|
|
World music CD DVD shop and Classic distribution
|
|
|
|
|
ID: IDIS6509
CDs: 1
Type: CD
|
Collection:
Orchestral Works
Subcollection: OrchestreNew York Philharmonic Orchestra, Bruno Walter Conductor |
| 18.00 eur Buy |
|
ID: SIGCD168
CDs: 1
Type: CD
|
Collection:
Orchestral Works
Subcollection: OrchestreThe Philharmonia Orchestra is widely recognised as the UK’s finest orchestra with an impressive recording legacy, this being their fifth disc with Signum. This disc combines the Philharmonia’s renowned sound with the leadership of Maestro Davis, who’s recording and performing career spans through all the great orchestras of the world.
This disc features Elgar’s best known orchestral works; The Enigma Variations depict twelve of Elgar’s family and friends in fourteen variations built on the original Enigma theme, one of Elgar’s earliest and still most frequently played orchestral works, Serenade for Strings, and In the South, Elgar’s Concert Overture written for the Elgar festival in 1904. |
| 18.00 eur Buy |
|
ID: SIGCD126
CDs: 1
Type: CD
|
Collection:
Orchestral Works
Subcollection: OrchestreMarking one hundred years since the birth of the composer, Signum Classics are proud to announce the release of a collection of Messiaen's chamber work, featuring Matthew Schellhorn in collaboration with the Soloists of the Philharmonia Orchestra.
Yvonne Loriod-Messiaen wrote of Schellhorn,
“An excellent pianist and an excellent exponent...everything is played as Messiaen wished it.” |
| 18.00 eur Buy |
|
ID: CDMAN124
CDs: 1
Type: CD
|
Subcollection: Piano |
| 18.00 eur Buy |
|
ID: CDMAN128
CDs: 1
Type: CD
|
Subcollection: Piano |
| 18.00 eur Temporarily out of stock |
|
ID: SIGCD052
CDs: 1
Type: CD
|
Collection:
The Great Composers
Signum Records are delighted to present the second recording on SignumClassics of the CBSO, under the direction of Mark Elder.
In his youth Shostakovich devoted much time and energy to composing for the theatre and the cinema, writing for an astonishing variety of movies, political plays, satires, the music-hall and the ballet.
The music for Nikolai Akimov’s outrageous and scandalous production of Hamlet was composed in the winter of 1931 - 1932. Akimov had decided that tragedy was irrelevant to the modern Soviet audience, and therefore presented the play as a satirical farce in which the play was turned up-side-down, by reversing all the usual assumptions about the plot and how it should be acted. The alterations to Shakespeare’s work are reflected in the titles of several of Shostakovich’s numbers. He was asked to provide music for scenes that Shakespeare only refers to but which Akimov insisted on representing on stage, for example the feast where "funeral baked meats did coldly furnish forth the marriage tables". The overall character of Shostakovich’s music is often abrasive and satirical, and flippant just where we would expect the music to be more serious. There are also some funny moments, with particular sharp parodies of various well-known musico-theatrical clichés.
In 1954 Kozintsev had also attempted to direct a staged version of Hamlet. For this occasion he decided to reuse music that Shostakovich had already written for him to use in a staged production of King Lear in 1941. All that Kozintsev asked Shostakovich to add for the 1954 Hamlet were a Gigue and a Finale, both of which are included on this recording as an appendix to the music for Akimov’s 1932 production.
The music that Shostakovich wrote for Kozintsev’s 1941 King Lear production inhabits a strange and transitional world, halfway between the bright and brilliant sarcasm of the music for Akimov’s Hamlet of ten years earlier and the more soberly functional manner of his post-war theatrical music. Gone is most of the cheekiness, the fondness for the experimental and the grotesque. There is much in this often oppressively dark music that is characteristic of what was by now Shostakovich’s public symphonic manner.
Perhaps the most powerful and unusual part of the score is the bizarre cycle of Fool’s songs, with which the Fool mocks the mistakes of his master, the King, in the course of the first three Acts. The music of these songs is as strange and quirky as the words they set. Taken as a whole, these ten songs make up a miniature cycle of sourly absurd, almost expressionistic outbursts for voice and orchestra. They seem to form a whole in themselves, standing apart from. |
| 18.00 eur Buy |
|
|
