Камерная и инструментальная музыка
Камерная и инструментальная музыка
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Victoria Bond is a distinguished force in contemporary music. She is known for her melodic and dramatic flair, and her orchestral works, chamber pieces and operas have been lauded by The New York Times as “powerful, stylistically varied and technically demanding.” This collection of world premiere recordings by GRAMMY® Award-winning ensemble Chicago Pro Musica provides an essential overview of Bond’s multi-faceted inventiveness – from a musical interpretation of tarot cards in Instruments of Revelation, to descriptive and dramatic images of the tragic city of Pompeii in Frescoes and Ash. Leopold Bloom’s Homecoming expresses in music what is left to our imagination in James Joyce’s Ulysses, and the mathematics of Binary turn the digits 0 and 1 into variations on a Brazilian samba.
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Edward Elgar, the most prominent representative of the British Empire in music, completed his violin concerto, which was commissioned and premiered with great enthusiasm by Fritz Kreisler, in 1910. It is said that Elgar never spoke emotionally about his own music with the striking exception of this one work, about which he uttered the words 'I love it'. Violinist Thomas Albertus Irnberger from Salzburg, Austria, presents this popular work here with the London Royal Philharmonic Orchestra under the baton of James Judd in a particularly beautiful interpretation which pays special attention to the tempo indications noted on Elgar’s score. In addition, Elgar’s sonata for violin and piano will be heard on this SACD, also featuring Irnber-ger in collaboration with the great German pianist Michael Korstick.
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The Wihan Quartet has been described by International Record Review as: ‘one of the best quartets in the world today.’ In 2015 the Quartet celebrated 30 years since its formation, and over the years it has developed an outstanding reputation for the interpretation of its native Czech heritage, and of the many classical, romantic and modern masterpieces of the string quartet repertoire.
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Benet Casablancas’ distinguished career spans over four decades, his music prized for its intensely individual harmonic palette, highly developed sense of dramatic and narrative form and, as with the chamber works on this recording, his tightly woven and intimately evocative statements both miniature and monumental. The playful, virtuosic energy of the Siete Haikus complements the shimmering Seis Glosas which are part meditation and part evocation, while the improvisatory Aria contrasts with the chamber concerto interactions of Pastoral, all performed by musicians from the versatile and sophisticated Ensemble New Babylon.
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This CD marks the second release of the Carducci’s Shostakovich 15 project, which includes performances of the complete cycles of the Shostakovich Quartets in cities including Washington DC, London, Oxford, Cardiff, Bogota and concerts throughout the UK to mark the 40th anniversary of the composer’s death.
Described by The Strad as presenting “a masterclass in unanimity of musical purpose, in which severity could melt seamlessly into charm, and drama into geniality”, the Carducci Quartet is recognised as one of today’s most successful string quartets.
This disc contrasts Shostakovich’s first two string quartets with the seventh – composed in memory of his late wife Nina. In composing his quartets prior to No. 7, Shostakovich had scrupulously followed a predetermined sequence of keys: according to this, the work should have been in E flat major. However Shostakovich, significantly, chose to break this pattern by writing his new quartet in F sharp minor, the key associated with such anguished music as Peter’s remorse in Bach’s St John Passion, and – particularly close to Shostakovich’s heart – Mahler’s unfinished Tenth Symphony.
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Артикул: CDVP 3590257
EAN: 0635212055625
Состояние: Новое. Заводская упаковка.
Лейбл: Signum
Исполнители: Drake Julius, piano / Дрейк Джулиус, фортепиано Watkins Richard, horn / Уоткинс Ричард, валторна
Композиторы: Beethoven, Ludvig van / Бетховен Людвиг ван Glazunov, Alexander / Глазунов Александр Scriabin, Alexander / Скрябин Александр Strauss, Richard / Штраус Рихард Schumann, Robert / Шуман Роберт Poulenc, Francis Jean Marcel / Пуленк Франсис Жан Марсель Dukas, Paul / Дюка Поль Vinter, Gilbert / Винтер Гилберт Strauss, Franz Joseph / Штраус Франц Йозеф
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Камерная и инструментальная музыка
This recording presents a selection of some of the most well-loved works for the horn. Titled The Romantic Horn, the works highlight the lyrical gems of the European repertoire for the instrument, with works by Beethoven, Schumann and Scriabin.
