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ID: AHR001
CDs: 1
Type: CD
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Collection:
Instrumental
Subcollection: PianoChristine Rayner plays Ludovico Einaudi’s music for solo piano in aid of UK Cancer Charities and Research. The calming influence of the pieces selected for this collection create a sanctuary in which the stresses of daily life have no place.
“On first hearing the beautiful Le Onde by Ludovico Einaudi in 2009 I was captivated. This piece touched me deeply, and playing his music has since become a vital part of my life.
The calming influence of many of Einaudi’s works creates for me a sanctuary in which the stresses of daily life have no place. His music would undoubtedly have inspired and uplifted me during the dark months of my chemotherapy eleven years ago, and I regret that it was unknown to me at that time.
With this in mind, I humbly present my selected pieces from Einaudi’s past albums as a compilation intended to offer the listener a restful hour of peace, calm and relaxation.”
At least £1 per copy sold will be Gift-Aid donated to UK Cancer Charities. Donations from sales will also go to directly help fund Prof. Roy Bicknell’s research into alternative treatments to chemotherapy. |
| 18.00 eur Buy |
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ID: CDMAN127
CDs: 1
Type: CD
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Collection:
Instrumental
Subcollection: PianoRecorded by Petersburg Recording Studio, 1992 and 1994 |
| 18.00 eur Buy |
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ID: CDMAN107
CDs: 1
Type: CD
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Subcollection: PianoRecorded in 1992 and 1993
1 - 3: Vladimir Mishchuk, piano
St. Petersburg State Capella
Symphony Orchestra - Conductor Alexander Chernuchenko
4 - 6: Alexander Svyatkin, piano
State Symphony Orchestra of St. Petersburg -Conductor Andrei Anikhanov |
| 18.00 eur Temporarily out of stock |
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ID: NMCD151
CDs: 1
Type: CD
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Subcollection: QuartetCroquis ('Sketches') - a sequence of characteristic miniatures for string trio commissioned by BBC Radio 3 to be spaced between programmes across an evening’s broadcasting, recorded here by members of the Kreutzer Quartet - is coupled with Tristia, a powerful work for violin and piano performed by Peter Sheppard Skaerved and Aaron Shorr.
Kreutzer Quartet
The Kreutzer Quartet has forged an enviable reputation as one of the Europe's most dynamic and innovative string quartets. They are the dedicatees of numerous works, and over many years have forged creative partnerships with composers including Sir Michael Tippett, David Matthews, Michael Finnissy, Judith Weir, and Haflidi Hallgrimsson. They have a particularly strong relationship to a cross-section of leading American composers, having collaborated intensively with George Rochberg in the last few years of his life, as long as working closely with figures as Elliott Schwartz, and the prolific symphonist Gloria Coates. As recording artists they have won critical acclaim for their discs on the Naxos, Metier, and Chandos labels. They are Artists in Association at Quartet at York University, and at Wiltons Music Hall. Their work in collaboration with art galleries has garnered much attention, and large audiences, particularly their annual residency at the Tate Gallery, St Ives. |
| 18.00 eur Buy |
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ID: CDMAN105
CDs: 1
Type: CD
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Collection:
Instrumental
Subcollection: PianoRecorded by Petersburg Recording Studio, 1969, 1972 and 1973 |
| 18.00 eur Buy |
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ID: NMCD179
CDs: 1
Type: CD
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Subcollection: SaxophoneRob Keeley was born in Bridgend in 1960. He studied with Oliver Knussen at the Royal College of Music, Magdalen College Oxford under Bernard Rose, and later with Robert Saxton.
As a pianist Keeley has premiered works by, among others, Harrison Birtwistle, Michael Finnissy, Jonathan Cole, Richard Emsley and Nicola Moro.
He is currently Senior Lecturer in Composition at King's College, London.
Keeley's music is jazz tinged with elements of Satie and Poulenc.
Bayan Northcott writes ... Rob Keeley is both a ‘natural’ as a composer, and a bit of an enigma. While his music always unfolds lucidly, often engagingly, it resists easy categorization - at least accordingly to current critical notions. Apparently untouched by avantgarderie, minimalism or post-modern poly-stylistics, it might seem to fall into a traditionalist slot or even be mistaken as academic. Yet his music sounds singularly undriven by theory or the fi ndings of analysis; nor will one so easily discover textbook sonata or fugal procedures in his works. More frequently he generates his forms by flexible refrain-and-chorus procedures, and sometimes, the illusion of traditional thematicism from variable ostinato or change-ringing permutations - suggesting his omnivorous ear has absorbed more ‘advanced’ techniques, from Ligeti, perhaps, or Birtwistle, but in his own way. |
| 18.00 eur Buy |
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ID: CDMAN112
CDs: 1
Type: CD
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Collection:
Instrumental
Subcollection: PianoRobert Schumann
Carnival, Op.9
Preambule
Pierrot
Arlequin
Valse noble
Eusebius
Floreston
Coquette
Replique
Sphinxes
Papillons
A.S.C.H. - S.C.H.A. (Letters dansents)
Chiarina
Chopin
Estrella
Reconnaissance
Pantalon et Colombine
Valse allemande
Paganini. Intermezzo.
Aveu
Promenade
Pause
Parche des "Davidsbundler" contre les Philistins
Kinderszenen, Op.15 |
| 18.00 eur Buy |
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ID: CDMAN161
CDs: 1
Type: CD
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Subcollection: PianoRecorded by Petersburg Recording Studio, 1971 (8-10), 1974 (4-7), 1977 (1-3)
Yuri Kramarov, viola (all tracks)
Victor Liberman, violin (1 - 3)
Tatiana Vosckresenskaia, piano (4 - 7)
Stanislav Poshehov, flute (8 -10)
Adriana Tugay, harp (8 - 10)
Leningrad Chamber Orchestra - Eduard Serov, conductor (1 - 3) |
| 18.00 eur Buy |
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ID: CDMAN178
CDs: 1
Type: CD
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Subcollection: PianoCapriccio - is an Italian word, but it is easy to understand what it means. As practice shows, not only spoilt girls like to be capricious. Public in general get used to do it. And musicians are the best to soothe it. As a genre Capriccio came to Russia from Europe, exactly from Italy. But, in spite of its foreign birth Russian composers had assimilated it brilliantly. Today's public - in a way a «granddaughter» of the XIXth century indulges itself with an orchestra Capriccios by Glinka, Tchaikovsky, Rimsky-Korsakov, and Rubinstein. Russian classics were inspired by Italian and Spain themes, hence all compositions are penetrated with South spirit, and it could be seen in every bar and, even in the titles of capriccios. Only Rubinstein preferred a truly Russian capriccio, (that's its both title and essence) to Neapolitan's songs. This composition is outstanding, it is more lyric and vast scale, special Russian heartedness and temperament, as hot as Spanish, but closer to Russian mentality. As far as the form of capriccio is free (just as a feature of genre), sudden dramaturgic turns, rhythmic changes, condition changes and improvisation moments makes this music so powerful. Orchestral tutti and tender melodic parts shades each other and turn one ecstatic soul into a great delight. Burning, hot music of the South strikes fire from the strings, winds out from brass and wood bells, stuns with its brilliance and satisfies the most esthetic caprices of the most refine amateur of music. |
| 18.00 eur Buy |
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