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Instrumental, page 76

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F. Liszt - 12 Etudes d’exécution transcendante - Claudio Arrau, piano

F. Liszt - 12 Etudes d’exécution transcendante - Claudio Arrau, piano
ID: PTC5186171
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

F.Mendelssohn-Bartholdy - Ilse von Alpenheim, piano

F.Mendelssohn-Bartholdy -  Ilse von Alpenheim, piano
ID: PTC5186152
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

Beethoven: Piano Sonatas Nos, 21, 23 & 26: Mari Kodama, piano

Beethoven: Piano Sonatas Nos, 21, 23 & 26: Mari Kodama, piano
ID: PTC5186024
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

Beethoven: Piano Sonatas Nos, 4, 8 & 14: Mari Kodama, piano

Beethoven: Piano Sonatas Nos, 4, 8 & 14: Mari Kodama, piano
ID: PTC5186023
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

L. van Beethoven - Piano Sonatas Nos. 16-18. Mari Kodama - piano

L. van Beethoven - Piano Sonatas Nos. 16-18. Mari Kodama - piano
ID: PTC5186063
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

Beethoven: Piano Sonatas Op. 2, Nos. 1, 2 & 3 - M. Kodama

Beethoven: Piano Sonatas Op. 2, Nos. 1, 2 & 3 - M. Kodama
ID: PTC5186067
Disk: 1
Type: SACD
Kolekce: InstrumentalPodkolekce: Klavír

Multichannel Hybrid SACD - DSD
21.00 eur Buy

Britten: Six Metamorphoses after Ovid for solo oboe, Op. 49 -Anatomy of a Masterpiece

Britten: Six Metamorphoses after Ovid for solo oboe, Op. 49 -Anatomy of a Masterpiece
ID: CC2017
Disk: 1
Type: CD
Kolekce: InstrumentalPodkolekce: Oboe

The 52-page CD booklet (DVD-size) has a 20,000 word programme note in English, including performance considerations for each movement. Britten's compositional sketches are reproduced in the booklet.
There are many illustrations.

This recording sets out to provide a complete overview of Benjamin Britten’s masterpiece for solo oboe, Six Metamorphoses after Ovid, Op 49. Not only is this work unique in the oboe repertoire but it is also one of the most distinctive examples of solo single-line instrumental writing from any age. It is hoped that performers, listeners, students and teachers will find it a useful resource for the understanding or preparation of such a wonderful work. The Metamorphoses is, though, complex in vision and detail and there is much to discover about the work. From its enigmatic title and colourful movements to its remarkable instrumental writing and technical demands on the player, it holds a certain mystique and can even be baffling to understand. This recording has based itself on an investigation of the literary and artistic background that lies behind the work’s creation, at the primary written sources in its composition and to suggest the reasons for Britten’s interest in writing such a work. In addition, these notes will offer performance suggestions based on Britten’s own remarks on the work, views and performances of players from its dedicatee, Joy Boughton, onwards and the shared experience of teachers and aficionados. My performances on this CD take all the original and subsequent evidence into account. They do not aspire to be definitive in any way but they do seek to be as true to Britten’s intentions as possible. Joy Boughton’s 1952 recording is an important source for all aspects of interpretation, and other recordings by artists whose playing Britten knew, including Sarah Francis, Janet Craxton and Heinz Holliger, are valuable sources. Evidence that Britten was very keen on accuracy to what he wrote influences this interpretation, but there is also an acceptance that Britten’s own views on the work may have changed over time as he came into contact with performers. Perhaps most significantly, this recording presents for the first time the sketch from Britten’s pocket diary in March 1951, most of the material from his manuscript sources, and the original Boughton recording as a point of reference. To complete this study of the work, a recent recording by Nicholas Daniel provides a third performance for comparison.

1. General
Introduction
Background
A work for unaccompanied oboe
Literary influences
Ovid
The visual arts
2. Sources and Interpretations
The printed edition
Metronome marks
The Krebs letter
CD tracks 1-6: George Caird's performance:
Pan (1:48), Phaeton (1:29), Niobe (2:26),
Bacchus (1:53), Narcissus (3:04), Arethusa (2:49)
CD track 7: The Diary Sketch (1:52)
CD tracks 8-29: Performances by George Caird
from the Composition Sketch and Fair Copy
CD tracks 30-35: Joy Boughton's 1952
performance: Pan (2:09), Phaeton (1:30),
Bacchus (2:02), Niobe (2:16),
Narcissus (2:26), Arethusa (2:53)
CD tracks 36-41: Nicholas Daniel:
Pan (2:20), Phaeton (1:20), Niobe (2:36),
Bacchus (1:38), Narcissus (3:12), Arethusa (2:42)
Biographies
3. References
Bibliography
Discography
Picture references
21.00 eur Buy

Virtuoso Oboe Music by Antonio Pasculli - Ch.Redgat, oboe and S. Robbings, piano

Virtuoso Oboe Music by Antonio Pasculli - Ch.Redgat, oboe and S. Robbings, piano
ID: CC2006
Disk: 1
Type: CD
Podkolekce: Oboe

The CD booklet contains a 2,000-word essay by Christopher Redgate on the music and life of Antonino Pasculli in English, Italian and German. The photos include two of Pasculli and one of his Triébert oboe.


