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Composer: BACH, Johann Christian ((1735-1782)) |
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ID: ART300
CDs: 2
Type: CD
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Subcollection: Piano
Instruments:
1. Tangentenflügel by Chris Maene, copy after Späth & Schmal,
Regensburg 1795: CD 1, 1-4
2. Tafelklavier (Square piano) by Schoene & Renk, London
са 1780: CD 1, 5-10
3. Fortepiano by Anton Walter, Vienna ca 1782: CD 1, 11
4. Fortepiano by Neupert, copy after Könicke, Vienna 1795:
CD 1, 12-14
5. Fortepiano by Neupert, copy after Louis Dulcken,
Munich 1815: CD 2, 1-2
6. Fortepiano Erard, Paris 1835: CD 2, 3
7. Fortepiano Blüthner, Leipzig ca 1878: CD 2, 4-12
Alexei Lyubimov - piano, historical pianos Chamber Ensemble «The Pocket Symphony» (on historical instruments): Oleg Khudyakov (flute),
Nazar and Elena Fikhtengolts (violins)
Alexander Galkovsky, Sergey Tishchenko (violas)
Denis Severin (cello)
Miroslav Maksymiuk (double bass, CD 1: 12-14) |
| 26.00 eur Buy |
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ID: CC2012
CDs: 2
Type: CD
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Collection: Instrumental
Subcollection: Oboe
The 24-page CD booklet has a 6,000 word programme note in English by the compiler Geoffrey Burgess with a description of each performer, each track, and many unusual photographs.
Introduction by compiler Geoffrey Burgess: It would be hard to claim the oboe as a main player in the rise of the phonograph in the early years of the twentieth century. In both contemporary literature and retrospective histories, oboists barely rate a mention alongside the Carusos, Melbas, Elgars and Kreislers, and the lack of a comprehensive discography or historic anthology backs this up. But why have early oboe recordings been silent for so long? It is time to discredit the popular belief that of the few recordings of oboists that have survived, most are worthless from a musical standpoint. While not featured as frequently as most other instruments, the oboe was not entirely silent in the recording studio: however, the problem lies much more in how and where to retrieve those distant echoes. Catalogues, reviews and the like cite specific recordings, but this is only a beginning. The next and harder step is to track down serviceable copies of this material which in most instances was considered of merely ephemeral value. We have to consider ourselves lucky with what has survived. Contrary to what we might think, the scarcity of oboe recordings is not a reflection of the difficulties encountered in capturing its tone. Even the earliest acoustic recordings demonstrate that, with the player projecting directly into the recording horn, the oboe sounded better than many other instruments. The reason for the scant presence of the oboe on disc has to do more with its musical and cultural persona. Just as now, the recording industry in the early decades of the twentieth century was dictated by popular taste. Not only did the Classical selections in gramophone catalogues constitute a small percentage of the total offerings, but they were dominated by operatic excerpts and rousing tunes performed by bands. In such a climate the oboe was not exactly a winner, rather it was considered a novelty, of interest to the refined connoisseur. It’s not needles, but the records themselves that need hunting down in the haystacks of archival repositaries and collectors’ attics. Artists’ names and instruments were given only rarely on the discs. Manufacturers’ catalogues can help but it is often necessary to resort to intelligent guesswork. According to the renowned audiofile Melvin Harris, it was Louis Gaudard who made the earliest oboe recording in 1899, but this claim is still to be substantiated. The oldest surviving recordings date from the first decade of the 20th century, with showy solos of ephemeral appeal usually accompanied by band, orchestra or, more rarely, piano. Despite the scant examples, we are blessed with multiple recordings of some favorites such as Une Soirée prčs du lac and standard orchestral repertoire like the overture to Guillaume Tell. These multiple versions allow direct comparison between different oboists, although it should always be borne in mind that the different settings and the recording process contributed in no small measure to the total sonic record. This anthology spans the acoustic and electric eras and all recordings are monoaural. Léon Goossens was the most widely recorded oboist of the first half of the 20th century, but otherwise, all of the oboists featured in this anthology were active before the rise of the oboe “heroes” still familiar today - André Lardrot, Pierre Pierlot, Heinz Holliger, etc. Many were celebrated in their own day, but most are now forgotten. We have intentionally avoided duplicating the already copious quantity of re-released material. Oboists like Roger Lamorlette, who can be heard playing Poulenc’s trio for oboe, bassoon and piano with the composer, have been omitted, and well known players like Goossens and Tabuteau whose work is already widely available, are represented only by