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Pearsall *^\u003cbr\u003e   \u003cb\u003eNoel\u003c\/b\u003e - Roderick Elms\u003cbr\u003e   \u003cb\u003eSomewhere in my Memory\u003c\/b\u003e - John Williams ~\u003cbr\u003e   \u003cb\u003eFairytale Sleighride\u003c\/b\u003e - Adam Saunders\u003cbr\u003e   \u003cb\u003eAngels’ Carol\u003c\/b\u003e - John Rutter *\u003cbr\u003e   \u003cb\u003eWaltz, Winter Bonfire\u003c\/b\u003e - Sergei Prokofiev\u003cbr\u003e   \u003cb\u003ePersonent Hodie\u003c\/b\u003e - arr. 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This collection is a must-have!","brand":"GIA","offers":[{"title":"CD","offer_id":46017383137514,"sku":"785147088929","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3348011_42434530-262b-4feb-85aa-7ba53c576f76.jpg?v=1778306564"},{"product_id":"make-us-your-own-a-collection-of-contemporary-music-from-gi","title":"Make Us Your Own: A Collection of Contemporary Music from GI","description":"A collection of contemporary music.","brand":"GIA","offers":[{"title":"CD","offer_id":46017384284394,"sku":"785147095026","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2998013.jpg?v=1778300828"},{"product_id":"nobel-prize-concert-joshua-bell-sakari-oramo-81822","title":"Nobel Prize Concert - Joshua Bell, Sakari Oramo","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=565512\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e  \u003cbr\u003e THE NOBEL PRIZE CONCERT 2010 \u003cbr\u003e  Ludwig van Beethoven: Leonore Overture No. 3 in C major, Op. 72b \u003cbr\u003e  Pyotr Il'yich Tchaikovsky: Violin Concerto in D major, Op. 35 \u003cbr\u003e  Jean Sibelius: Symphony No. 5 in E flat major, Op. 82 \u003cbr\u003e  \u003cbr\u003e  Joshua Bell, violin \u003cbr\u003e  Royal Stockholm Philharmonic Orchestra \u003cbr\u003e  Sakari Oramo, conductor \u003cbr\u003e  \u003cbr\u003e  Bonus: \u003cbr\u003e  - Interviews featuring Joshua Bell, Sakari Oramo, and Mario Vargas Llosa, the 2010 Nobel Laureate in Literature. \u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 16:9 \u003cbr\u003e  Sound format: PCM Stereo \/ Dolby Digital 5.1 \/ DTS 5.1 \u003cbr\u003e  Region code: 0 (worldwide) \u003cbr\u003e  Running time: 91 mins \u003cbr\u003e  No. of DVDs: 1 (DVD 9) \u003cbr\u003e","brand":"Accentus Music","offers":[{"title":"DVD","offer_id":46024091762922,"sku":"4260234830095","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1844723_25dcbadf-b3c5-47a5-97b3-2027d2dc1f14.jpg?v=1778254624"},{"product_id":"nobel-prize-concert-joshua-bell-sakari-oramo-81697","title":"Nobel Prize Concert - Joshua Bell, Sakari Oramo [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e \u003cbr\u003e  \u003cbr\u003e br \/\u0026gt; \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=565514\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e  \u003cbr\u003e THE NOBEL PRIZE CONCERT 2010 \u003cbr\u003e  (Blu-ray Disc Version) Ludwig van Beethoven: Leonore Overture No. 3 in C major, Op. 72b \u003cbr\u003e  Pyotr Il'yich Tchaikovsky: Violin Concerto in D major, Op. 35 \u003cbr\u003e  Jean Sibelius: Symphony No. 5 in E flat major, Op. 82 \u003cbr\u003e  \u003cbr\u003e  Joshua Bell, violin \u003cbr\u003e  Royal Stockholm Philharmonic Orchestra \u003cbr\u003e  Sakari Oramo, conductor \u003cbr\u003e  \u003cbr\u003e  Bonus: \u003cbr\u003e  - Interviews featuring Joshua Bell, Sakari Oramo, and Mario Vargas Llosa, the 2010 Nobel Laureate in Literature. \u003cbr\u003e  \u003cbr\u003e  Picture format:1080i Full-HD \u003cbr\u003e  Sound format: PCM Stereo \/ DTS-HD Master Audio 5.1 Region code: 0 (worldwide) \u003cbr\u003e  Running time: 91 mins \u003cbr\u003e  No. of Blu-rays: 1 (BD 25) \u003cbr\u003e  \u003cbr\u003e R E V I E W: \u003cbr\u003e  \u003cbr\u003e   \u003ctitle\u003e3525100.az_TCHAIKOVSKY_Violin_Concerto_1.