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ID: CC2021 CDs: 1 Type: CD |
Subcollection: OboeThe 12-page full colour CD booklet has details of each track in English.
There is a biography of New Noise and many photographs.
Fusing together an eclectic mix of classical, electronic, jazz and contemporary music, the British duo New Noise was formed at the turn of the millennium by oboist Janey Miller and percussionist Joby Burgess. New Noise has to date commissioned more than fifty pieces, working with a diverse range of artists including David Bedford, Donnacha Dennehy, Sam Hayden, Simon Holt, Katharine Norman, Nigel Osborne, Howard Skempton and Andy Sheppard. They regularly collaborate with sound designer Matthew Fairclough and trombonist John Kenny, and in 2008 brought together a host of international talent to perform 'Cross Talk', originally programmed to celebrate the 80th birthday of Karlheinz Stockhausen. New Noise has performed throughout the UK including many of the country's leading festivals and venues. Further afield they have performed in the United States and Australia, and their recordings are regularly broadcast around the world. Many of New Noise's performances are supported by education events, and the duo regularly lead composition and performance workshops; from 2001 to 2005 New Noise was ensemble in residence at the Goldsmiths College University of London Electronic Music Studios. |
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ID: CC2018 CDs: 1 Type: CD |
Collection: Opera Collection Subcollection: OboeThe 24-page full colour CD booklet has a 6,000 word programme note in English
with full details of each item, setting it in its operatic and historical context.
There are biographies of all the players and many photographs.
Emily Pailthorpe (the youngest winner of the Gillet International oboe competition) joins Elaine Douvas (Principle Oboe of the Met Opera Orch.) to give an oboist’s-eye-view of opera.
Introduction by Emily Pailthorpe:
This is a CD for lovers of opera and lovers of the oboe alike. Indeed it is often the vocal quality of the oboe to which listeners and players are drawn. Whether reaching out from the pit orchestra in accompaniment, or taking centre stage for a chamber work, playing the oboe does feel like singing. Portrayed here are some of the great oboe moments in opera (Fidelio, Meistersinger) as well as many that we always wanted to stand up and sing ourselves! (For example the 'Queen of the Night' aria from Mozart's Magic Flute, the Duo from Donizetti's Lucia di Lammermoor.) Both the Diva and the gracious accompanist appear here - often swapping seamlessly from one role to the other.
My own love affair with opera grew when I was a student at The Juilliard School in New York, and my teacher Elaine Douvas gave me standing passes to come and hear the productions at the New York Metropolitan Opera, where she was principal oboe. It is a great pleasure to collaborate on this CD with her and her colleagues from the Met, and also to highlight the opera connection of players from the London CONCHORD Ensemble. Daniel Pailthorpe was principal flute at English National Opera for ten years and Andrea de Flammineis is principal bassoon at the Royal Opera House. I think that in this recording the operatic experience of all these players shines through. |
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ID: NMCD177 CDs: 1 Type: CD |
Subcollection: PianoHideki Nagano, London Sinfonietta, David Atherton, Gareth Hulse, Paul Archibald, Tim Gill, Sound Intermedia
Jonathan Harvey won a Gramophone Award in 2008 for his NMC CD Body Mandala. The works, commissioned by the BBC Scottish Symphony Orchestra, explore his fascination with Eastern philosophies.
The BBC Symphony Orchestra celebrates the life and work of Jonathan Harvey in two days of concerts, films and talks at the Barbican, London. Total Immersion runs from the 28-29 January 2012.
Harvey’s Bhakti was the first release on NMC in 1989.
Jonathan was invited by Pierre Boulez to work at IRCAM in the early 1980s.
Bird Concerto - Harvey's hommage to Messiaen - is a celebration of the kind of technical advances in electroacoustics which the creator of Oiseaux exotiques and the Catalogue d’oiseaux was never able to explore. Harvey started writing the piece when he was in California and says that ‘indigo bunting, orchard oriole, golden crowned sparrow ... are some of the forty colourful Californian birds whose songs and cries sparked the ignition of this work’. The bird sounds have been innovatively transformed to create a mesmeric dialogue between nature and art. Harvey sets the piano soloist (the work was commissioned by pianist Joanna MacGregor) the challenge of combining piano playing and triggering a sampler/ synthesizer so that the live electronics can be realised in real-time performance. Other works on this disc are Other Presences, for trumpet and multi-loop effects, and two versions of the canonic Ricercare una melodia (1984) originally written for trumpet and quadraphonic tape-delay system, but here performed on oboe and cello, with live electronics from Sound Intermedia. |
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ID: CC2002 CDs: 1 Type: CD |
Subcollection: PianoThe CD booklet contains an article by Keith Fraser (in English, French and German) on the relationship between Robert and Clara Schumann and a description of each piece, accompanied by session photographs.
