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ID: MELCD1002240
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Piano and Orchestra
Firma Melodiya presents recordings of the outstanding St Petersburg pianist Grigory Sokolov.
This musician’s performance is notable for particular concentration and complete immersion in the musical element. His manner amazes with perfection of technique in the absence of external effects of any kind.
Grigory Sokolov is one of the few modern pianists who always include intellectual piano masterpieces in their programmes, which requires a special mood from both the performer and the audience - Beethoven’s sonatas of the latter period, J S Bach’s 'The Art of Fugue', Brahms’ last pieces.
Most of Sokolov’s recordings were made from live broadcasts in Leningrad/St Petersburg and Moscow - he prefers concert performances to studio work.
This set combines the large-scale dramatic canvases of Beethoven’s sonatas with the restless romantic heroics of Scriabin’s Third Sonata where Sokolov emphasizes the Promethean spirit without erasing the individuality of the Russian genius of the 20th century.
However, what makes this set particularly interesting is Grigory Sokolov’s recordings of the works by his contemporary, Leningrad composer Boris Arapov. The piano sonata and concerto for violin, piano, percussion and chamber orchestra recorded by the pianist are released on Melodiya for the first time.
Grigory Sokolov made the featured recordings of the works by Beethoven, Scriabin and Arapov between 1972 and 1988.
Arapov:
Concerto for violin, piano and percussion with chamber orchestra
with Nikolay Moskalenko (percussions) & khail Vaiman (violin)
Chamber Orchestra of the Leningrad State Philharmonic Society, Alexander Dmitriyev
Piano Sonata No. 2
Beethoven:
Piano Sonata No. 27 in E minor, Op. 90
Piano Sonata No. 32 in C minor, Op. 111
Piano Sonata No. 7 in D major, Op. 10 No. 3
Scriabin:
Piano Sonata No. 3 in F sharp minor, Op. 23
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Grigory Sokolov (piano) |
| 20.00 eur Temporarily out of stock |
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ID: NFPMA9990_92
CDs: 3
Type: CD
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Collection: St. Petersburg Musical Archive
Subcollection: String instruments
The S. I. Taneyev Quartet:
Vladimir Ovcharek, violin Grigory Lutzky, violin Vissarion Solovyev, viola Josef Levinzon, cello
Tver’ Philharmonic String Quartet Irina Svetlova, violin Lyubov Shevrekuko, violin Alexandra Franzeva, viola Galina Soboleva, cello
Tracks: Quartets Nos. 1, 3: The S. I. Taneyev Quartet Quartets Nos. 2, 5, 6: Ilia Ioff, violin / Elena Raskova, violin / Lydia Kovalenko, violin / Alexey Massarsky, cello String Quartet No.4: Tver’ Philharmonic String Quartet |
| 20.00 eur Buy |
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ID: MELCD1001972
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Quartet
Featuring the outstanding State Borodin Quartet.
Includes the founder members Rostislav Dubinsky & Yaroslav Alexandrov violin together with Valtin Berlinsky cello.
Rostropovich (the original cellist), performs in Souvenir de Florence.
Tchaikovsky:
String Quartet No. 1 in D major, Op. 11
String Quartet No. 2 in F major, Op. 22
String Quartet No. 3 in E flat minor, Op. 30
Souvenir de Florence, Op. 70
Genrikh Talalyan (violin 2), Mstislav Rostropovich (cello 2)
Borodin Quartet (Original Members) |
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ID: MELCD1001023
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Orchestra
CD1
(1 - 4) Djakhanguir Karaev, piano / Akif Abdullaev, piano
(5 - 8) - BaKaRa Ensemble - Rauf Abdullaev, conductor
CD2
(1 - 4) Chamber Orchestra of the Opera Studio of the Azerbaijan State Conservatory
(5) - Azerbaijan State Symphony Orchestra of name Uz. Gadzhibekov
Karaev:
Alla 'nostalgia'
Sonata for two players
CD2
"1791"
Tristessa I
Bakara Ensemble |
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ID: MELCD1002204
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Piano and Violin
Firma Melodiya continues the series of compact discs dedicated to the December Evenings Festival that takes place at the Pushkin State Museum of Fine Arts. This album, like the previous one, is dedicated to the 1985 festival 'World of Romanticism' and includes recordings featuring Sviatoslav Richter.
The atmosphere of December Evenings, an event initiated by the great pianist, differed from usual philharmonic concerts. The spirit of music as an inseparable part of the 'fusion of arts' the romanticists dreamt of was invisibly felt in each number; a sensitive listener can catch it in these, perhaps technically imperfect, concert recordings from thirty years ago.
