Arkiv Outlet
3488 products
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SaleBolcom: Trio for Horn, Violin and Piano - Suite No. 2 for Solo Violin
Naxos · Nov 2021CD$19.99$9.99 -
SaleCeremonial Music / United States Air Force Heritage Of America Band
Altissimo · Jan 2008CD$21.99$10.99 -
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SaleFarnon: Westminster Waltz - Orchestral Music / Leaper, Slovak Radio Symphony Orchestra
Naxos · Jul 2022CD$19.99$9.99 -
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SaleMalipiero, Ghedini, Casella: Music for Cellos and Orchestra / Shugaev, Uryupin, D. Prokofiev, Rostov Academic Symphony Orchestra
Naxos · Apr 2022CD$19.99$9.99 -
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SaleWranitzky: Orchestral Works, Vol. 4 / Štilec, Orchestra Pardubice, Czech Chamber Philharmonic
Naxos · Apr 2022CD$19.99$9.99 -
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SaleA Symphonic Journey From Philly To Utopia / Dirk Brosse, Brussels Philharmonic
Antarctica · Sep 2020CD$16.99$8.49 -
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SaleFreeman: Under The Arching Heavens / Schweckendiek, Helsinki Chamber Choir
BIS · Jan 2021SACD$21.99$10.99 -
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SaleMessiaen: Quartet for the End of Time - Rohde: one wing / Left Coast Chamber Ensemble
Avie Records · Mar 2021CD$19.99$9.99
Liszt: Complete Piano Music, Vol. 59 - Schubert Transcriptions
As a boy during the years 1822–23 Liszt studied in Vienna with Czerny and Salieri, at the same time as Schubert was winning his reputation as a leading composer in the city. Many years later Liszt did much to introduce Schubert’s music to a wider audience, not least through his prodigious transcriptions. In the case of the Three Marches and Mélodies hongroises, Liszt selected music originally written for piano duet, but in Soirées de Vienne, a set of nine pieces of which some were to remain prominent in Liszt’s concert repertoire, he fashioned a sequence of truly memorable valse-caprices.
Bolcom: Trio for Horn, Violin and Piano - Suite No. 2 for Solo Violin
Recipient of the National Medal of Arts, Pulitzer Prize, and a GRAMMY Award, William Bolcom is one of America’s most senior and internationally acclaimed composers. Commissioned to expand upon the under-represented horn trio repertoire, Bolcom has written a modern counterpart to Brahms’ Trio for Horn, Violin and Piano, Op. 40, in which he incorporates multiple styles into a substantial composition. The Suite No. 2 for Solo Violin is by turns frenzied, melancholic and light-hearted. Bolcom states, “Both works are performed beautifully and well recorded. Bravi tutti!”
Ceremonial Music / United States Air Force Heritage Of America Band
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
Farnon: Westminster Waltz - Orchestral Music / Leaper, Slovak Radio Symphony Orchestra
Frank Sinatra dubbed Robert Farnon ‘The Guv’nor’ in 1962 when the two men first came together in London to work on an album. This summed up Farnon’s reputation as being synonymous with the highest standards of craftsmanship across the widest spectrum of music-making, earning him four Ivor Novello awards and the Order of Canada. His fame was established with BBC wartime radio broadcasts and the ubiquitous Portrait of a Flirt. Further success came with TV themes such as the stirring Colditz March and the impressionistic beauty of such gems as À la claire fontaine. The performances on this acclaimed recording are given with ‘warmth, polish and a remarkable naturalness of idiomatic feeling’ (The Penguin Guide).
Review:
These 17 short pieces are drawn from among the elite of British style light music. Their dates are mostly scattered throughout the 1940s with outliers in the 1950s and 1970s. They were written by a Toronto-born man who was a prince among light music practitioners. He never lacked for work even when the genre began to stagger.
There are plenty of familiar moments including the Westminster chimes in the slippery-gliding polished Westminster Waltz and the unaccustomed gauntness of the Colditz March written later on for BBCTV’s successful Colditz series. Manhattan Playboy has a few Gershwin twists and twirls and streetcar references among Farnon’s usual broad bow-wave melodies. For all his faculty for commercial sheen he never lost touch with his gentle high summer pastoral side, as in Lake of the Woods, How Beautiful is Night, Pictures in the Fire, À la claire Fontaine and In a Calm. Each adds some contrast in what would otherwise have been a little unremitting. The 1946 State Occasion is a foray into Sovereign pomp and circumstance, much as Haydn Wood’s contemporary marches as well as the Empire March by Montague Phillips. Gateway to the West is among the most satisfying of his pieces and reeks of a confident sunny travelogue of the 1940s cinema ‘shorts’.