How much do pictures reflect reality? The image on the front of this CD is an anonymous copy of a photograph taken of Robert and Clara Schumann in 1850, the year after most of the pieces here were written. Robert, standing soberly by the piano, was actually addicted to wine, women and song. His drinking was referred to by Clara's father Friedrich Wieck in his attempts to prevent their marriage, and Robert's affairs were a problem for Clara. Not so the songs, of which he wrote more than 100 in 1840, the year he married Clara. He was 40 years old in this picture, by this time a thoroughly respected composer, though more successful in some genres than others. His earlier intention, to be a concert pianist, had been thwarted by a (possibly self-inflicted) injury to his right hand. And what of Clara? She was 31 and an acclaimed pianist. She had already given birth to six of her eight children (of whom seven survived). At this period she was also performing, but her pregnancies (and Robert's encouragement) had led to a flowering of her compositional skills. Her face - in common with other photos of her - seems to express a kind of abstracted melancholy. But here the copyist has lied; in the original photograph she is almost smiling. Certainly the years from her marriage until Robert's physical and mental health began its final decline in 1852 contained much ecstatic happiness. As she wrote in her diary soon after their marriage: "I am supremely happy, and becoming more so all the time - if my Robert is as happy as I am, then I will wish for nothing further - because of my love I could sometimes hurt him with my kisses; instead of becoming quieter (as they say one gets to become in a marriage) I become more fiery! - my poor beloved husband! Their relationship was one of mutual love and mutual support, though perhaps Clara was able to support Robert more than the other way round. She encouraged him constantly, and by performing his works at her concerts brought them into the public domain. Robert sometimes described her as his own "right hand". She was sociable and outgoing, he more private and reserved outside his own circle of friends. He needed her support, and indeed sometimes felt inadequate and depressed on her concert tours when she was the star soloist and and he could no longer play the piano properly. Clara's encouragement of Robert was from a position of equality, and the anonymous illustrator has made a blatent distortion in the picture by moving the angle of her head from upright in the original photograph to a more submissive position - forward and down. Copyright Jeremy Polmear 2002 |
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ID: NMCD042S CDs: 1 Type: CD |
Collection: Instrumental Subcollection: OboeThe renowned oboist is heard in this sequence: from the dignified simplicity of her own Elegy, to the rhythmic economy of Birtwistle's Pulse Sampler and the eerie keening of Holt's Banshee. |
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ID: CDMAN159 CDs: 1 Type: CD |
Subcollection: OboeRecorded by Petersburg Recording Studio in 1971 and 1977
4 - 6: Lazar Gosman, violin / Vitaly Buyanovsky, horn / Vladimir Shalyt horn
10, 11: Olga Krylova, harpsichord |
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ID: CDMAN171 CDs: 1 Type: CD |
Collection: Baroque Subcollection: OboeRecorded by Petersburg Recording Studio, 1967 and 1977 |
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ID: RK2704 CDs: 1 Type: CD |
Subcollection: OboeThe young musicians of the Harmony of Nations Baroque Orchestra come from fourteen countries. The highlight of this CD is undoubtedly the well-known Oboe Concerto by Tomaso Albinoni, wonderfully played by Baroque oboist Alfredo Bernardini. The youthful freshness and the enthusiasm that the young musicians bring to this recording make this a thrilling musical experience. |
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ID: ACDBB030-2 CDs: 1 Type: SACD |
Subcollection: OboeIn this album, the Belgian oboist Joris Van den Hauwe performs a number of French compositions for oboe from the 19th and 20th centuries.
