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Instrumental, page 29

   Found CDs: 1372
 

NOCTURNES - Junko Kobayashi, piano

NOCTURNES - Junko Kobayashi, piano
ID: QTZ2004
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

A beautiful, tranquil and contemplative collection exploring the Nocturne and other pieces inspired by night and dreams. Including some of the most exquisite Nocturnes of Chopin, but also featuring less familiar works by Granados, Poulenc, Satie and the world-premiere recording of the Three Nocturnes by British composer Graham Williams.

Nocturnes

Piano Speaks Into The Night
The magical atmosphere of night has been an inspiration to generations of composers.

Irish composer and formidable piano virtuoso, John Field (1782-1837) was the first composer to use the title Nocturne - for his lyrical piano pieces (his Nocturnes were composed around 1812 to 1836). Italian operas, which he heard in Russia where he settled in his later years, greatly influenced his "cantabile" style.

Chopin admired Field's compositions and began to write Nocturnes himself. Chopin extended the emotional range and harmonic sophistication in his Nocturnes and created a landmark of this genre, which in turn inspired many later composers, especially French composers like Debussy and Faure to compose their own Nocturnes.

The tradition carries on and I'm happy to be able to include Three Nocturnes in this album, which was written for me by my friend, the composer Graham Williams.

I have also included Clair de Lune by Debussy and Laments, or The Maiden and the Nightingale , by Granados here, as they are beautiful night pieces, although they are not called Nocturne. Junko Kobayashi

Frederic Chopin (1810-1849)
Nocturnes, Op. 9
No. 1 in B flat minor - Larghetto No. 2 in E flat major - Andante No. 3 in B major ? Allegretto

The first set of Nocturnes Op. 9 was written in 1830-31 and published in 1832.

In No. 1, an operatic manner of ornamentation of the right-hand melody makes a striking impression. In No. 2, one can see the strongest influence of John Field. It is very concise and is also probably the most well-known of the Nocturnes. No. 3 is in ternary form; Allegretto in B major - Agitato in B minor - Allegretto in B major. JK.

Claude Debussy (1862-1918)
Clair de Lune
Nocturne

Debussy's early piano works Clair de Lune and Nocturne were both composed in 1890. The beautiful Clair de Lune is perhaps one of the most loved works in the piano repertoire and it belongs to his Suite Bergamasque. Here his writing is already quite impressionistic, whereas his Nocturne is more song-like and romantic. JK.

Gabriel Faure (1845-1924)
Nocturne No. 10 in B minor

Nocturne No.10 in B minor was written in 1908. A simple two-note chromatic motif in the opening bar is repeated throughout the piece, modulating and developing to build a huge arch. The piece ends in a contemplative mood. JK.

Francis Poulenc (1899-1963)
Nocturne No. 1
Nocturne No. 4

Nocturne No.1 in C major was composed in 1929 and Nocturne No.4 in C minor in 1934.

For Nocturne No.4, Poulenc quoted a line from a novel, Le Visionnaire by his friend Julian Green and it describes a scene of a sick man hearing the distant sound of a ball and recollecting his own youth. JK.

Graham Williams
Three Nocturnes

Three Nocturnes were composed in 1999 and are dedicated to Junko Kobayashi. They are inspired by old Japanese poems.

Nocturne 1

Blue night road
The Sky full of stars
The blue night road
Seeming to lead to them
The distance village
Bathed in some blue-green wine
The first five lines of a poem by Tanaka Fuyuji(1894-1980)

Nocturne 2

High in the heavens the light remains unchanged
Over the ruined castle the midnight moon. Two lines from a poem by Tsuchii Bansui (1871-1952)

Nocturne 3

Harvest moon
And mist creeping
Over the water
Hattori Ransetsu (1654-1707)

Translated by Geoffrey Bownas

Graham Williams studied composition with Richard Rodney Bennett. He is a prolific composer and his works have received much critical acclaim both here and abroad as well as winning a number of prestigious awards. His orchestral works have been performed by such orchestras as the English Chamber Orchestra, Scottish National Orchestra, London Sinfonietta and the City of London Sinfonia. He has also composed a wide variety of chamber music for groups such as Lontano, the Lowbury piano Trio, the Brunel Ensemble and the Brindisi and Bingham Quartets. His works have been broadcast on Radio 3 and Classic FM and featured at many festivals.

