{"title":"Bill Graham","description":"","products":[{"product_id":"vivaldi-wind-concerti-nicholas-kraemer-197401","title":"Vivaldi: Wind Concerti \/ Nicholas Kraemer","description":"\u003cp\u003eSelections on this disc were recorded in October 1994 and January 1995.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":44624709026026,"sku":"730099420426","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127227.jpg?v=1778346470"},{"product_id":"stabat-part-macmillan-vasks-ross-clair-college-choir-cambridge-394190","title":"Stabat - Part, MacMillan \u0026 Vasks \/ Ross, Dmitri Ensemble, Clair College Choir Cambridge","description":"When he moved away from serial techniques at the end of the 1960s, having undergone something of a spiritual and artistic transformation, Arvo Pärt turned to the choral tradition of the Middle Ages and the Renaissance for inspiration. From this period of intense study emerged the masterpieces inaugurating his now unmistakable style: the refined, timeless soundworld of \"tintinnabulation.\" On this release Graham Ross and the Choir of Clare College, Cambridge perform a selection of music by Pärt, James MacMillan \u0026amp; Peteris Vasks.\u003cbr\u003e  \u003cbr\u003e  -----\u003cbr\u003e  \u003cbr\u003e  REVIEW:\u003cbr\u003e \u003cbr\u003e  Recordings of Arvo Pärt’s music continue to flourish, and no one seems to tire of hearing (or performing) Magnificat or The Woman with the Alabaster Box, Nunc dimittis, or Da pacem, Domine–all of which are included here and stand among the most frequently represented on disc (a couple of dozen instances for Magnificat). Yet, it’s no surprise as to why these works are so popular, their uniquely appealing qualities–of sound, of melody, of harmonic architecture and movement–effecting a sense of timelessness that confers on them a remarkable immunity from wear.\u003cbr\u003e  \u003cbr\u003e  Pärt and his music also benefit from the fact that most of the recordings offer excellent performances, and this one is no exception. In fact, these are among the very best in the catalog: these young, exceptionally well-trained, expert choral musicians, recorded primarily in the special ambiance, tempered by stone, glass, and light, of Ely Cathedral’s Lady Chapel, leave nothing to be desired in their expression of Pärt’s unique, sensuous realizations of sound and silence. This was the venue for so many of the acclaimed recordings by John Rutter and his Cambridge Singers–and, guess who happens to be producer, engineer, and editor of this project: yes, none other than Rutter himself, and the sonic excellence on display here is the result of someone in command who knows the strengths and foibles of that large acoustic space (stand here, place the microphone there). And so, we need not worry at all about the recorded sound of the singing.\u003cbr\u003e  \u003cbr\u003e  But while Pärt may be the “draw” (he gets top billing on the disc cover), it’s actually James MacMillan who likely will leave listeners with the more lasting impression–and induce many repeated hearings–with his Miserere, for mixed a cappella choir. Every now and then a modern choral work does a rare thing: it sets the listener on a path and–voilá–takes him or her just where it promises to take them. No set-up for sudden expectation-be-damned surprise. When you get to the end of this 12-minute-plus piece, you feel you’ve been respected, as an intelligent listener, with both knowledge and feeling, one who is aware of both the conventions and perversions of musical style, who loves beauty and truth in the expression, in whatever form, language, or context it may be presented.\u003cbr\u003e  \u003cbr\u003e  In this case, MacMillan exploits his available musical material with free references to Pärtian style and in his inclusion of the famous Miserere of Allegri, quoting directly and indirectly, while creating a wholly original work that sticks to the path, occasionally goes off on its own seemingly diversionary trail, but always comes back, the “diversion” now realized as an integral bridge to the very satisfying conclusion. And, I have to say that rather than hear the zillionth performance of the Allegri–endless, often vocally tedious, difficult to stage–I am happier to hear MacMillan’s canny referential episodes in this extraordinary work. The excellent performance is marred only by one brief passage of faulty intonation from a soloist.\u003cbr\u003e  \u003cbr\u003e  The usual pairing of MacMillan’s Miserere on recordings is, no surprise, with Allegri’s setting–which of course isn’t just his, but also the work of subsequent elaborators. Here, besides the Pärt works, we get a 15-minute piece by Latvian composer Peteris Vasks: Plainscapes, for mixed choir, violin, and cello. While this work is undoubtedly worthy for its craft and effective use of “wordless” vocal techniques, a “tapestry of abstract sound” (as described in the liner notes) to depict a “sonic journey across [Vasks’] native country”, it’s an odd choice for inclusion on this program. The completely different style, the sound-effects, the secular context–it doesn’t fit. It’s a disruption, although a very well-performed one. Fortunately you have the choice to skip it–and even if you don’t, the rest of the music will soon convince you that you did.