Ceremonial Music / United States Air Force Heritage Of America Band
Altissimo
CD
$10.99$21.99Save 50%Jan 01, 2008
Tracks:
DISC 1 1 Adjutant's Call - C.M.T.C. March 2:16 2 Sound Off, into Trombones Triumphant 0:38 3 Officer's Center - Officer of the Day March 2:27 4 Inspection Waltz 3:56 5 Bugles and Drums 2:22 6 First Call 0:12 7 Reveille 0:24 8 Assembly 0:12 9 Mess Call 0:14 10 Attention 0:09 11 Officers Call 0:10 12 Drill 0:11 13 Fatigue 0:14 14 Carry On 0:08 15 Recall 0:12 16 Church 0:38 17 Adjutant's Call 0:13 18 Retreat (Solo) 0:25 19 Retreat 0:29 20 To the Colors 0:39 21 Tattoo 0:56 22 Taps (Solo) 1:01 23 Taps 0:57 24 Echo Taps 1:06 25 Taps with Brass Accompaniment 1:22 26 First Sergeant's Call 0:09 27 Charge 0:10 28 Roast Beef of Old England 0:58 29 Yankee Doodle 1:23 30 York Marsch 2:20 31 President of the United States 0:50 32 Vice-President of the United States 0:39 33 Congressional Honors 0:45 34 4 Ruffles and Flourishes and General's March (arr. F. Kepner) 0:26 35 3 Ruffles and Flourishes and General's March (arr. F. Kepner) 0:25 36 2 Ruffles and Flourishes and General's March (arr. F. Kepner) 0:23 37 1 Ruffle and Flourish and General's March (arr. F. Kepner) 0:22 38 4 Ruffles and Flourishes and Flag Officer's March (arr. W.H. Santelmann) 0:24 39 3 Ruffles and Flourishes and Flag Officer's March (arr. W.H. Santelmann) 0:23 40 2 Ruffles and Flourishes and Flag Officer's March (arr. W.H. Santelmann) 0:20 41 1 Ruffle and Flourish and Flag Officer's March (arr. W.H. Santelmann) 0:19 42 1 Ruffle and Flourish - Last 32 of Stars and Stripes Forever 0:39 43 The Stars and Stripes Forever 0:37 44 Trio to the National Emblem 1:20 45 2/4 Drum Cadence 0:42 46 6/8 Drum Cadence 0:44 47 The Star Spangled Banner 1:22 48 The Air Force Song (arr. R.R. Bennett) 0:37 49 The Air Force Song (arr. J. Wasson) 3:10 50 The U.S. Air Force Blue March (arr. L. Ludlow) 0:59 51 Lord Guard and Guide, "The Air Force Hymn" 1:06 52 Lord Guard and Guide, "The Air Force Hymn" (arr. F. Werle) 1:06 53 The Air Force Dirge (arr. G. Cray) 5:18 54 U.S. Army Song (arr. Lake) 0:37 55 God of Our Fathers 1:31 56 The U.S. Navy Song (arr. P. Yoder) 0:36 57 Eternal Father, strong to save, "Melita" (arr. C. Smith) 1:07 58 The Marines' Hymn (arr. D. Hunsberger) 0:38 59 The Marines' Hymn (arr. Farmer) 1:28 60 U.S. Coast Guard Song (arr. W.C. Schoenfeld) 0:36 61 Armed Services Medley 3:34 62 The Stars and Stripes Forever 3:26 63 Gary Owen March (arr. J. McFulton) 2:30 64 Semper Fidelis 2:46 65 Heave Ho! My Lads, Heave Ho! 2:11 66 The Song of the Seabees 3:15 67 American Legion March 2:17 68 American Red Cross 2:26
DISC 2 1 Liberty Fanfare 0:25 2 Emperata Overture 0:22 3 Ceremonial Fanfare 0:44 4 3 Jubilant Fanfares: No. 1. Fanfare Jubilante 0:29 5 Aloft! 0:28 6 America The Beautiful (arr. C. Dragon) 3:15 7 Battle Hymn of the Republic (arr. S. Nestico) 4:33 8 God Bless America (arr. E. Leidzen) 2:17 9 My country 'tis of thee, "America" 1:09 10 This Is My Country (arr. F. Werle) 1:59 11 God Bless the USA (arr. for wind ensemble) 3:08 12 Wind Beneath My Wings 3:32 13 Hero for Today 3:32 14 The Last Full Measure of Devotion (arr. M. Davis) 5:03 15 Americans We 2:48 16 National Emblem 2:58 17 The Washington Post March 2:38 18 Chimes of Liberty 3:11 19 Hail to the Spirit of Liberty 3:31 20 Hands Across the Sea 2:47 21 Auld Lang Syne 1:41 22 Military March No. 1 in D major, Op. 39, "Pomp and Circumstance" (Land of Hope and Glory) (arr. C. Grundman) 5:36 23 Amazing Grace (arr. W. Walker) 1:38 24 Amazing Grace (arr. F. Ticheli) 4:43 25 Eternal Father, strong to save, "Melita" (arr. C. Smith) 1:56 26 God of Our Fathers 1:31 27 Nearer my God to Thee (arr. P. Rawlins) 2:42
The CD begins with one of Friedrich Cerha’s first surviving compositions, the Hindemith-like First Violin Sonata of 1947. Two later works, from almost half a century on, complete the stylistic trajectory. One of them, the Sechs Stücke für Violine Solo, was written for the violinist on this CD, Ernst Kovacic, a friend of the composer for many years. Cerha wrote the booklet notes, available in English and German.
