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ID: DCD34067
CDs: 1
Type: CD
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Subcollection: ChoirTwo of Britain's finest young choirs join forces and cross a continent to take on the sublime expressiveness of Rodion Shchedrin's 'Russian liturgy', an astonishing statement of faith composed in the early days of perestroika. Shchedrin's choral tableaux juxtapose tenderness with bracing sonic impact, and are shadowed throughout by the plangent voice of a solo oboe representing the soul of the Russian people.This ground-breaking choral partnership committed the work to disc following acclaimed UK première concert performances at the Spitalfields and Oundle festivals in the summer of 2008. In 1992 President Boris Yeltsin awarded Shchedrin the Russian State Prize for The Sealed Angel. |
| 15.00 eur Temporarily out of stock |
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ID: RCD10407
CDs: 1
Type: CD
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Collection:
Baroque
Subcollection: OboeSoloist Oleg Yakubovich, oboe (Russia) and the Kostroma Chamber Orchestra conducted by Pavel Gershtein (Russia) are remarkably professional, master the Baroque style, and their ensemble is perfectly structured. The oboe is amazingly light, virtuosic, there is a feeling that there are no problems for the performer, everything is very natural, absolutely playful, all improvisational moments are appropriate and coordinated between the soloist and the orchestra. The first violin and the cymbal are also very good, which thoroughly supports the entire musical structure. |
| 15.00 eur Temporarily out of stock |
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ID: UP0160
CDs: 1
Type: CD
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Collection:
Contemporary music
Subcollection: OboeGabriela Krčková (oboe, English horn, oboe d’amore), Kateřina Jansová (flute), Hana Jouzová (harp), Daniel Wiesner (piano)
Musica Bohemica Praha - Jaroslav Krček
rec. Evangelical Church, Prague, 2014 (all Krček items and Flight of the Bumblebee),
Church of St.Vavřinec, Prague, 2011 (Šesták), Czech Radio 1996 (Temi); 1998 (Málek) |
| 15.00 eur Buy |
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ID: CLAVES509020
CDs: 1
Type: CD
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Subcollection: PianoC. Saint-Saens
Sonata for oboe and piano in D Major, Op. 166
Sonata for bassoon and piano In G Major, Op 168
F. Poulenc
Sonata for oboe and piano (1962)
Sonata for piano, oboe and bassoon (1926) |
| 16.00 eur Buy |
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ID: CLAVES509010
CDs: 1
Type: CD
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Subcollection: Chamber OrchestraRichard Strauss
Duett-Concertino for Clarinet, Bassoon & Strings
Oboe Concerto in D
Horn Concerto No. 2 in E flat major, AV132 |
| 16.00 eur Buy |
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ID: ART246
CDs: 1
Type: CD
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Subcollection: Violin |
| 17.00 eur Buy |
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ID: ART379
CDs: 1
Type: CD
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Collection:
Baroque
Subcollection: Oboe1-17 - A. Balashov (oboe)
1-3, 14-16 - The Neapolitan ensemble "Serenade"
4-6, 10-13 - Yulia Ikonnikova (organ)
7-9 - Ekaterina Pripuskova (mandolin)
17 - Mikhail Kovalkov (viola)
Recording 2015-2017 - Popov Academy of Choral Art, Moscow |
| 17.00 eur Buy |
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ID: SIGCD037
CDs: 1
Type: CD
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Subcollection: HarpsichordPellegrina’s Delight celebrates Vivaldi’s contribution to oboe repertoire in the early eighteenth century. Vivaldi wrote at least 16 concerti for solo oboe, but in this recording we offer an overview of Vivaldi’s prominent use of the solo oboe in his chamber music. The disc also provides a fascinating illustration of Vivaldi’s stylistic development between c.1705 and c.1720.
The Quartet Sonata in C major (RV 779) was written during the first decade of Vivaldi’s activity as a composer, when he was serving as a violin teacher at the Ospedale della Piet in Venice. Selected girls were admitted - after audition - to the musical establishment. Vivaldi made a note in this manuscript of the names of the four female musicians who were chosen to perform the sonata. They are Pellegrina (oboe), Prudenza (violin), Lucietta (organ) and Candida (chalumeau).