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"COMPOSER12\"\u003e TCHAIKOVSKY\u003c\/span\u003e  \u003cspan class=\"ARIAL12b\"\u003e Violin Concerto\u003c\/span\u003e  \u003cspan class=\"SUPER12\"\u003e1. \u003c\/span\u003e  \u003cspan class=\"COMPOSER12\"\u003eBEETHOVEN \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eLeonore\u003c\/span\u003e  \u003cspan class=\"ARIAL12b\"\u003e Overture No. 3. \u003c\/span\u003e  \u003cspan class=\"COMPOSER12\"\u003eSIBELIUS\u003c\/span\u003e  \u003cspan class=\"ARIAL12b\"\u003e Symphony No. 5 \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e Sakari Oramo, cond; Royal Stockholm PO; \u003c\/span\u003e  \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003eJoshua Bell (vn) \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e ACCENTUS 10215 (Blu-ray: 91:25) \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"EXTRAS12\"\u003e\u0026amp;\u003c\/span\u003e  \u003cspan class=\"ARIAL12b\"\u003e Interviews with Joshua Bell, Sakari Oramo, and Mario Vargas Llosa \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e(25: 18) \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eAccentus’s release commemorates the December 2010 Nobel Prize concert given in the Stockholm Concert Hall with Sakari Oramo conducting the Royal Stockholm Philharmonic Orchestra and featuring Joshua Bell (who receives top billing on the Blu-ray’s case) as violin soloist. The concert opens with a thundering performance of Ludwig van Beethoven’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLeonore\u003c\/span\u003e  \u003cspan\u003e Overture No. 3. The widescreen high-definition visual clarity, like the crisp and full-range audio (DTS HD or PCM), enhances the drama, making the hushed opening particularly atmospheric and reproducing the sudden outbursts and moving bass lines with startling realism. The climaxes rumble at the end. Oramo and the orchestra seem to revel in these sudden outbursts and enhance their effect with a boost in voltage. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThroughout the concert, the camera crew takes an approach similar to that in the old music scores for symphonic works that indicated active parts with arrows; in this case, the camera focuses on any woodwind or brass instrument (or percussion, of course) that might have been honored with an arrow in older times. Perhaps that’s not so distracting the first time you watch, but what about the second, third, or fourth? If you attend the dress rehearsal of a concert, then the performance, sitting in a seat in the hall from which you can view the entire stage, would you always train your attention on whatever seemed to be most prominent aurally, or might you allow your attention to wander freely? Perhaps it’s most telling that at the climaxes in Beethoven’s work, the camera pulls back for a shot that embraces the whole orchestra. I remember such a shot from the concert at the opening of Lincoln Center, when the cameras pulled back for the climax of the Polka and Fugue from \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eSchwanda\u003c\/span\u003e  \u003cspan\u003e by Jaromir Weinberger. I’d like to watch the whole concert from this point of view, though I doubt most viewers would share this preference; in any case, perhaps a programmable choice of camera angles might be offered with Blu-ray’s greater storage capacity (such a choice seemed to be promised as features even in early DVDs). \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eJoshua Bell’s stage manner has always been characterized by what Jascha Heifetz, in a master class, once called “funny business”—swaying and grimacing even if the playing itself, heard without its visual analog, sounded a bit pallid. After finishing watching Bell’s performance of Tchaikovsky’s Violin Concerto, I reviewed movements of the concerto played on various DVDs by the warm-hearted David Oistrakh, the coolly elegant Nathan Milstein, the brilliant Michael Rabin, and the macho Ruggiero Ricci. And I’ve watched Heifetz’s truncated but electrifying version of the first movement with Fritz Reiner and the New York Philharmonic from the movie \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eCarnegie Hall\u003c\/span\u003e  \u003cspan\u003e so many times that I didn’t need to return to it. There’s no funny business in any of these performances. The musical ideas emerge in the audible results rather than in any gyrations, however modest, that produce them. