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FILSELL, Jeremy - Interprets

   Found CDs: 26
 

Francis Pott - Christus - Passion Symphony For Solo Organ

Francis Pott - Christus - Passion Symphony For Solo Organ
ID: SIGCD062
CDs: 2
Type: CD
Collection: Organ Collection
Subcollection: Organ

25.00 eur Buy

Wondrous Machine! - Organ Works by Arthur Wills

Wondrous Machine! -  Organ Works by Arthur Wills
ID: GMCD7225
CDs: 1
Type: CD
Collection: Organ Collection

The Organ of Tonbridge School Chapel

Dr. Arthur Wills was Director of Music at Ely Cathedral from 1958 to 1990, and also held a Professorship at the Royal Academy of Music in London from 1964 until 1992. He has toured extensively as a recitalist in Europe, North America, Australia, New Zealand and Hong Kong, and has broadcast, appeared on TV and made many recordings, both as a soloist and with the Ely Choir. His secular music includes seven song cycles, and an opera "Winston and Julia", based on the Orwell novel "1984". He has composed prolifically for the organ, and his ensemble works include a Concerto with Strings and Timpani, a Concerto for Guitar and Organ, and a Symphonic Suite:- "The Fenlands" for Brass Band and Organ. His book "ORGAN" appeared in the Menuhin Music Guide Series in 1984, with a second edition in 1993 and a third reprint in 1997. The Ely Choir has recently recorded a CD of his choral and organ music from 1955 to 1990 on Herald HAVPCD 1997. In May 1999 Hyperion Records re-issued two recordings from the early 80's on one CD - his Symphonic Suite: "The Fenlands" for Organ and Brass Band, including also music by Elgar and Walton, together with Dr. Wills' transcription of Mussorgsky's "Pictures at an Exhibition" for solo Organ (CDH55003). His recording entitled "Full Stops" first issued in 1978, which includes his Variations on "Amzing Grace" was re-issued on CD 84305 in 1995 by Meridian. Novello have recently published his transcription for organ of three movements from Holst's PLANETS Suite - Mars, Venus and Jupiter.
12.00 eur Buy

Marcel Dupré - Vol. 12 - Complete Organ Works, Intégrale des oeuvres pour orgue, Sämtliche Orgelwerke

Marcel Dupré - Vol. 12  - Complete Organ Works, Intégrale des oeuvres pour orgue, Sämtliche Orgelwerke
ID: GMCD7203
CDs: 1
Type: CD
Collection: Choral Collection
Subcollection: Choral and Organ

Recorded at St. Boniface Episcopal Church, Sarasota, Florida, USA - September 1998, Plainchant tracks recorded at Charterhouse Chapel, Surrey - March 1999
12.00 eur Temporarily out of stock

English Romanticism - H. Ferguson, E. Goossens, J. Ireland - O. Lewis, violin / J. Filsell, piano • Music by Ferguson • Goossens • Ireland

English Romanticism - H. Ferguson, E. Goossens, J. Ireland - O. Lewis, violin / J. Filsell, piano
• Music by Ferguson • Goossens • Ireland
ID: GMCD7120
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Recorded at: The Arts Centre of the London Oratory School, Fulham, London by kind permission of the Headmaster and Bursar, January 4th & 5th 1996
The Belfast-born composer Howard Ferguson has enjoyed an enviable reputation amongst those who really know their British music of the 20th century: his music is not great in output, but is distinguished at all times by a fastidious craftsmanship and an inspired abundance of melody. Dame Myra Hess recorded his Piano Sonata and Bagatelles, and Denis Brain his Octet - all on 78rpm discs - so this outstanding composer has not been without distinguished advocates. His Second Violin Sonata of 1948 is in three cogent movements.
The First Violin Sonata by Eugène Goossens is an outstanding work, the neglect of which - as with all of this supremely-gifted composer’s music - is quite inexplicable. The slow movement was recorded on a 78rpm disc by Andre Mangeot and the composer himself over 70 years ago - this new recording marks the first time this work has appeared complete in the British record catalogues!
The sensational success of the Second Violin Sonata by John Ireland in 1917 - it was performed nine times in the following season - may well have inspired Goossens to write his Sonata. It is surely true to say that no other English chamber work of the 20th century was ever received with greater enthusiasm than this. It remains one of Ireland’s greatest masterpieces, and should be known by all lovers of English music.
12.00 eur Buy

English Romanticism II. Music by Elgar, Goossens - J. Filsell, piano / O. Lewis, violin

English Romanticism II.  Music by Elgar,  Goossens - J. Filsell, piano  / O. Lewis, violin
ID: GMCD7124
CDs: 1
Type: CD
Subcollection: Piano

