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 | Classical Music - everybody welcome rapidshare |  |
| Posted: Sat Apr 19, 2008 7:25 am |
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The Classical Brits Album 2007 - 2CD
Disc: 1
1. Hungarian Rhapsody No.2 in C sharp minor, S.244 - Arr. Vladimir Horowitz - Lang Lang
2. The Flower Duet (from Lakmé) - All Angels
3. Vurria - Plácido Domingo, Budapest Philharmonic Orchestra, Eugene Kohn
4. Zdes' khorosho, Op.21, No.7 - Arranged by Michael Rot - Anna Netrebko, Orchestra of the Mariinsky Theatre, Valery Gergiev
5. Nunc Dimittis - The Sixteen, Harry Christophers, Julie Cooper, Mark Dobell
6. Papagena! Papageno! (Papageno, Papagena) - Bryn Terfel, Miah Persson, Scottish Chamber Orchestra, Charles Mackerras
7. "Ich soll ihn niemals, niemals mehr sehn" - Renée Fleming, Orchestra of the Mariinsky Theatre, Valery Gergiev
8. One Fine Day - Hayley Westenra
9. Gigue (Bach: Violin Partita No. 3) - Alison Balsom, Jørn Pedersen
10. Core 'Ngrato - Alfie Boe
11. He Was Beautiful - Lesley Garrett
12. Maria - Vittorio Grigolo
13. Chanson de Matin, Op.15, No.2 - Julian Lloyd Webber, Royal Philharmonic Orchestra, James Judd
14. Voi che sapete - Magdalena Kozená, Orchestra Of The Age Of Enlightenment, Simon Rattle
15. The Pearl Fishers' Duet - Andrea Bocelli, Bryn Terfel, London Symphony Orchestra, Barry Wordsworth
16. 1. Adagio - Moderato - Mischa Maisky, Philharmonia Orchestra, Giuseppe Sinopoli
Disc: 2
1. Granada - Juan Diego Flórez, Fort Worth Symphony Orchestra, Miguel Harth-Bedoya
2. Quello che farò (sarà per te) - Katherine Jenkins
3. "Vissi d'arte, vissi d'amore" - Kiri Te Kanawa, The National Philharmonic Orchestra, Georg Solti
4. World In Union - Fron Male Voice Choir
5. Hungarian Dance No.1 In G Minor - Joshua Bell
6. Serenade ("Standchen" No 4 from Schwanengesang D957) - Nicola Benedetti
7. Rondo alla Turca - James Galway
8. Ombra mai fu - Elin Manahan-Thomas
9. Nessun dorma! - Russell Watson, The Metro Voices, Chamber Choir Of St. Catherine's, Bramley, Guildford, Royal Philharmonic Orchestra, William Hayward
10. Aranjuez Ma Pensee - Amici Forever, Prague Film Orchestra, Victoria Kahmi, Nick Garrett, Matt Dunkley, Jeff Rowland
11. Reflexionem - Patrick Hawes
12. Interlude (Lament) - Paul McCartney, Academy of St. Martin in the Fields Chorus, Gavin Greenaway, London Voices, Boys of Magdalen College Choir, Oxford, Boys of Kings College Choir
13. Si Un Jour - Natasha Marsh
14. Pie Jesu - Aled Jones
15. Ecce Homo (Theme from Mr Bean) - The Choir Boys
16. Vitae Lux - Sissel
17. L'Ultima Canzone - Nicky Spence
18. "Pomp and Circumstance," Op.39: March, No.4 in G - Philharmonia Orchestra, Giuseppe Sinopoli
http://rapidshare.com/files/108523272/TheClassicalBritsAlbum2007-CD1.rar
http://rapidshare.com/files/108533553/TheClassicalBritsAlbum2007-CD2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Sun Apr 20, 2008 12:26 pm |
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Paul O'Dette
Early Italian Renaissance Music. Lute Music Vol. 2
Harmonia Mundi HCX 3957043, 1994/2001
Francesco Canova da Milano
01. Fantasia (Castelfranco MS) 3:58
02. Ricercare for lute No 13 1:35
03. Fantasia No 83 1:43
04. Pourquoy Allez-Voux Seullette 1:55
05. Fantasia No. 26 1:37
Pietro Paulo Borrono
06. Pavana chiamata la Desperata 3:04
07. (Unspecified Saltarello) 1:11
08. Tocha tocha la canella 1:52
Marco dall'Aquila
09. Ricercar 3:35
10. Il est Bel et Bon 2:06
11. Ricervar Lautre Jour, No 101 3:34
12. Nous Bergiers 1:53
