Search results: Search results
583 results
Products
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
From the New World - Dvořák, Barber & Copland / Hansjörg Albrecht
Oehms Classics · Nov 2020CD$19.99 -
-
Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski
Sony Masterworks · Apr 2011CD$24.99 -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
SERENADE FOR STRINGS
BACH
BRUCKNER: SYM NO. 7 (RECORDED LIVE AT ST. FLORIAN)
Reicha: Wind Quintets / Thalia Ensemble
The young Thalia Ensemble erupted into the public spotlight with their being chosen as winners at the prestigious biennial York Early Music International Young Artists Competition. Their debut release spotlights the compositions of Antoine Reicha. Regarded as a pre-eminent composer for winds, Reicha , a flautist had an uncanny gift of melding the various wind instruments into a rich sonic tapestry in his compositions and the Thalia Ensemble’s inspired and dynamic playing proves to be a perfect match with the lively Wind Quintets.
REVIEWS:
The name Antoine Reicha is one which has fairly comprehensively slipped between the floorboards of musical history, except for within one select circle of musicians, wind players. With them Reicha's wind music, and in particular his wind quintets, has remained current and provides a useful and engaging program filler. The present CD brings us two wind quintets and an Adagio for wind quartet and obbligato cor anglais all played on period instruments of the early 19th century. This final detail may seem relatively unimportant in these days of the ubiquity of period performances, but in this case it was a major factor in my enjoyment of the CD. While tuneful and accessible, Reicha's music is occasionally accused of blandness, but when the Thalia Ensemble moved into the more chromatic passages of these works the music became imbued with considerable individuality. As a flute player himself, Reicha writes beautifully for the flute, but what is perhaps most striking is his mastery of the wind quintet as an entity - perhaps not since Mozart and not until Nielsen did anyone write such accomplished chamber music for winds. 5 stars.
– Early Music Review
These are infectious works, intended not to provoke but simply to delight, and in these elegantly shaped performances they do just that.
– Gramophone
American Classics - Barber: Orchestral Works Vol 2 / Alsop
Lyricism and obsessive patterns are finely realised by the RSNO, while conductor Marin Alsop shows a keen sensitivity to both scores and balances their rhetoric with the clean-edged clarity of their textures. In addition, her performance of the now-ubiquitous Adagio for Strings is a model of restraint, proving the saying that less equals more. Attractive sound, with a wide range and plenty of definition. - BBC Music Magazine
Luigi Gatti: Chamber Music
GATTI Serenata a più stromenti di Concerto. Sestetto • Calamus Ens • MDG 603 1589-2 (63:01)
Yet another forgotten contemporary of the great classicists, Luigi Gatti (1740–1817) was born in Italy’s lake district; studied in nearby Mantua, where he also became a priest; and established himself as a singer, conductor, and composer of note. In the latter capacity his esteem was such that his works were accepted for performance at Milan’s La Scala. In 1783 he was appointed music director of the court of Archbishop Hiermonymus Colloredo in Salzburg, where he served for the remainder of his life. The best-known of the musicians under his supervision there was music’s most famous doting parent, Leopold Mozart, his celebrated son Wolfgang having since departed for Vienna. After the younger Mozart’s demise, Gatti helped his sister, Nannerl, find and preserve some of the scores that had been left in the court’s archives. Gatti himself left a legacy of more than 150 works, ranging from operas, of course, to service music, but also including occasional music, two samples of which are here recorded. These are substantial works. The 34-minute Serenata consists of four movements in symphonic sequence (Allegro, Adagio alla Romanza, Menuetto, Allegro). The Sextet, with a five-movement configuration more typical of a divertimento, has a healthy running time of 29 minutes. Of the two the Serenata may have more staying power, but both are tuneful and obviously the work of a skilled craftsman and clearly not the model for Mozart’s Musical Joke . While one could not make a case for the elevation of Gatti to the pantheon on the basis of these two genial works, both probably fulfilled their function as entertainments at the court. I suspect that this disc came my way because of the scoring: The Serenata calls for oboe, bassoon, two horns, and string quintet; the Sextet for English horn, bassoon, and strings. MDG’s notes indicate that the oboe was Gatti’s wind of choice in his compositions—not at all surprising, since neither the flute nor the clarinet were fully established members of 18th-century orchestras. The double reeds here are not the center of attention, but serve instead as foils to the characteristically dominant first violin, as one might expect in a typical serenade of the period. This release is for the curious and/or adventurous. The performances could not be better.