The works by Schubert, Schumann and Chopin were performed by Sviatoslav Richter in ensemble with his outstanding contemporaries, violinist and David Oistrakh’s student Oleg Kogan who passed away prematurely, violist Yuri Bashmet, cellist Natalia Gutman and clarinettist Anatoly Kamyshov.
Along with popular compositions (Chopin’s Polonaise-fantaisie, Ballade and Cello Sonata, and Schubert’s Sonata for violin and piano), the programme featured works which were less known to the audience - Schumann’s Piano Trio, his late opuses Fairy Tale Pictures, Op.113 for viola and piano and Fantasy Pieces, Op.73, in their original version for clarinet and piano.
Chopin:
Cello Sonata in G minor, Op. 65
Natalia Gutman (cello)
Polonaise No. 7 in A flat major, Op. 61 'Polonaise-fantaisie'
Ballade No. 4 in F minor, Op. 52
Schubert:
Grand Duo for Violin and Piano in A Major, D574
Oleg Kagan (violin)
Schumann:
Fantasiestücke, Op. 73
Anatoly Kamyshev (clarinet)
Piano Trio No. 1 in D minor, Op. 63
Oleg Kagan (violin), Natalia Gutman (cello),
Märchenbilder (4), Op. 113
Yuri Bashmet (viola)
CD1 and CD 2 - Sviatoslav Richter (piano) |
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ID: UP0071
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Piano
CD1 and CD2: Jan Jirasky, piano
CD1:
(1-4)
Sevcik, Jiri, flute
Houdek, Jiri, trumpet
Vajo, Marek, trumpet
Penk, Stanislav, trombone
Frid, Petr, trombone
Cermak, Pavel, trombone
Naus, Jiri, tuba
Lubomir Matl, conductor
(5-8)
Spilka, Vit, clarinet
Novozamsky, Roman, bassoon
Petras, Jindrich, horn
Wallinger, Pavel, violin
Vasta, Jan, violin
Kovar, Miroslav, viola |
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ID: KAI0012422
CDs: 2
Type: CD
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Subcollection: Viola
The “Acoustic Spaces” cycle, begun in 1974 and completed in 1985, consists of six instrumental works that may be played consecutively, since each acoustic space extends the previous one. The unity of the whole is based on the formal similarity of the pieces and on the two acoustic points of reference: the overtone spectrum and periodicity. I would like to summarize the musical language of the pieces as follows: - no more composing with notes but rather with tones; - controlling the differences, i.e. developing (or not developing) the tone and speed of its development; - taking into account the relativity of our perceptions; - applying phenomena that have long been studied in electronic studios to the area of instrumental sound. These applications may be heard in their more radical forms in Partiels and Modulations; - striving for a synthetic style in which various parameters contribute to the construction of a single sound. For example: the structure of un-tempered pitches results in the creation of new tone colours, giving rise to certain structures of duration, etc. The synthesis involves the creation of sounds (substance), on the one hand, and relationships among the tones (form), on the other.
Includes booklet with text by Gérard Grisey |
| 22.00 eur Temporarily out of stock |
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ID: KAI0012442
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
The method of composition, which has recourse to existing musical material, reworking it into a new composition, figures as a central principle of occidental music history. This applies particularly to the mass and motet compositions of the Renaissance, when this method of adopting and reworking existing music represented one of the key features of musical production. An especially vivid example - which however remains singular in its appearance - for the continuous engagement with a certain musical “theme” is the English “In Nomine“ genre dating back to the 16th and 17th centuries.
This tradition started out with the six-voice mass Gloria tibi Trinitas by John Taverner (around 1495-1545), composed no later than around 1528. To the words “In nomine Domini” the section of the Benedictus (the lyrics are: “Benedictus qui venit in nomine Domini” - “blessed is he who comes in the name of the Lord”) has a salient four-voice section, which, as cantus firmus in the alto part, contains the antiphon “Gloria tibi Trinitas” quoted in its entirety.
Includes booklet with text by Torsten Blaich |
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ID: NMCD090
CDs: 2
Type: CD
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Subcollection: Piano
Judith Weir's own choice of her chamber music featuring piano explore Weir's fascination with folk music: the sparkling Piano Concerto explores her Scottish roots.
Disc 1 was recorded for NMC in 2002; Disc 2 was originally released on Collins Classics.
Reissued with funding from Arts Council England. |
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