13. La Traditora, No 3 2:20
Francesco Canova da Milano
14. Fantasia No. 39 1:44
15. Fantasia No. 8 in G 2:14
16. Fantasia dolcissima et amorosa 2:19
17. Fantasia No 56 2:00
Alberto da Ripa
18. Fantasia No. 22, for lute 4:56
19. L'Eccho (Gentian), for lute 3:18
20. Fantasia VIII 3:09
Marco dall'Aquila
21. Ricercar for lute (No 16) 0:59
22. La Traditora, No 2 2:04
23. La Battaglia (after Janequin) 3:28
24. Ricercar No. 33, for lute 2:57
Pietro Paulo Borrono
25. Fantasia 1:00
26. Pavana la Gombertina 3:10
27. (Unspecfied Salterello) 2:04
28. Saltarello chiamato el Mazolo 1:23
| Quote: | | O'Dette's interpretation of this wonderful set of songs is amazing and delightful. Pieces such as Fantasia (Castelfranco MS), Pourquoy Allez-Vous Seullette, La Tradittora - only to quote a few-, are simply unbelievable experiences of the refined and high sense of art which emanates from O'Dette's ability to touch his instrument. |
| Quote: | O'Dette's interpretation of this set of carefully chosen pieces is quite amazing and delightful. Piece's such the virtuoso Fantasia - Castelfranco MS, Pourquoy Allez-Vous Seullette and La Tradittora - among others-, are only a few examples of the "clearest case of genius ever to touch his instrument ", as O'Dette is known among the specialized musicians of the highest level of technique and feeling.
This true opus must be listened in a wide room, with the lights turned off. Just light a stick of opium incense, taste a hot cup of mint tea, and you'll travel in time. To that time when music wasn't played loud, 'cause it's essence relied upon it's delicacy and sweetness. |
| Quote: | Few instrumentalists establish themselves with such firm authority as Paul O'Dette has on the lute. In fact, one writer described him as "the clearest case of genius ever to touch his instrument." In fact, O'Dette helped define the technical and stylistic standards to which twenty-first century performers of early music aspire. In doing so, he helped infuse the performance practice movement with a perfect combination of historical awareness, idiomatic accuracy, and ambitious self-expression. "I remember when I first started playing the lute," O'Dette once recalled, "the common perception of Renaissance music was that it was kind of pre-expression -- that people didn't use dynamics, they didn't use tone colors.... [But] the more we've learned, we've realized that in fact all of these expressive devices were being used throughout the sixteenth century." O'Dette deserves much of the credit for bringing this aspect of early music to the fore of performance practice.
O'Dette's musical career can be traced at least back to high school, during which time he played electric guitar in a rock band. Frustrated with the lack of pedagogical consensus within the rock guitar world, and seeking a higher level of technical rigor and discipline, O'Dette took a friend's advice and sought out instruction from a classical guitar teacher in order to improve his rock playing. His first assignment under his new teacher was to learn some Renaissance lute pieces arranged for guitar. He was immediately transfixed by the sonorities of the Renaissance, and sought out recordings of the music on authentic instruments. Also, as luck would have it, his teacher had a kit-made lute that he had never learned to play, which he sold to his student. Over the next few decades, O'Dette's collection expanded to include over 20 instruments, including a lute, an archlute, a chittarone, and a Baroque guitar.