Franz Liszt (1811-1886)
En Reve - Nocturne

Written in 1885/6, it is one of the Liszt's very late compositions. It is strikingly simple and with its use of chromaticism it looks forward to a world of atonal music to come. JK.

Erik Satie (1866-1925)
from Cinq Nocturnes
Nocturne No. 3 Nocturne No. 5

The Cinq Nocturnes were composed in 1919, just before Satie started to write his Furniture Music. They are in simple ternary (ABA) form and very concise. In both pieces, the graceful and pure right hand melody is accompanied by arpeggiated left hand. JK

Enrique Granados (1867-1916)
Laments or The Maiden and the Nightingale

Granados composed an opera Goyescas in 1911 inspired by the paintings of Goya. Laments, or the Maiden and Nightingale is from his piano suite Goyescas. JK.

Edvard Grieg (1843 -1907)
Notturno

Norwegian composer Grieg composed many Lyric Pieces and this Notturno is from Book 5 Op.54, which was written in 1891. Here one hears night birds singing too. JK.
12.00 eur Temporarily out of stock

W. A. Mozart - Piano Concertos 24 & 25

W. A. Mozart - Piano Concertos 24 & 25
ID: HAEN098955000
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

W. A. Mozart - Piano Concerto No. 24 in C minor, K491 / Piano Concerto No. 25 in C major, K503
12.00 eur Temporarily out of stock

F.M.BARTHOLDY - J.BRAHMS - VIOLIN CONCERTOS

F.M.BARTHOLDY - J.BRAHMS - VIOLIN CONCERTOS
ID: HAEN098934000
CDs: 1
Type: CD
Subcollection: Violin

Brahms: Violin Concerto in D Major, Op. 77 / Mendelssohn: Violin Concerto in E minor, Op. 64

Dmitry Sitkovetsky (violin) / Academy of St Martin in the Fields, Neville Marriner
12.00 eur Temporarily out of stock

Tchaikovsky & Rachmaninov: Piano Concertos

Tchaikovsky & Rachmaninov: Piano Concertos
ID: HAEN098932000
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Rachmaninov: Piano Concerto No. 2 in C minor, Op. 18 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23

Garrick Ohlsson (piano) / Academy of St Martin in the Fields, Neville Marriner
12.00 eur Temporarily out of stock

BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio

BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio
ID: QTZ2042
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

12.00 eur Buy

J.Harle - Plays Bennett, Berkeley, Denisov, Heath, Woods with J.Lenehan

J.Harle - Plays Bennett, Berkeley, Denisov, Heath, Woods with J.Lenehan
ID: CC0048
CDs: 1
Type: CD
Subcollection: Saxophone

Bennett, R R: Sonata for Soprano Saxophone & Piano
Berkeley, M: Keening
Denisov: Sonata for Alto Saxophone and Piano
Heath: Rumania
Woods, P: Sonata for Alto Saxophone & Piano

John Harle (saxophone), John Lenehan (piano)
12.00 eur Buy

Jack Liebeck - Works for Violin & Piano

Jack Liebeck - Works for Violin & Piano
ID: QTZ2002
CDs: 1
Type: CD
Subcollection: Piano

The debut disc by one of the most talented and acclaimed young violinists to emerge in recent years. Liebeck has established an international reputation for mature, intense and virtuosic performances and this disc of early 20th Century works demonstrates these characteristics in abundance. Partnered here by the virtuoso, award-winning pianist, Katya Apekisheva, this is duo playing of the highest calibre.