FANFARE: George Chien
Triptyque Beethoven, Vol. 1 (Live)
A HIDDEN LIFE - ORIGINAL MOTIO
Morricone: Cinema Rarities / Serino, Orchestra di Padova e del Veneto
The idea for this album came about during the recording of its predecessor Cinema Suites (BBC Music Magazine’s “Screen Choice”, Album of the Week on WDR3 etc.), when the Morricone family sent Marco Serino a number of rarities that they hoped could also be recorded, particularly “Dedicated to Maria” (from the film The Sleeping Wife) that the composer had dedicated to his wife. These works, along with others that Serino rediscovered in his own archives, make up the backbone of Cinema Rarities, an ideal sequel to the previous recording.
After twenty years as Ennio Morricone’s chosen violinist, Serino continues his exploration of the compositions for violin and orchestra, but this time with a particular focus on pieces that, besides being less well known to the wider public, all share a degree of “Italianness”.
The main nucleus of the program consists of three suites named after three Italian film directors (Silvano Agosti, Mauro Bolognini and the Taviani brothers), with whom Morricone worked closely. Although the respective films did not achieve the international acclaim of those directed by Sergio Leone or Giuseppe Tornatore, which featured in the previous recording, they inspired the composer to come up with new and distinctive solutions, such as “Love Remembered” from The Inheritance, considered by Marco Serino to be one of the most beautiful.
Equally quintessentially Italian are the two extracts from the scores for The Lady Caliph directed by Alberto Bevilacqua, including the lovely “Nocturne” and the brief “Quasi un Vivaldi” (from Sergio Sollima’s film Revolver), which herald by almost a decade remakes like Gian Piero Reverberi’s Rondò Veneziano. A unique place is occupied by Four Adagios, a collection of four pieces chosen by the composer himself (including the iconic “Whoever” and “Deborah’s Theme”), which in this arrangement for violin cites the main theme of the first movement of the Beethoven Concerto. Dedicated to Serino and performed worldwide under the baton of Morricone, Four Adagios speaks to the artistic partnership between composer and violinist, their mutual professional respect and deep friendship.
RUSSIA: ROMANCE & DRAMA
Rachmaninoff: Complete Symphonies / Slatkin, Detroit Symphony Orchestra
Sergey Rachmaninoff's symphonic career had a rocky start with the premiere of his First Symphony, now recognized as one of the Russian symphonic works of the late 19th century. Both the powerful First Symphony and the gloriously melodic Second, with its lush harmonic Adagio second movement, are haunted by the Dies irae chant melody. Rachmaninoff considered his Third Symphony to be one of his finest works, alongside the exquisitely and virtuosic Symphonic Dances. The enduring attraction of these symphonies is enhanced by the 'impressive, highly desirable interpretations' (Gramophone) in this acclaimed edition conducted by Leonard Slatkin.
Past praise for previously released volumes included in this set:
Rachmaninoff: Symphony No. 3, Symphonic Dances
The more garish aspects of the Symphonic Dances, with its Dies irae quotation morphing into a Russian Alleluia, and the percussion parts generally, are kept under control, while the symphony’s glorious melodies, the last stand of the Romantic era in 1936, are allowed to flower luxuriantly. A crack Russian or British orchestra might be smoother in places, but there is a confident musicality here that is immensely appealing, and it has everything to do with a group of young players who realize that they are under the gun and have what it takes to succeed, under seasoned leadership. Highly recommended.