REVIEW:
For those who wish to explore a cross-section of the violin music of what appears to be one of the most commanding voices among recent composers, not to mention violinist-composers, Toccata’s collection, with its brilliant and, seemingly, authoritative performances and lively recorded sound, should be a natural choice. In every way, it’s another winner from Toccata that can be very warmly recommended.
Cespo, Gardel, Gardelin & Villoldo: Porteno - Works for Tuba
Haenssler Classic
CD
$10.49$20.99Save 50%Jun 07, 2024
Duo Compagni, comprising of tuba and piano, was established during the course of this CD production and has been touring internationally ever since. The duo performs new compositions and arrangements of works from all over the world. Their focus is on sound design and the musical joy of playing, which unites the pianist Susanne Endres and myself as solo tuba players. The tuba is no longer to be underestimated as a solo instrument. This has also been recognised by the German State Music Councils, who have named the tuba as the instrument of the year 2024, a fact that also inspired me to use this as an opportunity to produce this CD. (Siegfried Jung)
Recipient of the Pulitzer Prize for Music in 2004, the prolific American composer Paul Moravec writes in a musical idiom that offers an underlying romanticism tempered by distinctively modern discipline, qualities evident in the three works collect.
Following on from his acclaimed Resonus debut of solo works by Bartok and Kurtag, virtuoso violinist Simon Smith returns to the label with an enticing programme of chamber works for strings by Zoltan Kodaly and Erno Dohnanyi. Joined by colleagues Clare Hayes (violin), Paul Silverthorne (viola) & Katherine Jenkinson (cello), Smith presents three seminal chamber works from the first half of the twentieth century, performed with considerable elan by this exceptional collaboration.
Champagne! The Original Sound of Lumbye & His Idols
Dacapo Classical
CD
$8.99$17.99Save 50%Sep 01, 2023
With the establishment of Copenhagen’s Tivoli Gardens in 1843, the Danish composer and conductor Hans Christian Lumbye (1810–1874) swiftly rose to fame as the city’s internationally acclaimed king of waltzes and galops, leading his orchestra from the violin. For this recording, Lars Ulrik Mortensen and Concerto Copenhagen – Scandinavia’s leading period instruments ensemble – studied Lumbye’s original scores and used instruments from the era to recreate an authentic sound. This collection showcases Lumbye’s enchanting music, along with popular pieces by Bellman, Lanner and Strauss I.
Khöömei Beat are five outstanding musicians who excel in khöömei - Tuva’s unique style of throat singing. They layer traditional and modern instruments with their distinctive vocals to create powerful arrangements with modern rhythms and electronic sounds. Exhilarating and foot-stomping - a musical art that stretches back to the dawn of humanity, while simultaneously reaching forward to new horizons. An exhilarating mix of khöömei singing with razor-sharp drumming and earthy cello sounds that rush through the soul like the wind from an eagle’s wing. With the authentic Tuvan sounds of the doshpuluur, byzaanchyand igil, Khöömei Beat layer traditional and modern instruments with their distinctive vocals to create powerful arrangements with modern rhythms and electronic sounds.