Other works featured on this disc are the Sonata for oboe and continuo in C minor, RV 53, the Sonata in G minor, RV 28 the Trio-sonata in E minor, Op. 1 no. 2, RV 67, the Concerto for flute, violin and bassoon in G minor, RV 106 (presented with the oboe taking the part of first treble instrument, the Sonata in B-flat major, RV 34 and the Sonata a 4 in C major, RV 801. |
| 18.00 eur Buy |
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ID: CC2004
CDs: 1
Type: CD
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Subcollection: OboeThe CD booklet contains an interview with Han de Vries (printed in English, French and German), in which he talks about
all the works on the CD. There are photos of him throughout his career, and of his extensive instrument collection.
Jeremy Polmear talks to Han de Vries about two of the concertos on the CD:
BACH CONCERTO FOR VIOLIN AND OBOE:
JP: Am I right in thinking that this recording has not been issued commercially before?
H de V: Yes, it was commissioned by a major Dutch bank - the Verenigde Spaarbank - for its employees. This bank is a good sponsor of the arts as well as sport, and I am glad that one of its products is coming out into the wider world.
JP: And you had no conductor; how did you work out the interpretation?
H de V: The Concertgebouw Chamber Orchestra is made up of the best players in the Concertgebouw Orchestra, and when I played with that orchestra Jaap van Zweden the violin soloist was the leader, and they are wonderful musicians who have worked with Harnoncourt, with Chailly. So the way to approach this music was very clear to us.
JP: By 1986 when you made this recording, you had played Baroque oboe for many years, but here you are playing Baroque music on the modern oboe. Were you influenced by baroque practices?
H de V: Yes of course, and I've been playing Baroque instruments since I was 28. But to play in the Baroque style on the modern oboe, with little or no vibrato, would sound cold and unfeeling. I also have a loyalty to my teachers, to the style of the Concertgebouw, to the musicians I admire, and to the other players. I don't want to be an island of 'I am right'. I want to be somebody who communicates with other musicians, and to the ears of the audience; if I have the joy of being surrounded by very good musicians then I feel I am at my best.
ANDRIESSEN, ANACHRONIE II ('furniture music'):
JP: Let me start by asking you not about the music, but about the words. There seems to be what sounds like railway announcements at the beginning, at the end, and a bit in the middle of this concerto, and as a non Dutch speaker I must ask you - what is the gentleman saying, and does it matter?
H de V: It doesn't matter. In the score there is written a part for Radio. So it can start witrh a weather forecast, or anything. And then the music is a tapestry of quotations, and crazy humouristic, or agressive moments. It starts like Michel Legrand. Then we get a quasi Vivaldi oboe concerto, then an incredible crazy cadenza that ends with the soloist becoming totally insane. Then comes a sort of funeral march of drunken horns. This piece comes from 1969 where all music was quoting others, with bits of Stravinsky and everything mixed upside-down; it is a reaction against so-called 'beautiful music'. Andriessen said to use no vibrato. Sometimes I couldn't resist it, because I thought 'this is too much, too long, too ugly'.
JP: Did you commission the piece?
H de V: I asked him to write an oboe concerto, but the ideas are all his; and he never asked me whether what he had written was possible or impossible to play. In the cadenza he wanted a sort of shawm sound - he actually said 'like a bagpipe' - and I must say it should have been much more agressive and ugly, but there I felt I had to fight for my oboe, and not destroy the ears of my listeners.
JP: But I couldn't help noticing when you were listening to it, the part that amused you most of all was the bit in the cadenza where you honk on low and high notes. Why is that so much fun to hear?
H de V: Yes, because that's the utmost ugly playing, it's leaving behind everything that is beautiful on an oboe - as if a drunken man picks it up and tries to play it. And I laughed because I had to give up all the beauty I always worked for in my life. © 2002 Han de Vries and Jeremy Polmear |
| 18.00 eur Buy |
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