-- AllMusic.com (James Manheim)
Rachmaninoff: The Isle of the Dead & Symphony No. 1
This recording of the First Symphony is arguably the finest since Ashkenazy’s with the Royal Concertgebouw Orchestra for Decca. Slatkin grinds out the opening bars with real menace, and he conceals the first movement’s episodic construction with flowing tempos and smartly managed transitions. The climax of the development section uses the glockenspiel part that seems to come and go in various recordings, but not the rest of the percussion that we find, say, with Litton on Virgin. Through it all the Detroit Symphony plays splendidly.
The crepuscular scherzo has an attractive lilt, while the Larghetto is just that: a small Largo, not one of Rachmaninov’s more hot and heavy statements in the mode of Symphony No. 2. Kudos to Slatkin for catching the movement’s gentle melancholy so well. As for the finale, it begins with plenty of the requisite panache, and culminates with a dark, powerful, and threatening coda that, if not quite as screamingly intense as Ashkenazy’s (the tempo is a bit quicker), comes as close as makes no difference. The trombones really put on a show here.
As for The Isle of the Dead, Slatkin’s performance doesn’t languish as some others do, and it’s all to the good. You really feel the five-in-a-bar rhythm in this performance, the lapping of the waves against the shore. The climaxes have tremendous impact, and the final appearance of the Dies irae sends a shiver down the spine. The work is all the more gripping for having such a strong rhythmic profile, and like the symphony it’s beautifully played (and recorded). Slatkin always has performed Rachmaninov as well as just about anyone alive today, and this cycle, quietly and with little fanfare as it has gradually appeared, sustains his reputation.
-- ClassicsToday.com (David Hurwitz)
From the New World - Dvořák, Barber & Copland / Hansjörg Albrecht
'From the New World' is the subtitle of Dvorak's famous Symphony No. 9, implying a departure into a new musical world and representing a bridge between the European and American music traditions and their influences. Dvorak's music shares the programme with works by Samuel Barber and Aaron Copland. These new organ transcriptions are performed by Hansjörg Albrecht on the Organ system (large organ, concert organ, echo organ) of the main church St. Michaelis in Hamburg. Hansjörg Albrecht is – besides Ton Koopman, Masaaki Suzuki, Martin Haselböck and Wayne Marshall – one of the few artists who are regularly present internationally both as conductor and concert organist. He is considered a musical innovator and lateral thinker without fear of contact. As a conductor, he consistently follows his own paths – between archive and new creation and with an extensive repertoire from Bach to Messiaen – and with his organ transcriptions he has established himself as a specialist among the virtuosos of his instrument.
REVIEW:
Pride of place here are the two arguably greatest works written by a European on American soil and an American on European soil. However, these are preceded by two remarkable transcriptions. First comes a boisterous version of Dvorák’s Carnival overture, made by another European emigrant to America, Edwin Lemare, which shows off Albrecht’s virtuosity. Then comes John Fesperman’s transcription of Copland’s Passacaglia, which gives us a fabulous Cook’s tour of many of the organ’s weirder and more wonderful sounds.
Barber’s Adagio for Strings works very well in this transcription by William Strickland; and while the bulk of the sound is, naturally enough, created by the string tone, Albrecht’s judicious employment of flutes gives it a comfortable, idiomatic feel. My only reservation is the bulky pedal stop which anchors it rather too solidly.
The transcription of Dvorák’s Ninth Symphony is by Zsigmond Szathmáry, and makes considerable demands on both the organ and the player. The generous acoustic of St Michael’s Church, Hamburg, possibly covers a multitude of sins, and perhaps some intricate detail gets lost in this highly atmospheric recording, but Albrecht has a powerful vision for the work and is superb in recreating what are distinctly orchestral textures. He is particularly impressive in conveying the dancelike vigour of the final movement. Above all, he moves across the mindboggling specification of this organ (by my reckoning, there are some 150 stops to play with) with the fluidity of the River Elbe.