Sony Music announces the release of THE CHAPERONE (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by Emmy Award-nominated composer MARCELO ZARVOS. Of the soundtrack, composer ZARVOS says: "For the original score of The Chaperone I chose a more restrained chamber music approach rather than a big sweeping orchestra. There is something incredibly intimate and reserved about the character of Norma Carlisle, brilliantly brought to life by Elizabeth McGovern, that I wanted to preserve and honor in the score. The focus was always on Norma's internal world and gentle curiosity. The instrumentation of string quartet, trumpet, woodwinds, piano and harp was meant to capture the universal aspect of the story, leaving the wonderful jazzy and diverse source pieces in the film to portray the bustling 1920's New York City." Director MICHAEL ENGLER states: "I wanted the score for The Chaperone to suggest the intimacy of the artistic and emotional longings of the characters rather than reflect the period in general. Marcelo did an incredible job of crafting it with a slight nod to the chamber music pieces that Louise dances to and that her mother plays." Louise Brooks the 1920s silver screen sensation who never met a rule she didn't break, epitomized the restless, reckless spirit of the Jazz Age. But, just a few years earlier, she was a 15 year-old student in Wichita, Kansas for whom fame and fortune were only dreams. When the opportunity arises for her to go to New York to study with a leading dance troupe, her mother. (Victoria Hill) insists there be a chaperone. Norma Carlisle (Elizabeth McGovern), a local society matron who never broke a rule in her life, impulsively volunteers to accompany Louise (Haley Lu Richardson) to New York for the summer. Why does this utterly conventional woman do this? What happens to her when she lands in Manhattan with an unusually rebellious teenager as her ward? And, which of the two women is stronger, the uptight wife-and-mother or the irrepressible free spirit? It's a story full of surprises-about who these women really are, and who they eventually become. Based on Laura Moriarty's beloved New York Times best-selling novel, "The Chaperone" reunites the writer (Oscar-winner Julian Fellowes), director (Michael Engler) and star (Elizabeth McGovern) of "Downton Abbey" for an immersive and richly emotional period piece. The film also stars Campbell Scott, Géza Röhrig, Miranda Otto, Robert Fairchild, and Blythe Danner.
Saúl Bitran writes of the present release: “Ruperto Chapí’s String Quartet No. 3 could well be subtitled Tragic Quartet. Here’s a work of a stormy nature, containing atmospheres of drama, anguish and loneliness. Out of the four quartets written by the composer, this is perhaps the one which has the least Spanish features… String Quartet No. 4, in B minor, was premiered by the Cuarteto Francés on February 22nd, 1907, and was dedicated by the composer to “my very dear friend and disciple Manuel Manrique de Lara”. On that evening’s printed program it was mentioned that “Chapí continues with the aesthetic tendency shown on his previous quartets. Without resorting to specific popular forms, the composer manages to give his work a genuinely national character, picturesque and free, dressing his own thoughts with rhythms and procedures of natural and traditional harmonies. The form matches, in general terms, that of a traditional string quartet but, within it, the composer is able to transit with absolute independence, and to present the thematic elements according to his own phantasy and to the whims of his personal temperament.”
With the recent rash of recordings of his works, by now the music of Charles-Auguste de Bériot should have become almost as familiar to collectors as it has been to violinists, both teachers and students. Although probably few pupils work through his Méthode (1858) at the beginning of their academic careers, they encounter his concertos halfway through, and if they’ve persisted, study his 60 concert studies as a sort of gateway, beside Dont’s op. 35 and Gaviniès’s Matinées, to the transcendental technical studies of Paganini and Ernst. Unlike Dont’s more patterned études, however, Bériot’s take the form of character pieces: even the simple melodies and scales in the Méthode recall music for the salon more vividly than music for the studio.
From the outset, it’s clear that Bériot cut the Douze Scènes ou Caprices from the same cloth. The opening study, “La séparation,” begins almost as bleakly and hauntingly as does Sibelius’s Violin Concerto and includes a buzzing middle section in double-stops that draws upon the violin’s less familiar timbral regions as effectively as do some of Bartók’s duos. At least Bella Hristova plays the study that way, taking maximum advantage of the rich and dramatic possibilities for characterization it offers. If No. 2, “La polka,” doesn’t attain the same level of portraiture, it exceeds the First Study in brilliance and complexity, and Hristova proves herself more than equal to its demands. No. 3, “Le lézard,” brings snaky (lizard-like) chromatic lines, while No. 4 (“Le départ”) frames passagework with a lament. No. 5, “La fougue,” contains a mix of scalar and arpeggiated lines that climb chromatically in the middle section, punctuated by explosions of double-stops. No. 10, “Marche russe,” may not sound particularly Slavic, but it relies on the usual stock characters to carry its drama forward.