Recorded at: Hillesden Church, Buckinghamshire, England - 1996

A Few months ago Guild Music issued “English Romanticism”, a collection of Violin Sonatas by Howard Ferguson, Eugene Goossens and John Ireland played by Oliver Lewis, violin, and Jeremy Filsell, piano (Guild GMCD 7120). The impact of the largely unknown First Violin Sonata by Eugene Goossens showed it to be a very great work. The success of this issue - critically and in terms of sales - was so marked that release plans for 1996 were changed in order to accommodate a follow-up album. This second CD, our new release this month, was recorded in May and is released in June!
12.00 eur Buy

Piano Music by Herbert Howells & Bernard Stevens - Jeremy Filsell - Piano

Piano Music by Herbert Howells & Bernard Stevens - Jeremy Filsell - Piano
ID: GMCD7119
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Neither Herbert Howells nor Bernard Stevens were prolific composers, and both - for different reasons - found themselves sidelined by more fashionable figures during their lifetimes. But the integrity of their music, the inherent nobility of their chosen expression, and their distinctive individuality, have ensured that their music has not died, but has found new and exciting champions - and responsive and eager audiences - amongst the younger music-lovers and record-buyers of today. This is all to the good, and when we hear such immediately compelling music as Howells’s three pieces from his Opus 14, alongside his much later Sonatina of 1971 (written in his 80th year) we must wonder as to why this music has been so comparatively overlooked.

The same is also true of the piano music of the brilliant Bernard Stevens. There are many who feel, with much justification, that Stevens’s reputation as a composer suffered greatly, and unfairly, from his championship of Communism - although he resigned from the Party following the Russian invasion of Hungary in 1956 - and yet his music speaks to us purely as music, and as nothing else. His voice, like Howells’s, is a distinctive one, music by a composer with something to say and - more importantly - with the technical means to say it.

The result is a body of piano music to set alongside his noble symphonies and concertos. The Sonata in One Movement is a fine work of considerable integrity and individuality - like the two other Stevens pieces on this disc, it demands a player of technical ability as well as of musical command, a player such as we find in the gifted pianist Jeremy Filsell, whose commitment to the music of both these English masters can be clearly discerned in his brilliant and sensitive playing.
12.00 eur Buy

Mother and Child - Sacred music by contemporary composers

Mother and Child - Sacred music by contemporary composers
ID: SIGCD501
CDs: 1
Type: CD
Subcollection: Choir

Sacred music by contemporary composers

Includes Tavener World Premiere Recording

Signum Records is delighted to announce the release of Tenebrae's second disc, Mother and Child
Tenebrae has, in its short existence, made a considerable impact with fresh and vital re-interpretations of classic works in the choral repertoire. On this new recording, innovatory and lesser-known repertoire is drawn from contemporary sources, reflecting an exploratory approach which places the group artistically at the cutting edge.
This is a distinctive and distinguished collection of works by a number of living composers, many of whom have established themselves at the creative forefront of the choral scene in recent times.

Five of the tracks are world premier recordings:
Francis Pott: The souls of the righteous Sir John Tavener: Mother and Child Alexander L’Estrange: Lute-book lullaby Jeremy Filsell: O be joyful in the Lord Francis Pott: My song is love unknown

The centre-piece of the disc is a new commission - Mother and Child - by from the world acclaimed composer Sir John Taverner.

The universal aspect of motherhood is an idea to which Tavener has returned again and again in his music. Behind this concept lies that of infinite theophanic light, an idea common to all religious traditions. Tavener’s music here interpolates a poem by Brian Keeble with Greek and Sanskrit quotations, the latter in a climactic outburst. The music, having grown in crescendo, is joined by massive organ chords and develops to become an overwhelming pulsating texture at the climax, with awesome strokes sounded on a large Hindu temple gong. The clamour dissipates at the final invocation, ‘Hail Maria’, which is prayerful and contemplative.
15.00 eur Buy

English Romanticism III -Eugène Goossens - Piano Works - Jeremy Filsell, piano

English Romanticism III -Eugène Goossens - Piano Works - Jeremy Filsell, piano
ID: GMCD7133
CDs: 1
Type: CD
Collection: Romantic Music
Subcollection: Piano