-- Gramophone
Elgar, Finzi, Howells, Webber & Vaughan Williams: Elegy
Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
James Galway - 60 Flute Masterpieces Vol 8 - 20th Century II
In many ways, the Piccolo Concerto (1996) shares the same ground-plan as that of the Flute Concerto, its first two movements again displaying a mastery of variation technique, followed by a wittily ebullient finale (which quotes from Mozart's Symphony No. 40, Beethoven's Eroica and Sousa's The Stars and Stripes Forever). The central Adagio is especially reminiscent of Shostakovich in its icily atmospheric chill, but there are strong echoes of the Russian master throughout (whom Liebermann openly acknowledges as 'one of my biggest musical influences').
Galway is his usual immaculate self, as effortlessly assured an exponent of the piccolo as he is a flautist. Moreover, the London Mozart Players respond with enthusiasm under the composer's shapely lead.
-- Gramophone [2/1999, reviewing the Liebermann works]
---------------------------------------
In this expert, sweet-toned and affectionate music-making, these fine artists audibly enjoy themselves hugely, responding to Arnold's idiomatic and resourceful writing as to the manner born. I especially enjoyed Galway and friends in the sparkling early Three Shanties for wind quintet (written in 1943 for the composer's LPO colleagues) and the delicious Divertimento for flute, oboe and clarinet (1953). Cast in six pithy movements (and masterfully played here), the latter piece contains invention of great freshness and charm, with definite echoes of the English Dances from the same period.
In the wistful central Andante of the First Flute Concerto (1954), Sir Neville Marriner and his beautifully prepared Academy strings provide a poignant backdrop to Galway's ravishing playing, and this music's kinship with the great slow movement of Arnold's Second Symphony (completed the previous year) is most perceptively brought out.
-- Gramophone [4/1998, reviewing the Arnold works]
---------------------------------------
...it goes without saying that Galway's personality and virtuosity are commanding... He gives a brilliant and confident account of the 1926 Concerto, and here also serves as conductor...
-- Gramophone [2/1988, reviewing the Nielsen concerto]
Paganini: Complete Chamber Music / Paganini String Quartet
Dynamic, the independent Italian record label, based close to Paganini’s birthplace in Genoa, has compiled this ten disc set of their previously issued Paganini recordings. It seems that several of these recordings were receiving their first recording. Although this box includes the complete edition of Paganini’s fifteen quartets for strings and guitar; the three string quartets and a number of other chamber works there is certainly much of Paganini’s chamber music not included here. It omits the large amount of chamber music that Paganini wrote for guitar and violin, solo guitar and for solo violin. There are seventy or so duets for violin and guitar, including the familiar Sonata concertata, MS2, Grand Sonata, MS3 and the Cantabile, MS109. In addition Paganini wrote over a hundred scores for solo guitar. Dynamic have issued discs of a sizeable number of Paganini’s works for violin and guitar and a disc of some of his solo guitar scores.AB The Arts Music label on Red Line has four volumes of the solo guitar music.C With regard to the solo violin music there are many available versions. For the Dynamic label Stefan Milenkovich has recorded the complete music for solo violin - released in 2004 on CDS 402/1-2.
Paganini holds an esteemed status as probably the world’s finest ever virtuoso violinist but his chamber music compositions are, with minor exceptions, almost totally ignored. It is often forgotten that Paganini also played and composed for the guitar. In fact, of the five opus numbers published during his lifetime only the op. 1 set of 24 Caprices for Solo Violin did not include the guitar. It may come as a surprise that Paganini also wrote a sacred choral score entitled Le couvent du mont St. Bernard for violin, chorus and orchestra. I have yet to hear it but it was given its first recording by the Dynamic label.
I have previously reviewed five of the ensemble scores with guitar that are contained on this release on two volumes of recordings from the German based Ambitus label (Vol. 1 AMB97977 and Vol. 2 AMB96899).
It seems that Paganini wrote chamber music from an early age and continued to do so regularly throughout his life. Often he would compose whilst on tour as a virtuoso performer during the long and arduous coach journeys. Biographer Danilo Prefumo has written that, “Paganini’s chamber music is the genuine expression of the more private side of this composer’s musicality …” The general neglect of Paganini’s chamber music is highlighted by the fact that for many decades a large number of the scores have not been generally available for performance. For example his three string quartets MS20 were published as recently as 1976 with a performing edition in 1991; some hundred and fifty years after their composition.