\u003cbr\u003e  \u003cbr\u003e  – ClassicsToday.com (David Vernier)","brand":"HARMONIA MUNDI","offers":[{"title":"CD","offer_id":44908058476778,"sku":"3149020940396","price":18.33,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3783130-2547673.jpg?v=1778375120"},{"product_id":"duke-three-portraits-of-ellington","title":"Duke!: Three Portraits of Ellington","description":"Classical Music","brand":"Innova Recordings","offers":[{"title":"CD","offer_id":46012868853994,"sku":"726708679125","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1796924_a356047c-0a57-4392-80c0-802f42d0e103.jpg?v=1778323764"},{"product_id":"grainger-duke-of-marlborough-fanfare-the-lincolnshire-p","title":"GRAINGER: Duke of Marlborough Fanfare (The) \/ Lincolnshire P","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46012983902442,"sku":"019688115920","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1483751.jpg?v=1778286900"},{"product_id":"i-am-an-american-united-states-air-107220","title":"I Am An American \/ United States Air Force Concert Band \u0026 Singing Sergeants","description":"\u003cdiv style=\"text-align: center;\"\u003eIncludes works such as: Bagley: National Emblem | Gould: American Salute, Fourth of July, Yankee Doodle | The Star-Spangled Banner | Sousa: El Capitan \u0026amp; Washington Post | Tchaikovsky: 1812 Overture, Op. 49\u003c\/div\u003e","brand":"Altissimo","offers":[{"title":"CD","offer_id":46013074374890,"sku":"754422704120","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1908343.jpg?v=1778324520"},{"product_id":"tullochgorum-haydn-scottish-songs-art-the-289969","title":"Tullochgorum: Haydn - Scottish Songs \/ Art, The Poker Club Band","description":"\u003cp\u003eBetween 1791 and 1804, Joseph Haydn arranged some 400 traditional songs for publishers in Scotland and England. Almost all of the songs were Scottish and the most common setting was for voice and piano trio. There have been numerous recordings and performances of the arrangements by these forces, but on this disc The Poker Club Band offer their listeners something quite different. Taking its name from one of the Edinburgh clubs at the heart of the Scottish Enlightenment, the ensemble consists of four early music specialists and a traditional singer. They have retained Haydn’s violin and cello, but the keyboard part has been adapted for harp and guitar following indications that the harp was commonly used for contemporary performances of Scottish traditional repertoire. The Gaelic singer James Graham, with his idiomatic Scottish timbre, and the period instruments – of which Masako Art’s single-action pedal harp from 1809 is known to have been in Scotland around the time – brings us that much closer to what a performance in an Edinburgh salon might have sounded like around 1800. The songs themselves range from the cautionary tale of a girl who married for love and now is doomed to a life of hard and dirty work on her husband’s farm (The Mucking of Geordie’s Byer) to love songs such as Oran Gaoil, with a text by Robert Burns. Providing variety, some instrumental 18th century arrangements of Haydn originals are included while the album ends with the well-known atmospheric Lament by the Scottish fiddler Niel Gow.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46013166846186,"sku":"7318599924717","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3760107-2528186.jpg?v=1778229496"},{"product_id":"mozart-the-great-operas-13-dvd-set-256562","title":"Mozart - The Great Operas","description":"From the mythological setting of Idomeneo via the sparkling wit of Le nozze di Figaro and powerful tragicomedy of Don Giovanni to the fantastical workings of the late Singspiel Die Zauberflöte, Mozart’s mature operas stand among the greatest achievements of Western art, dramas that illuminate the composer’s creativity as a whole and which stood out in their own time for the new level of characterisation, wit and lessons on life and humanity they brought to the musical stage. Featuring recordings made during the last ten years from some of the world’s leading opera houses, this collection offers an acclaimed series of productions that present consummate interpretations of Mozart’s scores through striking set designs and peerless singing, paying homage to a group of masterpieces which are just as relevant today as when they were first performed.