of each track.
There are biographies of the players, web links and many photographs.

Introduction by Jeremy Polmear:

In the realm of chamber music the combination of oboe, horn and piano is an unusual one. The string quartet medium reigns supreme in its ability to inspire great works from great composers. There are many reasons for this, one being that in a string quartet each instrument has its own character, but all are of the same family so that they can also blend as a unit. Each can add its voice on equal terms to the others, speaking the same language but with its own individual accent.

By contrast the wind quintet of flute, oboe, clarinet, bassoon and horn is all just that - contrast. Each instrument occupies its own sound-world, its own unique colour. This is what makes these instruments so valuable in an orchestra, but can be a challenge in a chamber music context. It takes a very skilful composer - and skilful performers too - to create satisfying blends with these instruments.

It is perhaps no accident that when Mozart wrote chamber music for flute, oboe, clarinet, and horn, he did so individually, in works with strings. Or he added a piano to smooth out the sound, as in the celebrated Quintet K452 with oboe, clarinet, bassoon and horn. On this CD we have done something similar with his Horn Quintet K407; although the violin part is now on the oboe, the two violas and cello are given to the piano.

And it is the piano that is the key to the possibilities of the trio with oboe and horn. Even when it is an accompanying role it can provide a mellow presence and a solid harmonic basis, over which the other instruments can sing. This is true in the Mozart, and also in the two short nineteenth century pieces recorded here, by Blanc and Molbe.

And what of the other two instruments? The US horn player Cynthia Carr, in the introduction to her repertoire list of music for the trio, puts it thus: "This ensemble - comprised of the most distinctive-sounding woodwind instrument and the most versatile member of the brass family - presents a rich tonal palette and can produce a wide range of textures, from delicate and transparent to full and orchestral." This can be seen in this CD particularly in the Herzogenberg Trio Op 60 (1889), and in the way that Jean-Michel Damase makes full, and delightful, play of all the possibilities in his Trio of 1990. The oboe cannot match the horn in terms of dynamic range, but its timbre means that it can still be heard, even when both the other instruments are at full stretch. Meanwhile, within the context of the piano sound, the two instruments can celebrate their differences - the oboe melodic and poignant, the horn warm and noble.

In her repertoire list, Cynthia Carr lists nearly forty compositions. There is a genre here, but it is miniscule compared to the repertoire for a string quartet or even a wind quintet. This is because the oboe/horn/piano trio has never been a standard instrumental combination, never part of a European Court as, for example, the Wind Band octets were. Compositions have come about in a more haphazard way. The nineteenth century was a bad one for wind chamber music players - only Schumann and Brahms among the major composers wrote anything. Where they did, it was for specific players, for example the clarinettist Richard Mühlfeld for whom Brahms wrote the Clarinet Quintet. For this Trio there are two keynote nineteenth century pieces - the Herzogenberg Trio already mentioned, and one by Carl Reinecke, written in 1887.

During the 20th Century there were a smattering of works, but the increase in interest didn't come about until late in the century, with the rise of oboe/horn/piano trios in the US, particularly Cynthia Carr's own Trio Arundel, and the horn player Martin Webster of the Hancock Chamber Players. They not only wanted to play music, but were willing to commission pieces, resulting in Paul Basler's jazzy Vocalise-Waltz of 1996 (commissioned by Cynthia) and the Damase Trio mentioned above, commissioned by Martin.

To these people we owe a debt for opening up new possibilities in the under-exploited world of wind chamber music.
16.00 eur Temporarily out of stock
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