In addition to his fame for composing for the violin Paganini also wrote a substantial amount of music for the guitar. The majority of the scores on this Dynamic release include the guitar. Swiss composer Franz von Wartensee, an associate of Paganini, wrote in his memoirs, “Not everyone knows that Paganini was a first-rate guitarist, since he did not consider it worth the effort to present himself publicly as such.” The sources of information that I have checked are rather vague on the origins and dates of Paganini’s attraction to the guitar. I understand that the main influence was his father Antonio who was himself a mandolin player and it is likely that from an early age Paganini would have received instruction from Antonio. It seems that from around 1801, during the few years that Paganini lived with a wealthy lady on her country estate in Tuscany, his energies were principally channelled into guitar study and composition.
On the whole the music on this Dynamic series is characteristic, lyrical and immensely enjoyable. These scores have a propensity for delivering entertainment rather than cherishing pretensions of greatness; those wanting significant emotional depth to their music should look elsewhere.
Comprising seventy percent of the set the fifteen Quartets for strings and guitar (CDs 1-5); the three Strings quartets (CD 7) and the five Trios for strings and guitar (CD 6) follow a similar sound-world and design. Here Paganini’s typical four movement plan predominantly consists of a quick and entertaining opening movement Allegro followed by a lively and carefree second movement Minuet that verges on a Scherzo. The slow third movement is expressive, aria-like and sweetly lyrical, marked Adagio or Andante. Concluding the score is a brisk and spiritedly ebullient Allegro or Presto that sometimes employs the stricter form of a Rondo.
I especially enjoyed the Theme and eight Variations for two violins and cello, MS117 (CD 8) - an unusual and pleasurable score with a noble theme, followed by a set of eight variations containing a wide range of moods. The twenty one Divertimenti carnevaleschi for two violins and cello, MS4 (CD 8) are a substantial set of short and varied scores.
Included on the final disc is the four Nocturnes for two violins, viola and cello, MS15 (CD 10). Each of the Nocturnes opens with an expressive slow movement that precedes a brisk and lithe dance-like movement. Two interesting and amiable scores are the Sonata per Rovene per mandolino e chitarra (Serenata per Rovene in E minor for mandolin and guitar), MS14 and the Serenata per mandolino e chitarra (Serenata in G major for mandolin and guitar), MS16. Both scores are cast in two brief movements with the mandolin taking the leading role. In a way similar to the four Nocturnes, MS15 a slow movement is followed by a movement of a swifter pace. The final work on the set the Minuetto per l’amandorlino per mandolino solo (Minuet in E major for solo mandolin), MS106 is a rather uninspiring three movement affair.
To be candid these works although interesting and highly appealing are not candidates to become staples of the chamber repertoire and are unlikely to be taken up by the leading ensembles on the international stage. Notwithstanding the numerous four movement scores, I found many of the other works such as the three Duets for violin and cello; the twenty one Divertimenti carnevaleschi for two violins and cello; the substantial three Duets for violin and bassoon; the Sonata per Rovene per mandolino e chitarra and the Serenata per mandolino e chitarra contained surprises both in terms of layout, employment of instrumentation and musical content.
Generally, I was fascinated by how Paganini’s writing can sometimes display a certain vulgarity and the next minute I could be enchanted by his charm and warmth. I found it frequently difficult to forecast what Paganini would do next and this unpredictability is a characteristic that was highly pleasing.
Dynamic have employed some nineteen different players over the fifteen year span of these recordings. Violinists: Bruno Pignata the leader of the Quartetto Paganini performs on a large number of the scores; Stefan Milenkovich displays his undoubted prowess on disc 8 and the renowned international soloist and Paganini champion Salvatore Accardo plays on the Three Duets for violin and bassoon (CD 9). It is clear from these interpretations that the players relish the attractive writing. Throughout I was impressed by the matching of the players, their blend of ensemble and choice of pace. Overall finesse, eloquence and tonal beauty are not words that I would use to describe these performances although the playing is consistently characterful, and often glowing and delightful. I especially enjoyed the effervescent performances of the allegros of the quintets and quartets and was impressed that the momentum of the slow movements is never allowed to wane.