Richard Watkins is one of the most sought-after horn players of his generation. He was Principal Horn of the Philharmonia Orchestra for twelve years, is currently a member of The Nash Ensemble, and is a founding member of London Winds. His extensive discography includes recordings of concertos by Mozart, Malcolm Arnold, Reinhold Glière, Ethel Smyth and Colin Matthews, as well as Mozart’s Sinfonia concertante and chamber music for horn by Schumann, Schubert and Poulenc.
Pianist Julius Drake lives in London and specialises in chamber music, working with many of the world’s leading artists, both in recital and in the recording studio. He performs regularly across the globe, in venues that include include Amsterdam’s Concertgebouw, Berlin’s Philharmonie, and New York’s Carnegie Hall; and festivals such as the BBC Proms and Salzburg Music Festival.
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This collection of recent works by Tamara Konstantin brings together short piano and chamber pieces, all of which share her inclination towards miniature forms, flowing melodies and unpretentious charm. Many of these are inspired by the beautiful countryside and coastline of Konstantin’s Dorset home, evoking an elegiac wistfulness peculiar to English pastoral music. Others reflect moods or emotions both universal and specific, such as the powerful Third Piano Sonata dedicated to the suffering experienced by the members of Konstantin’s family who were exiled to Siberia by Stalin, and the evocative and lyrical Love Ballad.
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The chamber music of contemporary American composer Truman Harris is informed by his experience as an orchestral musician; it is idiomatic, exciting, and frequently cast for unusual combinations of instruments. One such example is the unique Sonata for Two Bassoons and Piano, flavored with jazz, romance, and waltz-like elegance. Rosemoor Suite is a captivating ‘story without words’ moving from nostalgia to vitality, and the two Concertinos explore rich lyricism and playful virtuosity. Vibrant colours and a sense of vivid fantasy suffuse the radiant Aulos Triptych.
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2199 руб.
The 24 preludes for cello solo by Mieczyslaw Weinberg have a particular history. Composed in the late sixties for Mstislav Rostropovich, he never actually played them. Their musical language is aphoristic, often brutal, provocative in its inner conflict. It contains many different gestures and is very intense. To perform these preludes might have been problematic in the Soviet Union back then. Gidon Kremer has adapted the Preludes for solo violin and this is the world premiere recording of his adaptation. In his concerts, Kremer often plays them to projections of works by the Lithuanian photographer Antanas Sutkus in the background.
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Bel canto and operatic reminiscences are present in all the compositions included on this CD. These works, in the wake of the melodic technicality that was typical of the nineteenth-century Italian clarinet school, give the virtuoso Giovanni Punzi (First Soloist Clarinet of the Philharmonic Orchestra of Copenhagen) the chance to offer us a broad range of bravura displays. The CD is a world premiere by Italian composers that with these 'living room' fantasies are protagonists of the fervent musical life that underwent the powerful influence of the Italian melodrama that between the nineteenth and twentieth centuries will hold the absolute primacy of the world music scene. Punzi is accompanied by pianist Amedeo Salvato and Calogero Presti at the small clarinet (for the duet from the Sonnambula by Vincenzo Bellini).
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German violinist/composer Friedrich Seitz performed widely as a soloist and chamber musician, as well as working as a conductor and founding the first music school in Magdeburg. The Concertos for Violin and Piano or Schüler-Konzerte (‘Student Concertos’) are designed as introductions to violin technique, Seitz’s genius being to create student works that are always tuneful and interesting, with flowing and expressively inventive melodies, wonderful slow movements and plenty of carefully curated technical fireworks. This second volume takes us up to Seitz’s ambitious and beautiful final Schüler-Konzert No. 10. Volume 1 can be heard on 8573801
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The Dubhlinn Gardens: an evening in the high society of 18th century Dublin, where traditional music was ‘civilising’ itself for the salon... This programme was inspired by the passion for traditional Irish music that flautist Anna Besson has felt since she was a child. Surprising as it may seem, it was playing the Irish flute that led her to study the baroque instrument... For the past few years Reinoud Van Mechelen too has begun to train himself in the traditional Irish song with Karan Casey and other singers who have specialised in the unaccompanied Sean-nós. This twofold practice of early as well as traditional music has led the ensemble A Nocte Temporis to offer a programme that is both vivacious and extremely touching.
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Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. His music is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice.