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eSo what does Bell actually do with the music itself? Well, the opening offers an opportunity for a violinist to write a bold signature, and Mischa Elman always took the opportunity to do so in that passage. So does Bell, though one violinist to whom I showed the passage thought his characterization “grotesque.” In any case, he’s expressive in the first theme, though he allows subsequent running passages to slip momentarily out of control. He enhances the music’s lyricism with portamentos that, however, don’t permit him to surpass in expressivity even the palest of the performances I’ve mentioned (Milstein’s). Nevertheless, he draws forth a pure and crystal-clear tone from the higher registers of the 1713 Gibson-Huberman Stradivari, and builds the passagework to an impressive climax, though his approach to the cadenza doesn’t generate the kind of voltage of Oistrakh’s or Heifetz’s performances. In the cadenza itself, Bell perhaps intentionally takes a lyrical tack; he certainly doesn’t hiss and spit as almost does Václav Hude?ek (on Supraphon 4055). After the cadenza, Bell shows how rich a sound his violin can produce on the G string. In the Canzonetta, the beauty of his tone and his relatively unmannered expressivity contribute to what turns out to be an especially communicative performance, though the middle section doesn’t sound as agitated as does, say, Heifetz’s (in 1957); in the return of the main melody, the recorded sound transmits a great deal of welcome orchestral detail. After an aggressive reading of the transitional cadenza, Bell launches into a performance of the finale that’s commanding not only for its brilliance but for its plaintiveness in the episodes as well. In Bell’s pounding, dance-like reading, the finale provides as robust a flow of adrenaline as does the first movement. Still, the whole concerto sounds more static in his reading than it does in the DVDs I’ve mentioned, or as I remember it from Elman’s performance with John Barbiriolli from 1929 or Milstein’s with Frederick Stock and the Chicago Symphony Orchestra from 1940. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eOramo’s and the orchestra’s performance of Jean Sibelius’s Fifth Symphony, recorded, again, with startling fidelity, conveys a strong sense of the music’s elemental power. And that clarity allows for separation of the layers of sound in the opening. Ideas seem almost to bubble as from a boiling cauldron (even in the dance-like sections in the movement’s second half (or in what some have designated the second movement). In the Andante, the interplay of scalar passages and pizzicatos in the strings, set against woodwind sonorities, rises and falls in what Oramo has built into a series of grand dynamic arches (commentators have unsurprisingly often described various performances of this symphony as “built” in one way or another). The finale’s pervasive ostinatos sizzle in the recorded sound, and mount in the end to a majestic, almost Brucknerian, conclusion. But compare those climaxes to the even more magisterial ones in Leonard Bernstein’s video performance with the Vienna Philharmonic from 1988 (directed by Humphrey Burton), released in 2010 by Unitel. On the whole, while strength and clarity (analogous to that of the recorded sound) may be the hallmark of Oramo’s reading, Bernstein’s sounds more sumptuous—due in no small part, perhaps, to the Vienna Philharmonic’s smooth power—but hardly less idiomatic or insightful. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThe concert as a whole creates an impression of visceral power, albeit somewhat diminished during the concerto. And for violinists, the opportunity to observe Bell’s instrument close up and in great detail may add an incentive that might compensate for what some viewers of my generation might take as foppish pirouetting (there, I’ve said it). Strongly recommended overall, in the last analysis. \u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Robert Maxham \u003c\/span\u003e \u003cbr\u003e","brand":"Accentus Music","offers":[{"title":"Blu-Ray","offer_id":46024133509354,"sku":"4260234830101","price":41.