Generally the sound quality has been produced to a decent standard, clean and bright with just a slight lack of depth. However, on CD 9 I found the Three Duets for violin and bassoon to be rather too brightly lit and I had to resort to considerable adjustment of the line-out-level on my disc player. There is an interesting and well written essay in the accompanying booklet by Danilo Prefumo; yet I was left wanting more information on the actual scores.
These rarely encountered chamber music scores from the Genoese Maestro are certainly worthy of investigation.
-- Michael Cookson, MusicWeb International
Full details
CD 1: Complete Quartets for strings and guitar, Vol. 1 [67:16]
Quartet No. 1 in A minor, Op.4/1, MS28 [21:41]
Quartet No. 9 in D major, MS36 [21:42]
Quartet No. 10 in A major, MS37 [23:53]
CD 2: Complete Quartets for strings and guitar, Vol. 2 [63:47]
Quartet No. 11 in B major, MS38 [20:28]
Quartet No. 12 in A minor, MS39 [23:33]
Quartet No. 13 in F major, MS40 (1819) [19:46]
CD 3: Complete Quartets for strings and guitar, Vol. 3 [68:53]
Quartet No. 3 in A major, Op. 4/3, MS30 [21:21]
Quartet No. 7 in E major, MS34 [26:04]
Quartet No. 14 in A major, MS41 [21:27]
CD 4: Complete Quartets for strings and guitar, Vol. 4 [64:03]
Quartet No. 2 in C major, Op. 4/2, MS29 [18:56]
Quartet No. 8 in A major, MS35 [23:03]
Quartet No. 15 in A minor, MS42 [22:04]
CD 5: Complete Quartets for strings and guitar, Vol. 5 [74:17]
Quartet No. 4 in D major, Op.5/1, MS31 [24:21]
Quartet No. 5 in D major, Op. 5/2, MS32 [24:20]
Quartet No. 6 in D minor, Op. 5/3, MS33 [25:36]
CD 6: Complete Trios for strings and guitar [65:29]
Serenata in C major for viola, cello and guitar, MS17 [15:10]
Terzetto Concertante in D major for viola, cello and guitar, MS114 [22:55]
Terzetto in D major for viola, cello and guitar, MS69 [20:12]
Terzetto in A minor for 2 violins and guitar, MS116 [03:03]
Serenata in F major for 2 violins and guitar, MS115 [04:09]
CD 7: Complete String Quartets, MS20 [64:55]
String Quartet No. 1 (c.1815) [19:02]
String Quartet No. 2 (c.1815) [23:00]
String Quartet No. 3 (c.1815) [22:53]
CD 8: Works for violin/s and cello [67:00]
In cor più non mi sento, theme and variations for two violins and cello, [08:15]
Three Duets for violin and cello:
Duet No.1 [09:13]
Duet No.2 [09:49]
Duet No.3 [09:21]
21 Divertimenti carnevaleschi for 2 violins and cello, MS4 [30:22]
CD 9: Three Duets for violin and bassoon, MS130 [50:08]
Duet No.1 [16:57]
Duet No.2 [16:52]
Duet No.3 [16:19]
CD 10: Quattro Notturni a quartetto, MS15 and other works [57:07]
Quattro Notturni a quartetto for two violins, viola and cello, MS15: Notturno No. 1, [06:28]
Notturno No. 2, [07:11]
Notturno No. 3, [04:14]
Notturno No. 4, [03:31]
Quartet No. 7 in E major for two violins, viola and cello, MS34
(transcription from quartet for strings and guitar) [22:49]
Sonata per Rovene per mandolino e chitarra, MS14 [02:56]
Serenata per mandolino e chitarra, MS16 [02:53]
Minuetto per l’amandorlino per mandolino solo, MS106 [07:05]
Performers Quartetto Paganini: Bruno Pignata (violin), Lorenzo Lugli (viola), Paola Mosca (cello), Giuseppe Briasco (guitar) (CDs 1-3). Quartetto Paganini: Bruno Pignata (violin), Ernest Braucher (viola), Riccardo Agosti (cello), Giuseppe Briasco (guitar) (CDs 4 & 5). Dora Bratchkova (violin), Götz Hartmann (violin), Antonello Farulli (viola), Andrea Noferini (cello), Adriano Sebastiani (guitar) (CD 6). Quartetto d’archi Paganini: Bruno Pignata (violin), Gian Luca Allocco (violin), Ernest Braucher (viola), Dario De Stefano (cello) (CD 7). Stefan Milenkovich (violin), Riccardo Agosti (cello), Pier Domenico Sommati (second violin) (CD 8). Salvatore Accardo (violin), Claudio Gonella (bassoon) (CD 9). Quartetto d’archi Paganini: Bruno Pignata (violin), Gian Luca Allocco (violin), Ernest Braucher (viola), Dario De Stefano (cello), Dorina Frati (Genoese mandolin), Piera Dadomo (guitar) (CD 10).