The expansion of his collection paralleled the development of his career as the world's foremost lutenist. In 1976, O'Dette became Director of Early Music at the Eastman School of Music. He has subsequently appeared on over 100 recordings, both as a featured performer and with such prestigious company as Nigel Rogers, Christopher Hogwood, Jordi Savall, Trevor Pinnock, and Gustav Leonhardt. Among his accolades are several nominations for "Record of the Year" for his highly-respected 1995 recording of John Dowland's complete works for lute; the next year his CD of Purcell songs, a collaboration with Sylvia McNair, won a Grammy.
Perhaps O'Dette's style can be described as deeply human. Crucial to his sound is his awareness of the ethnic and dance topics that figure into the music. The dance gestures that correspond-- albeit sometimes in only a stylized way -- to the musical figures, find expression in the contour and phrasing of O'Dette's lines. He makes another enlightening comparison as well, one based on writings contemporaneous to the music: "All of the sixteenth century sources say that the best instrumentalists are those who can make you believe you are listening to words -- that the best instrumental playing strives to imitate the voice in every way possible." This appealing (and historically informed) philosophy of performance and O'Dette's impeccable technique, have made his performance of early music a creative, rather than a curatorial, endeavor. ~ Jeremy Grimshaw |
320 kbps, including full booklet scans
| Code: | http://rapidshare.com/files/76344195/PO_D-EIRM.LV2.part1.rar
http://rapidshare.com/files/76352525/PO_D-EIRM.LV2.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Sun Apr 20, 2008 12:26 pm |
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Paul O'Dette
Portrait
harmonia mundi HMX 2907255, 1999
01. John Dowland - Sir John Smith, his Almain, for lute, P 47 2:29
02. John Dowland - Forlorn Hope, fantasie for lute, P 2 3:52
03. John Dowland - (Pavan) 5:25
04. Santiago de Murcia - La Jota 5:57
05. Santiago de Murcia - Cumbées, for guitar 2:30
06. Joan Ambrosio Dalza - Piva (from Il Libro del Cortegiano) 2:10
07. Anonymous - Emperor of the moon 2:08
08. Marco dall'Aquila - La Battaglia 3:28
09. Claudio Monteverdi - Voglio di vita uscir, madrigal for soprano (in manuscript) 4:54
10. John Dowland - Jig, for lute in C minor, P 78 (possibly spurious) 2:19
11. John Dowland - Can she excuse (The Right Honourable Robert, Earl of Essex, his Galliard), galliard for lute, P 42 1:39
12. John Dowland - The Right Honourable Lord Viscount Lisle (Sir Robert Sidney, his galliard), for lute, P 38 (A Musical Banquet) 2:51
13. Georg Friedrich Händel - Acis and Galatea, oratorio, HWV 49 (Aria: Come la rondinella) 6:00
14. English Traditional - Greensleeves, English folk song 3:50
15. John Playford - The Glory of the West 1:39
16. John Playford - The Queen's Jigg 3:57
17. Cuthbert Hely - Fantasias (3) for lute 4:07
18. Cuthbert Hely - Sarabande for lute 0:52
19. Richard Alison - Go from my Windoe 3:47
20. Johannes Hieronymus Kapsberger - Toccata for chitarrone No. 2 3:27
21. Jacopo Peri - Hor che gli augelli 3:09
22. Adrian Le Roy - Je ne seray jamais bergere 1:07
| Quote: | | O'Dette is always musical, stylish and technically accomplished....as a single-disc compilation, this anthology is worth investigating for anyone interested in the lute and related instruments. |
320 kbps, including full booklet scans
