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ID: SMCCD0184
CDs: 27
Type: CD
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Collection: Piano Concerto
Subcollection: Piano and Orchestra
CD1 - The USSR Radio and TV Large Symphony Orchestra
Conductor Kurt Sanderling (13 - 15)
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
December 4, 1954 (1 - 12) and February 16, 1955 (13 - 15)
CD2 - The Moscow Philharmonic Symphony Orchestra (1 - 3)
Conductor Kirill Kondrashin (1 - 3)
The Philadelphia Orchestra (4 - 8)
Conductor Eugene Ormandy(4 - 8)
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
January 4, 1965 (1 - 3) and May 29, 1958 (4 - 8)
CD3 - The USSR Symphony Orchestra
Conductors: Kurt Sanderling (1 - 3), Constantin Silvestri (4 - 8)
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
March 6, 1957 (1 - 3) and October 22, 1958 (4 - 8)
CD4 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
April 3, 1951
CD5 - Bolshoi Theatre Orchestra (CD 2: 6 - 9)
Conductor Kirill Kondrashin (CD 2: 6 - 9)
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
May 9, 1957 (CD 1, CD 2: 1 - 5) and March 14, 1955 (CD 2: 6 - 9)
CD6 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
January 4, 1962 (CD 1, CD 2: 1 - 4) and September 20, 1960 (CD 2: 5 - 11)
CD7 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
April 8, 1957
CD8 - The Borodin Quartet (1 - 4)
Anatoly Vedernikov, piano II (5 - 7)
Percussion: Andrey Volkonsky ( 5 - 7)
Valentin Snegiryov ( 5 - 7)
Ruslan Nikulin ( 5 - 7)
Live in Small Hall of the Moscow Tchaikovsky Conservatory
January 17, 1958 (1 - 4) and October 2, 1956 (5 - 7)
CD9 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
February19, 1957
CD10 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
January 8, 1951 (1 - 3) and January 17, 1951 (4 - 9)
CD11 - The USSR Symphony Orchestra
Conductors Kurt Sanderling (1 - 3) and Hermann Abendroth (4 - 6)
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
March 20, 1951 (1 - 3) and October 25, 1954 (4 - 6)
CD12 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
January 10, 1952
CD13 - Ivan Mozgovenko, clarinet (1)
The Moscow Philharmonic Quartet (1):
The Moscow Philharmonic Symphony Orchestra (13 - 17)
Conductor Kirill Kondrashin (13 - 17)
Live in Small Hall of the Moscow Tchaikovsky Conservatory
December 16, 1951 (1 - 12)
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
April 21, 1961 (13 - 17)
CD14 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
January 14, 1952
CD15 - Live in Small Hall of the Moscow Tchaikovsky Conservatory
June 8, 1961
CD16 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
November 30, 1961
CD17 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
November 29, 1962
CD18 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
March 14, 1963
CD19 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
December 12, 1963
CD20 - Live in Grand Hall of the Moscow Tchaikovsky Conservatory
December 24, 1964 |
| 400.00 eur Temporarily out of stock |
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ID: SMCCD0256-257
CDs: 2
Type: CD
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Collection: Organ Collection
Subcollection: Organ
CD1:
Instruments:
Tracks: (1-5,7,8) - organ Aristide Cavaillé-Coll (1899).
The Grand Hallo fthe Moscow Tchaikovsky Conservatory
Tracks: (6,12,13)- organ Alexander Schuke (1959).
The Small Hall of the Moscow Tchaikovsky Conservatory
Tracks: (9) - organ Hugo Mayer (1993).
The Chamber and Organ Music Concert Hall of the Vyatka Philharmonic , Kirov, Russia
Tracks: (10,11) - organ Manfred Tonius (2009).
The Concert Hall at the Choir School for Children “AlyeParusa” in Krasnogorsk, Russia
Live recordings:
Tracks: (1,2) - June 4,1997. Recording from the Alexei Parshin’s archive
Tracks: (3,5) - November 10, 2017. Sound director Mikhail Spassky
Tracks: (4) - June 13, 2017. Sound director Mikhail Spassky
Tracks: (6) - June 28, 2000.S Sound director Vladimir Koptsov
Tracks: (7,8) - October 4, 2018. Sound director Mikhail Spassky
Tracks: (9) - January 20, 2018.R Recording from the Alexei Parshin’s archive
Tracks: (10,11) - October 21, 2018. Recording from the Alexei Parshin’s archive
Tracks: (12,13) - February 13, 2012. Sound director Vladimir Koptsov
CD2:
Instruments:
Tracks: (1-8) - organ Aristide Cavaillé-Coll (1899).