Works for Violin & Piano
In 1943, Sergei Prokofiev (1891-1953) was evacuated, along with many other prominent artists, to Alma-Ata (Almaty) in modern-day Kazakhstan while the Soviet army fought against the Germans in the West. It was here that he wrote his Sonata for Flute and Piano Op 94 which, at the suggestion of David Oistrakh, he transcribed the following year for violin. The amount of revision needed was minimal and indeed the piano part is exactly the same in both versions.
The Sonata is in stark contrast to the huge upheaval that was taking place on the other side of the country and Prokofiev himself described the work as "perhaps inappropriate at the moment, but pleasant". The key of D Major is perhaps a conscious reference to the Classical Symphony and certainly the Sonata follows the classical model closely, even incorporating all elements of the standard first-movement sonata-form structure although the boisterous Russian finale has more in common with later models. Prokofiev was reputedly inspired to compose the Sonata after hearing the French flautist Georges Barrere, one of the great exponents of 19th Century French flute music as well as the dedicatee of Edgar Varese's experimental Density 21.5 and it is perhaps appropriate that he should have been the motivating force behind this work which harks back to earlier forms and yet is very much of its time.

The violinist Eugene Ysaye (1858-1931) was held in high esteem by his Parisian contemporaries as a powerful interpreter of their works. These famous figures included Saint-Saëens, Debussy, Franck and Chausson who all dedicated works to him (indee Chausson's Poeme was written for Ysaye).

As he was primarily a performer, Ysaye not compose a large catalogue of works and almost all of them were violin pieces. Ysaye's six solo violin sonatas were inspired by the young Joseph Szigeti's performance of a Bach solo sonata in 1923. Ysaye is said to have been so inspired that he immediately locked himself away for twenty four hours and emerged with all six in sketch form. Each sonata was dedicated and tailored to a violinist of his time; Szigeti, Thibaud, Enesco, Kreisler, Crickboom and Quiroga. The First and Second Sonatas follow a similar movement structure to Bach's solo Sonatas and Partitas. Ysaye even quoted the E major Partita in his 2nd sonata ("Obsession") symbolising and perhaps teasing Jacques Thibaud about his obsession with its opening.

By the Third Sonata (featured here), Ysaye ideas started to move more into his own unique and personal sound world with more chromaticism and free-flowing movement. The sonata is dominated by a fiery and distinctive main thematic idea that develops right until the very end of the piece. He managed to combine this idea with many different episodes of colour and figuration in a way that only a musician with intimate knowledge of the mechanics and capabilities of the violin could. Technically very demanding though the piece is, it is so well tailored to the nature of the violin that it is very playable and has become one of the staples of the violin repertoire. JL.

Ernest Chausson (1855-1899) came to music relatively late in life and was often considered something of an outsider, partly by virtue of his relatively well-off background which meant that he was financially independent throughout his life but also for purely musical reasons.

His music bears the hallmarks of many of the great influences of his day, including Franck, Massenet and Wagner but also exhibits the outcome of his own personal interests and explorations. Towards the end of his life, Chausson became increasingly interested in Russian literature and the work of the Metaphysical poets and the Poeme is based on a short story by Turgenev. Originally titled "Le chant de l'amour triomphant: Poeme symphonique pour violon et orchestre" it was subsequently reduced to "Poeme pour violon et orchestre" and finally simply "Poeme".

The Poeme was written for and dedicated to the man who gave its premiere, Eugene Ysaye Although the Poeme was written for one of the greatest virtuosos of his day, it is essentially lyrical in style and focuses on emotional intensity rather than technical pyrotechnics, an approach that reflected Ysaye view that virtuosity should never be an end in itself but, rather, a valuable tool in the violinist's overall technique. It is seamlessly constructed in one movement and demonstrates Chausson's ability to combine complete command of form and structure while allowing the music to sound freely rhapsodic and lyrical.

Of Chausson, one contemporary wrote "all his works exhale a dreamy sensitiveness which is peculiar to him. His music is constantly saying the word 'cher"

In common with his younger contemporary Fauré chamber music runs across Camille Saint-Saëns (1835-1921) sizeable (and now neglected) output - from the often bravura ensemble works of the 1860s and '70s to the autumnal sonatas and character pieces of his last years. In 1885, his First Violin Sonata was written for and dedicated to Martin Marsick - teacher of, among others, Thibaud, Enescu and Flesch. The influence of Liszt is evident in the thematic transformation which operates throughout the piece, as also in the linking of the movements into two complementary pairs - a procedure which Saint-Saëns repeated only in his 'Organ Symphony', written in memory of Liszt the following year.