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1844740.jpg?v=1778392300"},{"product_id":"janacek-the-cunning-little-vixen","title":"Janacek: The Cunning Little Vixen","description":"The Italian and international press were unanimous in their praise for Peter Grimes at La Scala, which revived the tradition of Britten's operas on the lyric stages of Italy. A strong British cast was marshaled by the baton of Robin Ticciati, who has already won golden opinions for his opera conducting.","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025566388458,"sku":"809478071174","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2214790.jpg?v=1778320203"},{"product_id":"janacek-cunning-little-vixen-jurowski-london-philharmonic","title":"Janáček: Cunning Little Vixen \/ Crowe, Bell, Leiferkus, Jurowski, LPO","description":"\u003cp\u003eThe tale of a quick witted fox and her escape from confinement for a life in the forest that is by turns joyful and violent, The Cunning Little Vixen is an unsentimental parable of death and rebirth that lives through the instinctive and immediate world of nature, animal and human, which Janacek loved so much. Melly Stil's production for Glyndebourne find the \"delicate balance between whimsy and mysticism\" (Daily Telegraph) at the heart of the opera, which Vladimir Jurowski conducts \"with lustrous style: you can hear the birds in the score, feel the sunshine and thrill to the starlit night sky in the final scene.\" (Opera Today) \u003cbr\u003e \u003cbr\u003e Melly Still, stage director \u003cbr\u003e \u003cbr\u003e Recorded live at Glyndebourne Festival Opera, June 2012 \u003cbr\u003e \u003cbr\u003e Bonus:\u003cbr\u003e - Creating Janácek’s The Cunning Little Vixen\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePicture format: NTSC 16:9\u003c\/li\u003e\n\u003cli\u003eSound format: LPCM 2.0 \/ DTS 5.1\u003c\/li\u003e\n\u003cli\u003eRegion code: 0 (worldwide)\u003c\/li\u003e\n\u003cli\u003eSubtitles: English, French, German, Dutch, Japanese, Korean\u003c\/li\u003e\n\u003cli\u003eRunning time: 119 mins\u003c\/li\u003e\n\u003cli\u003eNo. of DVDs: 1\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThe leading roles in this performance are sung by Lucy Crowe as the vixen (whose name is Sharp Ears), Sergei Leiferkus as the forester who tries to domesticate her, and Emma Bell as the fox that Sharp Ears meets after escaping back to her forest, marries (at a ceremony conducted by a grasshopper), and bears more children than she can count (only eight of which we see on stage). It is also important to observe that costume designer Dinah Collin chose to capture animals by a combination of suggestion and connotation. Both vixen and fox are identified primarily by their tails (which is also how we in the audience learn of Sharp Ears’ ultimate fate); but the rest of the costume tends to portray them as Gypsies, which is to say characters not quite at home in their own land.\u003c\/p\u003e\n\u003cp\u003eThe instrumental side of the score is provided by the London Philharmonic Orchestra (LPO) conducted by Vladimir Jurowski, Music Director at Glyndebourne and Principal Conductor of the LPO. He conducts with a keen sense of how Janáček tends to direct the flow of his music through the modulation of energy levels. While Jurowski is Russian, he also seems to have informed himself of the extent to which Janáček evokes Czech folk idioms, allowing the score to establish its unique position between symphonic music and indigenous source material.\u003c\/p\u003e\n\u003cp\u003eMost importantly, however, this is an opera that takes a fairy-tale-like narrative and serves it up as a visual and auditory feast; and this Glyndebourne production delivers exquisitely on both visual and auditory levels.\u003c\/p\u003e\n\u003cp\u003e-- SF Examiner\u003c\/p\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025611313386,"sku":"809478011019","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2225563.jpg?v=1778312850"},{"product_id":"perosi-suite-no-2-venezia","title":"Perosi: Suite No. 2 \"Venezia\"","description":"Around the year 1906, Perosi conceived the large-scale project to dedicate symphonic works for full orchestra to Italian cities, some of which had been the venues of his musical experience. Over the years that followed, the \"Roma\", \"Venezia\", \"Firenze\", \"Messina\", \"Tortona\", \"Milano\", \"Torino\" and \"Genova\" suites appeared, with, perhaps, a ninth, unfinished one for \"Naples\". The project was to have concluded with a tenth suite entitled \"Italia\", which would have