| Code: | http://rapidshare.com/files/76366429/PO_D-P.part1.rar
http://rapidshare.com/files/76379986/PO_D-P.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Mon Apr 21, 2008 6:08 am |
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Amsterdam Loeki Stardust Quartet
Johann Sebastian Bach - The Art of Fugue
Channel Classics CCS 12698, 1998
The Art of Fugue, for keyboard (or other instruments), BWV 1080
01. Contrapunctus 1 3:14
02. Contrapunctus 3 3:04
03. Contrapunctus 2 3:01
04. Contrapunctus 4 5:07
05. Canon Alla Duodecima in Contrapunto Alla Quinta 4:16
06. Contrapunctus 5 3:36
07. Contrapunctus 6 A 4 in Stylo Francese 3:22
08. Contrapunctus 7 a 4 Per Augment Et Diminut 4:50
09. Contrapunctus 8 A 3 6:33
10. Contrapunctus 9 A 4 Alla Duodecima 2:26
11. Contrapunctus A 3 c 2:18
12. Contrapunctus Inversus A 3 c 2:20
13. Contrapunctus 10 a 4 Alla Decima 4:22
14. Contrapunctus Inversus 12 A 4 2:30
15. Contrapunctus Inversus 12 a 4 2:10
16. Contrapunctus 11 a 4 6:53
17. Canon Alla Ottava 4:11
18. Fuga A 3 Soggetti 8:46
| Quote: | The Art of Fugue is a complex work -- not the first piece by Bach one falls in love with. We don't really know what instrument this was written for, as Bach wrote out each part on a separate line. There have been arrangements for nearly every conceivable combination. Some excellent versions are Vladimir Feltsman on piano, Grigory Sokolov on piano, Berliner Saxophon Quartett, Pittsburgh Symphony Brass, Bernard Lagace on organ, Jordi Savall on small ensemble period instruments. Purists will sneer, but I even like the excerpts recorded over a span of years by Glenn Gould on Sony. Unfortunately, though I like the Goldberg Variations on harpsichord, I have yet to find a version of AOF on harpsichord that I like.
Back to the Amsterdam Loeki Stardust Quartet. Their version is distinguished by the fact that the sound of their recorders somewhat resembles that of an organ (naturally, both being wind through a column instruments) but much gentler. The different recorders have different timbre as well, making it easier to follow the line of each voice. Besides the sonic qualities, the interpretation is at the same time profound and yet dance like. These men are outstanding musicians.
Generally I don't recommend an exotic instrumentation of a work as the first version to buy. But in this case anyone would do well to make this recording their first, or second, or tenth version of The Art of Fugue. |
320 kbps; including full booklet scans
| Code: | http://rapidshare.com/files/78119692/ALSQ-JSB.DKdF.part1.rar
http://rapidshare.com/files/78132210/ALSQ-JSB.DKdF.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Mon Apr 21, 2008 6:09 am |
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Stefan Hussong
Dream. Plays John Cage
Denon CO-18069, 1998
01. Dream
02. In a Landscape
03. Souvenir
04. Two 3 No. 5
7 Harmonies from "Apartment House 1776"
05. XX. Heath
06. XXXV. Framingham
07. XV. Bellingham
08. XXXIX. Weymouth
09. XII. Littleton
10. III. Funeral Anthem
11. XVIII. Old North
Stefan Hussong - accordion
Hiroyuki Okano - conch shell (4)
| Quote: | The pieces that Stefan plays are wistful, dreamy Japanese-inspired tunes. A sense a well-being and "rightness" is created where I was expecting near-cacophony and edgyness. The accordian is exactly right for the music. The tonalities of oriental flute with the chordal depth of accordian are striking and thought-provoking in the very best sense.
