čes | eng | fra | deu
 
Google Translate of English 
 
 
 
 
 
 
 
 
 

Russian and World music CD DVD shop and Classic distribution

 

MILHAUD, Darius - Composers

   Found CDs: 20
 

Composer: MILHAUD, Darius ((1892-1974))
MILHAUD, Darius

The Oboe 1903-1953

The Oboe 1903-1953
ID: CC2012
CDs: 2
Type: CD
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.
18.00 eur Temporarily out of stock

SOUL MATES - Duo ST15 - Laurent Estoppey - Virgine Falquet

SOUL MATES - Duo ST15 - Laurent Estoppey - Virgine Falquet
ID: CLAVES501111
CDs: 1
Type: CD
Subcollection: Saxophone

MODERN

Soul mates, a somewhat enigmatic title for a classical music record label ; could it be a compilation of Soul music songs from the eighties, or a Jazz CD?
True, the saxophone is inevitably associated with those styles, but it is, first and foremost a symphony orchestra instrument that was brought to fame by Ravel’s Boléro and Bizet’s Arlésienne.
Together with pianist Virginie Falquet, saxophone player Laurent Estoppey formed a no less (namewise)enigmatic Duo ST15. Aiming to present a repertoire composed for their formation, the Duo plays, commisions, seeks out and discovers young talented musicians such as Victor Cordero who wrote the sensitive Soul Mates. The programme ends by one of Darius Milhaud’s most attractive pieces, written when he was staying in Brazil.
16.00 eur Temporarily out of stock

French Masterpieces For Piano 4 hands - Duo Crommelynck

French Masterpieces For Piano 4 hands - Duo Crommelynck
ID: CLAVES509214
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Piano

Auric:
5 Bagatelles

Bizet:
Jeux d'enfants (Petite Suite), Op. 22

Fauré:
Dolly Suite, Op. 56

Messager:
3 Valses

Milhaud:
Enfantines

Poulenc:
Sonata for Piano Four Hands (à mademoiselle Simone Tilliard)

Ravel:
Ma Mère l'Oye for piano duet

Duo Crommelynck
16.00 eur Temporarily out of stock

Weill - Concerto for Violin & Wind Orchestra, Op. 12

Weill - Concerto for Violin & Wind Orchestra, Op. 12
ID: CNT2071
CDs: 1
Type: CD
Subcollection: Violin

The CD presents for the first time ever, two recordings that took place at different times, on the stage of the oldest opera theatre in Europe. Sir Jeffrey Tate's conducts the Concerto for violin & wind orchestra by Kurt Weill and the inspired violin soloist Gabriele Pieranunzi; the other recording presents another big protagonist of the music scene, Enrico Pieranunzi, who plays with clarinetist Alessandro Carbonare.
13.00 eur Temporarily out of stock

Time pieces - Valery and Marina Gorokholinsky - clarinet and piano

Time pieces - Valery and Marina Gorokholinsky - clarinet and piano
ID: CR023
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano and Clarinet

Alexey Gorokholinsky was born in 1984. He began formal training on the piano at age four, switching to the clarinet at age seven. From that time until the age of thirteen, he studied in the Special Central Music School in Moscow. His first clarinet teacher was Vladimir Sokolov with whom he has studied till 1999. In 1999 Alexey came to Idyllwild Arts Academy where he studied with Yehuda Gilad till 2003. In 2000 he has won the Jack Smith Award at the Pasadena Instrumental Competition. In 2001 he was the Runner Up (second prize) at Spotlight Competition. In 2003 he was accepted to Juilliard School in New York where he conti-nues his studies with professor Charles Neidich.