noteworthy selections hitherto unavailable. There is no natural terminus ad quem for this anthology. Stylistic changes in oboe playing tended to overlap advances in recording technology in complex ways. Still, it seems appropriate to draw the line at the mid century with the dawn of the LP era with the Viennese recording of Beethoven’s variations on La ci darem (CD II track 21). Direct contact with these remarkable performances from the past is still hampered by the limitations of the available recording technology and the state of preservation of this delicate material. Most of the original recordings used here are in an exceptionally fragile state and the audio quality of many is quite simply deplorable. Any wax cylinder or shellac disc that has miraculously survived the junk yard inevitably bears the signs of abuse - damaged through overuse, poor storage conditions, or the jostle of the flea market before falling into the hands of a responsible collector. Every effort has been made to locate clean copies, but in some cases there was simply no choice. To understand these vestiges of players from the past, we have to learn to listen “through” the recording technology. Most early recordings have what today would be an unacceptable signal-to-noise ratio. The distraction of surface noise and crackles and limited frequency response and can hinder drawing conclusions on individual players’ tone. Most acoustic recordings registered a relatively narrow band of frequencies from 1000-3000Hz. With the introduction of microphones this was expanded to 200-6000Hz, but this is still far short of present standards which were set in the stereo LP era at 20Hz-20KHz. To those used to digital stereo, the monoaural configuration of early recordings may seem one-dimensional and, particularly in the case of acoustic recordings, the insensitivity of the technology to dynamics often obliterated nuance, and can also give a false sense of balance. At the same time we must listen “with” the technology. That is, we must learn to respond to what the technology could register faithfully - tempo, intonation, vibrato and questions of ensemble - always mindful that, once in the recording studio, players may have had to make adjustments from their regular practices. Up to the use of magnetic tape in the recording process in the 1940s, all recordings were “live” in the sense that virtually no editing was possible. Realizing that durations of 2 to 4 minutes (the length of a side of a disc) were recorded as complete takes makes it easier to forgive occasional slips - indeed, it should enhance our admiration for these players. It is always dangerous to draw general conclusions from limited data, so rather than viewing these recordings as documents of the essential characteristics of each oboist, it is wiser to treat them as “snapshots” of unique performances. Out-of-focus or underdeveloped due to the shortcomings of the recording apparatus, these passing glimpses are the closest we can get to the artistry of these lost musicians. Despite this material’s limitations, it’s revelations are manifold. The recordings of Georges Gillet CD I track 2) and his pupils (Gaudard, CD 1 track7; Mercier, CD I track 8; Brun, CD I track 9; Longy, CD I track 11; and Bleuzet, CD II tracks 5-8) show that prior to World War II French players did not all cultivate the bright tone typical of the younger players of the Paris Conservatoire school. We can appreciate why Tabuteau praised Bruno Labate (CD I track 16), and why Goossens could not have failed to have been impressed by Henri de Busscher’s playing (CD II tracks 13-15). The different performances of the J.C. Bach Sinfonia, Brahms’ Violin Concerto and the Beethoven Variations provide invaluable comparisons of different schools of oboe playing. |
| 29.00 eur Temporarily out of stock |
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ID: GD242
CDs: 1
Type: CD
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Collection: Sacred Music
Subcollection: Choir
The first boys' choir in Sofia was founded in 1968. The idea of the founder Lilyana Todorova was to introduce a new model in the tradition of Bulgarian choral singing. Sofia Boys' Choir established itself quickly in Bulgarian choral art. Its repertoire has been especially varied after 1989, when conductor of the choir became Adriana Blagoeva. Members of the choir are boys aged between 8 and 15, who are trained by experienced teachers on a special curriculum. As many as 1500 children have been trained in the choir since its foundation. Its repertoire includes dozens of works composed between the 15th to the end of the 20th centuries and also embraces works by Bulgarian composers. The choir has always won prestigious prizes when participating at international competitions and festivals and its concerts have been loudly applauded both by the audience and the critics. The choir's conductor, Adriana Blagoeva, graduated from the Pancho Vladigerov State Academy of Music in Sofia majoring in choral conducting. She has worked actively for the choir's fame as a serious choral ensemble of high quality, capable of interpreting works ranging from songs to oratorios.
