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Piano, page 41

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BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio

BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio
ID: QTZ2042
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

12.00 eur Buy

Liszt - Beruhmte Klavierwerke - Famous Piano Works • Pieces celebres pour piano; Wladyslaw Kedra, Piano

Liszt - Beruhmte Klavierwerke - Famous Piano Works • Pieces celebres pour piano; Wladyslaw Kedra, Piano
ID: AV2100180
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Piano

FRANZ LISZT (1811-1886)
Beruhmte Klavierwerke
Famous Piano Works • Pieces celebres pour piano; Wladyslaw Kedra, Piano
12.00 eur Temporarily out of stock

J.Harle - Plays Bennett, Berkeley, Denisov, Heath, Woods with J.Lenehan

J.Harle - Plays Bennett, Berkeley, Denisov, Heath, Woods with J.Lenehan
ID: CC0048
CDs: 1
Type: CD
Subcollection: Saxophone

Bennett, R R: Sonata for Soprano Saxophone & Piano
Berkeley, M: Keening
Denisov: Sonata for Alto Saxophone and Piano
Heath: Rumania
Woods, P: Sonata for Alto Saxophone & Piano

John Harle (saxophone), John Lenehan (piano)
12.00 eur Buy

Jack Liebeck - Works for Violin & Piano

Jack Liebeck - Works for Violin & Piano
ID: QTZ2002
CDs: 1
Type: CD
Subcollection: Piano

The debut disc by one of the most talented and acclaimed young violinists to emerge in recent years. Liebeck has established an international reputation for mature, intense and virtuosic performances and this disc of early 20th Century works demonstrates these characteristics in abundance. Partnered here by the virtuoso, award-winning pianist, Katya Apekisheva, this is duo playing of the highest calibre.

Works for Violin & Piano
In 1943, Sergei Prokofiev (1891-1953) was evacuated, along with many other prominent artists, to Alma-Ata (Almaty) in modern-day Kazakhstan while the Soviet army fought against the Germans in the West. It was here that he wrote his Sonata for Flute and Piano Op 94 which, at the suggestion of David Oistrakh, he transcribed the following year for violin. The amount of revision needed was minimal and indeed the piano part is exactly the same in both versions.
The Sonata is in stark contrast to the huge upheaval that was taking place on the other side of the country and Prokofiev himself described the work as "perhaps inappropriate at the moment, but pleasant". The key of D Major is perhaps a conscious reference to the Classical Symphony and certainly the Sonata follows the classical model closely, even incorporating all elements of the standard first-movement sonata-form structure although the boisterous Russian finale has more in common with later models. Prokofiev was reputedly inspired to compose the Sonata after hearing the French flautist Georges Barrere, one of the great exponents of 19th Century French flute music as well as the dedicatee of Edgar Varese's experimental Density 21.5 and it is perhaps appropriate that he should have been the motivating force behind this work which harks back to earlier forms and yet is very much of its time.

The violinist Eugene Ysaye (1858-1931) was held in high esteem by his Parisian contemporaries as a powerful interpreter of their works. These famous figures included Saint-Saëens, Debussy, Franck and Chausson who all dedicated works to him (indee Chausson's Poeme was written for Ysaye).

As he was primarily a performer, Ysaye not compose a large catalogue of works and almost all of them were violin pieces. Ysaye's six solo violin sonatas were inspired by the young Joseph Szigeti's performance of a Bach solo sonata in 1923. Ysaye is said to have been so inspired that he immediately locked himself away for twenty four hours and emerged with all six in sketch form. Each sonata was dedicated and tailored to a violinist of his time; Szigeti, Thibaud, Enesco, Kreisler, Crickboom and Quiroga. The First and Second Sonatas follow a similar movement structure to Bach's solo Sonatas and Partitas. Ysaye even quoted the E major Partita in his 2nd sonata ("Obsession") symbolising and perhaps teasing Jacques Thibaud about his obsession with its opening.

By the Third Sonata (featured here), Ysaye ideas started to move more into his own unique and personal sound world with more chromaticism and free-flowing movement. The sonata is dominated by a fiery and distinctive main thematic idea that develops right until the very end of the piece. He managed to combine this idea with many different episodes of colour and figuration in a way that only a musician with intimate knowledge of the mechanics and capabilities of the violin could. Technically very demanding though the piece is, it is so well tailored to the nature of the violin that it is very playable and has become one of the staples of the violin repertoire. JL.