Of course, if your religion forbids listening to accordians, you have to pass this one up. - Amazon reviewer |
320 kbps; including full booklet scans
| Code: | http://rapidshare.com/files/82189000/SH-DPJC.part1.rar
http://rapidshare.com/files/82199075/SH-DPJC.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Tue Apr 22, 2008 7:44 am |
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James Crabb & Geir Draugsvoll
Duos for Classical Accordions
EMI Classics 5697052, 1997
Igor Stravinsky - Petrushka (1947 Version)
01. Scene 1
02. Scene 2
03. Scene 3
04. Scene 4
05. Igor Stravinsky - Tango (Tempo di tango)
Modest Mussorgsky - Pictures at an Exhibition
06. Promenade
07. Gnomus/Der Gnom
08. Promendage
09. The Old Castle
10. Promenade
11. Tuileries
12. Bydlo
13. Promenade
14. Ballet of the Unhatched Chicks
15. Samuel Goldenberg and Schmuyle
16. Promenade
17. Limoges-The Market Place
18. Catacombae (Sepulchrum romanum-Cum mortuis in lingua mortua)
19. The Hut on Fowl's Legs (Baba Yaga)
20. The Great Gate of Kiev
| Quote: | | Petrouchka arranged for two accordions is not unlike the original, since the composer's push-button winds and biting, nasal strings resemble nothing if not a giant orchestral squeeze box. Little is lost in this "de-orchestration"--for example, percussion passages are dealt with by whacking the accordion's sides. Stravinsky's Tango also lies well on the instrument, but the players miss the music's ironic bite. James Crabb and Geir Draugsvoll recast Pictures at an Exhibition with dazzling ingenuity. Their prim and spotless virtuosity, however, transforms Mussorgsky's raging, elemental lion into an agreeable, domestic kitty cat. Nevertheless, accordion fanciers will be enticed. Move over, Lawrence Welk! - Jed Distler |
| Quote: | These two young Europeans have done an inspired and remarkably attentive job of translating the orchestral music of Stravinsky's Russian folk ballet "Petrushka" for their two great button accordions. The score itself seems at times to have been inspired by the quaint, wheezy dance music often played on the accordion in Old Russia, making it a particularly apt choice for this unusual duo. I have saved for last the most compelling reason to buy this disc: the level of technical skill and the range of expression on display will leave speechless any music lover in your circle who dismisses the accordion as a mistake of creation. Music of such interpretive richness and rigorousness cannot be dismissed. (I may add, if you are the sort of person who likes to dance to the music, these two will not let you down.)
The disc is rounded out by an aggressive, somewhat hurried reading of Stravinsky's usually melancholy "Tango," and a meritorous adaptation of Mussorgsky's "Pictures At An Exhibition," which comes off like a reasonable compromise between the original keyboard work and the orchestrated version which made its fame. The playing throughout is nearly faultless. |
| Quote: | | This CD is one of the most remarkable "sleepers" to come along for some time. The first time I heard the recording of these two guys doing Stravinsky's Petroushka I was absolutely blown away. Everything seems to be there...everything Stravinsky wanted us to hear, with uncanny musicianship these two performers do it all. Pix at an Exhibition is interesting in its own special way, but the real stand out, drop dead performance is the Stravinsky. I take back every snide joke I ever made about playing "Blackbird Gavotte" with one hand behind your belt on "the squeeze box". These guys are MASTERS and IF you can get a hold of a copy, new or used, I strongly urge you to do so. |
320 kbps mp3; sorry, no booklet available.
| Code: | http://rapidshare.com/files/87357939/JC_GD-DfCA.part1.rar
http://rapidshare.com/files/87367493/JC_GD-DfCA.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Thu Apr 24, 2008 10:54 am |
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Granados Trio
Modest Mussorgskij - Bilder einer Ausstellung
FSM FCD 97 234, 1995
Isaac Albéniz - Espana, op. 165
01. Preludio (Prélude)
02. Tango
03. Malaguena
04. Serenata
05. Capricho Catalán
06. Zortzico
Enrique Granados - Escenas Poéticas Book 1
07. Berceuse
08. Eva y Walter
09. Danza de la Rosa
Grete von Zieritz
10. Danza für drei Gitarren
Modest Mussorgskij - Bilder einer Ausstellung
11. Promenade
12. Gnomus
13. Promenade
14. Il vecchio Castello
15. Promenade
16. Les Tuileries
17. Bydlo
18. Promenade
19. Ballett der unausgeschlüpften Küken
20. Samuel Goldenberg und Schmuyle
21. Promenade
22. Limoges. Le Marché
23. Catacombae
24. Cum mortuis in lingua mortua
25. Die Hütte auf Hühnerbeinen (Baba-Jaga)
26. Das Heldentor von Kiew
Rainer Grunz - guitar
Christopher Brandt - guitar
Elmar Rothe - guitar
| Quote: | Grete von Zieritz was born in Vienna in 1899. Between 1912 and 1917 in Graz she studied piano under H.Krocmer and composition under R. v. Mojsisovics. Later, she continued with her piano studies in Berlin under M. Krause an R.M.Breithaupt, and worked as a piano teacher there at the Sternsche Conservatory from 1919 to 1921. At the age of twenty she composed the 'Japanese Songs', whose premiere in 1921 was such a success that she ultimately decided to become a professional composer. However, she had to continue teaching piano in order to earn a living. Beginning in 1926, she studied composition for five years under Franz Schreker.