The Nine Studies, while not bearing titles (except for the last, written “in imitation of the old masters”), also express severally a range of moods that should qualify them for parlor performance, even if the first four remain as intensely patterned as the 60 Concert Studies (the Fifth, Melody, the Sixth, “Gulnare,” and the Seventh, March, offer more developed character studies). The posthumous Prélude ou Improvisation, written, as the notes state, largely without bar lines, might, except for its length (nine minutes and then some), be welcome in an occasional appearance on the concert stage in place of, say, Kreisler’s Recitativo e Scherzo.
Bruce R. Schueneman’s insert notes point out the similarity of Bériot’s arsenal to Paganini’s; and a cursory examination of the scores may perhaps make them seem more similar than they appear upon closer examination: in Bériot’s studies, the difficulties have all been wrought in conformity with positions achievable by a normal hand, while Paganini’s notoriously require the skill of a contortionist. Nevertheless, Bériot tailors these difficulties to his intended performers, and both the easiest and the most difficult of his works (and some, especially the studies, reach a very high level of difficulty) make a brilliant, thoroughly violinistic effect. Marc Pincherle likened Vivaldi to Kreisler in writing music that achieved a maximum of brilliance with a minimum of effort; he might have included Bériot.
Bella Hristova’s consistently elegant and richly characterized performances camouflage the difficulty of these studies, though they seem to reach at least the level of the 60 Concert Studies. The engineers captured the tonal splendor of her 1655 Nicolò Amati in St. John Chrysostom Church in Newmarket, Ontario, Canada, on February 12–15, 2009. Collectors of all kinds should find this compilation uncommonly interesting; but to violinists, it should be irresistible. It would be sad to learn that Hristova didn’t choose to record this repertoire only because a contract to do so had been offered and didn’t feel as sympathetic to the composer as she seems. In any case, strongly recommended.
Bhajan is a free-wheeling yet meditative four-section work for electric violin and live electronics, which one critic described as “a pas de deux between violin and electronics,” was written for and features noted new-music violinist Robin Lorentz. Nicholas Chase has headlined festivals in Europe and the US as a composer, performer, and improviser, His interactive, site-specific composition NOVA: Transmission was exhibited as part of the Whitney Biennial in New York and his Ngoma Lungundu opened the New Music+ Festival at the Jana ek Academy, Czech Republic. He was an inaugural Composer Fellow at the 2011 international Other Minds Festival in San Francisco and in 2015 was honored by the International Center for Japanese Culture, Tokyo, Japan.
Chavez: Piano Concerto / Osorio, Prieto, Mexico National Symphony
Cedille
CD
$9.99$19.99Save 50%Apr 30, 2013
Rarely performed, the Piano Concerto of 20th-century Mexican composer Carlos Chavez receives an insightful, idiomatic, and compelling performance from Mexican-born pianist Jorge Federico Osorio, the Orquestra Sinfónica Nacional de México, and conductor Carlos Miguel Prieto. Surprising tempo changes and a whirlwind of styles make the work a thrill ride for performers and audiences alike!
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REVIEWS:
Make no mistake, Carlos Chávez’s Piano Concerto is a major work. Symphonic in length and very generous in content, it poses quite a challenge to the soloist, with hyperactive allegros surrounding an intimate and evocatively scored central Molto lento. Jorge Federico Osorio has no peer in this repertoire, at least on disc. He plays the work with unflagging energy and, where called for, sensitivity, and he’s very capably accompanied by Carlos Prieto and the Mexican National Symphony Orchestra. This is an important addition to the Chávez discography, and it’s very well engineered.
The couplings make an attractive series of encores. Both Chávez’s Meditación and Moncayo’s Muros Verdes are lovely, lyrical interludes, but Samuel Zyman’s Variations on an Original Theme is a major work more than a quarter-hour long. It’s not easy listening. The music is thorny and at times highly dissonant, but there’s also no question that the work has great integrity, a wide expressive range, and an impressive level of disciplined craftsmanship, nor is it particularly difficult to follow. Osorio, as in the concerto, plays all three solo works very well indeed, and as you’re not likely to find this repertoire so convincingly done anywhere else, this disc earns an enthusiastic recommendation.
