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World music CD DVD shop and Classic distribution
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ID: SN8814
CDs: 1
Type: CD
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Collection:
Baroque
Subcollection: Voices1. Lamento d'Arianna, for voice & continuo ('Lasciatemi morire'), SV 22
2. La favola d'Orfeo, opera, SV 318: Speranza
3. La favola d'Orfeo, opera, SV 318: Messaggera
4. Se pur destina e vole il cielo, for tenor & continuo (from Madrigals, Book 7), SV 142 |
| 12.00 eur Buy |
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ID: SN8819
CDs: 1
Type: CD
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Subcollection: Voices |
| 12.00 eur Buy |
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ID: SN8804
CDs: 1
Type: CD
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Collection:
Baroque
Subcollection: Voices |
| 12.00 eur Buy |
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ID: MNRCD113
CDs: 1
Type: CD
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Collection:
Vocal Collection
Subcollection: VoicesThis album was designed to celebrate the 250th anniversary of the birth of Mozart in 2006, but it seemed more appropriate to miss the boat, by two years - hence the 252. It could equally have been Mozart 30, since it is 30 years since In Re Don Giovanni originally saw the light of day in 1977 in the very first Campiello Band concert, in the National Theatre foyer. The Campiello Band was born out of the onstage band used for my arrangements of 18th century gondoliers’ songs for Bill Bryden's production of Goldoni's ‘Il Campiell’, which opened the Olivier Theatre in October 1976 and was thus the father of the current Michael Nyman Band.
Two main bodies of Mozart-derived works are presented on Mozart 252; the soundtrack to Peter Greenaway's ‘Drowning by Numbers’ (1988), and songs and duets from ‘Letters. Riddles and Writs’, a TV film developed in 1991 with the director Jeremy Newson as part of BBC2's Not Mozart series, which marked the 200th anniversary of Mozart's death.
My “Mozart music” is best understood by reading Pwyll ap Sion's impressive analyses in his book The Music of Michael Nyman:Texts, Contexts and Intertexts (Ashgate, 2007). But, briefly the first Nyman/Mozart collaboration, In Re Don Giovanni effectively samples and remixes the first 16 bars the Catalogue Song from ‘Don Giovanni’, and Revising the Don (a Radio 3 commission for the 250th anniversary) is a lyrical and literal revisiting of In Re.
The ‘Drowning by Numbers’ score is derived, in accordance with Greenaway's strict instructions, entirely from the slow movement of the ‘Sinfonia Concertante’ for violin and viola: Trysting Fields simply 'lists', in order of occurrence and each repeated three times, all the “unprepared” dissonances, (appoggiaturas) from the Mozart piece, and at the end introduces the 8-chord E flat/C minor/A flat/B flat/C min/E flat/A flat/B flat 'rock 'n' roll' sequence which ends the exposition of the movement, and which, along with a kind of retrograde version, is heard throughout Sheep 'n' Tides, Wheelbarrow Walk, Fish Beach and Not Knowing the Ropes (so called because on the ‘Drowning’ soundtrack album it is erroneously called Knowing the Ropes!).
Wedding Tango is built out of a chord-by-chord alternation of both the minor key version (from the very end of the movement) and more familiar major key versions of the 8-chord sequence. Knowing the Ropes, like Trysting Fields is a musical list (though with more conscious structural organization) - this time of a wiggly semiquaver motif, which is threaded through the movement and ends with a grand statement of the theme that is accompanied by the 8-chord sequence in the Mozart original.
‘Letters, Riddles and Writs’ deals in general, through texts taken from Mozart’s letters and riddles (the writs have to do with my frequent theft of Mozart's music) with his relationship with his father (O my dear Papa, a remake of O Isis und Osiris from The Magic Flute), with his own mortality (I am an Unusual Thing, which uses the texts from one of the riddles that Mozart wrote and distributed in Vienna during the 1787 Carnival and is based entirely on extract from two of his Haydn quartets) and with his business acumen [Profit and Loss, modeled on In Re Don Giovanni) |
| 12.00 eur Buy |
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ID: CC2003
CDs: 1
Type: CD
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Subcollection: OboeThe CD booklet contains (in English, French and German) a description of each piece, a biography and photo of each composer, and the libretto of Fox Woman.