Ernest Chausson (1855-1899) came to music relatively late in life and was often considered something of an outsider, partly by virtue of his relatively well-off background which meant that he was financially independent throughout his life but also for purely musical reasons.

His music bears the hallmarks of many of the great influences of his day, including Franck, Massenet and Wagner but also exhibits the outcome of his own personal interests and explorations. Towards the end of his life, Chausson became increasingly interested in Russian literature and the work of the Metaphysical poets and the Poeme is based on a short story by Turgenev. Originally titled "Le chant de l'amour triomphant: Poeme symphonique pour violon et orchestre" it was subsequently reduced to "Poeme pour violon et orchestre" and finally simply "Poeme".

The Poeme was written for and dedicated to the man who gave its premiere, Eugene Ysaye Although the Poeme was written for one of the greatest virtuosos of his day, it is essentially lyrical in style and focuses on emotional intensity rather than technical pyrotechnics, an approach that reflected Ysaye view that virtuosity should never be an end in itself but, rather, a valuable tool in the violinist's overall technique. It is seamlessly constructed in one movement and demonstrates Chausson's ability to combine complete command of form and structure while allowing the music to sound freely rhapsodic and lyrical.

Of Chausson, one contemporary wrote "all his works exhale a dreamy sensitiveness which is peculiar to him. His music is constantly saying the word 'cher"

In common with his younger contemporary Fauré chamber music runs across Camille Saint-Saëns (1835-1921) sizeable (and now neglected) output - from the often bravura ensemble works of the 1860s and '70s to the autumnal sonatas and character pieces of his last years. In 1885, his First Violin Sonata was written for and dedicated to Martin Marsick - teacher of, among others, Thibaud, Enescu and Flesch. The influence of Liszt is evident in the thematic transformation which operates throughout the piece, as also in the linking of the movements into two complementary pairs - a procedure which Saint-Saëns repeated only in his 'Organ Symphony', written in memory of Liszt the following year.

The darkly sensuous idea which opens the first movement has a fluid, rhythmic profile - in marked contrast with the wistful second theme, which retains its formal outline throughout. There is no development as such, but a modified reprise of the two themes, followed by a sombre coda which tapers away in a poetic transition to the Adagio. The main melody, a beautifully-judged dialogue, treads a fine line between sentimentality and pathos typical of Saint-Saëns. It twice alternates with a more impulsive (though related) idea, and closes in a mood of tranquil tenderness.

The Mendelssohnian scherzo evolves almost entirely from the tripping five-bar phrase with which it begins. Note how, in the brief trio section, the piano continues the underlying rhythm while the violin derives from it a more songful melody. A curtailed reprise, then a passage of pensive anticipation - leading into the finale. The main theme is a brilliant moto perpetuo, culminating in a high-flown melodic gesture. As in the opening movement, these ideas are modified rather than developed as such - working up to a coda which effectively integrates the two and rounds off the whole work in a stream of exhilarating passagework.

Copyright: Richard Whitehouse, 2003
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VLADIGEROV - TANEV - STOYANOV - DJOUROV - IVAN EFTIMOV, piano

VLADIGEROV - TANEV - STOYANOV - DJOUROV - IVAN EFTIMOV, piano
ID: GD234
CDs: 1
Type: CD
Collection:
Contemporary music
Subcollection: Piano

The present release is a wonderful proof of Ivan Eftomov's appeal for contemporary Bulgarian music. The programme creates interest with its selection of composers and works, arranged in chronological order according to the date of their creation.
12.00 eur Temporarily out of stock

SERGEI RACHMANINOV - ROLAND DEGOUMOIS, piano

SERGEI RACHMANINOV - ROLAND DEGOUMOIS, piano
ID: GR84
CDs: 1
Type: CD
Subcollection: Piano

12.00 eur Temporarily out of stock

The Spirit of Poland - Szymanowski and Chopin - Felicja Blumental, piano

The Spirit of Poland -  Szymanowski and Chopin - Felicja Blumental,  piano
ID: BR0030
CDs: 1
Type: CD
Collection:
Great Performers
Subcollection: Piano

