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Instrumental, page 41

   Found CDs: 1378
 

Semion Shmelkov - The poem

Semion Shmelkov - The poem
ID: ART125
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Bayan

12.00 eur Buy

Xavier Lefèvre - A REVOLUTIONARY TUTOR - Clarinet Sonatas, Vol.1 - Colin Lawson, clarinet - Claire Thirion, cello

Xavier Lefèvre - A REVOLUTIONARY TUTOR - Clarinet Sonatas, Vol.1 - Colin Lawson, clarinet - Claire Thirion, cello
ID: CC0055
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Clarinet

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LUIGO NONO - La lontananza nostalgica utopica futura - Melise Mellinger - Salvatore Sciarrino

LUIGO NONO - La lontananza nostalgica utopica futura - Melise Mellinger - Salvatore Sciarrino
ID: KAI0012102
CDs: 1
Type: CD
Collection: Instrumental

"Nostalgic, utopian, future distance", the title of this piece investigates the possibilities of violin playing, the intimate, physical quality of the sound and the historical dimensions inherent to this instrument."
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JOSÉ MANUEL LÓPEZ LÓPEZ - Conciertos

JOSÉ MANUEL LÓPEZ LÓPEZ - Conciertos
ID: KAI0013022
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Violin

José Manuel López López, a composer with many long years of experience, stands out by virtue of his mature style of writing and the consistent way in which he adapts what he writes to the sound which he intends to produce. Since composing his initial musical works during the 1980s, his development has led from atonality to spectralism and, from there, on to experimentation with various temporal granulations. This CD brings together three symphonic works with solo instruments that exemplify this development. Written in the period between 1995 and 2005, they represent three distinctly different contributions to the contemporary orchestral repertoire.
(Horacio Vaggione)


Includes booklet with texts by Horacio Vaggione and José Manuel López López
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WOLFGANG RIHM - Klavierstücke 7,5,4,2,1 - Bernhard Wambach

WOLFGANG RIHM - Klavierstücke 7,5,4,2,1 - Bernhard Wambach
ID: KAI0012372
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Wolfgang Rihm once said retrospectively of his piano oeuvre: "The music I have composed for piano is not a separate block within my production stream. In its own way, every piece shares in and belongs to the problematic of its wider context. The works Klavierstück Nr. 1 to Klavierstück Nr. 7 are not based on a cyclical concept." To summarise, let us reflect on Wolfgang Rihm's piano work, here in his own perspective: "Nr. 1 is a free development form, which, however, did not emerge freely, without constraints. The piece is wholly dominated by the expressive uncertainty which derived from what everyone was preaching, namely that everything be structured. So I integrated refrains, inserts, cross-references here and left and right. This technique becomes especially distinct in Klavierstück Nr. 4 and Nr. 5. Setting the part of the piano gradually turns into the setting of accents, which opens up possibilities of expression that I did not discover until Klavierstück Nr. 7. This is where the preoccupation with Beethoven's piano setting and his wild-gentle gestures, the so-called late Beethoven's, becomes the main driving force. (Wolfgang Hofer)

Includes booklet with text by Wolfgang Hofer
12.00 eur Buy

Giacinto Scelsi - Action Music No. 1- Bernhard Wambach, piano

Giacinto Scelsi - Action Music No. 1- Bernhard Wambach, piano
ID: KAI0012312
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Giacinto Scelsi’s relationship with the piano is interesting and contradictory. For no other instrument has the Italian composer and poet composed so many pieces; to no other instrument does he seem so closely attached, both personally and biographically; and no other instrument disappeared so abruptly and finally from his scores as the piano, the European showcase instrument. With the piano, we can follow the break lines and developments in the musical thinking and works of Giacinto Scelsi, which are key to an understanding of his striking compositional development. As late piano compositions, Action music and Suite Nr. 8 mark a transition to Giacinto Scelsi’s new musical language: the exploration of the individual sound, the inclination to a sound-energetic agglomeration, the gesture of improvisation - all this is also clearly discernable in both his works. (Berno Odo Polzer)

