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ID: ART-Behind-the-Sun
Disk: 1
Type: CD
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Podkolekce: Voices
Evgenia Bragantseva - lyrics, vocal
Igor Boiko - music, guitar
Vladimir Prihozhay - keyboards, programming (11)
Recording, mixing, mastering - "H-studio", 2010-2011 (Moscow) |
| 17.00 eur Buy |
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ID: ART275
Disk: 1
Type: CD
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Podkolekce: Orchestr
(1-24) Academic orchestra of Russian folk instruments of All-Russian state TV and radio company - N. Nekrasov, conductor
(19-23) Academic Chorus of Russian song of All-Russian state music centere of radio and TV. - N.Kutuzov, art director
(1) Tatiana Grindenko - violin (2-7) Denis Korolyov - tenor Soloists - N.Suponin, I.Akcharova (19-21) Anna Litvinenko (22-23) |
| 17.00 eur Buy |
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ID: ART279
Disk: 1
Type: CD
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Kolekce: Sacred MusicPodkolekce: Voices
Tzar David's psalms
Music - Viktor Agranovich, translation of psalms - Naum Grebnev
Performers - Andzhey Beletsky (baritone), Soloists Ensemble of Russia |
| 17.00 eur Buy |
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ID: NMCD024M
Disk: 1
Type: CD
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Podkolekce: Saxophone
Four imaginative and evocative works by this now well-known contemporary figure: On All Fours and Release are exciting instrumental displays demanding a characteristic battery of percussion, while Lament for a Hanging Man sets texts by Sylvia Plath. |
| 18.00 eur Buy |
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ID: STR33349
Disk: 1
Type: CD
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Podkolekce: Voices
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| 18.00 eur Temporarily out of stock |
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ID: JCL513
Disk: 1
Type: CD
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Podkolekce: Guitar
Dichterliebe Op. 48
Robert Schumann (1810 - 1856)
Arranged by Carl Herring for Guitar and Voice, Observing original keys throughout
An original arrangement by Carl Herring of Schumann’s masterpiece, here recorded on the JCL label for the first time for Guitar and Tenor. Carl Herring and Kevin Kyle met whilst studying at the Royal Academy of Music, London and collaborate regularly as a duo performing classical and modern repertoire. This particular arrangement of Dichterliebe has been a work in progress ever since Carl and Kevin met and JCL Records are delighted to have facilitated this first of many recordings of the duo. The recording is complemented at the end by Carl performing Five Schubert Songs arranged by Johann Kasper Mertz.
Carl Herring
Carl is the leading British guitarist of his generation and has rapidly built up an international career, giving performances throughout the UK and in Cuba, Sri Lanka, Scandinavia and Europe.
Kevin Kyle
Kevin is rapidly developing his career as an international singer and has performed throughout the UK and Europe for the Longborough Festival Opera, Carl Rosa Opera Company, Opera Works, the Early Music Company, Le Concert d’Astree and the Armonico Consor |
| 18.00 eur Buy |
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ID: NMCD171
Disk: 1
Type: CD
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Kolekce: Vocal CollectionPodkolekce: Voices
Location recording by David Lumsdaine
(tape montage/re-composition)
Big Meeting is an extraordinary collage of voices, speeches, songs, brass bands and their electronic transformations, which David Lumsdaine constructed from location recordings of the 1971 Durham Miners’ Gala - a record of one of the last of the annual meetings before the county’s pits were closed.
Over the last forty years David Lumsdaine has composed a body of strikingly original music, including Aria for Edward John Eyre (recorded on NMC D007), Hagoromo, Mandala 3, Bagatelles, Mandala 5, Garden of Earthly Delights and Kali Dances. His work is influenced not only by the music of other traditions and cultures, but also the music of the natural world. At its heart, his music embodies his experience of the Australian landscape - the variety of its shapes, rhythms, colours and textures: the vitality of its creatures; its sudden violence; its sense of unlimited space and time. His passion for the natural world and its conservation expresses itself more literally in his archive of birdsong and recorded soundscapes, many of which have been released on CD. |
| 18.00 eur Buy |
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ID: ACDHJ028-2
Disk: 1
Type: SACD
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Podkolekce: Voices
AMOR VINCIT -- “Love conquers” or, to quote the full verse, Omnia vincit amor, nos et cedamus amori, “Love conquers all, let us too yield to love” (Vergil, 70 BC - 19 BC, Eclogae 10.69).
Today, these words by Vergil are as inspiring as ever, witness the 277,000 hits they yield when used as a search term in Google. Referring to such diverse cultural manifestations
as a painting by Caravaggio, a chamber choir, a song by Deep Purple, the title of a movie, these universal words clearly express an essential part of our daily experience. Anne and Caroline now contribute the music of their choice. Does it speak of the eternal love of music? The love of their intense teamwork? Your love as a listener? The present selection of songs is a result of the combined tastes of the performers, weighing notes and words, contrast and intensity. |
| 18.00 eur Buy |
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ID: CC2020
Disk: 1
Type: CD
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Podkolekce: Voices
Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times
The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.
Introduction by Melinda Maxwell:
The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.
The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.
In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.
Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".
Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".
The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.
Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow. |
| 18.00 eur Buy |
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