In 1928 G. v. Zieritz received the Mendelssohn State Prize for composition and, in addition, was awarded the Schubert Scholarship by the Columbia Phonograph Company in New York. In 1939 she was the only woman among composers from 18 countries at the International Music Festival in Frankfurt. In 1950 she represented Germany at the first International Women Composers Competition. In 1958 she received the title of professor and the 'Cross of Honour for Science and the Arts (First Class)' from the President of Austria. In 1979 she was awarded the Federal Republic of Germany's highest decoration for public service, the Verdienstkreuz am Bande. The composer had a major success in 1984 at the Berlin Festival Week with the premiere of the 'Gypsy Concerto' for violin and orchestra and the 'Concertino' for clarinet, bassoon, horn and string quintet. In 1986 her piece 'Cassandra Cries' was received with equal enthusiasm. G. v. Zieritz lives and works in Berlin.(A.Wolf)
Isaac Albéniz, child prodigy, pupil of Dukas and d'Indy, endeavoured in his compositional works of Romantic and Impressionism to create a synthesis with the extensively rich Folklore of his native country. The existing short cycle Espana belongs more to the masterworks of lyrical miniature. The original piano score is of remarkable simplicity without losing on harmonious subtility. Glowing melodylines and hinted guitarisms bear witness of Albéniz love of his Spanish home.
The opening Prelude, which combines characteristic cantabile with typically Spanish sounding chordfigures, is followed by one of the pieces, which contributed decisively to the popularity of its creator - the famous Tango .In Malaguena rapid passages are accompanied by clacking castanets and Rasgueados, while the Serenata takes on a more harmonic and melodic expression.. After the Catalonian Capriccio with its ingratiating third-dominated-melody, the series closes with the dancing Zortzico, an old Basquian dance in five-eight-time.
The music of Enrique Granados owes its success to the combination of European musical tradition and Spanish colour, clearly lyrically and melodically formed. Thus the Escenas Poéticas show only a few folkloristic-spanish references. The Escenas show more an evidence of Granados intensive occupation with the German Romantic (s. Eva y Walter, the pair of lovers from Meistersinger von Nürnberg) .The short cycle of the Escenas is opened with the lyrical Berceuse,a lullaby. The dreamy tendency of this piece is relativated by an astonishingly expressive middlepart. The last piece of the cycle is the melancholic and equally buoyant Danza de la rosa,a gentle waltz of urgent simplicity.
The Danza by Grete von Zieritz belongs to the best and most difficult compositions for 'guitar trio'. The piece shows an independent, atonal and very individual musical language. It was written in 1979. The Danza combines typical guitar techniques like rasgueado, glissandi and fast scales with a true modern harmonic and demonstrates a style of composition, which is not influenced by the predominant expectations but only by the musical ideas of the composer. |
| Quote: | Modest Mussorgskijs Pianosuite Pictures at an Exibition belongs certainly to the most frequently arranged works of the so-called classical literature. The contemplation of the original roots of this work animated the Granados Trio to arrange the pictures for their line-up. Remembering that the Pictures at an Exhibition are really a series of piano-miniatures, having structurally more in common with the other piano-cycles on this CD than with the orchestral excesses of the everyday symphony, one can lend an ear in confidence to this version. Inspired by an exhibition of the unpublished works of his suddenly deceased painter-friend Viktor Hartmann, Mussorgskij created in 1874 a cycle of piano compositions, inspired by the ten exhibits.
