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Dacw 'Nghariad for solo viola
$13.99BookNimbus
Jul 04, 2025NMP1325
Damase & Francaix: Chamber Music with Flute / Wilson
A Celebration on Record
Schubert: Piano Sonatas Vol. 6
Mozart Piano Concertos Nos. 11, 12 & 13 / Novák, Wihan Quartet
As a pianist, Mozart performed at many concerts and music academies, for which he had to build a repertoire; similarly, he was in need of educational repertoire for his students. Between 1782 and 1786, Mozart composed, in addition to piano sonatas and variations, fourteen new concertos for piano with orchestra. He was certainly no novice in this field, already having no less than ten piano concertos under his belt (not to mention his violin concertos and his first collection of concertos for wind instruments). As such, Mozart’s Vienna period begins with a remarkable trio of piano concertos, K. 413, 414 and 415. Mozart undoubtedly wrote them for himself. His concert activity in Vienna was extraordinary, especially in the first years, where he met with success as both a soloist and as a composer. He therefore decided to publish this trio at his own expense (on a subscription basis), obviously with an eye towards having another source of income.
Stone Soup
Trio Shaham Erez Wallfisch
Schubert: Piano Sonatas, Vol. 5
Tchaikovsky: The Voyevoda & Symphonies Nos. 5 and 6
Augusta Read Thomas: Music for Strings
Americas Without Frontiers
Blackford: Christmas Dawn / Callaghan
“In November 2020 I was asked by Em Marshall-Luck, Founder-Director of the English Music Festival to write a piece for her Christmas Garland concert at short notice. Having promoted a successful two-day festival in St Mary’s Church, Horsham, Em’s belief in the vital importance of offering live music-making during the COVID pandemic was stronger than ever. I decided to write a short, atmospheric piano piece Christmas Dawn, in support of her, the pianist Duncan Honeybourne, the festival and those who were willing to travel to Horsham to hear the music played live. Christmas Dawn is a simple, hymn-like tune presented first softly, with a simple chordal accompaniment. As it gains momentum, with more expansive piano figuration the tune develops and extends. A contrasting middle section with staccato quavers heralds the return of the theme in a full, joyful iteration, before closing softly again. I sent the score to my publisher and they suggested that the pianist Simon Callaghan record Christmas Dawn with an accompanying video, as a celebratory lockdown project at Wyastone Recording Studio that might cheer people up, given the uncertainties of Christmas this year. I hope the music and the video will give pleasure at a time when Christmas cheer is much needed.” (Richard Blackford)
Visions Of Childhood / April Fredrick, Kenneth Woods, English Symphony Orchestra
Kenneth Woods writes: “Given that this programme was to be an exploration of childhood, the obvious place to start is with birth. Richard Wagner wrote his Siegfried Idyll as a birthday present for his wife, Cosima, just after the birth of their son, Siegfried. Nowhere else in music is there so tender an evocation of those fragile, precious and fraught first days and weeks of life. Engelbert Humperdinck’s great children’s opera, Hänsel und Gretel, a quasi-Wagnerian setting of the classic Brothers Grimm fairy tale, tells the story of two children in peril… “Die Forelle” (“The Trout”) is one of Schubert’s simplest and most popular songs, composed in 1817,when Schubert was just 20, to words by Christian Friedrich Daniel Schubart… Gustav Mahler’s 100-minute Third symphony and his Fourth grew out of the musical material in the short, beautiful song which forms the final movement of the Fourth Symphony, “Das himmlische Leben” (“The Heavenly Life,”), and which concludes these Visions of Childhood. First, however, we hear his song “The Earthly Life” (“Das irdische Leben”) which forms a sort of bleak mirror image to that song. As with the Humperdinck, I have essentially stuck as closely as possible to Mahler’s own orchestration, which is a model of clarity and economy, but also full of extreme, even grotesque, colors. Finally, we come to another combination of song and variations by Schubert, both known as “Der Todund das Mädchen” (“Death and the Maiden”). The song is based on a poem by Matthias Claudius and was written in 1817, the same year as “The Trout.” It has only two verses – one in which the Maiden pleads with Death to pass her by, and one in which Death assures her that he is a friend.