The collection launches with the well-practised exhilarations of Portrait of a Flirt. Farnon returns to the theme sometimes in comedic garb. Peanut Polka and Jumping Bean both recall the cinema sing-a-longs when a ball would bounce from word to word on screen to encourage the audience to sing and keep time.
This is good and true to style with a nice mix of moods.
--MusicWeb International (Rob Barnett)
Sullivan: Incidental Music
Malipiero, Ghedini, Casella: Music for Cellos and Orchestra / Shugaev, Uryupin, D. Prokofiev, Rostov Academic Symphony Orchestra
Wranitzky: Orchestral Works, Vol. 4 / Štilec, Orchestra Pardubice, Czech Chamber Philharmonic
Fuga: Piano Sonatas Nos. 1-3
Beethoven: Great Composers in Words & Music
When we think of Ludwig van Beethoven images of a stormy and passionate but tortured genius are brought to mind, alongside the transformative effect of his work on musical history. All of these things are true, but no artist lives in a vacuum, and even music that opens a portal onto ‘the infinite realm of the spirit’ has its wider context. Illustrated with music from each period, this enlightening life history by esteemed musicologist Davinia Caddy tells us about Beethoven’s place in society from his earlier career as a fine pianist, his life on the edge of the Napoleonic war, his professional triumphs and many romantic misfortunes, and that famous defiance of deafness and declaration that he would ‘seize Fate by the throat’. The musical excerpts include the ‘Pathétique’ and ‘Moonlight’ Sonatas, ‘Diabelli’ Variations, Symphonies Nos. 2, 3, 6 and 9, ‘Emperor’ Concerto, Missa solemnis and Fidelio, among many others.
Featuring performances by...
City of London Choir | Béla Drahos | Kenneth Schermerhorn | Kodály Quartet | Jay Baylon | Inga Nielsen | Kölner Kammerorchester | Nina Tichman | Capella Istropolitana | Maria Kliegel | Michael Halász | Sergio Gallo | Royal Liverpool Philharmonic Orchestra | Westminster Boys' Choir | Helmut Müller-Brühl | Hilary Davan Wetton | James Taylor | Nicolaus Esterházy Sinfonia | Nashville Symphony Orchestra | Stefan Vladar | Edmund Battersby | Lori Phillips | Stuttgart Piano Trio | Jeno Jandó | Royal Philharmonic Orchestra
DANCES FROM ISRAEL
A tiempo real: A New Take on Spanish Tradition
Willem Mengelberg Conducts Franz Schubert
Maasai Footsteps / Anuang'a Fernando
Maasai Footsteps is a project that reveals the evolution of the Maasai culture and shows the value of their traditions in the world today. To illustrate this development, Anuang’a brings modern choreography to the traditional performance of song and dance. Anuang’a describes it as “a show that travels to the ancient times and connects to the present, while revealing how much of the present-day culture is influenced by the past... This is a show that brings out the beauty of the Maasai culture and the unique rhythm of powerful voices and dance.” Anuang’a explains that the dancers are not professionals, and that he wanted to demonstrate the raw talent that exists in the local villages, those who sing and dance as part of their daily routine. The three clans involved are Purko from Maasai Mara, Loodokilani from Magadi and Kisonko from Amboseli. Each of the three clans bring their own combination of rhythm, voices and movements to traditional Maasai songs. While the groups perform a cappella, the contemporary dance that Anuang’a displays is a tribute to the Maasai community.“Tradition is what makes people who they are. If you lose it, you lose your identity.” – A.F.
Royê Mi
Gypsy Brass
Christmas in Ireland
The Sounds of Varanasi
Afrika Mamas
Murshidi & Sufi Songs
Best of Fado: Tribute to Amália Rodrigues
Sabla tolo 4: Tak raka takum
Last Silence / Martha Aarons, Lev Polyakin, Frances Renzi
Performed by the trio for whom it was written, Paul Schoenfield's new composition "Last Silence" picks up where "Cafe Music" left off. A show stopping tour de force of excitement and emotion. Schoenfield's "Four Souvenirs" is finally released here by violinist Lev Polyakin and pianist Frances Renzi, who commissioned the work. Beautiful trios by Rota and Cui round out the album. Paul Schoenfeld‘s music is widely performed and continues to draw an ever-expanding group of fans. According to Juilliard’s Joel Sachs, “he is among those all-too-rare composers whose work combines exuberance and seriousness, familiarity and originality, lightness and depth. His work is inspired by the whole range of musical experience, popular styles both American and foreign, vernacular and folk traditions, and the ‘normal’ historical traditions of cultivated music making, often treated with sly twists. Above all, he has achieved the rare fusion of an extremely complex and rigorous compositional mind with an instinct for accessibility and a reveling in sound that sometimes borders on the manic.”