-- David Hurwitz, ClassicsToday.com ----------
The program includes a postlude of solo piano music by Chávez and two of his younger compatriots. The Chaváz piece is a lovely youthful composition, written when he was 19, and owes as much to the influence of Grieg as it does to any New World sources. José Pablo Moncayo, a student of Chávez, contributes a beautiful and rather impressionistic work. Finally, there is the variation set by Samuel Zyman, a contemporary Mexican composer. This dark, even bleak, work is certainly the most harmonically advanced music on the CD, but makes for a somewhat jarring break from the more mellifluous material represented by Chávez and Moncayo. But the reason to acquire this recording is for the brilliant Chávez concerto, which has not been recorded for years.
The works of award-winning composer Chaya Czernowin have been performed worldwide at significant new music festivals and prestigious venues, and she is the first woman to be appointed composition professor at Harvard University. Commissioned by Deutsche Oper Berlin and widely acclaimed in the critical press, ‘Heart Chamber’ uses voice and stage as internalized sonic and visual landscapes to create a genuine multi-sensory musical experience. With only two characters and a hint of a narrative, this is a grand opera on the smallest of transformations, focusing on the intense beauty and vulnerabilities of falling in love. ‘It is seldom that audiences at the Deutsche Oper Berlin have listened with such rapture to a new commission’ (Online Merker). Director Uli Aumüller’s feature film ‘I did not rehearse to say I love you’ is also included and takes a behind-the-scenes look at the creation of the opera.
• Gaudete Brass makes its Cedille Records debut with Chicago Moves, an album of new and diverse American works for brass quintet. All were composed in the last six years, and all but one were written expressly for the Chicago-based ensemble of young brass virtuosos and receive their world-premiere recordings on the new CD.
Children! Viola Music by Bach & Living Composers / Hiyoli Togawa
BIS
SACD
$10.99$21.99Save 50%Oct 27, 2023
After Songs of Solitude (BIS-2553), a project designed by Hiyoli Togawa at a time when Covid forced people across the world into isolation (released in March 2021), the Japanese-Australian violist now presents another themed album focusing on the situation of children. During the pandemic, she kept thinking of the many children who do not have a loving home and were forced to stay at home, and so were exposed helplessly to violence, hunger and poverty.
As with her previous disc, she commissioned works on the theme of childhood from composers around the world. Thirteen of them, from Europe, Asia, North America and Australia, answered the call and embarked on a journey into childhood. The result is a collection of lullabies, childhood memories and adventures. Playful, wild, silent, funny, serious or dreamy, these works are musical pleas for the rights of children around the world. Hiyoli Togawa combines them with the Allemandes from Johann Sebastian Bach’s Six Suites for solo cello. Each of these Allemandes presents a new character, opening a very special dance universe. They invite us to surrender ourselves to the genuine and undisguised joy of playing and perhaps, almost, to lose ourselves in it – to find ourselves.
Children's Choir Music: New London Children's Choir - SKEMPT
Naxos
CD
$9.99$19.99Save 50%Nov 18, 2008
While children' voices have been heard in church music for centuries, music specifically composed for young choristers is a relatively recent, and most welcome, development. As the attractive and diverse music by the fourteen composers represented on.
CHILL WITH BACH comprises superb Johann Sebastian Bach interpretations selected for their soothing properties. For example, pianist Hae-won Chang plays "Siciliano" from Bach's Piano Concerto in E Major with incredible sensitivity and melodic flow. Her version of this piece relies on subtle dynamic shifts, which in turn create a wonderful depth in the music. Chang's interpretation of this slow movement is profound because of its expressiveness. She avoids the motoric tendency of lesser players and instead brings out the understated symmetry of this melody. Chen Pi-Hsien's pianistic skills are equally engaging. Performing two themes from the Goldberg Variations, Hsien reveals the harmonic congruity of these themes by also avoiding a mechanized approach. Indeed, Hsien embraces the ebb and flow of Bach's counterpoint; this is essential since Bach's music is so openly fugal. In addition to all the tremendous excerpts found here, this collection also contains Bach's famous piece, "Jesu, Joy of Man's Desiring." Performed by a solo pipe organ, this work contains one of Baroque's most contagious melodies.