Pianist Felicja Blumental explores the vibrant repertoire of Karol Szymanowski (who taught the young Blumental composition) and fellow Pole Fryderyk Chopin, whose music was a fundamental part of Felicja Blumental's recording career which brought her great acclaim.
1 - 3 Felicja Blumental - piano / Polish Radio Symphony Orchestra of Katowice - Kazimierz Kord, Conductor
4 - 16 Felicja Blumental - piano
17 - 19 Felicja Blumental - piano / Innsbruck Symphony Orchestra - Robert Wagner, Conductor
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Beethoven, Rubinstein - Felicja Blumental - piano

Beethoven, Rubinstein - Felicja Blumental - piano
ID: BR0023
CDs: 1
Type: CD
Collection:
Great Performers
Subcollection: Orchestre

This disc features the greatest of Beethoven’s piano concertos, the “Emperor,” as well as his barely known Romance Cantabile and Rubinstein’s one movement orchestral 'Konzerstück', worth listening to for it’s unusual combination of instruments!

1 - 3: Felicja Blumental, piano / Vienna Symphony Orchestra - Robert Wagner, conductor
4 - Felicja Blumental, piano / Prague Symphony Orchestra - Alberto Zedda, conductor
5 - Felicja Blumental, piano / Vienna Symphony Orchestra - Helmut Froschauer, conductor
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Prize winners of the Scriabin Piano Competition in Moscow, 2004

Prize winners of the Scriabin Piano Competition in Moscow, 2004
ID: CR044
CDs: 1
Type: CD
Subcollection: Piano

1 - 3 Yumi Sato, piano
4 - 7 Maria Dubrovkina, piano
8 - 13 Alexander Kulikov, piano
14 - Galina Chistiakova, piano
15 - 17 Stanislav Hegay, piano
18 - 20 Andrei Korobeinikov, piano
Moscow Symphony orchestra conducted by Vladimir Ziva


The Third International Scriabin piano competition was held on 20 - 30 of June, 2004 in Moscow, the city where Alexander Scriabin was born in 1972 on Christmas Day and where he died in 1915 on Easter. The competition was held in the Great Hall and Maly Hall of the Moscow Conservatoire, where Alexander Scriabin studied in the class of Vassili Safonov and where he worked afterwards. The Honorary Chairman of the Organizing Committee was the composer Tikhon Khrennikov, People's Artist of the USSR. The Organizing Committee was headed by the Minister of Culture and Mass Communications Alexander Sokolov. The members of the jury were Mikhail Voskressensky (President, Russia), Dmitri Bashkirov (Russia), Arnulf von Arnim (Germany), Pascal Devoyon and Marian Rybicki (France), Einar Steen-Nokleberg (Norway), Vitali Margulis (USA), Andrea Bonatta (Italy), Balazs Sokolay (Hungary). Executive secretary was Alexander S. Scriabin (Russia). All prizes were granted by gold-mining company POLUS.
1st prize Andrei Korobeinikov Russia Born on July 10, 1986. À 3rd year student at the Moscow State Tchaikovsky Conservatoire in the class of A.Diev.
2nd prize Stanislav HEGAY Kazakhstan Born on July 7, 1985. À 2nd year student of the Moscow State Tchaikovsky Conservatoire in the class of professor L. Naumov.
3rd prize Galina Chistriakova Russia Born on April 27, 1987. À 2nd year student of the Central Music School under Moscow State Tchaikovsky Conservatoire in the class of A. Ryabov. 4th prize Alexander KULIKOV Born on November 29, 1983. Student of the Moscow State Tchaikovsky Conservatoire in the class of professor A. Nasedkin.
5th prize Yumi SATO Japan Born on August 5, 1979. Graduated from Tokyo National University of arts and Music in the class of professor Kharukhi Khata.
6th prize Maria Dubrovkina Russia Born on December 6, 1980. 5th year student of the Moscow State Tchaikovsky Conservatoire in the class of professor Yu. Slesarev.
12.00 eur Buy

Spanish and Portuguese Keyboard Music, Volume 1- Felicja Blumental, piano

Spanish and Portuguese Keyboard Music, Volume 1- Felicja Blumental, piano
ID: BR0021
CDs: 1
Type: CD
Collection:
Great Performers

Featuring Felicja Blumental on piano, this is the first of two volumes released to celebrate 300 years of Carlos Seixas. This collection presents the keyboard works of by Iberian composers, Soler, Angles, Albéniz, Cantallos, Seixas, Jacinto and Carvalho.
12.00 eur Buy
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