This recording includes some of the most important works of French music for oboe and piano. Some were written for student examinations at the Conservatoire National Supérieure de Paris. Others were dedicated to former teachers, for example, Camille Saint-Saëns's Sonata to ‘Monsieur Louis Bass, hautbois- Premier Solo de la Société des Concerts du Conservatoire et de l'Opera' (tracks 11, 12 and 13).The ‘Sarabande et Allegro' by Gabriel Grovlez (tracks 14 and 15) and the ‘Fantaisie Pastorale' by Eugène Bozza (track 7) were both dedicated to the then highly acclaimed oboist Louis Bleuzet (1874-1941), also a teacher at the Paris Conservatoire. Grovlez noted in his score: ‘A mon Ami Louis Bleuzet, Professeur au Conservatoire National de Musique de Paris'. The link between composers and performers was apparently very strong; these works are among the jewels of chamber music.
The oboe sonata (1947) by Henri Dutillieux (tracks 4, 5 and 6) is a jewel, as well, though the composer, born in 1916, thought otherwise. He disavowed this composition, along with other early works. Dutillieux dedicated this sonata to Monsieur Pierre Bayeux, also a teacher at the Paris Conservatoire. Francis Poulenc dedicated his two sonatas on this album (tracks 1, 2 and 3 and 16, 17 and 18) to Sergei Prokofiev and Manuel de Falla.It is a conscious departure from a program following a timeline of the dates of the compositions. The reason for this is to present the music on the album as though in a concert, in a musical progression. The album begins, for example, with the most recent work. |
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ID: CC2007 CDs: 1 Type: CD |
Subcollection: OboeThe CD booklet contains a 2,000-word essay by Diana Ambache on the music in the CD in English, Italian and German. The photos include more from the K452 recording session and two entries from Mozart's Catalogue written in his own hand.
Human feeling is always at the centre of Mozart's music, and the collection of oboe works here illustrates this with colour and variety. As ever, Mozart excpresses everything from exuberant joy to deep melancholy, with a profound understanding of the expression of emotion. His paradoxes intrigue us; his humour entertains us; he seduces us with his beauty -and the oboe is an excellent vehicle for all this. The five works on the CD include three originally written for the oboe and two fine adaptations.
The year 1781 was an eventful one for Mozart. As well as having the première of 'Idomineo' on his 25th birthday, he also wrote the Oboe Quartet and Sonata featured here, as well as the Concerto for Two Pianos, K365. In May he had the now famous row with his patron Archbishop Collerado, which resulted in his move to Vienna and a new life as a freelance musician.
© 2003 Diana Ambache
Jeremy Polmear (oboe, cor anglais), the founder of Oboe Classics, is a freelance musician who has performed as a guest player with a number of London's chamber and ballet orchestras including the City of London Sinfonia, the London Mozart Players, Lontano, English National Ballet and The Ambache. He was a member of the National Youth Orchestra of Great Britain, and after a Science degree at Cambridge University he spent some time with IBM before turning to music as a career.
AMBACHE CHAMBER ENSEMBLE
Sophie Langdon (violin) is a professor at the Royal Academy of Music, and leader of the Fourth Dimension String Quartet. She has played concertos with the BBC Symphony Orchestra, among others.
Martin Outram (viola) is a member of the celebrated Maggini String Quartet and a Professor of the Royal Academy of Music. He has given important broadcast premières of works for solo viola by Benjamin Britten and Peter Maxwell-Davis.
Susan Dorey (cello) is principal cello with the City of London Sinfonia, and a member of the Academy of St Martin-in-the-Fields. Previously she played with Trio Zingara and Kent Opera.
Helen Keen (flute) is a founder member of the Endymion Ensemble, and a member of the London Mozart Players and the Orchestra of St John's. She plays frequently as guest principal flute with the London Sinfonietta, and the RPO and the BBC Symphony Orchestra.
Joan Enric Lluna (clarinet) has recorded the Mozart Clarinet Concerto with the English Chamber Orchestra and other European Orchestras. He has performed at Festivals in Bath, London, Paris and Perth.
Brian Sewell (bassoon) played for 30 years as Principal Bassoon of the Orchestra of St John's. He has performed on over 250 recordings with all the major London symphony, chamber and period orchestras. He is also a founder member of the Professional Speakers Association.
Susan Dent (horn) specialises in all types of early horns. She is principal horn of the Orchestra Revolutionnaire et Romantique and the English Baroque Soloists. Outside period performance, Susan plays in the Academy of St Martin-in-the-Fields and the Endymion Ensemble. |
18.00 eur Temporarily out of stock |
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