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Chamber Music, page 11

   Found CDs: 649
 

The Art of Han de Vries - Oboe Concertos

The Art of Han de Vries - Oboe Concertos
ID: CC2004
CDs: 1
Type: CD
Subcollection: Oboe

The 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
12.00 eur Buy

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
CDs: 1
Type: CD
Subcollection: 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.
12.00 eur Buy

XIX Century Fantasias for Flute and Piano - Vieri Bottazzini, Lilian Tonella

XIX Century Fantasias for Flute and Piano - Vieri Bottazzini, Lilian Tonella
ID: CLS0302
CDs: 1
Type: CD
Subcollection: Piano

12.00 eur Buy

Grieg - Sonaten fur Violine und Klavier

Grieg - Sonaten fur Violine und Klavier
ID: AV2100175
CDs: 1
Type: CD
Subcollection: Violin

EDVARD GRIEG
Sonaten fur Violine und Klavier
Sonatas for Violin and Piano
Sonates pour violon et piano;Egon Morbitzer, Violine/Violin/violon
Michael Stockigt, Klavier/Piano
12.00 eur Buy

Levon Ambartsumian - Evgeny Rivkin - B.Bartók. Two sonatas for violin and piano

Levon Ambartsumian - Evgeny Rivkin - B.Bartók. Two sonatas for violin and piano
ID: ART174
CDs: 1
Type: CD
Collection: Russian Virtuosos 21th century
Subcollection: Violin

12.00 eur Buy

Brahms - Beethoven - Drubich - E.Tonkha, cello - P.Dombrovsky, piano

Brahms - Beethoven - Drubich - E.Tonkha, cello - P.Dombrovsky, piano
ID: ART259
CDs: 1
Type: CD
Collection: Russian Virtuosos 21th century

12.00 eur Buy

M.Rubinstein - I.Rubinstein - P.Dombrovsky - Haydn - Ries - Weber

M.Rubinstein - I.Rubinstein - P.Dombrovsky - Haydn - Ries - Weber
ID: ART264
CDs: 1
Type: CD
Subcollection: Trio

Recorded in 2009 - Gnessins College Studio
12.00 eur Temporarily out of stock

cor! - Alison Teale plays cor anglais and Elizabeth Burley, piano

cor! - Alison Teale plays cor anglais and Elizabeth Burley, piano
ID: CC2023
CDs: 1
Type: CD
Subcollection: Piano

The 16-page full colour CD booklet folds out to reveal a large image of a cor anglais,
as well as biographies and track notes in English. Introduction by Alison Teale: "I love the cor anglais. To me, it's one of the most wonderful instruments in the orchestra. My mission is to expand its repertoire, to encourage more people to explore its hidden qualities and gain as much pleasure from playing as I do. "I've chosen a mix of music to illustrate the astonishing versatility of the cor anglais: not only its rich and beautiful melodic tones, but also its power and extraordinary agility. Some pieces, such as Luchetti's Rock Song, push the boundaries of technique. Others, like Piazzolla's Nightclub 1960, reveal the glorious upper register. And some, such as the Bebop Tango, are just plain fun."


Alison Teale is the principal cor anglais player with the BBC Symphony Orchestra. While studying at Guildhall School of Music and Drama, Alison was appointed co-principal oboe with the Honh]=g Kong Philharmonic orchestra. In 2003 she moved to Cardiff to become the principal cor anglais player for the BBC National Orchestra of Wales.

In 2001 Alison won the Isle of Wight International oboe Competition, which led to here Purcell Room debut. She has performed numerous concertos for BBC Radio 3, notably Quiet City with Alison Balsam.

She enjoys giving regular masterclasses, performing solo and chamber music recitals, and the additional variety that comes from freelance work. Alison is oboe professor at the Guildhall School of Music and Drama.


Pianist Elizabeth Burley performs, records and broadcasts widely in several different roles: chamber musician, orchestral pianist, soloist and accompanist. She has worked with some of the world's leading orchestras - notably the BBC Sympnony Orchestra, where she has collaborated with many of the most influential modern composers, inclding Boulez, Berio, Knussen, Adams and Maxwell Davies.
Elizabeth is a professor at the Royal College of Music.
12.00 eur Buy

Clarinet Chamber Music by Richard Rodney Bennett: A Birthday Tribute

Clarinet Chamber Music by Richard Rodney Bennett: A Birthday Tribute
ID: CC0064
CDs: 1
Type: CD
Subcollection: Clarinet

Clarinet Classics is proud and delighted to honour one of the world’s most brilliant and versatile composers and musician. To celebrate his 75th birthday, Clarinet Classics is releasing a CD which features many of Richard Rodney Bennett’s works for clarinet.
This CD, a rich and diverse collection of works, will be of great interest to listeners who wish to hear some of Richard Rodney Bennett’s more serious music.
The founder and artistic director of Clarinet Classics, Victoria Soames Samek, whose many recordings are celebrated for their masterly and musical interpretation, is joined on this fascinating and colourful disc by duo partner and pianist Michael Bell. The Inspirity String Quartet and East Winds also perform.
Well known for his film music and interest in jazz, Richard Rodney Bennett's scores include Far from the Madding Crowd and Four Weddings and Funeral.
World Premiere recording for this CD of the Bass Clarinet Sonata, newly transcribed from his Sonata for bassoon and piano by permission of the composer.
His rarely heard Clarinet Quintet - a master work of the 20th century for this combination of clarinet and strings.
A personal note from the composer.
The beautiful and melancholic Ballad in memory of Shirley Horn
His dynamic and exciting Duo, performed on this CD with electric precision by Samek and Bell.
12.00 eur Buy

Rarities for Double - Bass - Rossini, Haydn, Couperin, Vanhal

Rarities for Double - Bass -  Rossini, Haydn, Couperin, Vanhal
ID: AV2100196
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Quartet

12.00 eur Buy
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