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Chamber Music, page 23

   Found CDs: 1021
 

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

Telemann, Wagenseil, Tarakanov: Cello Concertos - Mikhail Utkin

Telemann, Wagenseil, Tarakanov: Cello Concertos - Mikhail Utkin
ID: CR019
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Orchestra

The Seasons Chamber Orchestra (Moscow) is one of the brightest orchestras among those which have appeared in Moscow recently. It was organized by the young and talented musician Vladislav Bulakhov in March 1994. Today 20 musicians having high musical education represent "The Seasons" Orchestra. Their average age is about thirty. Since 1999 "The Seasons" Orchestra has had the status of a state orchestra. Since 1998 the firm "Gorodissky & Partners", law, patent and trademark attorneys, has sponsored the orchestra. The repertoire of this musical group is very rich ranging from Baroque masters up to modern composers. The Orchestra has participated in the following festivals: "Russian Winter", "Russia's Talents", First International Festival of Classical Guitar, and others. The Orchestra has performed concert tours to Germany, Taiwan, China, Scotland, Italy. In 2002 the orchestra organized the International Music Festival called "The Seasons", that will be held in Moscow and St.Petersburg every year. "The seasons of the year are a very complex notion both for human life and music, - Mr. Bulakhov supposes. - On the one hand, the implication of this word involves varied impressions, themes and images, on the other hand, the universality of their realization, never ceasing innovation in eternity, stability of vital circles, dynamism of present-day life philosophy and the granites of musical classical traditions. To find harmony in uniting these contradicting natures is our creative Credo."
Vladislav Bulakhov graduated from the Gnessin Russian Academy of Music as a violinist in 1984. In 1983, he joined the re-established New Moscow Chamber Orchestra headed by Igor Zhukov. Bulakhov's ten years of experience in this orchestra, added to the intensive study with his father, a professional conductor, formed the foundation for the creation of the “Seasons” Orchestra. Mr. Bulakhov's artistic manner is characterized by convincing, precise and rhythmically clear gestures, a natural temperament and the ability to bring out each individual voice in the musical score. His intimate knowledge of stringed instruments enables him to achieve an extraordinary variety of orchestral tone colors with expressive articulation and a seemingly endless range of dynamic gradations. The conductor's careful consideration of the composer's score and his attention to details are displayed in unity with the confident perception of the architectonics of the musical whole. Vladislav Bulakhov, conductor of the Seasons Orchestra, is capable of interpreting works of various musical eras and styles with equal skill. He possesses the ability to learn new compositions quickly and proficiently, has a talent for management and the capacity to work hard, all of which promise an interesting and creative future for this musician.
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

Brahms, Bruch - Trio Opus 11

Brahms, Bruch - Trio Opus 11
ID: CR015
CDs: 1
Type: CD
Subcollection: Piano and Clarinet

Recorded October 17-18, 2000 in Small Hall of Moscow Conservatory

Valery Gorokholinsky (clarinet) was born in 1960 in Krivoy Rog (Ukraine). The winner of the first prize of All-Union competition of the wood wind players (Odessa, 1983). Educated at Central Music School of Moscow he has graduated from the Moscow State Conservatory in 1983. Since 1980 he has worked as a soloist of the State Symphony Orchestra of the Central Television and All-Union Radio under Maxim Shostakovich, State Symphony Orchestra of the Ministry of culture USSR under Gennady Rozhdestvensky and Russian National Symphony orchestra under Mikhail Pletnev. As the soloist he performed with leading symphony orchestras of Moscow, and also with the Viennese chamber orchestra "Symphonietta". Now he performs as a soloist and a chamber player.

Marina Gorokholinsky (piano). Educated at Central Music School of Moscow she has graduated from the Moscow State Conservatory in 1984. All this time she has studied with famous pianist and professor Victor Merzhanov. Now she performs as a chamber player and solo pianist. "Marina Gorokholinsky is a bright representative of Russian piano school. Her concert performances are always exceptional in artistic way and never leave the audience emotionally untouched. She possesses a smooth beautiful sound and deep sensitivity, which allows her to show in her performances all the uniqueness of the pieces of the composers of different styles." (Victor Merzhanov).

Mikhail Utkin (cello). 1952 - was born in Vilnius (Lithuania). 1959 - first music lessons at the Central Music School, Moscow. 1967 - First Prize, International Youth Competition of the Prague Radio. 1970 - student of the Moscow State Conservatory, cello class of Mstislav Rostropovich. 1972 - Second Prize at the International String Quartet Competition, Liege, Belgium. Solo concertizing in major cities of Russia and abroad. 1974 - admitted as soloist of Moscow Concerting Organization. 1975 - graduates from the Moscow State Conservatory (Degree-Diploma with Honors) and admitted in the post-graduate course, cello class of Kalianov. 1978 - solo concertizing in Germany. Concerto No. 2 by Shostakovich with Gewandhaus-Orchestra under Kurt Masur. 1986 - honorable title "Honored Artist of the Russia". 1990 - admitted as soloist of the Moscow State Philharmony. 1994 - honorable title "People's Artist of the Russia". 1996 - Award of the Moscow Government.
© Classical Records
12.00 eur Buy

