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Russian and World music CD DVD shop and Classic distribution

 

Clarinet

   Found CDs: 58
 

Hans Knappertsbusch Conducts - Mozart - Beethoven

Hans Knappertsbusch Conducts - Mozart - Beethoven
ID: IDIS6684
CDs: 1
Type: CD
Subcollection: Clarinet

9.00 eur Buy

FRIENDS AFAR - Sergey Kuryokhin and Keshavan Maslak

FRIENDS AFAR - Sergey Kuryokhin and Keshavan Maslak
ID: CDMAN200-03
CDs: 1
Type: CD
Subcollection: Piano and Saxophone

11.00 eur Buy

Civica Jazz Band - We Love Basie

Civica Jazz Band - We Love Basie
ID: GCDJ1937
CDs: 1
Type: CD
Subcollection: Saxophone

GIANNI BASSO tenor sax
FABRIZIO BOSSO trumpet
PAOLO TOMELLERI clarinet
ROSSANO SPORTIELLO piano
FRANCO CERRI guitar (in Basie Straight Ahead)


with the CIVIC JAZZ BAND

Soloists:
EMILIO SOANA (trumpet),
ROBERTO ROSSI (trombone)
GIULIO VISIBELLI (saxophones, flute)
MARCO VAGGI (bass),
TONY ARCO (drums)
and the students of the Civici Corsi di Jazz of the
Milan International Music Academy
Bandleader: ENRICO INTRA


1. Moten Swing (Bennie Moten / arr. Sammy Nestico) Soloists: Paolo Tomelleri, Fabrizio Bosso - 9’46
2. The Kid from Red Bank (Neal Hefti) Soloist: Rossano Sportiello - 2’54
3. April in Paris (Vernon Duke / arr.Bob Lewen) Soloist: Emilio Soana - 3’31
4. Cherry Point (Neal Hefti) Soloists: Gianni Basso, Fabrizio Bosso- 7’01
5. Jumpin’ at the Woodside (Count Basie / arr. Charlie Hathaway) Soloists: Paolo Tomelleri, Gianni Basso, Fabrizio Bosso,Rossano Sportiello- 5’26
6. Shiny Stockings (Frank Foster) Soloists: Paolo Tomelleri, Emilio Soana, Fabrizio Bosso, Giulio Visibelli, Roberto Rossi- 8’24
7. Basie Straight Ahead (Sammy Nestico)
Soloist: Franco Cerri- 4’30
8. Avenue “C” (Buck Clayton) Soloists: Paolo Tomelleri, Fabrizio Bosso, - Rossano Sportiello, Gianni Basso, Tony Arco- 3’38
9. Medley: Blue and Sentimental / Oh, Lady Be Good (George & Ira Gershwin) Soloist: Rossano Sportiello- 5’23
10. Lil’ Darling (Neal Hefti)
Soloist: Emilio Soana - 4’59
11. One O’Clock Jump (Count Basie / arr. Buck Clayton)
All soloists - 7’13
11.00 eur Buy

Swing Low Sweet Clarinet - Reginald Kell and His Quiet Music

Swing Low Sweet Clarinet - Reginald Kell and His Quiet Music
ID: CC0049
CDs: 1
Type: CD
Collection: Historical Recordings
Subcollection: Clarinet

Reginald Kell (clarinet), Recorded in 1940s and 1950s
Reginald Kell (1906-1981), holds an important position as one of Britain’s leading clarinet players of the last century. Hugely influential, he introduced the concept of vibrato to the orchestral clarinet. Inspired by the great singers with whom he came in contact, particularly Kirsten Flagstad, he sought to emulate their warm expressive sounds on the clarinet.
The present collection, available for the first time on CD, was recorded in the 1940s and 1950s. It breaks away from the more serious repertoire which Kell is associated with and features popular tunes and arrangements with orchestral accompaniment. This CD gives a fascinating portrait in sound, of a player who, as well as his playing commitments, also taught Benny Goodman, who was anxious to improve his grasp of the classical repertoire.

