IBS Classical
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Brahms: Piano Works
$17.99CDIBS Classical
Jun 20, 2025IBS-42025 -
Spanish Suites & Trumpet Concerto
$17.99CDIBS Classical
Jun 20, 2025IBS-52025 -
Schubert: Piano Sonatas, Vol. 3
$17.99CDIBS Classical
Jun 20, 2025IBS-12025 -
Hyperklavier
$17.99CDIBS Classical
Jun 20, 2025IBS-22025 -
Opera Viva
$17.99CDIBS Classical
Jun 20, 2025IBS-222024 -
Mozart & Poulenc: Two Piano Concertos
$17.99CDIBS Classical
Jun 20, 2025IBS-212024 -
Bach: Trio Sonatas
$21.99CDIBS Classical
Jun 20, 2025IBS-202024 -
Galdosiana
$17.99CDIBS Classical
Jun 20, 2025IBS-192024
Hirviendo el Mar: Spanish Baroque Vocal Music
Rodrigo: Guitar Works / Rojas-Ogayar
Camarero: A Liquid Theater / Rodriguez, Zahir Ensemble
| “Somewhere I read that Luis Buñuel, at the premiere of his film L’ GE D’OR went up to the stage and said: “this is my film L’ GE D’OR, if you think it’s strange, life is much more strange”. "Music for a Liquid Theater" (2018) As in many other works of mine, musical space is developed as an important aspect of composition; when performed in a concert hall, some instruments have a special disposition, violin is in the left corner and violoncello in the right corner of the stage, while flute and clarinet play from the other corners behind the audience. Abreviaturas (1999), is a very special work for me, with no dynamics –the whole work in pianissimo-, no effects, almost no timbre, only duration and pitch (rhythms and notes). "Música para contemplar la evolución de una ola a cámara lenta" (2012), as strange as it may seem, the title -Music for contemplating the evolution of a wave in slow motion- came to me as I was watching a documentary on tv; there was a fantastic image of a wave from the inside moving in slow motion, like a living sculpture made of soft glass. "La Memoria del Agua" (1995), On the days I was working on both pieces, I remember the deep impression that I received from the Ives Klein retrospective at the Reina Sofía Museum in Madrid.” (César Camarero) |
New Paths: 21st Century music for horn & piano / Gomez-Moran, Bonet
| In Cantus Horn, the language used is made up of octophone modes made of various structures, which are filtered by the compositional system proposed by Edmond Costere. Introducció i Galop, Op. 148 is an eminently virtuosic composition for the horn player, but also full of interesting dialogues with the pianist; the Introducció is slow, based on a dodecaphonic melody from the start and Galop is fast and virtuosistic. Tientos de la trompa alada (Tientos of the Winged Horn) is inspired by the next to the last verse of the poem by Góngora A Don Francisco de Padilla, castellano de Milán, where there appears a winged horn. Mar sin Luna, In memoriam Javier Bonet Silvestre, this piece, composed as a tribute to Javier Bonet Silvestre, speaks about the tragic theme of suicide. Juegos sobre ‘Tocatico-tocatá’, Games on “Tocatico-tocatá”. Homage to Carles Santos was born. It is a brief chamber work, in which song-like elements of Carles Santos’ work come into play, joined to other suitable ones that are melodic, harmonic and polyphonic. Elegía ponders a narrative that expresses in a cyclical form contrasting thematic sounds and sketches that represent antagonistic situations and states of mind. Consolación is a single movement piece which alternates highly contrasting sections that show the multiple resources that this ensemble can afford. These go from lyrical to energetic, going through rhythmical and scherzando episodes. A piece of great difficulty, in accordance with the technical capabilities of the intended performers. |
Shostakovich: String Octets / Bambú Ensemble
| Bambú Ensemble was expressly created as a string octet and its players are trained in the careful cultivation of the distinguishing features of their literature – from Mendelssohn or Gade to more contemporary offerings. On this album, therefore, they demonstrate an intuitive and eloquent ability to deliver not only the cyclical-thematic density of the massive symphonic structure in nine interconnected themes that is the magnificent Octet composed by a precocious and utterly inspired Enescu, but also the exceptional academic exercise in counterpoint that displays the skill and brilliance of the young Shostakovich, and the nocturnal garden of multiple textures woven around a single motif created by Javier Martínez Campos, transferring the concept of counterpoint from the thematic or motivic to the terrain of experimentation in timbre and sound. Listening to their album, therefore, is an adventure which will undoubtedly open up the map of any music-lover’s imagination – come aboard the good ship Bambú and, like Marco Polo on his travels, embark on a voyage of marvels upon the ocean of music. |
Rodrigo: Soleriana / Lluna, Orquestra de la Comunitat Valenciana
Debussy: Hommage
de Falla, Poulenc, Bacarisse: Harpsichord Concertos / Marquez
The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the citys first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808\-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift. The everyday music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy.
Frisina: Passio Christi / Orquesta Filarmonica de Malaga
The Opera-Oratorio 'Passio Christi' narrates the events of the Lord’s Passion from the Last Supper to the dawn of Resurrection. The story is told through the feelings and emotions of some of the characters who took part in it in various ways: Peter, Judas, the Virgin Mary, Mary Magdalene, the Cyrenean, the soldier Longinus and the Angels. Each character sings the verses of the saints and poets of the world in a different language (Italian, English, French, Russian, Spanish, Latin and ancient Greek) to represent the whole world before the mystery of human suffering. The dramatic structure of the Opera follows the ancient structure of the Sacred Representations: in fact, its original form is designed for dramatization and scenic action. The events of the Gospel are interspersed with the arias of the various characters, which constitute a sort of cinematographic 'still image'.
Cansino: Stabat Mater / Del Pino, Coro Catedral de Málaga, Orquesta Filarmónica de Málaga
The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the city’s first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift. The 'everyday' music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy.
P'ra Voce / Lojendio, Martin
“I compose music because I love it. I love melodies, I love singing. And I have found out with pleasure that there is a public out there who is very interested in my music whenever I publish it. That’s fantastic! I refuse to just compose music designed to be discovered and understood by future generations.” With these words Carlos Guastavino (Santa Fe, 1912 - Buenos Aires, 2000) expressed himself, aware that his art belonged to those who wanted to hear and sing it, reneging on the customary exercise of the composer who seeks to be recognized by the umpteenth harmonic discovery never before tried out. Guastavino enriched the young voice of the Argentine people with his music, giving it a unique and identifiable tone, supporting the tip of his feet in a folklore to which he gave wings to surpass himself. “Cinco canciones argentinas” (Five Argentinean songs), Op. 10. This work exemplarily shows the most characteristic features of what has come to be known as Ginastera’s period of objective nationalism. Namely, the use of folkloric elements and tonal techniques together with other techniques which are typical of atonalism, especially in piano accompaniment.
Mahler 5
Brahms: Piano Works
Spanish Suites & Trumpet Concerto
Schubert: Piano Sonatas, Vol. 3
Hyperklavier
Opera Viva
Mozart & Poulenc: Two Piano Concertos
Bach: Trio Sonatas
Gaman Ensemble
Guridi: Mirentxu (Basque Opera)
Galdosiana
Zubeldia: Soles & Brumas II
Rachmaninoff 3 - Prokofiev 2
