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Chamber Music, page 18

   Found CDs: 649
 

The Ysaye Connection - Raphael Wallfisch - cello, John York- piano,

The Ysaye Connection  - Raphael Wallfisch - cello, John York- piano,
ID: CC1009
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano and Cello

Franck, C: Cello Sonata in A major
Lekeu: Cello Sonata in G
Ysaye: Cello Sonata Op. 28 /Rêve d'enfant, Op. 14

Raphael Wallfisch (cello) & John York (piano)

Raphael Wallfisch and John York perform sonatas by Eugene Ysaye, and two fellow Belgian composers most associated with him, Cesar Franck and Guillaume Lekeu.
Cesar Franck’s ever popular Sonata in A is given a stirring performance here by the Wallfisch/York duo in their first recording for Cello Classics. Recorded in the peace and tranquillity of Champs Hill, West Sussex this is the first recording Rahael made using the Stradivarius cello that once beolnged to his former teacher, Amaryllis Fleming. By a happy coincidence the wonderful studio in Champ’s Hill has recently aquired the painting of Amaryllis by Augustus John, which was hung behind the musicians and watched over the entire proceedings!
Less familiar, even to violinists, for whom it was written, is Guillaume Lekeu’s Sonata in G major. The composer lived to be only 24 years old, but in that short time wrote some of the most passionately lyrical music of the age. This is a work that deserves to be far better known.
The remaining works on this recording are both by Ysaye himself. The Sonata for unaccompanied cello is a real tour-de-force and seldom heard on the concert stage. The Reve d’Enfant is played here in an arrangement for cello and piano by John York.
12.00 eur Buy

Yngve Sköld -Poem For Cello and Piano, Sonat For Cello and Piano, Op.27, Suite For Horn and Piano

Yngve Sköld -Poem For Cello and Piano, Sonat For Cello and Piano, Op.27, Suite For Horn and Piano
ID: CDA1665-2
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano and Cello

12.00 eur Buy

Shades of Classicals - Alexey Kruglov, ato saxophone - Yulia Ikonnikova, piano: J.S. Bach - R. Shchedrin - G.Gershwin, etc...

Shades of Classicals - Alexey Kruglov, ato saxophone - Yulia Ikonnikova, piano: J.S. Bach - R. Shchedrin -  G.Gershwin, etc...
ID: ART320
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Saxophone, Piano and Organ

Live at the Saratov Conservatory

Alexey Kruglov is a saxophonist, composer and theatre-producer.His ideas in the field of new art led him to create an original system of image personification in the space of sounds. In spite of being a jazzman and ant jazzman, a classic and avantgarde musician, he stands by a clear path in his work.
12.00 eur Temporarily out of stock

Protégé - Liszt - Reubke - Piano Sonatas - Anthony Hewitt, piano

Protégé - Liszt  - Reubke - Piano Sonatas - Anthony Hewitt, piano
ID: DDA25064
CDs: 1
Type: CD
Collection: Chamber Music

12.00 eur Temporarily out of stock

Palau - Dzubenko Duo: J. Palau, flute - G. Dzubenko, piano: Doppler - De Falla - Bartok - Gubaidullina -Brotons

Palau - Dzubenko Duo: J. Palau, flute - G. Dzubenko, piano: Doppler - De Falla - Bartok - Gubaidullina -Brotons
ID: RCD30307
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano and Flute

9 -22 (transcription for flute and piano by Paul Arma)
Recorded in the concert hall of the State Glinka musical museum in October 2001. Moscow
12.00 eur Buy

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

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 Temporarily out of stock

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 Temporarily out of stock
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