\u003cbr\u003e  \u003cbr\u003e  Wolfgang Amadeus Mozart\u003cbr\u003e  THE GREAT OPERAS\u003cbr\u003e  (13-DVD Box Set)\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eIdomeneo\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eIdomeneo \u003c\/i\u003e-  \u003cb\u003eRamón Vargas\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eIdamante \u003c\/i\u003e-  \u003cb\u003eMagdalena\u003c\/b\u003e  \u003cb\u003e Kožená\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eIlia \u003c\/i\u003e-  \u003cb\u003eEkaterina Siurina\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eElettra \u003c\/i\u003e-  \u003cb\u003eAnja Harteros\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eArbace \u003c\/i\u003e-  \u003cb\u003eJeffrey Francis\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eSalzburg\u003c\/b\u003e  \u003cb\u003e Bach Chor\u003c\/b\u003e\u003cbr\u003e  (chorus master:  \u003cb\u003eAlois Glassner\u003c\/b\u003e)\u003cbr\u003e   \u003cb\u003eCamerata Salzburg\u003cbr\u003e Roger Norrington\u003c\/b\u003e, conductor\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eKarl-Ernst Hermann\u003c\/b\u003e,  \u003ci\u003estage director, set and costume designer\u003cbr\u003e \u003c\/i\u003e  \u003cb\u003eUrsel Herman\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live from the Salzburg Festival, 2006\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e     \u003cb\u003eDie Entführung aus dem Serail\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eKonstanze\u003c\/i\u003e -  \u003cb\u003eLaura Aikin\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eBelmonte\u003c\/i\u003e -  \u003cb\u003eEdgaras Montvidas\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eOsmin\u003c\/i\u003e -  \u003cb\u003eKurt Rydl\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eBlonde\u003c\/i\u003e -  \u003cb\u003e Mojca Erdmann\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003ePedrillo\u003c\/i\u003e -  \u003cb\u003eMichael Smallwood\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eBassa Selim\u003c\/i\u003e -  \u003cb\u003eSteven Van Watermeulen\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eChorus of De Nederlandse Opera\u003cbr\u003e The Netherlands Chamber Orchestra\u003cbr\u003e Constantinos Carydis\u003c\/b\u003e,  \u003ci\u003econductor\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eJohan Simons\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live at Het Musiektheater, Amsterdam on 2, 7 and 19 February 2008\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eLe nozze di Figaro\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eIl Conte di Almaviva\u003c\/i\u003e -  \u003cb\u003ePeter Mattei\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eLa Contessa di Alamviva\u003c\/i\u003e -  \u003cb\u003eChristiane Oelze\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eSusanna\u003c\/i\u003e -  \u003cb\u003eHeidi Grant Murphy\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eFigaro\u003c\/i\u003e -  \u003cb\u003eLorenzo Regazzo\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eCherubino\u003c\/i\u003e -  \u003cb\u003eChristine Schäfer\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eMarcellina\u003c\/i\u003e -  \u003cb\u003eHelene Schneiderman\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eBartolo\u003c\/i\u003e -  \u003cb\u003eRoland Bracht\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eDon Basilio\u003c\/i\u003e -  \u003cb\u003eBurkhard Ulrich\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eDon Curzio\u003c\/i\u003e -  \u003cb\u003eEberhard Francesco Lorenz\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eBarbarina\u003c\/i\u003e -  \u003cb\u003eCassandre Berthon\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eAntonio\u003c\/i\u003e -  \u003cb\u003eFrederic Caton\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eParis\u003c\/b\u003e  \u003cb\u003e National Opera Chorus and Orchestra\u003c\/b\u003e\u003cbr\u003e  (chorus master:  \u003cb\u003ePeter Burian\u003c\/b\u003e)\u003cbr\u003e   \u003cb\u003eSylvain Cambreling\u003c\/b\u003e,  \u003ci\u003econductor\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eChristoph Marthaler\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eAnna Viebrock\u003c\/b\u003e,  \u003ci\u003eset and costume designer\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eOlaf Winter\u003c\/b\u003e,  \u003ci\u003elighting designer\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eThomas Stache\u003c\/b\u003e,  \u003ci\u003echoreographer\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live at the Palais Garnier, Paris, 2006\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eDon Giovanni\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eDon\u003c\/i\u003e  \u003ci\u003eGiovanni\u003c\/i\u003e -  \u003cb\u003eCarlos Álvarez\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eCommendatore\u003c\/i\u003e -  \u003cb\u003eAlfred Reiter\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eDonna Anna\u003c\/i\u003e -  \u003cb\u003eMaría Bayo\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eDon Ottavio\u003c\/i\u003e -  \u003cb\u003eJosé Bros\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eDonna Elvira\u003c\/i\u003e -  \u003cb\u003eSonia Ganassi\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eLeporello\u003c\/i\u003e -  \u003cb\u003eLorenzo Regazzo\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eMasetto\u003c\/i\u003e -  \u003cb\u003eJosé Antonio López\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eZerlina\u003c\/i\u003e -  \u003cb\u003eMaría José Moreno\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eMadrid\u003c\/b\u003e  \u003cb\u003e Teatro Real Chorus and Orchestra\u003c\/b\u003e\u003cbr\u003e  (chorus master:  \u003cb\u003eJordi Casas Bayer\u003c\/b\u003e)\u003cbr\u003e   \u003cb\u003eVictor Pablo Pérez\u003c\/b\u003e,  \u003ci\u003econductor\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eLluis Pasqual\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eEzio Frigerio\u003c\/b\u003e,  \u003ci\u003eset designer\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eFranca Squarciapino\u003c\/b\u003e,  \u003ci\u003ecostume designer\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eWolfgang von Zoubek\u003c\/b\u003e,  \u003ci\u003elighting designer\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eNuria Castejón\u003c\/b\u003e,  \u003ci\u003echoreographer\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live at the Teatro Real de Madrid, 8, 10 and 12 October 2005\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eCosi fan tutte\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eFerrando -\u003c\/i\u003e  \u003cb\u003e Topi Lehtipuu\u003c\/b\u003e  \u003ci\u003e\u003cbr\u003e Guglielmo \u003c\/i\u003e-  \u003cb\u003eLuca Pisaroni\u003c\/b\u003e  \u003ci\u003e\u003cbr\u003e Don Alfonso - \u003c\/i\u003e  \u003cb\u003eNicolas Rivenq\u003c\/b\u003e  \u003ci\u003e\u003cbr\u003e Fiordiligi - \u003c\/i\u003e  \u003cb\u003eMiah Persson\u003c\/b\u003e  \u003ci\u003e\u003cbr\u003e Dorabella - \u003c\/i\u003e  \u003cb\u003eAnke Vondung\u003c\/b\u003e  \u003ci\u003e\u003cbr\u003e Despina - \u003c\/i\u003e  \u003cb\u003eAinhoa Garmendia\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eThe Glyndebourne Chorus\u003cbr\u003e Orchestra of the Age of Enlightenment\u003cbr\u003e Iván Fischer\u003c\/b\u003e  \u003ci\u003e, Conductor\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eNicholas Hytner, \u003c\/b\u003e  \u003ci\u003eStage Director\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live at the Glyndebourne Festival Opera in June and July 2006\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eLa Clemenza di Tito\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eSesto\u003c\/i\u003e -  \u003cb\u003eSusan Graham\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eAnnio\u003c\/i\u003e -  \u003cb\u003eHannah Esther Minutillo\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eVitellia\u003c\/i\u003e -  \u003cb\u003eCatherine Naglestad\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eServilia\u003c\/i\u003e -  \u003cb\u003eEkaterina Siurina\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003ePublio\u003c\/i\u003e -  \u003cb\u003eRoland Bracht\u003cbr\u003e \u003c\/b\u003e  \u003ci\u003eTito\u003c\/i\u003e -  \u003cb\u003eChristoph Prégardien\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eParis\u003c\/b\u003e  \u003cb\u003e National Opera Chorus and Orchestra\u003c\/b\u003e\u003cbr\u003e  (chorus master:  \u003cb\u003ePeter Burian\u003c\/b\u003e)\u003cbr\u003e   \u003cb\u003eSylvain Cambreling\u003c\/b\u003e,  \u003ci\u003econductor\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eUrsel Herrmann\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e   \u003cb\u003eKarl-Ernst Herrmann\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live at the Palais Garnier, Paris, May and June 2005\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eDie Zauberflöte\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eSarastro\u003c\/i\u003e -  \u003cb\u003eGünther Groissböck\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eTamino\u003c\/i\u003e -  \u003cb\u003eSaimir Pirgu\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eQueen of the Night\u003c\/i\u003e -  \u003cb\u003eAlbina Shagimuratova\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003ePamina\u003c\/i\u003e -  \u003cb\u003eGenia Kühmeier\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003ePapagena\u003c\/i\u003e -  \u003cb\u003eAilish Tynan\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003ePapageno\u003c\/i\u003e -  \u003cb\u003eAlex Esposito\u003c\/b\u003e\u003cbr\u003e   \u003ci\u003eMonostatos\u003c\/i\u003e -  \u003cb\u003ePeter Bronder\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eMilan\u003c\/b\u003e  \u003cb\u003e La Scala Chorus and Orchestra\u003cbr\u003e Roland Böer\u003c\/b\u003e,  \u003ci\u003econductor\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eWilliam Kentridge\u003c\/b\u003e,  \u003ci\u003estage director\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eRecorded live at La Teatro alla Scala, 20 March 2011\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003ci\u003eBonus:\u003c\/i\u003e\u003cbr\u003e  - 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Susan Graham, one of America’s most beloved mezzo-sopranos, is heard in three of the shorter pieces; Pacific Symphony members provide the instrumentals. “A masterpiece of clarity and intensity, with a score that is at once thematically compact and richly inventive.” San Francisco Chronicle (review of Jake Heggie’s opera “Moby Dick”)\u003c\/p\u003e","brand":"Delos","offers":[{"title":"CD","offer_id":46013417980138,"sku":"013491348421","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3011804.jpg?v=1778301158"},{"product_id":"stravinsky-pulcinella-scherzo-fantastique","title":"Stravinsky: Pulcinella - Scherzo fantastique","description":"The penultimate release in the Naxos Seattle Collection, featuring internationally renowned soprano Susan Graham.","brand":"Naxos","offers":[{"title":"CD","offer_id":46013491183850,"sku":"747313122479","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2096578.jpg?v=1778313079"},{"product_id":"ustvolskaya-symphony-no-5-octet-etc-shostakovich-180300","title":"Ustvolskaya: Symphony No. 5, Octet, Etc; Shostakovich: Piano Quintet \/ Stott","description":"'It is not you who are under my influence, but I who am under yours,' wrote Shostakovich to Ustvolskaya. 