A Symphonic Journey From Philly To Utopia / Dirk Brosse, Brussels Philharmonic
De Profundis: Sacred Repertoire For Male Choir
Estonia provides both starting point and goal for this disc of sacred music for male choir, with a traditional hymn followed by works by composers such as Kreek, Eespere and Lemba, and the closing De profundis by Arvo Pärt. But in between, Orphei Drängar and their conductor Cecilia Rydinger Alin make a grand tour of Europe, taking in music by composers from the Nordic countries, France, Italy, Central Europe and the UK. Biblical Psalms have provided many of these with their texts, such as Milhaud (in French), Langlais (in English), Kreek (in Estonian) and Pärt (in Latin). Others - Lemba, Söderman, Sandström - have set portions of the text of the Catholic mass. Grieg and Biebl were both inspired by prayers in Latin, while Rossini chose to set one in Italian. For Nattlig madonna ('Nocturnal Madonna') the Finnish composer Nils-Eric Fougtstedt selected a poem depicting the Virgin Mary with her newborn child by his compatriot Edith Södergran, while Bob Chilcott has chosen one by the Guyanese-British poet John Aagard, whose version of John Newton's Amazing Grace gives the background to the conversion of this 18th-century slave-trader turned abolitionist. Throughout a programme ranging from Rossini's Preghiera from c. 1860 to Sven-David Sandström's Sanctus, composed for the choir in 2010, Orphei Drängar and Rydinger Alin once again demonstrate the versatility and exalted standards that habitually causes the choir to be described as the finest male-voice choir in the world.
Discover Sufi Music with ARC Music
Freeman: Under The Arching Heavens / Schweckendiek, Helsinki Chamber Choir
The Finnish-American composer Alex Freeman has been described as being ‘as comfortable in the realm of the pop ballad as in that of the concert hall’ and yet his songs ‘are imbued with the craftsmanship and care one would expect of a composer of his formidable academic training, just as his concert works carry the emotional immediacy of popular music.’ Himself a choral singer, Alex Freeman has written a number of works for choir: music that aims to be sonorous and melodic, but is carefully crafted to avoid the clichés that can burden conventional tonality. Freeman’s requiem Under the arching heavens was commissioned by Nils Schweckendiek and the Helsinki Chamber Choir to commemorate the 100th anniversary of the 1918 Finnish civil war. The work incorporates poems in Finnish, Swedish and English, reflecting both the specific reason for the commission and the universality of human suffering caused by war. In the non-liturgical texts chosen by Freeman, birds are a recurring image, as is that of a mother and child. The work ends with lines by Walt Whitman from a poem written in the aftermath of the American Civil War. Also included on the album is A Wilderness of Sea, another recent choral piece which draws on works by Shakespeare, and the poet’s images of the sea, and of mankind’s relationship with it.
Vivaldi: A Tale Of Two Seasons - Concertos & Arias
VIVALDI L’Incoronazione di Dario , RV 719: Sinfonia; Ferri, ceppi, sangue, morte; Sentiro fra ramo. Arsilda, RV 700: Io sento in questo seno. Motezuma, RV 723: Quel rossor, ch’in volto miri; In mezzo alla procella. Violin Concertos: in D, RV 208, “Grosso Mogul”; in B?, RV 367; in C, RV 191 • Adrian Chandler (vn, cond); Sally Bruce-Payne (mez); La Serenissima (period instruments) • AVIE 2287 (76:16 Text and Translation)
Avie’s release of a program of Vivaldi’s music bears the subtitle “A Tale of Two Seasons,” with the two seasons represented by concertos and arias from 1717 and 1733. Adrian Chandler’s thorough and perceptive booklet notes give an account of the music, the culture that gave rise to it, and the changes the intervening 16 years wrought on Vivaldi’s style in both opera and concerto.
The program opens with the brief Sinfonia from L’Incoronazione di Dario , with the first movement exuding the ensemble’s crisp energy, the second comprising a flowing Andante , and the third, Presto , exhibiting chunky élan in this reading (Chandler notes that the designation refers to the movement’s “verve” rather than its speed). For the program, Chandler and the ensemble have adopted A = 440, representing then Venice’s higher pitch.