Recorded at Hillesden Church, Hillesden 1997
The music of the great English conductor and composer Eugène Goossens - who died in 1962 at the age of 69 - has been unjustly neglected for far too long, and one of the most surprisingly successful of all Guild releases in 1996 was the CD English Romanticism, with Violin Sonatas by Ireland, Ferguson and Goossens played by Oliver Lewis and Jeremy Filsell. Indeed, so marked was the impact of this album that we immediately asked these artists to record Goossens’s other Sonata - and his complete music for violin and piano - with the Elgar Sonata.
Now we come with the first album devoted entirely to all of Goossens’s solo piano music - a truly significant body of work which certainly demands virtuoso playing from the pianist. In the late 1910s and 1920s Goossens was regarded as the most important English composer of his generation, and some of the dedicatees of his piano music - including Benno Moiseiwitsch - arrest to the regard in which his music was held.
Not only does this CD include all of Goossens’s music specifically written for solo piano - as he composed two operas, premiered at Covent Garden, the vocal scores of which he compiled himself, the orchestral extracts of these operas themselves constitute authentic transcriptions for solo piano by the composer - and these are also included. Much of this music is being recorded for the first time.
The result is a fabulous CD, of the greatest musical significance, which is sure to appeal to all lovers of English music of the first half of the 20th century, and to those keen to seek out the little-known byways of our musical heritage.
12.00 eur Buy

Francis Pott - The Cloud of Unknowing

Francis Pott - The Cloud of Unknowing
ID: SIGCD105
CDs: 2
Type: CD
Collection: Choral Collection
Subcollection: Choir

Following its successful premiere performance earlier this year, Francis Pott’s highly anticipated recording of The Cloud of Unknowing is likely to be musical milestone and a choral great.

Drawing together a variety of texts and musical influences, Pott weaves together a deep and emotional work with an ethos reminiscent of Michael Tippett’s ‘War Oratorio’.
25.00 eur Buy

20 th Century Swiss Organ Music - Jeremy Filsell, organ

20 th Century Swiss Organ Music - Jeremy Filsell, organ
ID: GMCD7285
CDs: 1
Type: CD
Collection: Organ Collection
Subcollection: Organ

Recorded: The Organ of the Reformierte Evanglische Kirche Küsnacht/Zurich, Switzerland

The composer Max Kuhn was born on 28 April 1896 - the year of Bruckner’s death, the year before Brahms’s - in Zurich, and he lived almost the whole of a long and active life in the vicinity of the city. After his school education he studied piano with Peter Fassbänder and organ with Fridolin Roth, and then from 1920 to 1921 was a student at the Zurich Conservatory. The influence of Ferruccio Busoni, who had spent a self-imposed exile in Zurich during World War I, was palpable at the Conservatory at this time. Kuhn studied conducting with Volkmar Andreae, a close friend of Busoni; counterpoint with Busoni’s pupil Philipp Jarnach; and composition with another Busoni pupil, Reinhold Laquai. Kuhn then spent five years, until 1926, in further studies in Vienna - becoming a pupil of Josef Hoffmann for piano, and of Richard Stöhr for counterpoint. By the time he returned to Switzerland, therefore, Kuhn was a highly qualified musician in several spheres; even so he went on in 1929 to take some conducting lessons from Felix Weingartner in Basel.

From the 1920s onward, Kuhn was based in Küsnacht, near Zurich, as organist and choir director at the Catholic church. In 1928 he founded the ‘Choir for modern Music’ - later to be known, under its subsequent conductor, as the Zurich Chamber Choir. In 1940 Max Kuhn helped to found the Mozart Society of Zurich, and he remained working in Zurich for many years as a conductor, pianist and organist. He also taught piano and music theory, not only privately but, from 1956 to until his retirement in 1972, at the Zurich Music Academy. Kuhn was spoken of as one of those Swiss composers who made a bridge in their work between Spanish and Swiss music, and between the Protestant North and the Mediterranean warmth of the South. He certainly had an attachment to the music of Spain, and especially the Canary Islands, which gave rise to his Piano Variations (1967) and the piano concerto entitled Concierto de Tenerife (1962), both available on other Guild recordings. In 1991, at the venerable age of 94, Kuhn moved to Ascona, on the Swiss shore of Lake Maggiore, where he died three years later.

According to the noted Swiss critic Willi Schuh, Kuhn’s was a ‘pronouncedly lyrical talent’, with songs and choral music occupying a place of importance in his output. Nevertheless he composed prolifically in a wide spectrum of genres, from operas to small piano pieces. Chris Walton has remarked that Kuhn ‘was rooted in the Swiss Protestant tradition’, but his musical language is an urbane synthesis of several 20th-century tendencies. Kuhn himself, in 1973, described the evolution of his musical language thus: ‘Before 1921, my works were rooted in traditional influences (Bach, Schubert, Wolf). The confrontation with Impressionism and the Second Viennese School and my encounter with Hindemith broadened my means of expression in matters of harmony and formal technique, and enabled me to go my own way (the use of extended tonality, polyphony, and linear counterpoint that takes into account the extended harmonic context)’.
12.00 eur Temporarily out of stock

 
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