included voices with the orchestra. Composer Alberto Gasco provided this interpretation of Perosi's intentions: \"Maestro did not intend writing description music, nor creating a portrait of the cities themselves. Was this wise? I do not think so, and confirming my opinion is the fact that the Messina suite, as the composer himself decalres, was inspired by the horrific reality of the city in ruins. Therefore, little by little, Perosi arrived at the idea of creating a special character in the music of his suites. Entitling his compositions aftre Rome, Venice and Florence, through sound he conveyed the solemn majesty of the metropolis, the infinite languor of the city on the lagoon, and the carefree, pulsating Italian soul of the city of art, condensing emotional aspects into his works.\" Author Vittorio Podrecca offered this praise of the compositions: \"Here, Perosi, with soul, reawakens the symphony by composing suites. Radiating through his noteworthy qualities are a limpidity of inspiration and design, sweetness of effects, sincerity of emotion, persistent elegiac poetry, and efficacious, tasteful orchestration.\"","brand":"Bongiovanni","offers":[{"title":"CD","offer_id":46026196549866,"sku":"8007068565221","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3600104.jpg?v=1778274973"},{"product_id":"christmas-festival","title":"CHRISTMAS FESTIVAL","description":"This new recording captures the magic of the season as the RSNO and its Junior Chorus deliver a perfect selection of classic festive favourites in A Christmas Festival. These charming performances show why their joyous, fun-packed Christmas concerts, conducted by the inimitable Christopher Bell, are always a highlight of the Scottish seasonal calendar. The well-chosen programme finds traditional favourites, such as Jingle Bells, In A Cottage In A Wood and Jolly Old Saint Nicholas, sitting harmoniously alongside contemporary tunes from Michael Head and Howard Blake (The Snowman, The Bear). An unexpected but brilliant instrumental mash-up up of The Little Dummer Boy with Ravel’s Bolero gives centre-stage to the award-winning RSNO. Two fantastic medleys provide a one stop shop of Christmas tunes both old and new which you’ll be hard pressed not to join in with! At turns rousing, sentimental, cheering and familiar this is the perfect present this Christmas.","brand":"Linn Records","offers":[{"title":"CD","offer_id":46026344169706,"sku":"691062058025","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4384267-3290516.jpg?v=1778234746"},{"product_id":"burtner-glacier-music-bell-saint-rivanna-string-74101","title":"Burtner: Glacier Music \/ Bell, Saint, Rivanna String Quartet, Albemarle Consort","description":"\u003cp\u003eGlaciers represent some of the most striking examples of nature’s power and artistry, while simultaneously revealing the impact of mankind’s actions. With pieces including a composition for Barack Obama’s 2015 GLACIER Conference in Alaska, Matthew Burtner’s GLACIER MUSIC breaks through the controversy around global warming. With electroacoustic compositions recorded on top of melting glaciers, GLACIER MUSIC makes the issue unavoidable: while we converse and debate over climate change, iconic pieces of natural history are slipping away. Matthew Burtner is an Alaskan-born composer, sound artist and eco-acoustician whose music and research explores embodiment, ecology, polytemporality and noise. First Prize Winner of the Musica Nova International Electroacoustic Music Competition (Czech Republic), a 2011 IDEA Award Winner, and a recipient of the Howard Brown Foundation Fellowship, Burtner’s music has also received honors and awards from Bourges (France), Gaudeamus (Netherlands), Darmstadt (Germany) and The Russolo (Italy) international competitions. He is Professor of Composition and Computer Technologies (CCT) at the University of Virginia, and Director of the environmental arts non-profit organization, EcoSono\u003c\/p\u003e","brand":"Ravello Records","offers":[{"title":"CD","offer_id":46026701177066,"sku":"608410873315","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3847061.jpg?v=1778281623"}],"url":"https:\/\/arkivmusic.com\/collections\/dee-bell.oembed?page=2","provider":"ArkivMusic","version":"1.0","type":"link"}