Chandler notes that Vivaldi’s arias from the early years don’t usually last as long as those from his later periods. Accordingly, the three from the 1717 portion of the program occupy only about 12 minutes in total. Sally Bruce-Payne appears as the mellifluous but dramatic soloist in the two arias from L’Incoronazione di Dario , (the vigorous Ferri, ceppi, sangue, morte and Sentiro fra ramo , the latter featuring dialogues with a solo violin and with strings), sandwiching in between the alternately flowing (voice) and agitated (orchestra) aria Io sento in questo seno from Arsilda.
The first “season” closes with the familiar Concerto, “Grosso Mogul,” which Chandler suggests had been written for performance during an opera on the subject of India’s Mogul. Chandler, playing a violin made in 1981, “after Amati,” by Rowland Ross, brings a flash of virtuosity to the solo part—especially the stunning extended cadenzas of the first and third movements, which he adapted mostly from a German source—in his view the unadulterated form of the work—as well as from Vivaldi’s manuscript.
To open the second “season,” Chandler plays a Violin Concerto (RV 367) that he identifies as a theatrical work written in the 1730s (and gives his reasons for believing so, in view of the general difficulty of dating Vivaldi’s concertos). Chandler also notes that by the 1730s, Vivaldi gave greater prominence to the solos, reducing the length of the ritornellos. In the first movement of RV 367, Chandler takes advantage not only of the flowing melody of the tuttis, but also of some dialogue between the upper parts and the bass as well.
The arias—for this season, “Quel rossor, ch’in volto miri” and the exciting and considerably more agitated “In mezzo alla procella,” making reference to a storm at sea, with both calling forth thrillingly dramatic readings from Sally Bruce-Payne—come from Motezuma , written, according to Chandler, for Angiola Zanucchi in the role of Ramiro, brother of Fernando, general of the Spanish army.
The Violin Concerto, RV 191, brings the program to a close. Similarities exist between this work and the Concerto, RV 367—a sort of melodiousness coupled with high-octane virtuosity, and Chandler effectively combines these manners. He notes that Vivaldi by this time had expanded his repertoire of bowings, and these surpass in their variety those found in more familiar works, like those in op. 8 from 1725. The Finale displays a wider range of rhythmic motives than many listeners may associate with Vivaldi, which also provides a strong contrast with his earlier works. Giuliano Carmignola and Andrea Marcon included this Concerto in a collection of Vivaldi’s late concertos with the Venice Baroque Orchestra (Sony 89362, Fanfare 25:2). Both ensembles play with electrifying crisp energy, but Chandler brings out the passagework’s lyricism; Carmignola, hissing and spitting, trains a laser to reflect its diamond-like brilliance.
La Serenissima gives in this program a fuller representation of Vivaldi as a musician and composer than could any that focused exclusively on his vocal or instrumental works. It should appeal to specialists and, because of its combination of breadth and focus, also to more general listeners. Very strongly recommended to all sorts of collectors.
FANFARE: Robert Maxham
Messiaen: Quartet for the End of Time - Rohde: one wing / Left Coast Chamber Ensemble
The provocative and beguiling Left Coast Chamber Ensemble (LCCE) comprises the crème de la crème of the San Francisco Bay Area’s musicians. Their motto: nothing is out of bounds, and anything is possible. Presenters of all types of music including small ensemble, vocal, orchestral, multi-media and operatic, a select group comes together for this recording of Olivier Messiaen’s seminal chamber work, Quartet for the End of Time. Written during the composer’s confinement in World War II, he maintained hope, expressing, “The abyss is Time with its sadness, its weariness. The birds are the opposite … our desire for light, for stars, for rainbows, and for jubilant songs.” LCCE co-founder and prize-winning composer Kurt Rohde echoes this sentiment in his Messiaen-inspired one wing for violin and piano, heard here in its world-premiere recording.
REVIEW:
I’ve gone from having two or three recordings of this eerie but emotionally powerful work, one of them being Tashi’s, to just having one, and that is the EMI recording made under the composer’s own supervision and featuring his wife, Yvonne Loriod, as the pianist. (Interestingly, Dietrich Fischer-Dieskau’s son Manuel is the cellist in this performance.) But after listening to the Left Coast Ensemble’s new recording, I’m tempted to add it to my collection.
Their performance is a bit brisker and tauter than either Tashi’s or Messiaen’s but not lacking in emotional intensity. Although I felt that the Left Coast Ensemble’s more linear approach gave a more “streamlined” profile to the music, this is sometimes to its favor as it brings out the structure of the work better. And as I say, the individual members of this quartet clearly get the music’s message. Indeed, I found clarinetist Jerome Simas’ long solo in the third section (“The Abyss of the Birds”) to be as forlorn as that of Wolfgang Meyer on the Messiaen-Loriod recording, and better than that of Stoltzman with Tashi.
– Art Music Lounge