Jazz
Eliane Elias
13 products
Bassoon Kaleidoscope / Bram Van Sambeek
Bram van Sambeek bassoon
Joost Bosdijk bassoon
Ellen Corver piano
Rick Stotijn double bass
Izhar Elias guitar
Marieke Schneemann flute
Sven Figee Hammond organ
Maria-Paula Majoor violin
Marijn Korff de Gidts drums
Repertoire:
• Böddecker: Sonata sopra la Monica (1651)
• Rossini:Three arias from Il barbiere di Siviglia (1816)
• Saint-Saëns: Sonata Op.168 (1921)
• Gubaidulina: Duo Sonata (1977)
• Piazzolla: Café 1930 (1986)
• Dubois: Sonatine Tango (1984)
• Corea:Trio (1968)
• Hagen: Harlem Nocturne (1939)
A more insanely varied program will be hard to find. ”Dutch Music Prize” winner Bram van Sambeek selected an extremely diverse repertoire, spanning 400 years, in which the bassoon plays a prominent role: from the Baroque elegance of Böddecker, through virtuoso variations of Rossini and Saint-Saëns, to the fascinating world of 20th century bassoon music by Gubaidulina, Piazzolla and Chick Corea: a true kaleidoscope!
Songs of Love & Exile: A Sephardic Journey / Malkin, Elias
The Best Of Beethoven
Verdi: Il trovatore
Verdi: Rigoletto
Puccini: Madama Butterfly (Recorded 1962)
Guitar Vibes: Music For Guitar And Strings / Elias, Netherlands Chamber Ensemble, Matangi Quartet
Izhar Elias has produced several successful and imaginative albums for Brilliant Classics. None of them have confirmed to a ‘Spanish guitar’ stereotype but all have engaged in various original ways with the developing heritage of the instrument during the 19th century, from ‘Paisiello in Vienna’ (BC95301) to ‘Beethoven and the Guitar’ (BC94631) to Giuliani’s astonishing transcription of Rossini’s grand tragedy Semiramide (BC93902). His latest recording brings the classical guitar up to date with works by composers from four different countries; within them may be heard influences from classical music, avant-garde, Caribbean music, Spanish folklore, flamenco, Arabic music, blues, Argentinean tango and even trip-hop and heavy metal: provocative testament to the world’s most versatile instrument. The Guernica Suite by Pujol (b.1959) focuses on different aspects of Picasso’s painting in six movements, with a tentatively positive conclusion. The Triptych of Roberto Sierra (b.1953) evokes some nocturnal sounds from his native Puerto Rico, including the tropical tree frog as well as a night on the tiles. The three Danzas Concertantes pulse and glide with the rhythms of Leo Brouwer’s native Cuba, offset by some astringent harmonies that place the guitar’s usual role as purveyor of folkloristic colour under threat. Finally there is the Schattenspiel Suite by Florian Magnus Maier (b.1973), who also plays electric Moog guitar on this recording. Maier pursues a diverse career as a composer, guitarist and vocalist with bands including Alkaloid, Dark Fortress and Noneuclid; this tripartite suite inspired by shadows is his best-known work in the classical tradition, and for this recording he has made a new arrangement for two guitars and string quartet. There is something for everyone on this album: it’s essential listening for guitar-music enthusiasts who want to broaden their horizons.
Adelaide - Beethoven And The Guitar / Izhar Elias
This imaginative recital of chamber music by Beethoven takes its inspiration from the Romantic poem of the album title which describes the kind of unattainable love to which Beethoven was throughout his adult life susceptible, and from which he appears himself to have drawn creative energy. His own setting of Adelaide (the text of which appears in the booklet in both Matthisson's original and in English translation) was arranged by the 19th-century guitarist-composer Nicholas Coste; it introduces not only the playful Op.8 Serenade, perhaps the most obvious contender among Beethoven's music for a transcription of the piano part to the piano, but movements from two of his string quartets and even the funeral march from his Piano Sonata Op.26, transcribed for guitar solo or duo and played here on instruments of the period by a young and dynamic ensemble of European musicians, led by Izhar Elias, who have already released acclaimed recordings on Brilliant Classics, including guitar music in memory of Debussy (9246), spectacular transcriptions of Rossini arias (93902) and a sparkling survey of 17th-century music from the Spanish territories (94352). Elias himself plays a selection of guitars on this recording, by Guadagnini and Stauffer père et fils, including a rare terz model, which is smaller than the regular model and tuned a minor third higher to produce a more brilliant and penetrating sound in company with other instruments.
Other information:
- New recording made in April 2013.
- This original and appealing programme presents works of Beethoven in chamber music arrangements with guitar, written by contemporaries, a practice that was quite common in the period, playing its role in the popularisation of the music.
Eminent guitarist Izhar Elias plays on several period instruments, including a rare "terz" instrument, smaller in size and tuned a minor third higher in order to achieve a more brilliant sound. He is joined by violin, viola and another guitar, according to the setting of the arrangements.
- Unique album concept.
- Extensive booklet notes written by the artist.
Castrucci: Sonatas for Violin, Cello, & Harpsichord / Elias, Kishi, Palmer-Jones
Verdi: Falstaff / Evans, Merritt, Solti, Opera Theatre of Rome
Solti's "Falstaff" still shines brilliantly as a masterpiece! Solti's overwhelming interpretation is vividly revived here with the beauty of the Decca sound of the time. Although Verdi’s "Falstaff" has an important place as the last opera of the 1950s, there are not many recordings of it compared to the popular work "La Traviata". Among them, the 1963 recording board by Solti who still shines brightly (released under the name of "RCA Italian Opera Orchestra & Chorus" at that time). Solti, a great conductor born in Hungary, recorded "Falstaff" in the 1990s, but the singers of the 1963 recording remain unmatched and their overwhelming interpretation is the original version. Also, the wonderful sound by Decca at that time vividly conveys Solti's accurate interpretation.
TIME AND AGAIN
PIANO SOLO