Rachmaninov - Sonata for piano and violoncello, Op.19 / Two pieces for violoncello and piano, Op.2 - Mikhail Utkin, Marina Gorokholinsky

Rachmaninov - Sonata for piano and violoncello, Op.19 / Two pieces for violoncello and piano, Op.2 - Mikhail Utkin, Marina Gorokholinsky
ID: CR016
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Mikhail Utkin (Violoncello). 1952 - was born in Vilnius (Lithuania). 1959 - first music lessons at the Central Music School, Moscow. 1967 - First Prize, International Youth Competition of the Prague Radio. 1970 - student of the Moscow State Conservatory, cello class of Mstislav Rostropovich. 1972 - Second Prize at the International String Quartet Competition, Liege, Belgium. Solo concertizing in major cities of Russia and abroad. 1974 - admitted as soloist of Moscow Concerting Organization. 1975 - graduates from the Moscow State Conservatory (Degree-Diploma with Honors) and admitted in the post-graduate course, cello class of Kalianov. 1978 - solo concertizing in Germany. Concerto No. 2 by Shostakovich with Gewandhaus-Orchestra under Kurt Masur. 1986 - honorable title "Honored Artist of the Russia". 1990 - admitted as soloist of the Moscow State Philharmony. 1994 - honorable title "People's Artist of the Russia". 1996 - Award of the Moscow Government.

Marina Gorokholinsky (piano). Educated at Central Music School of Moscow she has graduated from the Moscow State Conservatory in 1984. All this time she has studied with famous pianist and professor Victor Merzhanov. Now she performs as a chamber player and solo pianist. "Marina Gorokholinsky is a bright representative of Russian piano school. Her concert performances are always exceptional in artistic way and never leave the audience emotionally untouched. She possesses a smooth beautiful sound and deep sensitivity, which allows her to show in her performances all the uniqueness of the pieces of the composers of different styles." (Victor Merzhanov).
© Classical Records
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

Victor Bunin, piano. Beethoven

Victor Bunin, piano. Beethoven
ID: CR058
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Victor Bunin was born in Voronezh in 1936. His first musical impressions were connected with his father, famous composer Vladimir Vasilievich Bunin. After his family moved to Moscow, Victor Bunin became a musical student at the Musical College of the Moscow Tchai-kovsky Conservatoire under Olga Mukhortova, and later, Mirra Sever.
After graduation from the Musical College, Bunin studied at the Moscow Conservatoire under professor Samuil Feinberg (in 1956 - 1962), and then went onto post-graduate courses with professor Victor Merzhanov.
In 1961, Victor Bunin appeared in All-Russian piano competition and made off with the first prize.
The pianist's agenda is well-packed with recitals and tours in Russia and abroad (Great Britain, France, Italy, Yugoslavia, USA, Syria, Ireland and other countries).
Victor Bunin has made regular ap-pearances with Russian orchestras, including the Moscow Philharmonic Orchestra and All-Union TV and Radio Symphony Orchestra, conducted by Konstantin Ivanov, Boris Khaikin, Eduard Serov, Gennady Tcherkassov, Vassili Sinaisky, Emin Khachaturian etc.
His extensive and diverse repertoire includes the traditional Western classic works in addition to late nineteenth and twentieth century composers (Tchaikovsky, Rubinstein, Rachma-ninov, Scriabin, Medtner, Alexandrov, Feinberg, Prokofiev, Vladimir Bunin - the pianist’s father, - Razorenov, Golubev, Rekhin).
Victor Bunin recorded vinyl and compact discs for many recording companies, among them - "Melody", Russian Disc, EMI and others. He also participated in three films for the All-Union Central TV and appeared in several TV concert programs.
Since 1963, Mr. Bunin has taught piano at the Moscow Tchaikovsky Conservatoire, Central Music school and Music college (both under Mos-cow Conservatoire).
Since 1993 he also has taught at the Syrian National Conservatoire in Da-mascus and at the Lebanese National Superior Conservatoire in Beirouth.
Many of his students became prize-winners of different international piano competitions. Professor Bunin held master classes around Russia, USA, Italy, Ireland, Finland, Lebanon; he participated in the jury in several piano competitions in Russia and Europe.
He is the honoured member of the international association "Skalkottas - Feinberg" in Paris. In Russia, he was awarded the title of the "Honoured Artist of the Russian Federation".
Professor Bunin is the author of two books dedicated to the great Russian pianist, composer and pedagogue Sa-muil Feinberg (S.E.Feinberg. His life and work; Pedagogics of Samuil Feinberg; both published by "Musica" publishing house in 1999 and 2000). He has also written a number of articles on the subject of musical performance that were issued in different music magazines.
12.00 eur Buy

The art of Heinrich Neuhaus, Vol.2. Scriabin

The art of Heinrich Neuhaus, Vol.2. Scriabin
ID: CR060
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

12.00 eur Temporarily out of stock

Polina Fedotova - piano. Rachmaninov

Polina Fedotova - piano. Rachmaninov
ID: CR062
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

12.00 eur Buy
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