LATE NIGHT CLASSICS (Night Owl)
Heaven To Earth / Flummerfelt, Westminster Choir
Anton Bruckner: Symphony No. 3 in D Minor - Version 1873 & A
Russian Music For Cello & Piano / WarnerNuzova Duo
American cellist Wendy Warner pairs a huge, lustrous tone with diamond-edge virtuosity, apt for a protégé of Russian icon Mstislav Rostropovich. She is ideal in this set of 20th-century Russian pieces with Moscow-bred pianist Irina Nuzova. The Adagio from Prokofiev's ballet Cinderella" could melt the hardest heart, especially when played with Warner's passion. The Sonata No. 2 by Nikolai Miaskovsky, an elder contemporary of Prokofiev, brims with dark lyricism; the duo make its neglect seem unjust. A Scriabin etude transcribed by cello great Gregor Piatigorsky comes across like an operatic aria, while Alfred Schnittke's "Musica Nostalgica" is a post-modernist dream of old Russia. Rachmaninoff's big Cello Sonata is another experience in melodic melancholy, with Warner's tonal palette all woody brown and smoldering red." -- Bradley Bambarger, Newark Star Ledger
Molino: Complete Guitar Sonatas
Tabakov: Complete Symphonies, Vol. 7 / Sofia Philharmonic Orchestra
The music of the Bulgarian composer-conductor Emil Tabakov (b. 1947) explores the darker side of the human spirit in monumental scores as austere as they are powerful. Like many of his earlier symphonies, the Ninth, nearly an hour in length, is conceived on a massive scale. The opening Adagio forms an epic, glacial prelude to the driving Presto second movement. Two further slow movements follow: a Largo, which offers an island of relief after the tumult of the scherzo, and a finale which, after opening with an extensive Largo of its own, is transformed into a wild, driving, violent Allegro moderato. The symphony is prefaced by a virtuoso study for string ensemble written over 30 years earlier and remarkable for its contrapuntal fireworks and its explosive, almost elemental energy.
Memorial Concert For Claudio Abbado
MEMORIAL CONCERT FOR CLAUDIO ABBADO
Ludwig van Beethoven: Symphony No. 3 in E-Flat Major, Op. 55, “Eroica”: II. Marcia funebre*
Franz Schubert: Symphony No. 8 in B Minor, D. 759, “Unfinished”: I. Allegro moderato
Friedrich Hölderlin: Brod und Wein
Alban Berg: Violin Concerto
Gustav Mahler: Symphony No. 3 in D Minor: VI. Adagio
Isabelle Faust, violin
Bruno Ganz, narrator
Lucerne Festival Orchestra
*Claudio Abbado, conductor
Andris Nelsons, conductor
Recorded live at the Concert Hall of KKL Luzern, August 2013
(Beethoven) and 6 April 2014 (all except Beethoven)
Picture format: NTSC 16:9
Sound format: PCM Stereo
Region code: 0 (worldwide)
Subtitles: German, English, French, Japanese, Korean
Running time: 98 mins
No. of DVDs: 1
