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|Mots D'Amour: Songs By Cecile Chaminade
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RADIO STATION NOTES
Just take it as read that Anne Sofie von Otter is in her usual captivating form. Her legions of fans needn't think twice before acquiring this fascinating new album. What, though, of the music itself? Pianist and composer Cécile Chaminade, born in Paris in 1857, is known to aficionados as a composer of piano miniatures, a fact reflected in what has crept into the recording catalogue over the years. Here, though, are the fruits of pianist Bengt Forsberg's enthusiasm for the songs. And irresistible they are, too. How on earth have such imaginative, charming, elegant, and beautifully crafted melodies (all on the subject of amour) escaped widespread acknowledgement for so long? There's a wide range of moods, from the bubbling "Malgré Nous" and the whimsical "L'Amour captif" to the passionate "Te souviens-tu?" and the reflective, bittersweet "Ma première lettre." As you might expect from a pianist-composer, the accompaniments are delightful, a fact relished to the full by Forsberg. Von Otter identifies with every phrase (barring the odd rather unseemly scoop) and emotion. Various short pieces for violin and piano, and two pianos, provide an engagingly performed bonus. --Andrew Green
|Mendelssohn: Piano Concertos, Nos. 1 & 2 / Variations sérieuses / Rondo capriccioso
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|Flower of Chivalry: Tranquil Medieval Music
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Brand: Gift Of Music
The Flower of Chivalry
Tranquil medieval music featuring The Hilliard Ensemble
There is an emphasis on peace and calm in this selection of medieval music. It includes gentle songs by one of the greatest composers of the age, Guillaume Dufay, whose music charmed the ears of the Burgundian court in the fifteenth century. Plus English harp music by King Henry VIII, and songs by Martin Codax from thirteenth century Spain.
The Hilliard Ensemble: David James, Gordon Jones, John Potter, Rogers Covey-Crump Sirinu: Sara Stowe, Matthew Spring, Jon Banks
The music on this album deals with universal themes in a timeless and subtle way. The programme interweaves instrumental music from the court of Henry VIII, much of it composed by the King himself, with songs of love and hope by the great medieval musician, Guillaume Dufay.
Henry VIII was an able musician, and a composer as well. A manuscript survives of music from his court which contains a surprising number of compositions, both instrumental and vocal, by the monarch. The consorts are particularly beautiful. Like much music of the period, these works can be performed in a variety of ways, as solo instrumental numbers, or as works for more than one performer. Here, they are each played by a single performer, but a variety of instruments can be heard.
Guillaume Dufay was probably born in or around Cambrai, in what is now Northern France, but he soon drifted South to Italy, where he studied at the university in Bologna, and became a priest. By 1428 he was singing in the papal choir in Rome, although he kept contact with the North, and worked in Savoy and Cambrai, which was under the jurisdiction of the Burgundian court. The songs by Dufay on this album are unaccompanied, composed for three or four voices, performed by the incomparable Hilliard Ensemble. These songs appear in an important manuscript held in the Bodleian Library, MS Canon.Misc.213. This very beautiful book was written out by hand, possibly by a musician from Saint Mark's, Venice, in the first half of the fifteenth century. It was 'discovered' amongst the Bodleian's collections as late as 1895 by Sir John Stainer, who made the first modern edition. Since his initial study, it has become one of the most discussed of all pre-Renaissance music manuscripts.
Martin Codax was a Spanish troubadour, and thus part of a long tradition of travelling court entertainers who could sing and play musical instruments. Codax is one of the earliest named composers and his songs of the sea and of longing for love are to be found in a manuscript. His music is poetic and intense, similar to that of Dufay. It is performed here with instrumental accompaniment from the hurdy-gurdy, one of the most traditional and popular of early instruments. The original songs have music only for the voice, and the arrangement is conjectural. In fact, the sixth song has no music in the original source at all, but music has been composed by Dr Simon Heighes for this recording, in the style of the songs around it.
Four solo instruments can be heard on the album: two harps, a clavichord and an organ. The latter two are keyboard instruments: modern copies of fifteenth and sixteenth century originals. The first harp is a modern instrument (played by Victoria Davies) and the second a copy of a medieval harp (played by Jon Banks). It is smaller and has fewer strings than its modern counterpart.
|Schubert- Complete Works for Violin and Piano, Vol. 1: (3) Sonatas / Rondo, d. 384,385,408,895
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Julia Fischer and Martin Helmchen adopt a rather quick tempo and a light touch, hardly too heavily pedaled in the piano part, in the opening of the first movement of Schubert's First Sonata in D Major, a work that could lend itself, slight as it may be, to overblown Romantic rhetoric (although not in leaner and more spirited readings like that of Joseph Szigeti, who recorded the Sonata with Andor F”ldes in 1942, a performance re-released in Sony's "Masterworks Portrait" series 52538 in 1992). Their kind of reading lends the work a freshness that period instrumentalists (such as Andrew Manze on Harmonia Mundi 907455, whose somewhat more nuanced reading on period instruments I urgently recommended in 31:6) might envy. The same approach yields dividends in the opening theme of the second movement. At its quicker tempo, the rapid passagework in the last movement sparkles. The contrasts in dynamics sound pointed and the dialogue between the instruments, especially bright.