Soloists: Irena Petkova (mezzo-soprano), Joannis Kiurzoglu (counter-tenor), Nikolay Motsov (tenor), Nikolay Petrov (baritone)
Atanas Atanassov (organ)
Chamber Orchestra
Recorded in Bulgaria Concert Hall, Sofia, 1999 (13 and 14), and June 2001 |
| 15.00 eur Temporarily out of stock |
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ID: GD357
CDs: 1
Type: CD
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Subcollection: Violin
The Masonic movement is considered to have originated in the beginning of the 18th century. For this reason, the present release covers three centuries. The composers included are not only among the greatest musicians, but they are also renowned members of Masonic lodges. For example, Haydn and Mozart were members of "Zur wahren Eintracht" (True Harmony), and List was a member of "Zur Einigkeit" (Unity). The performers Ventseslav Nikolov and Ruzhka Tcharaktchieva are among the most distinguished Bulgarian musicians and laureates of prestigious international competitions. Currently they are respected members of the adjudicators’ committees of these competitions. Still giving concerts and making recordings of works from different epochs, they pass their experience to their students at the Prof. Pancho Vladigerov Academy of Music. The programme with music by Masonic composers is a clear example of their excellent performing skill and interpretation of styles !
Ventseslav Nikolov - cello Ruzhka Tcharaktchieva - piano |
| 15.00 eur Temporarily out of stock |
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ID: MKM313
CDs: 1
Type: CD
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Collection: Cello Concerto
Subcollection: Cello and Orchestra
Daniil Shafran, cello
1-11 Andrei Volkonsky, harpsichord
12-14 USSR State Symphony Orchestra
Conductor Gennady Rozhdestvensky
15-17 Nina Musinyan, piano
Recorded: 1948 (15-17), 1961 (12-14), 1966 (1-11) |
| 15.00 eur Buy |
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ID: ORG72492
CDs: 1
Type: CD
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Subcollection: Organ
Präludium Und Fuge Es-Dur Bwv 552 (Tripelfuge Für Orgel) (Aus Clavierübung Iii) (Hommage À Lully)
1. 1 Praeludium
2. 2 Fuge
1. 3 Herr Gott, Nun Schleuß Den Himmel Auf Bwv 617 (Hommage À Brahms)
2. 4 Präludium Und Fuge C-Dur Bwv 547 (Hommage À Purcell)
3. 5 Toccata Und Fuge F-Dur Bwv 540 (Hommage À Jeanne Demessieux)
Präludium Und Fuge E-Moll Bwv 548 (Hommage À Luther)
1. 6 Praeludium
2. 7 Fuge
1. 8 Toccata Und Fuge D-Moll Bwv 538 "dorische" (Hommage À Vivaldi)
2. 9 Schmücke Dich, O Liebe Seele Bwv 654 (Hommage À Albert Schweitzer)
Präludium Und Fuge D-Dur Bwv 532 (Hommage À Händel)
1. 10 Praeludium |
| 21.00 eur Buy |
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ID: RCD13022
CDs: 1
Type: CD
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Collection: Russian Cello School
Subcollection: Cello and Orchestra
(1 - 3) - Daniil Shafran, cello / USSR State Symphony Orchestra - Gennady Rozhdestvensky, conductor
(4 - 6) - Daniil Shafran, cello / Leningrad Philharmonic Orchestra - Arvid Jansons, conductor
(7 - 9) - Daniil Shafran, cello / Nina Musinyan, piano
(1 - 3) - Recording in 1961
(4 - 6) - Recording in 1965
(7 - 9) - Recording in 1949 |
| 15.00 eur Temporarily out of stock |
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ID: RCD16297
CDs: 1
Type: CD
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Collection: Russian Piano School
Subcollection: Piano
(1 - 3) - Alexej Lubimov, piano
(4- 7) - Alexej Lubimov, tangent piano
(8 -12) - Alexej Lubimov, piano / Oleg Kagan, violin
(13) - Alexej Lubimov, piano / Oleg Kagan, violin / Lev Mikhailov, clarinet
(14) - Alexej Lubimov, piano / Tatiana Grindenko, violin
(1 - 7, 9-14) - Live recordings 1996
(8) Live recordings 1975 |
| 15.00 eur Temporarily out of stock |
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ID: RCD16356
CDs: 1
Type: CD
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Collection: Harp Concert
Subcollection: Harp
Russian Performing School.
In concert programs and records N. Shameyeva combines solo harp compositions with music for chamber ensembles. For many years she successfully collaborates with her colleague-musicians from The Bolshoi Theatre orchestra.
Honored Artist of Russia Alexander Golyshev (flute), Honored Artist of Russia Rimma Stepanian (1st violin), Alexander Kolesnikov (2 nd violin), Honored Artist of Russia Leonid Kaplan (viola), Honored Artist of Russia Dmitry Miller (cello), Victor Shameyev (cello). |
| 15.00 eur Buy |
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