The Grand Hall of the Moscow Tchaikovsky Conservatory
Tracks: (9., 10) - organ J. Klais. 1978/1998/. Graz Cathedral, Austria
Live recordings:
Tracks: (1-8) - October 4, 2018. Sound director Mikhail Spassky
Tracks: (9., 10) - July 31, 2005. Sound director Emanuel Amtman |
| 26.00 eur Buy |
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ID: STR10007
CDs: 1
Type: CD
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Collection: Orchestral Works
Historical recording |
| 18.00 eur Temporarily out of stock |
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ID: STR10014
CDs: 1
Type: CD
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Subcollection: Piano
Historical recording |
| 18.00 eur Temporarily out of stock |
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ID: STR37069
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Guitar
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| 18.00 eur Temporarily out of stock |
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ID: TLS016
CDs: 1
Type: CD
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| 18.00 eur Buy |
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ID: TLS064
CDs: 1
Type: CD
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Subcollection: Violin
Brahms: Sonate für Klavier und Violine d-moll / D minor, Op. 108
Joachim: Drei Stücke für Violine und Klavier, Op. 2; Romanze C-Dur / C major, Bewegt
Schumann: Drei Romanzen für Violine und Klavier, Op.22
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| 18.00 eur Temporarily out of stock |
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ID: TPDVD117
CDs: 1
Type: DVD
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Subcollection: Biography Movie
Source: TONY PALMER FILMS
Region Code: NTSC, Plays in all territories
Screen (Picture) Format: 16:9
Color mode: Colour
Digital re-mastering: Isolde Films 2009
Presentation: Wide Screen
Sound: Dolby Digital Stereo
Language: English
Duration: 90 mins
Starring:
Warren Mitchell as Johannes Brahms
Lori Piitz as Clara
Directed:
Tony Palmer
Music conducted:
Peter Leonard with NDR Symphony Orchestra and Choir
90 minute film directed by the acclaimed, award-winning director Tony Palmer and starring Warren Mitchell.
Brahms’ first musical experience had been playing an upright piano in the brothels of Hamburg; at the end he lived a bachelor in Vienna
I had long admired Warren Mitchell as an actor. In spite of being crippled to some extent by his most famous creation, Alf Garnett in 'Til Death Us Do Part, brilliant though he was, one always felt instinctively there was an extraordinary actor struggling to get out. And sure enough, when I saw him as Willy Loman in Miller's Death of a Salesman at the National Theatre, I knew (as did everyone else who was lucky enough to see him) that I was in the presence of greatness.
He threw himself into the part of Brahms will enormous gusto. He recognised that this was to be no ‘ordinary' composer portrait, and when the shit hit the fan as the English critics initially rubbished the film, he was its most vigorous advocate, for which I have always been grateful. What had offended more-or-less everyone was the film's affirmation that the familiar image of the stodgy old Brahms was a million miles from the truth. His first musical experience had been playing an upright piano in the brothels of Hamburg where he had grown up, and at the end of his life (in fact for the last 15 years) he had lived a bachelor in Vienna having his every need satisfied by the prostitutes of the city whom he always affectionately described as his ‘little singing girls'. None of this was thought either factually correct or (worse) relevant to his music - which of course is nonsense.
"Palmer at his most ridiculous",was one of the kinder reviews. Of course, the musical establishment was outraged. The Head of Music at the BBC (which of course refused to show the film) was heard to say "the film was disgusting."
Indeed it is, and I am glad it is so because it helped explode the myth of ‘stodgy old (bearded) Brahms' as perpetuated by dreary films such as Song of Love with Robert Walker, or Spring Symphony with Nastassja Kinski, or all those turgid, mawkish documentaries about the supposed ‘love affair' between Clara Schumann and Brahms. I've counted three made by the BBC alone. In spite of some success around the world, this film has still never been shown in Britain.
And, surprise surprise, some years after the film was finished, a new biography of Brahms by Jan Swafford, the American composer and musicologist at Boston Conservatory, was published ‘proving' (if that is the word) that everything I had ventured about Brahms' life turned out to be essentially true.
But this film is not about scoring points; rather it is a celebration of unabashed, life-enhancing, sexually explosive music. Warren Mitchell, who was more-or-less the same age as the Brahms he portrays in the film, rose to the challenge with fire in his belly. He loved all the naked girls, and who would not? Brahms did, and that's what made him the great composer he is.
TONY PALMER |
| 21.00 eur Buy |
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