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There are thirteen songs in the whole work that traces the story from the memories of the suicide of the protagonist's father, ruined by unfortunate speculation, making his son's match with Maud, daughter of his father's closest friend, and his betrayer, impossible. Three of these are included here. Maud's family return to the Hall and gradually the young man at the heart of the drama falls in love with her again. In the fifth song of Somervell's cycle, Birds in the high Hall-garden, the lovers meet, before Maud returns to the house, with the flowers she has picked. The verses that tell of the arrival of another to woo her are omitted. The seventh song, Go not, happy day, expresses the love of the couple. The first part of the poem ends with the words that provide the ninth song of Somervell's cycle, Come into the garden, Maud, words perhaps more familiar in the setting by Balfe. 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Price, G. Johnson","description":"There's no stopping the Price\/Johnson bandwagon just now. Here is yet another profoundly enjoyable and well-considered offering from the pair. With Johnson to devise intelligent, logical programmes, Price and himself to interpret them, a remarkable unanimity of thought and confidence of manner is being achieved, the delights there for the taking.\u003cbr\u003e  \u003cbr\u003e Here we begin with six contrasted settings of Heine, all reasonably familiar songs, each given with a nice balance between breadth of phrasing and warmth of feeling, on both sides admirably tailored to the Brahms ethos and melos in the matter of song-writing. Some of these pieces appeared some years ago on an Orfeo recital by Price (2\/87): the readings have matured like a good wine and now-as in Sommerabend-go to the very heart of the matter with a marvellous intertwining of voice and piano. The account of its companion-piece, Mondenschein, not before recorded by the soprano, fully realizes its autumnal melancholy in phrases that seem to linger endlessly in the air. As an emotional relief comes the charm and lightness of Es liebt sich so lieblich im Lenze!.\u003cbr\u003e  \u003cbr\u003e The judicious choice of Volkslieder settings once more indicates Brahms's deep understanding of the originals and just how to clothe them in appropriate harmonies, as in the antique Dorian mode of Sehnsucht and Vergangen ist mir Gluck und Heil, both sung and played here with an exquisite sense of longing. The singer changes colour, brightens her tone, for the bantering duologue of Spannung. Then there is the Schwung given to the repeated lines at the end of Madchenfluch, characterizing the girl's spite and frustration. Da unten im Tale is entirely free from the sophistication, admittedly effective, brought to it by Schwarzkopf on so many occasions: here the sad little plaint is allowed to speak for itself, but the verdict goes the other way in Vergebliches Standchen where Price is a trifle too staid.\u003cbr\u003e  \u003cbr\u003e Finally, the partnership lavish a winningly uninhibited elan on the Zigeunerlieder. If we are occasionally aware of a momentary strain on Price's present resources, we are consoled by the passionate spontaneity of the results. The recording is ideally balanced, intimate yet open.\u003cbr\u003e  \u003cbr\u003e Price must surely now be placed in the royal line of female Lieder singers that runs from Gerhardt and Lehmann, through Seefried, Schwarzkopf and Ludwig, to Ameling. The length of her actual discography of Lieder must now at least rival theirs. 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Featuring works by Emmanuel Chabrier, Jules Massenet, Camille Saint-Saëns, Claude Debussy, Jacques Ibert and Maurice Ravel.","brand":"Klavier","offers":[{"title":"CD","offer_id":46027737628906,"sku":"019688120320","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2829822.jpg?v=1778311674"},{"product_id":"denver-brass-from-age-to-age","title":"DENVER BRASS: From Age to Age","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027744182506,"sku":"019688116521","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1482607.jpg?v=1778286923"},{"product_id":"american-promenade-orchestra-premiere-evening","title":"AMERICAN PROMENADE ORCHESTRA: Premiere Evening","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027745362154,"sku":"019688105327","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1483755_ff108a3d-cb0b-49d0-8676-20a69f56a2e7.jpg?v=1778286928"},{"product_id":"hot-hot-hot","title":"Hot