Xas-Orion was conceived by Paul Goodey and Michael Oliva as a duo for oboe and electronics organised in 33 triggered events. Both parts are organised around the note 'B' which forms a core, rather than a tonal centre. The distinction between the the two sound worlds of oboe and electronics is deliberately blurred.
New Ground (by David Sutton-Anderson) is a set of linked variations on Purcell's keyboard piece 'A New Ground' heard at the outset.
Ostrich on the Plain (by Graham Fitkin) was written in 1985. There were two starting points: first, the manipulation of speed using metric modulation, and second, the sheer effort in playing the oboe.
At the Still Point of the Turning World... (by Edwin Roxburgh) has the sound of the oboe fed through a system of six delays, ranging from 4.2 to 60 seconds, plus filtering and modulation. The whole system is controlled by a graphic score.
Into the Light (by Michael Oliva) is a piece in the Romantic tradition of the tone poem. It takes the form of a journey from death (cor anglais) into a supposed afterlife (oboe) in which the piano plays the role of a sort of 'pulse giver'.
Diptych (Abstractions IV) by Timothy Salter has two movements, the first marked 'with feverish energy' and the second 'reflective yet with intensity; restless, agitated'. The mood at the end of the first movement is carried over into the cor anglais soliloquy that opens the second.
Fox Woman(music by Cecilia McDowall, words by Christie Dickason) uses the oboe in a way that exploits not only its elegance and subtlety, but also its potential for brutality. This range suggests the Japanes myths of fox spirits, dangerous shape-shifters which often took the form of beautiful women. |
| 12.00 eur Buy |
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ID: DCD34028
CDs: 1
Type: CD
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Collection:
Baroque
It is easy to forget that our great English choral tradition was once silenced by Act of Parliament. The Restoration of the Monarchy in 1660 ushered in one of the finest periods of English music, though the road to recovery for church music was a slow and difficult one. William Turner, then a precocious nine year-old, went on to become one of the best known composers and singers of his day. This premiere recording presents a cross section of Turner's sacred music, ranging from small-scale liturgical works to some of his grandest creations, the Te Deum and Jubilate in D.
Julia Doyle soprano William Purefoy countertenor William Towers countertenor Paul Thompson tenor Daniel Jordan bass The Choir of Gonville and Caius College, Cambridge Yorkshire Baroque Soloists (Peter Seymour director) Geoffrey Webber conductor
Track listing
W. Turner
1. Te Deum (1696)
2. Lord, thou hast been my refuge
3. My soul truly waiteth
4. Hear my prayer, O Lord
5. The Queen shall rejoice (1702)
6. Jubilate Deo (Service in E)
7. Magnificat (Service in A)
8. Nunc Dimittis (Service in A)
9. O Lord, God of hosts, hear my prayer
10. The Lord is righteous
11. Jubilate Deo (1696)
Total playing time [66:14] |
| 12.00 eur Temporarily out of stock |
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ID: ART235
CDs: 1
Type: CD
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Subcollection: OpéraThe action takes place in the early 40-ies of the XIX century in St. Petersburg
Characters and Interprets: Makar Alekseyevich Devushkin, the titular councilor, 47 years old Soloist singer MKmt Eduard Akimov (bariton) Varvara Alekseyevna Dobrosyolova, his distant relative,19 years - Maria Lemesheva ICIT soloist (soprano) String quartet of soloists MKmt including: first violin - Sergei Gorbenko
second violin - Anatoly Korystin, viola - Alexey Melnikov
cello - Lyubov Fedorova Conductor - Vladimir Agronsky The action takes place in the early 40-ies of the XIX century in St. Petersburg |
| 12.00 eur Buy |
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ID: SN8803
CDs: 1
Type: CD
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Subcollection: Voices |
| 12.00 eur Buy |
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