Includes booklet with text by Berno Odo Polzer
12.00 eur Buy

J. S. Bach - Sonatas for Violin & Harpsichord

J. S. Bach - Sonatas for Violin & Harpsichord
ID: HAEN092122000
CDs: 1
Type: CD
Subcollection: Violin

SONATAS FOR VIOLIN AND HARPSICHORD SONATEN FÜR VIOLINE UND CEMBALO BWV 1014-1019 Dmitry Sitkovetsky (Violin) • Robert Hill (Harpsichord/Cembalo) „This interpretation is characterised by its dynamic flexibility“ • Monde de la Musique „Very recommendable“ • Scherzo „World class! This interpretation is a masterpiece“ • Westdeutsche Allgemeine Zeitung 1-CD 92.122 • 76 Min.
12.00 eur Temporarily out of stock

MARTINŮ - HINDEMITH - HONEGGER - Cello Concertos - JOHANNES MOSER

MARTINŮ - HINDEMITH - HONEGGER - Cello Concertos - JOHANNES MOSER
ID: HAEN093276000
CDs: 1
Type: CD
Subcollection: Cello

For his new concerto recording, Johannes Moser has selected three rarely heard 20th century concertos. This artist continues to thrill audiences around the world with his stunning virtuosity and creative programming. These are wonderful performances.
12.00 eur Temporarily out of stock

Fleur de Lys - The Solo Suite Before Bach - Charles Medlam

Fleur de Lys - The Solo Suite Before Bach - Charles Medlam
ID: CC1028
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Viola

The Solo Suite before Bach - French Bass Viol Suites from 1660-1700

Buisson: Suite in D minor
Demachi: Suite No. 4 in G
Hotman: Suite in D minor
Marais, M: Tombeau pour Monsieur de Sainte-Colombe
Sainte Colombe the elder: Suite in D minor

Charles Medlam (bass viol)


Exploring the 50 years of French music that influenced J.S Bach’s Six Cello Suites

Four suites for solo bass viol performed on an instrument of the period

Bach’s Six Suites for Unaccompanied Cello are the most popular and well known solo cello works ever written. They have become some of the most inspirational and influential compositions written for the instrument.

But where did Bach take his inspiration from? In the half a century before the Cello Suites the European musical world was dominated by the Italian and French styles. It was in France (1650 to 1700) that the form for these Suites was being honed to perfection by composers writing for the bass viol. Le Sieur Dubuisson and Monsieur de Sainte-Colombe were two of the most prolific composers writing for the viol in the 17th Century. Sainte-Colombe was taught by Nicolas Hotman who, in turn, taught Marin Marais. Sainte-Colombe was a celebrated master of the instrument and is the composer of no less than 67 concerts à deux violles and 170 pieces for solo seven string viol. Nicolas Hotman and Le Sieur De Machy studied the viol together and in their own ways had a major influence on the development and stabilisation of the dance suite for solo bass instrument during the latter part of the 17th Century.

However, it was Marin Marais who bridged the gap between the late 17th century and the early 18th century up to and during the writing of Bach’s masterpieces. Marais, an incomparable French gambist whose works are known in all of Europe, left us one of the most important and influential bodies of music for the instrument.

CHARLES MEDLAM studied the cello in London, Paris, Vienna and Salzburg before becoming interested in the bass viol and early performing styles. After a year lecturing and playing in the resident string quartet at the Chinese University of Hong Kong he returned to Europe and studied with Maurice Gendron at the Paris Conservatoire, Wolfang Herzer in Vienna and subsequently cello with Heidi Litschauer and performance practice with Nikolaus Harnoncourt in Salzburg. After graduating with distinction from the Mozarteum he pursued his interest in the viol on frequent courses with Wieland Kuijken. He founded London Baroque with Ingrid Seifert in 1978.

Charles plays baroque music on a Perugian cello made by Finnocchi circa 1720 and later music on a Lorenzo Ventapane made in Naples in 1806. His bass viol is an English instrument from around 1680, possibly by Barak Norman, which has had a seventh string added for the French repertoire.

Fleur de Lys is a fascinating exploration of beautiful and rarely-heard repertoire.

This recording is an important historical document charting the evolution of the classical suite.
12.00 eur Buy

Winner of the 2010 Scottish International Piano Competition by Oxana Shevchenko

Winner of the 2010 Scottish International Piano Competition by Oxana Shevchenko
ID: DCD34061
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

12.00 eur Buy
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