|CPE Bach: Sonatas & Rondos
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Mikhail Pletnev s first prize in the 1978 Moscow Tchaikovsky Competition brought him his international breakthrough and quickly led to appearances in all the world s major concert halls with its finest orchestras and conductors. He was born into a musical family in Arkhangelsk in 1957 and was still a child when he received his first piano lessons. At the age of thirteen he enrolled at the Central Music School in Moscow and four years later switched to the Moscow Conservatory, where his teachers included Yakov Fliyer, who had been taught by a pupil of a pupil of Liszt, and Lev Vlasenko. But within two years of winning the Moscow Tchaikovsky Competition, Pletnev had already laid the foundations for a second career as a conductor, a career in which he has arguably made an even greater name for himself than as a pianist. Ten years later his achievements in this field brought him to the attention of audiences all over the world when with the support of the Soviet president, Mikhail Gorbachev, he founded the Russian National Orchestra, the first fully independent orchestra in his country s history. It was soon a magnet for leading Russian musicians and an ensemble of international standing.
Pletnev remains the orchestra s artistic director and principal conductor. Meanwhile he has also appeared as a guest conductor with the Concertgebouw Orchestra, the Philharmonia, the City of Birmingham Symphony Orchestra and the Los Angeles Philharmonic, to name but four. In 2008 he was appointed principal guest conductor of the Lugano-based Orchestra della Svizzera italiana. But Pletnev has a third musical string to his bow as a composer whose work-list, running to two dozen titles, includes a Classical Symphony, a Triptych, a Fantasy on Kazakh Themes and a Capriccio for piano and orchestra.
More important, however, is the fact that Pletnev remains active as a pianist. True, it was four years after he had signed an exclusive contract with Deutsche Grammophon in 1993 that his first solo album an all-Chopin recital was released by the Yellow Label, but it was immediately voted Disc of the Year by the German music critic Joachim Kaiser. Recorded live, his Carnegie Hall debut in 2000 received an ECHO Klassik Award, and his 2003 recording of his own Suite from Prokofiev s Cinderella, performed in his own two-piano arrangement with Martha Argerich, was showered with accolades, including a Grammy®, the German Record Critics Prize, a Diapason d or, a Choc du Monde de la musique and a MIDEM Classical Award. His interest in chamber music and, more especially, in rarely performed repertory is attested by his 2003 recording of Taneyev s Piano Trio and Quintet. In 2007 he returned to the classics and at the same time to the orchestra with Beethoven s complete concertos.
In the reference work on pianists PianistenProfile, Gregor Willmes has argued that Pletnev s playing operates within the field of tension between concentrated analysis and self-confident subjectivity . Superficial virtuosity is of no more interest to Pletnev than uncontrolled emotionality. Over time, his tone has gained in substance, while his touch remains hard to beat.
It was not long after his first recordings had appeared on the market that Pletnev undertook a foray into the pre-Classical period in the form of sonatas by Domenico Scarlatti, following this up in 1998 with a recording of solo keyboard works by Carl Philipp Emanuel Bach. Johann Sebastian s second son left a number of shorter keyboard pieces as well as around 150 sonatas, most of them in three movements, together with rondos and fantasies. Music historians regularly describe him as a forerunner of Viennese Classicism. And yet he was less interested in matters of formal design as such, however significant his achievements in this field may have been, than in extending and refining the existin
|Les Voix Humaines - Works for Lyra Viol and Bass Viol
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|Rage of 1710
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- Scarlatti, Alessandro
- Suite of Symphonies
- Tartini, Giuseppe
|Air on a G String
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GRAMMYr award winner David Russell is world renowned for his superb musicianship and inspired artistry, having earned the highest praise from audiences and critics alike. In recognition of his great talent and his international career, he was named a Fellow of The Royal Academy of Music in London in 1997. In May 2003 he received the great honor of being made adopted son of Es Migjorn, the town in Minorca where he grew up. Recently the town named a street after him, Avinguda David Russell , as acknowledgement for his musical career. In November 2003 he was given the Medal of Honor of the Conservatory of the Balearics. In May 2005 he received an award from the music conservatory of Vigo, culminating with the opening of the new Auditorium, to which they gave the name Auditorio David Russell . After winning the GRAMMY award, he received the silver medal of Nigr n, the town in Spain where he resides. During his studies at the Royal Academy, David Russell won twice the Julian Bream Guitar Prize. Later he won numerous international competitions, including the Andr‚s Segovia Competition, the Jos‚ Ram¡rez Competition and Spain's prestigious Francisco T rrega Competition.
|Mozart: Horn Concertos Nos. 1-4 / Rondo In E Flat Major
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MOZART: Horn Concertos Nos. 1-4 / Rondo in E flat major by Jozef Kopelman
This product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.
|Pleasures of Royal Courts
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