Marina Gorokholinsky. Educated at Central Music School of Moscow she has graduated from the Moscow State Conservatory in 1984. All this time she has studied with famous pianist and professor Victor Merzhanov. Now she performs as a chamber player and solo pianist. “Marina Gorokholinsky is a bright representative of Russian piano school. Her concert performances are always exceptional in artistic way and never leave the audience emotionally untouched. She possesses a smooth beautiful sound and deep sensitivity, which allows her to show in her performances all the uniqueness of the pieces of the composers of different styles.” (Victor Merzhanov).
12.00 eur Buy

Masters of the Piano Roll - Strauss plays Strauss: Fauré plays Fauré

Masters of the Piano Roll - Strauss plays Strauss: Fauré plays  Fauré
ID: DSPRCD010
CDs: 1
Type: CD
Subcollection: Piano

All works performed by the composers on piano
12.00 eur Buy

Gulli Björnsson: Arctic Sonata - Steve Cowan guitar

Gulli Björnsson: Arctic Sonata - Steve Cowan guitar
ID: E137
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Guitar

14.00 eur Buy

THREE CONCERTOS FOR CELLO - HONEGGER - MILHAUD -SAINT-SAENS

THREE CONCERTOS FOR CELLO - HONEGGER - MILHAUD -SAINT-SAENS
ID: GD156
CDs: 1
Type: CD
Collection: Cello Collection
Subcollection: Cello

An interesting CD, which has brought together a popular piece like Saint-Saens' Cello Concerto and two other 20th century works for this instrument, united by the wonderful performance of Robin Clavreul who is not only an excellent performer but also a musician featuring good taste, love and feeling for the characteristics of each of the works. His interpretation of every work is remarkable for its lyricism and expression, virtuosity, humour and temperament. Most impressing are the timbre inventions and the brilliance of metre and rhythm in Milhaud's Concerto in particular. Owner of a superb instrument made in 1768 by Lorenzo Carcassi in Florence, the cellist demonstrates a wealth of sounds which can rarely be heard today. Both the conductor, Fabrice Bollon, also from Paris, and the soloist are markedly attracted by new music and lead the Orchestral Ensemble through the world of Honegger and Milhaud.
12.00 eur Buy

L. Stokowski conducts Blacher - Prokofiev - Egk - Milhaud - Wagner - Mussorgsky

L. Stokowski conducts Blacher - Prokofiev - Egk - Milhaud - Wagner - Mussorgsky
ID: HAEN094204000
CDs: 2
Type: CD
Collection: Orchestral Works
Subcollection: Orchestra

This historical recording has been remastered from the original tapes and illustrates Stokowski’s advocacy for “New Music.”

B. Blacher - Variations on a Theme of Paganini Op. 26 / W. Egk - Franzosiche Suite after Rameau / D. Milhaud - Concerto for Percussion and Small Orchestra, Op. 109 / M. Mussorgsky - Khovanshchina: Act Four Intermezzo / S.S. Prokofiev - Romeo and Juliet - Suite No. 1, Op. 64a / P. I. Tchaikovsky - Symphony No. 5 in E minor, Op. 64 / R. Wagner - Tristan und Isolde: Prelude & Liebestod
18.00 eur Buy

Leaves from an album - Pieces for Violin and Piano.Z. Vinnikov - S. Maltsev - M. PONCE - D.MILHAUD - J. SUK - I. ALBENIZ - J. MASSENET - E. BLOCH -H. WIENIAWSKI

Leaves from an album - Pieces for Violin and Piano.Z. Vinnikov - S. Maltsev - M. PONCE - D.MILHAUD - J. SUK - I. ALBENIZ - J. MASSENET - E. BLOCH -H. WIENIAWSKI
ID: IMLCD134
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano and Violin

12.00 eur Buy

 
Customer: not signed in

CD DVD SACD
Thematic search:
  • Titles
  • Composers
  • Interprets 
  • Ensembles
  • Conductors
  • Instruments
  • Genre
  • Labels
  • Collections
  • Numerical listing
 
We accept PayPal
facebook
With the purchase of more
than 5 CD - your discount
will be 10%. If more than 10 CD - 15%
© 2004 - 2020

RCD - Russian Compact Disk - Russian and World music CD shop and Classic distribution.

All rights reserved.