The darkly sensuous idea which opens the first movement has a fluid, rhythmic profile - in marked contrast with the wistful second theme, which retains its formal outline throughout. There is no development as such, but a modified reprise of the two themes, followed by a sombre coda which tapers away in a poetic transition to the Adagio. The main melody, a beautifully-judged dialogue, treads a fine line between sentimentality and pathos typical of Saint-Saëns. It twice alternates with a more impulsive (though related) idea, and closes in a mood of tranquil tenderness.

The Mendelssohnian scherzo evolves almost entirely from the tripping five-bar phrase with which it begins. Note how, in the brief trio section, the piano continues the underlying rhythm while the violin derives from it a more songful melody. A curtailed reprise, then a passage of pensive anticipation - leading into the finale. The main theme is a brilliant moto perpetuo, culminating in a high-flown melodic gesture. As in the opening movement, these ideas are modified rather than developed as such - working up to a coda which effectively integrates the two and rounds off the whole work in a stream of exhilarating passagework.

Copyright: Richard Whitehouse, 2003
12.00 eur Buy

SERGEI RACHMANINOV - ROLAND DEGOUMOIS, piano

SERGEI RACHMANINOV - ROLAND DEGOUMOIS, piano
ID: GR84
CDs: 1
Type: CD
Subcollection: Piano

12.00 eur Temporarily out of stock

FINN SVIT & FRIENDS

FINN SVIT & FRIENDS
ID: GD185
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Guitar Music

Performing artists: Finn Svit (guitar), Jochen Brusch (violin), Mette Tjæreby (violin), Sven-Ingvart Mikkelsen (organ), Kalli Kastori (guitar), Bernd Ahlert (guitar), Logumkloster Chamber Orchestra, Petko Genkov (guitar), Bernard Hebb (guitar), "Trio Excelsa" - Jan Thomsen, Per Weile Bak, Finn Svit

This CD is yet another contribution to popularizing guitar works, which was begun by Gega New and Finn Svit in their previous three releases: Treasures for Violin and Guitar (GD 221), More Treasures for Violin and Guitar (GD 222), and Guitar Impressions (GD 214)
12.00 eur Buy

THE CONCERTMASTERS - MILA GEORGIEVA, violin

THE CONCERTMASTERS - MILA GEORGIEVA, violin
ID: GD283
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Violin

Bulgaria Concert Hall - Sofia, live recording

This is another CD of the series The Concertmasters, performed by famous Bulgarian musicians - concertmasters of leading orchestras. The recordings have been made at concerts, organised by Classic FM Radio. Music lovers already have the first CD of this series of the violinist Svetlin Roussev (GD 192). The present release features a live performance of another world-famous violin player - Mila Georgieva. Born into a family of musicians, Mila Georgieva began playing the violin at the age of four. In her pre-teen years she gained international fame by winning important prizes in competitions in Italy, the Czech Republic and Bulgaria. Mila Georgieva studied with Dorothy De Lay and Cho-Liang Lin at the Juilliard School in New York and with Yfrah Neaman at the Guildhall School in London. As soloist she has performed with renowned orchestras and conductors. She participates at summer festivals and gives solo concerts throughout the world, and since 2003-2004, Mila Georgieva has been the concertmaster of the Symphony Orchestra of Radio Stuttgart. The conductor Martin Panteleev was also born in Sofia and he also began his music education by studying the violin with Angelina Atanassova. In 1994 he completed masterclass with Prof. Yfrah Neaman in Mainz, Germany. In 1995 he entered the Pancho Vladigerov State Music Academy in Sofia and in 1997 he completed a masterclass in violin with Prof. Zachar Bron in Hamburg, Germany. In 1998 was appointed concertmaster and later assistant conductor of the Philharmonic of the Nations. He is equally successful both as a violinist and a conductor and gives concerts throughout Europe, Asia and the USA. Classic FM Radio Orchestra was founded in 2002. Since then it has attracted wide interest from concertgoers and critics. It was successful at a number of venues like the March Music Days International Festival in Rousse, the European Music Festival in Sofia, Varna Summer, at concerts in Bulgaria and abroad. In 2003 the orchestra received the most prestigious music award in Bulgaria - the Crystal Lyre, as well as the 2003 Musician of the Year award.
12.00 eur Buy
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