Swing Low Sweet Chariot
Kreisler’s Liebesfreud and Liebeslied
Debussy’s La Plus que Lent and La Fille aux Chevaux de Lin

These are just some of the highlights in this valuable collection. Kell’s playing was and continues to be, an inspiration to successive generations, and this disc gives the ideal opportunity for clarinettists and the general music lover, to acquaint themselves with the lighter side of one of the world’s most revered musicians.
12.00 eur Buy

Pierluigi Billone - 1+1=1. Heinz-Peter Linshalm, Petra Stump, bass clarinet

Pierluigi Billone - 1+1=1. Heinz-Peter Linshalm, Petra Stump, bass clarinet
ID: KAI0012602
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Clarinet

World Premiere Recording

The title of the work 1+1=1 is a quotation from Andrey Tarkowsky’s film “Nostalgia” which points to the special relation between the two instruments.

We have been planing this unique project for a long time: a composition for two bass clarinets as a full evening program. Through intense research Pierluigi Billone has acquired much experience in handling the bass clarinet and is the ideal composer for this task. Billone has an open mind and original thoughts about such a project. His formal conception can open new spaces for the listeners and take them on a exciting journey into the souls of the bass clarinets. The title of the work 1+1=1 is a quotation from an Andrey Tarkovskij film which points to the special relation between the two instruments.

Includes booklet with text by Carolin Naujocks and Pierluigi Billone
12.00 eur Buy

Musgrave Thea - Concerto For Clarinet And Orchestra, The Seasons, Autumn Sonata

Musgrave Thea - Concerto For Clarinet And Orchestra, The Seasons, Autumn Sonata
ID: CC0035
CDs: 1
Type: CD
Collection: World Premiere Recording
Subcollection: Clarinet

12.00 eur Buy

Gérard Grisey: Solo Pour Deux / Ernesto Molinari

Gérard Grisey: Solo Pour Deux / Ernesto Molinari
ID: KAI0012502
CDs: 1
Type: CD
Subcollection: Clarinet

I - that sacred time:
Cut to pieces by the media, drowned in over-information, measured in this age of zapping and clips, this time, the time which Bataille called ‘sacred’, the time of Art, Love and Creativeness, the instant when something unprecedented happens, can only be preserved by the artist if he completely resists this late 20th century environment. Paradoxically, however, these are precisely the rhythms which feed and inspire him. This is the only world which calls forth his questions. And so, the response to this discontinued flood of information will be a music finding its unity and continuity. Its wintry slowness will be the reversed echo of a stress-ridden world rushing towards its end.
II - Zwitschermaschine:
Think of whales, men and birds. When you hear the songs of the whales, they are so spaced out that what sounds like a gigantic, drawn-out and endless moan is perhaps only one consonant to them. This means that it is impossible to perceive their speech with our constant of time. Similarly, when we hear a bird sing, our impression is that it sounds very high-pitched and agitated. for its constant of time is much shorter than ours. It is difficult for us to perceive its subtle variations of timbre, while it may perceive us, perhaps, as we perceive the whales. (Gérard Grisey)

Includes booklet with text by Gérard Grisey and Wolfgang Hofer
12.00 eur Buy

20th Century Concertos for Flute and Clarinet - Camerata Zürich conducted by R. Tschupp

20th Century Concertos for Flute and Clarinet - Camerata Zürich conducted by R. Tschupp
ID: GMCD7250
CDs: 1
Type: CD
Subcollection: Flute

Recorded: Blum Haller, October 2001; Vogel Schaeuble January 2002; Radio Studio Zürich
12.00 eur Buy

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
CDs: 1
Type: CD
Subcollection: Voices

Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times


The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.


Introduction by Melinda Maxwell:

The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.

The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.

In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.

Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".

Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".

The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.

Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow.
12.00 eur Buy

Sharon Kam - The Romantic Clarinet

Sharon Kam - The Romantic Clarinet
ID: CP038
CDs: 1
Type: CD
Subcollection: Clarinet

12.00 eur Temporarily out of stock

 
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