Hot Hot","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027846418666,"sku":"019688704025","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1925772.jpg?v=1778254654"},{"product_id":"joy-to-the-world-a-celebration-of-international-music-of-th","title":"Joy to the World (A Celebration of International Music of th","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027846385898,"sku":"019688704223","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2031834.jpg?v=1778320230"},{"product_id":"wonderful-world","title":"Wonderful World","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027846484202,"sku":"019688770419","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2017630.jpg?v=1778332711"},{"product_id":"american-originals","title":"American Originals","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027856740586,"sku":"019688118822","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1908199.jpg?v=1778324573"},{"product_id":"famous-american-marches-usaf-heritage-of-america-band-019688113926","title":"Famous American Marches \/ USAF Heritage of America Band","description":"\u003cp\u003eStrong collection of march favorites from composers such as Fillmore, Losey, Jewell, King, Richards \u0026amp; Sousa. Tracks include \"Riders for the Flag,\" \"Bullets \u0026amp; Bayonets,\" \"His Honor,\" \"Sarasota,\" \"Royal Scotch Highlanders,\" \"Black Jack,\" \"Invincible Eagle,\" \"Stars \u0026amp; Stripes Forever,\" \"Voice of America,\" \"Shield of Liberty,\" \"Screamer,\" and more. (Klavier)\u003c\/p\u003e","brand":"Klavier","offers":[{"title":"CD","offer_id":46027858149610,"sku":"019688113926","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1483777.jpg?v=1778337437"},{"product_id":"evolution-lowell-e-graham-united-states-air-force-band-252937","title":"Evolution \/ Lowell E. Graham, United States Air Force Band","description":"\u003cp\u003eAll tracks have been digitally mastered using 24-bit technology.\u003c\/p\u003e","brand":"Klavier","offers":[{"title":"CD","offer_id":46027858444522,"sku":"019688116125","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1483833.jpg?v=1778329416"},{"product_id":"dvorak-serenade-op-44-bagatelles-czech-suite","title":"DVORAK: Serenade, Op. 44 \/ Bagatelles \/ Czech Suite","description":"Classical Music","brand":"Klavier","offers":[{"title":"CD","offer_id":46027912872170,"sku":"019688112622","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1483803.jpg?v=1778337355"},{"product_id":"united-states-air-force-band-on-dress-parade","title":"UNITED STATES AIR FORCE BAND: On Dress Parade","description":"The term \"dress parade\" originally referred to a military parade where soldiers marched in formal uniforms and often carried their weapons. Dress parades are now so uncommon that the term has fallen out of use, and even out of most dictionaries, but in a very real way the United States Air Force Band continues this wonderful tradition. The Band has traded the instruments of battle and has replaced them with musical instruments of patriotism and goodwill. On Dress Parade captures the sound and feeling of the forgotten dress parade. This recording features compositions of renowned march composers Chambers, Goldman and Sousa, while simultaneously exploring the works of many lesser-known march composers whose legacies would have been lost had these musical treasures not been recorded.","brand":"Altissimo","offers":[{"title":"CD","offer_id":46028022087914,"sku":"754422601627","price":13.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2017578.jpg?v=1778381219"},{"product_id":"celebration-lowell-graham-us-air-force-band-252941","title":"Celebration \/ Lowell Graham, U.S. Air Force Band","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"ARIAL12bi\"\u003eCELEBRATION \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e• \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eCol. Lowell Graham, cond; United States Air Force Band \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e KLAVIER K11176 (66: 01) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eCOPLAND \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eAn Outdoor Overture. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eSCHUMAN \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eNew England Triptych. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eHOLST \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eHammersmith. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eBENNETT \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSuite of Old American Dances. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eCRESTON \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eCelebration Overture \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis collection of band repertoire staples benefits from performances that are never less than first-rate, captured in stunning sound. All were either originally composed for band or transcribed for the medium by the composer. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe two transcriptions—Aaron Copland’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAn Outdoor Overture\u003c\/span\u003e \u003cspan\u003e and William Schuman’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNew England Triptych—\u003c\/span\u003e \u003cspan\u003eare perhaps the least successful works on the program, especially when compared to their orchestral counterparts. This is especially true of Schuman’s three-movement suite based on Revolutionary War songs by William Billings, the band transcription of which is substantially inferior to its orchestral cousin. Schuman prepared the band version of the third movement, “Chester,” around the same time he composed the original work, altering and expanding the music until it essentially became a new piece. The resultant work, the brilliant \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eChester Overture,\u003c\/span\u003e \u003cspan\u003e is more often than not performed as a freestanding, independent piece. Sadly, the other two movements of the triptych did not fare as well. For the band transcription of the first movement, “Be Glad Then, America,” Schuman added a good deal of gratuitous ornamentation, as well as additional percussion parts that can only be described as perfunctory. The mystery and ominous foreboding of the original introduction are completely absent here. This movement also suffers from thick, turgid textures, as does the second movement, “When Jesus Wept,” which was originally scored very transparently for strings with solo parts for oboe, bassoon, and tenor drum. In the band version, Schuman reassigned the oboe and bassoon solos to trumpet and euphonium. Why I don’t know, but as a result, the music’s poignancy and pathos are substantially diminished. There are also a couple of notational errors (actual wrong notes printed in the sheet music) in the solo euphonium part that are not corrected in this performance (though to be fair, they rarely are). \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe remaining works are all band originals. Gustav Holst’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eHammersmith\u003c\/span\u003e \u003cspan\u003e of 1930 was inspired by the composer’s evening walks along the Thames during which he not only absorbed the sounds of the river itself, but also the revelry and gaiety emanating from the numerous pubs and taverns along the river’s banks. A somber, dirge-like prelude, constructed over a brooding ground bass, gives way to a boisterous, rollicking scherzo, only to eventually return as the work’s solemn coda. Though considered to be something of a “sacred cow” in the band repertoire, I must admit that the work has always left me a bit cold. (Heresy, I know.) Robert Russell Bennett’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSuite of Old American Dances\u003c\/span\u003e \u003cspan\u003e is exactly what the title describes, each of its five movements—“Cake Walk,” “Schottische,” “Western One-Step,” “Wallflower Waltz,” and “Rag”—perfectly evoking the simple nostalgia of bygone Americana. The program comes to an exhilarating conclusion with a rousing account of Paul Creston’s exuberant\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Celebration Overture\u003c\/span\u003e \u003cspan\u003e, a masterly three-part work highlighted by a particularly lovely ballad as its central section. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThese recordings, all of which are among the finest this music has ever received, were originally available only through official Department of the Air Force channels. First released in 1996, though only to schools, libraries, radio stations, and other “official” recipients, these superb performances are now available to the general public for the first time. As there are many other first-rate recordings from this source still in the vaults, we can only hope that this disc will be followed by many, many more. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Merlin Patterson \u003c\/span\u003e\u003cbr\u003e","brand":"Klavier","offers":[{"title":"CD","offer_id":46028055511274,"sku":"019688117627","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1579625.jpg?v=1778379417"},{"product_id":"respighi-fountains-of-rome-pines-of-rome-92787","title":"Respighi: Fountains Of Rome, Pines Of Rome, Roman Festivals \/ Graham, US Air Force Band","description":"\u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  If only the standard symphonic recordings of this music could boast sound this good! Actually, in \"Pines\" I still have a slight preference for the version recorded by the \"President's Own\" Marine Corps Band, but if you're looking for all three \"Roman\" tone poems, this stunningly recorded disc will be pretty hard to beat. The transcriptions, by Lawrence Odom, are amazingly faithful to Respighi's original concept, and you'll be surprised at how little you miss the presence of the strings. The soft, delicate passages (\"The Pines of the Janiculum\", or the outer sections of \"Fountains\") sound just fine here, though the very opening of \"Festivals\" lacks the slashing attack of the violins. Never mind.