The Divine Art Artyomov Retrospective (which to date has received wonderful reviews internationally) is a mix of new recordings and former Melodiya releases. This is the ninth instalment, which comprises six works for varying chamber ensembles, and while embodying the composer’s overall wide ranging compositional style, spirituality and mysticism, these pieces express this in a more intimate, lyrical style than his massive symphonic works. ‘Scenes’ was originally written as a ballet score for a film, but as the movie was banned by the Soviet authorities and never shown, the work now stands in its own right as a balletic suite.
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Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892.
Véronique Gens is recording this cycle for the first time, although she has already issued Le temps des lilas with Susan Manoff at the piano for her disc Néère (ALPHA 215), about which Ernst Van Bek wrote in Classiquenews: it mesmerises with the nuancing of its colours, the allusive precision of every sung word. Véronique Gens talent is equally on display in this recording too, with the Orchestre National de Lille an orchestra she already knows well under Alexandre Bloch, its new chief conductor, whose appointment and first concerts and recordings have already caused a sensation... The Symphony in B flat major completes this programme: a summit of French symphonic writing, for some a milestone as important as the Symphony in D of Chausson's teacher.
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The brilliant soprano María Cristina Kiehr, together with lutenist-vihuelist Ariel Abramovich, presents her first solo album devoted to Renaissance music. With her broad experience in sixteenth-century polyphonic repertoire (in La Colombina and Ensemble Daedelus, among others), and a project almost completely using her native language, Kiehr brings to the music of Spain’s Golden Age her own unique perspective.
Imaginario reconstructs an imaginary and unknown book of vihuela songs, inspired by the seven marvellous books published between 1536 and 1576, but this time as if published in Valladolid or Seville between 1570 and 1580. Constructed in the shadow of the earlier books, each one of its songs makes reference either in its music or text to another song from those earlier books.
The vihuelist Jacob Heringman, together with whom Abramovich created and recorded Cifras imaginarias (Arcana A428) is also part of this project, together with the mythical British tenor John Potter, ex Hilliard Ensemble and ECM artist, who performs an enigmatic piece for tenor and vihuela.
A unique project, in every sense of the word, this stretch of the imagination takes the recorded repertory of the Spanish Renaissance one step further, venturing into the world of musical fiction based on a blend of creativity and science, and with a team of researchers difficult to surpass.
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This fruitful “encounter” between Leonard Bernstein and Maurice Ravel juxtaposes Bernstein’s intensity and rhythmic vitality with the melancholy refinement of Ravel’s colours, while also highlighting the composers’ commonalities, such as a shared tonal language and masterful incorporation of jazz idioms. Our purpose, however, is not only to appreciate an artistic cross-exchange but also to build upon it. This is what Trio Zadig and Benjamin Attahir seek in Asfar, a new work that springs from the creative nexus of these 20th-century giants and continues the conversation.
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Raimund Lissy, violinist with the Vienna Philharmonic, has been supporting the rediscovered work of Viennese composer and violinist Joseph Mayseder (1798-1863) for years. He is already presenting his fourth CD with works by the Bieder-meier composer, who himself had worked with Haydn, Beethoven and Schubert. Mayseder gained great fame in his lifetime, and bought a city house in Vienna for himself and his son-in-law, a jeweller whose descendants still are active there today. His works, mostly written for chamber music with violin participation, combine virtuosity with Viennese charm. In this volume, the Viennese Mayseder ensemble (with Lissy as 1st violinist) play the string quartet No. 2 and the string quintet No. 2.
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Mario Castelnuovo-Tedesco wrote that ‘the cello is an instrument I’ve always particularly loved’, and this is reflected in the deft way he exploits its colours and techniques in chamber works recorded here that include unpublished gems and a world premiere. The sophisticated Cello Sonata and Sonatina also reveal the composer’s skill as a pianist, giving equal roles in a symbiotic relationship that tests both players’ virtuosity. Impressionist flavours in I nottambuli or ‘Night Owls’ contrast with a Toccata that blends fireworks with lyricism, as does the Jewish soulfulness of the popular Chant hébraïque with the playful Scherzo that uses the English traditional tune Sumer is icumen in.
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Agustín Barrios Mangoré’s first public appearance was as ’the Paganini of the guitar from the jungles of Paraguay’. This flamboyant image was soon retired, but his legacy as a composer has endured and flourished, as have the recordings he made as the first guitarist to take advantage of new technology from as early as 1910. Ranging from romantic enchantment to fearsome virtuosity via works with Bach-like restraint, this programme embraces Barrios Mangoré’s art from his earliest known piece, Abrí la puerta mi china, to the reconstruction of the substantial Diana Guaraní from a recording made in 1943.