Rontgen: Piano Music, Vol. 4 / Anderson
Poulenc: The Story of Babar / Margolyes, Callaghan
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REVIEW:
With a duration of 27:51 we are into ‘CD Single’ territory, but this is reflected in a lower price for the disc, which is therefore worth every penny. In lockdown or not, parents could do much worse than to buy both this and Jean de Brunhoff’s book ‘The Story of Barbar’, so that everyone can read along and enjoy the wonderful illustrations. Be aware, however, that there are some tragic moments to go along with all of the magical charm and festivities.
– MusicWeb International
Brahms: Piano Sonata No. 3 & Scherzo Op. 4 / Bronfman
Johannes Brahms began his musical life studying the piano, and his earliest, truly great compositions were solo piano works, both presented here. The Scherzo in E-flat minor, Op. 4, is the earliest surviving composition by Brahms. He wrote it in November 1851 when he was 18. He published it as Op. 4, rather than Op. 1, because, he explained to a friend, “when one shows one's self for the first time, people must first see the head and not the feet.” Musical scholars feel that, despite the composer’s denial, it obviously shows a “dependence” on Chopin’s scherzi, and quotes from Heinrich Marschner’s Hans Heiling at bar 46 as well. is certain that Brahms had composed the Scherzo of the F minor Piano Sonata in November 1852,before meeting Schumann and Liszt, but the same scholars feel bars 105 through 111 of this Scherzo unmistakably show the influence of Liszt’s music with “striking parallels.” The Sonata was completed just after Brahms’ visit with Schumann, and it would be easy for us to see Schumann’s influence in retrospect. Internationally recognized as one of today's most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.
Sawyers: Symphony No. 3, Songs of Loss and Regret & Fanfare / Woods, English Symphony Orchestra
This programme reveals Philip Sawyers as a composer at the height of his powers whose music ranges across a relatively wide spectrum of harmonic intensity, from the very direct and straightforward tonal language of the Fanfare to the twelve-tone pyrotechnics of the Third Symphony. However, regardless of whether we look to the modal harmonies of Songs of Loss and Regret or the multi-layered serial counterpoint of the finale of the Third Symphony, we still find a unifying sense of a strong and individual artistic personality. In his symphonic works, we hear an uncommonly accomplished resultion of some of the aesthetic tensions which have gripped so much music to grow out of the Central European tradition in the generations after Mahler and Schoenberg. Sawyers works with a spectrum of musical materials ranging from diatonic and modal material through to twelve-tone themes with a striking mixture of rigor and imaginative flexibility.
Speak the Unspeakable
Grigny: Premier livre d'orgue / Ponsford, L'ecole de Nivers
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REVIEW:
This double CD is a must-have.
– Choir & Organ
In the Age of Ravel / Wilson, Dumont
Ransom Wilson has long been recognized internationally as one of the greatest flutists of his generation. After graduation from the Julliard School in 1973, he spent a year in Paris as a private student of Jean-Pierre Rampal. As a flute soloist, he has appeared in concert with some of the greatest orchestras and artists of our time, including the Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, London Symphony, Frederica von Stade, Jessye Norman, Thomas Hampson, Susan Graham, Dolora Zajick, Nadja Salerno-Sonnenberg, Hilary Hahn, Jean-Pierre Rampal, Sir James Galway, and many others. Francois Dumont is a prizewinner of the most prestigious international competitions: the Queen Elisabeth Competition, the Chopin Competition, the Cleveland International Competition in the United States and the Clara Haskil Competition in Switzerland. In 2012, he received the prize of Revelation de la Critique Musicale francaise. Born in 1985 in Lyon, Francois Dumont worked with Pascale Imbert, Chrystel Saussac and Herve Billaut before being admitted at the age of fourteen to the Conservatoire National Superior of Music and Dance of Paris in the class of Bruno Rigutto. With Virginie Constant and Philippe Aiche, he is a member of the Trio Elegiaque.
French Organ Music from the Golden Age, Vol. 7
Grainger - Summerhayes: Untold
Brahms: Sonatas Op. 78 & 12 arranged for cello
Higgins: Fanfare, Air & Flourishes for Solo Euphonium (bass
Bebop Kaleidoscope, Homage to Duke Ellington for chamber orc