\u003cbr\u003e  \u003cbr\u003e The brass and winds of the U.S. Air Force Band play with a boldness and confidence that's breathtaking. Just listen to the trombones and other low brass in the \"Trevi Fountain\" (and to the way conductor Graham builds the section's climax). \"The Pines Near a Catacomb\" sounds even darker and more menacing than in the original, while the concluding sections of \"Pines\" and \"Festivals\" will blow you away, if your speakers can stand it.\u003cbr\u003e  \u003cbr\u003e It's also worth pointing out that Col. Lowell E. Graham's conducting is not just strong and forthright, but it's remarkably sensitive to balance and color, even in heavily scored passages. The very opening of \"Pines\" gives the harps a welcome prominence that they haven't enjoyed since Reiner's classic RCA recording. In short, even if you're not normally a collector of band music recordings, you might want to give this disc serious consideration. Great music-making, after all, speaks for itself.\u003cbr\u003e  \u003cbr\u003e --David Hurwitz, ClassicsToday.com\u003cbr\u003e","brand":"Klavier","offers":[{"title":"CD","offer_id":46028055576810,"sku":"019688118228","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1698517.jpg?v=1778379381"},{"product_id":"gomes-il-guarany-neschling-domingo-villarroel-alvarez-262210","title":"Gomes: Il Guarany \/ Neschling, Domingo, Villarroel, Alvarez","description":"The most internationally acclaimed opera composer of Brazil, hailed by Verdi as a “real musical genius”, Antonio Gomes is today all but forgotten outside his native country (where the brilliant overture to Il Guarany is regarded as a national artistic treasure). The opera itself is known largely from books and from a recording by Caruso and Destinn of the love duet at the end of Act 1. After the enthusiastic reception in Rio of a couple of his operas, Gomes, who came from a family of modest musicians, was awarded a grant enabling him to study in Milan. There he wrote Il Guarany, which was produced at La Scala in 1870 with huge success.\u003cbr\u003e  \u003cbr\u003e The story is set in sixteenth-century Brazil and deals with the love of Cecilia, daughter of the Portuguese nobleman Don Antonio, and the ‘noble savage’ Pery, chieftain of the Indian tribe of Guarany (who eventually accepts baptism). They are threatened both by the hostility of the cannibal Aimore tribe and by Spanish adventurers led by Gonzales, who has designs on the silver mine owned by Antonio and on Cecilia. The opera ends spectacularly a la Meyerbeer when Antonio, to save his daughter, blows up his castle with himself and his enemies in it. The work is categorized as an ‘opera-ballet’, but, at least in this performance, there is no music for dancing.\u003cbr\u003e  \u003cbr\u003e So Italianized was Gomes that except for a very few bars there is no real local colour: indeed Cecilia’s first aria, rich in coloratura, is a polacca! Overall the music, for Indians and whites alike, is purely Italian, similar to middle-period Verdi, but the atmospheric orchestration is far more adventurous and inventive – one example being the sinister opening to Act 2. Highlights other than the duet mentioned are Pery’s aria at the start of Act 2, a jaunty adventurer’s song by Gonzales, Cecilia’s Act 2 soliloquy (which however leads to a rather conventional ballad with quasi-guitar accompaniment), and the duet scene for the lovers in the savages’ camp. The stars of this performance, given before an excited but discriminating audience, are Domingo himself in the title-role – ardent and committed (though, as elsewhere, he will not alter the intensity of his projection for asides), Villarroel on the most brilliantly stunning form I have heard her, and the capable and intelligent Alvarez; too many of the others are afflicted with tiresome wobbles. Both chorus and orchestra are excellent, and John Neschling (who I think has not come our way before) invests the whole with a real dramatic sense. Those who like full-blooded romantic opera should not miss this.\u003cbr\u003e  \u003cbr\u003e -- Lionel Salter, Gramophone [5\/1996]\u003cbr\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46034837897450,"sku":"074646627389","price":26.99,"currency_code":"USD","in_stock":true}]},{"product_id":"martini-set","title":"MARTINI SET","description":"While Sam Phillips of Sun Records is known as one of the architects of rock and roll, he also dabbled in other genres - 1960's The Martini Set is a great example of his jazzy side. Featuring pianist Graham Forbes and his trio, this midcentury lounge music gem has interpretations of standards like \"Autumn in New York\" and \"The Lady is a Tramp.\" Fans of romantic jazz can raise their glass to the shimmering version of \"Adios\" that provided the soundtrack to an episode of The Marvelous Mrs. Maisel.","brand":"SUN RECORDS","offers":[{"title":"CD","offer_id":46054991331562,"sku":"015047817924","price":13.18,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4503798-3553689.jpg?v=1780075551"}],"url":"https:\/\/arkivmusic.com\/collections\/bill-graham.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}