Antonino Pasculli was born in 1842. The great violin virtuoso Paganini had died two years previously (also an Italian, a performer and a composer) and Franz Liszt was touring Europe as a dazzling virtuoso. Some have likened Pasculli to Paganini and perhaps for good reason; he must at least have known the reputation of these two giants.

But there were others. The concept of the performer/composer was very common in both the 18th and 19th centuries. Many of them wrote music for their own use, and often specifically to display their techniques. There were many fine oboist/composers during this period - Casimir Lalliet (1837-92) and Stanislas Verroust (1814-63) to name but two. What sets the music of Antonino Pasculli apart, however, is the extreme technical demands he makes upon the oboist (I know of nothing else from the 19th century repertoire to compare with the challenges he poses), and the creative ways in which he uses his chosen material. copyright Christopher Redgate 2003
21.00 eur Temporarily out of stock

Rare Goossens - Oboe Concertos

Rare Goossens - Oboe Concertos
ID: CC2005
Disk: 1
Type: CD
Podkolekce: Oboe

Recorded between 1925 and 1947

The CD booklet contains an essay (in English, French and German) about Goossens and his art by Melvin Harris which has recieved much praise - "Melvin Harris' excellently supportive booklet note" (Classical Music Web); "Melvin Harris, author of the excellent insert note" (Gramophone). There are photographs from Goossens' early and middle life, including some not seen before.


Of Léon Goossens it was once said: "There is perhaps only one other musician who can so etherialise his instrument. One thinks of Casals and his cello."

But it was not always so. In his early days Léon Goossens was dissatisfied with the models he was expected to emulate. His first teacher was Charles Reynolds, the renowned lead oboist of the Hallé Orchestra. Great though he was at teaching breath control and practice passages, his tone and phrasing held no magic for his young pupil. Etherealisation was absent from a tone that was broad, without vibrato and, as Léon put it, "bullish". Indeed, to mute his instrument, Reynolds used to hang a robust pocket handkerchief over his music stand and project into it!

Later studies at London's Royal College of Music brought no real inspiration, for the oboe professor there was William Malsch, a kindly man, but an unlovely player. He was dropped from the Queen's Hall Orchestra since his tone set Sir Henry Wood's teeth on edge. An American critic agreed, when he wrote "His tone bites like sulphuric acid".

The great breakthrough came when Léon heard the Belgian oboist Henri De Busscher play at the Queen's Hall. De Busscher's playing was delicate and expressive, with a marvellous singing quality about it. His long, sensitive phrases were a marvel. His cameo-like tone was endowed with a warm vibrato. This was the inspiration that Léon had yearned for. Night after night he listened out for De Busscher's solos, then went back to his room to emulate and aim for the same subtle and singing control over his oboe. He was an eager and gifted pupil, so much so that when De Busscher left for New York, Henry Wood chose the 16-year-old Goossens to take his place. copyright Melvin Harris, 2002
21.00 eur Buy

Though Lovers be Lost -Music shadowing the two World Wars

Though Lovers be Lost -Music shadowing the two World Wars
ID: CC2008
Disk: 1
Type: CD
Podkolekce: Oboe

The CD booklet contains a 2,000-word essay by Emily Pailthorpe on the music and the times in English, French and German. The photos include more of the performers, composers and the recording session.

The period between the two World Wars was one of violence, conflict, loss, nostalgia, yet great creative energy - qualities which are reflected in this collection of works for oboe and piano. These pieces conjure up a time in which loss was familiar, change seemed relentless, and yet a frenzy of exuberant artistic work was taking place. In her book 'Testament of Youth' (1933) Vera Brittain writes of the time: "Only gradually did I realize that the War had condemned me to live to the end of my days in a world without confidence and security, a world in which every dear personal relationship would be fearfully cherished under the shadow of apprehension."

The five composers represented in this disc were each directly affected by the extraordinary circumstances of the inter-war period, and their reactions were personal and diverse. Together, these pieces create not only a varied recital programme but also a window into this highly charged time. Living in the shadow of such desolation it is awe-inspiring and affirming that these men chose still to express themselves through the universal language of music. They speak clearly to us across the gulf of time in a way that is best expressed by these words of Dylan Thomas:

Though Lovers be lost, love shall not;
And death shall have no dominion.

copyright 2003 Emily Pailthorpe
21.00 eur Temporarily out of stock
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