Chamber Music & Recitals CDs
Chamber Music & Recitals CDs
19098 products
Schubert: Piano Sonata No. 18 - Brahms: 8 Piano Pieces
Bach: Concertos and Chorale Preludes
Andrea Gabrieli: Keyboard Music / Glen Wilson
Some of the most important forms of keyboard music have their origin in the 16th century, in particular the prelude, the toccata and the fugue. In Italy, in the mid-16th century, crucial developments in keyboard composing took place. Among the composers who were responsible for the evolution of keyboard music was Andrea Gabrieli. For that reason a disc which is completely devoted to his keyboard oeuvre is of great importance. It also sheds light on a part of Gabrieli's oeuvre which is not that well-known.
Andrea Gabrieli was born in Venice and was educated as an organist. In 1557 he applied for the position of organist of San Marco, as the successor to Girolamo Parabosco. He failed, and Claudio Merulo was appointed, who would then develop into one of the main musical personalities in Venice in the next 25 years. In the early 1560s Gabrieli came into contact with Orlandus Lassus. In 1562 Lassus' employer, Duke Albrecht V of Bavaria, went to Frankfurt to attend the coronation of Emperor Maximilian II. In his retinue were both Lassus and Gabrieli. But his heart apparently was in Venice. In 1566 he was appointed as organist of San Marco - alongside Merulo - and he resisted an attempt by Lassus to make him return to Bavaria to enter the service of Duke Albrecht. Little is known about him as a person, but in his liner-notes Glen Wilson includes a quotation which suggests Gabrieli was a demanding teacher.
This disc presents a survey of the various genres in vogue at the time. It doesn't include all genres to which Gabrieli contributed. Wilson has omitted that part of his oeuvre intended for the organ. Therefore the Intonazioni which were to be played before a vocal piece, indicating the pitch to the singers, are missing. Instead we get two preludes here, which also can be played at the organ. This kind of piece was originally improvised, and it doesn't surprise me that they were mostly not printed. That’s certainly thre case with the two played here which have both come down to us in manuscript. The other free form with improvisational origins is the toccata. Venice was the main centre of toccata writing, and Gabrieli played an important role in the development of this form. The two toccatas on this disc are in three contrasting sections.
The toccata has roots in the ricercar, one of the main forms of keyboard music at the time. Two types of ricercar are known in music history, the imitative and the non-imitative. The former is the kind of ricercar used in Italy and developed by Gabrieli into a piece on a single theme. In addition he deployed various techniques which were to become a standard part of the fugue in the baroque era, like inversion and diminution. Gabrieli also wrote ricercars on vocal subjects. The Ricercar sopra Pour ung plaisir is an example; it is based on a chanson by Thomas Crecquillon. Here he only uses themes from this chanson, unlike in the canzonas on vocal models, like the Canzona Frais et gaillard, again on a chanson by Crecquillon. In this the upper voice of the vocal original is treated according to the diminution technique which was so popular in Italy. Part of it involves the breaking up of the longer notes in fast passages and the addition of ornaments. The madrigals Anchor che col partire by Cipriano de Rore and Io mi son giovinetta by Domenico Ferrabosco are treated the same way. Lastly Wilson plays two independent pieces, the Ricercar arioso and the Canzon ariosa which may have a vocal character but are not based on vocal models.
The interest of this programme lies in the range of forms on display here. Moreover Wilson has ordered the pieces in such a way that there is a maximum of variety. That is also due to the alternating use of two different instruments. Most pieces are performed on a harpsichord, but it is nice to hear a spinet as well, which was a common instrument but is not often used in recordings. Both instruments are built after Venetian models of the 16th century. "Their soft iron single-stringing produces a more vocal sound than that usually associated with later types of Italian harpsichords", Glen Wilson states.
And he is right: the sound of the instruments suits the music very well. He is also an excellent guide through Gabrieli's oeuvre, and brings out the idiosyncracies of his music convincingly. He plays brilliantly but never in an exhibitionist way. The tempi are well-chosen, and the counterpoint is allowed to blossom.
Nobody interested in early keyboard music should miss this disc.
-- Johan van Veen, MusicWeb International
Jewels: Treasures, Old & New, for the Harpsichord
Crane: 6 Trios, 2 Solos & 1 Quintet / Ives Ensemble
MADAGASCAR: PAYS ANTANOSY
Organ Encyclopedia - Scheidemann: Organ Works Vol 5
Includes work(s) for organ by Heinrich Scheidemann. Soloist: Julia Brown.
Nassauische Hofmusik
Can Atilla: Symphony No. 2 in C Minor "Gallipoli"
Dvorak: String Quintet, Etc / Waldmann, Vlach Quartet Prague
The tunes in Drobnosti (miniatures) will be recognizable to anyone familiar with Dvorák's Romantic Pieces for piano and violin, here in their original version for two violins and viola. This arrangement sounds slight after the robust tones of the preceding Quintet, but the delicate tunes nonetheless retain their power to enchant. Finally, the melancholy Andante appassionato (from an aborted early string quartet project), is notable for its beautiful tunes and an animated middle section that bears a striking stylistic resemblance to Tchaikovsky. In sum, a richly varied and highly enjoyable program. [12/19/2002]
--Victor Carr Jr, ClassicsToday.com
Thalberg: Fantasies On Operas by Rossini
Marini: Per le musiche di camera concerti, Op. 7
Mieczyslaw Weinberg: Complete Music For Solo Cello, Vol. 1
The importance of Mieczysław Weinberg’s 24 Preludes for solo cello, written for Rostropovich, lies beyond their superficial resemblance to Bach’s Well-tempered Clavier or the piano preludes of Chopin or Weinberg’s colleague Shostakovich. Instead, it resides in Weinberg’s remarkable ability to write for solo cello with almost limitless imagination, using myriad musical styles and varied techniques. These fascinating qualities are also to be found in his more expansively lyrical Sonata, a masterfully written outpouring of deep emotions. Latvian-born cellist Josef Feigelson has enjoyed a solo career spanning over three decades and champions neglected cello repertoire.
Liszt Complete Piano Music, Vol. 19: Beethoven Symphonies No
SCHUBERT, F.: Winterreise / Die Schöne Müllerin (Desderi, Ci
fm Flexible Music
Granados: Piano Music Vol 6 / Douglas Riva
Eternal Guitar
Haydn, F.J.: Horn Concerto No. 1 / Symphony No. 31 / Haydn,
Chopin: Mazurkas / Mursky
In Chopin’s oeuvre there is one genre that is particularly well represented: the mazurka. The vast majority of the 51 he published were written as an homage to and reminder of his homeland, which he never saw again after the Russian occupation of 1830/31. The mazurka is an eastern European folk dance in triple time that originates from the Polish province of Masovia, where Chopin grew up. In many cases, a mazurka comprises various individual sections, the names of which are nearly always derived from a region or ethnic group. One such section is the polonez, which is rhythmically related to the ceremonious polonaise. Quite interestingly, Beethoven named the third movement of his Triple Concerto op. 56 Rondo alla polacca. The mazur has a rhythmic structure underpinned by numerous dotted figures or triplets. The kujawiak is a slow-flowing folk dance in triple metre. The krakowiak is characterised by much syncopation. The oberek is a feisty dance. Chopin wrote in total 13 cycles of mazurkas. Here, they are performed by Chopin expert, pianist Eugene Mursky.
Sound the All-Clear
Mozart: Requiem in D Minor, K. 626 (Completed J. Eybler & F.
Gerhard, Montsalvatge & Cassado: Piano Trios
Khachaturian, A.I.: Violin Concerto / Concerto-Rhapsody for