The composer sub-divided these ten compositions by adding Promenades, short preludes and interludes, which render in a way the observers subjective impressions. Their main theme runs characteristically through the whole work. The actual pictures open for the listener a whole palette of varying moods and nuances of expressions: the very nearly expressionist grotesqueness of Gnomus is relieved by the melancholy sing-song of Vecchio Castello. The francophile and playful Tuileries with their playing and teasing children, contrast to the Russian melancholy of Bydlo, picturing the unspeakable labour of towing the oxencart. The version of the delight Ballett der unausgeschlüpften Küken, brought to attention by nimble pizzicati and playful ponticello, flows into the equally grave and pitiful picture of Samuel Goldenberg und Schmyle - the rich and the poor jew. The market-place from Limoges paints on the other hand a humorous scene, in which the bickering and the nagging of the market women lead on into musical absurdity. The contrast to the following double movement Catacombae and Cum mortuis in lingua mortua could not be greater, a dark musical Memento Mori, which overcomes the listener through layers of discords and through chorale melodylines. With the crack of a whip, the riding witch Baba - Yaga breaks from the solemnity and in one rapid mephistolic ride, carries the listener to the concluding finale - the Heldentor. This majestic construction inspired Mussorgskij to equally splendid and devout tones, until at the climax of the movement the promenade theme realites, and with the original promenade's festive and optimistic gesture the Pictures at an Exhibition come to an end. |
| Quote: | | The three musicians Rainer Grunz, Christopher Brandt and Elmar Rothe met during their studies in the masterclass of classical guitar of Prof. Michael Teuchert at the University of Music in Frankfurt (Main). The Granados Trio was formed in 1991. In 1992 they already showed their outstanding musical and technical qualities when they succeeded against international competition, by becoming prizewinner of the "International Contest of Trios and Quartets" in Völklingen, Germany. This success has been followed by many concerts and broadcasting performances in Germany. The repertoire of the Granados Trio now covers all periods of music, ranging from William Byrd to Aaron Copland. Masterpieces, technically and musically impossible for one guitar to play, can be realized by the Trio, which gives them the possibility of transcriptions covering the whole repertoire from Baroque music to the music of the Twentieth Century. Necessary, of course, is a natural feeling of good taste, musical demands and the ability of the ensemble to play with disciplined musicality and technical perfection. The Granados Trio meets perfectly these demands in an extraordinary way. The brilliantly realized transcriptions stay as close as possible to the originals. The Trio give them wonderful new aspects and colours, playing with inspiration, easygoing virtuosity and astonishing precision. |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/87383981/GT-MMBeA.part1.rar
http://rapidshare.com/files/87390494/GT-MMBeA.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Fri Apr 25, 2008 8:39 am |
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Mie Miki & Nobuko Imai
Into the Depth of Time
BIS-CD-929, 1998
01. Toshio Hosokawa - In die Tiefe der Zeit (for viola and accordion)
Yoshiro Irino - Suite for Viola Solo
02. I. Sostenuto
03. II. Animato
04. III. Adagio
Yuji Takahashi
05. Like Swans Leaving The Lake (for viola and accordion)
06. Like A Water Buffalo (for accordion solo)
Yuji Takahashi - Ins Tal (for accordion solo)
07. I. (-)
08. II. 'Windeshauch', A Song From Nepal
09. III. (-)
10. IV. (-)
11. V. (-)
12. VI. Ein Lied des Fremden
13. Isang Yun - Duo (for viola and accordion)
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/98519507/MM_NI-ItDoT.part1.rar
http://rapidshare.com/files/98523721/MM_NI-ItDoT.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Sat Apr 26, 2008 9:18 am |
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Douglas Riva
Granados - Goyescas (Suite for Piano)
Naxos 8.554403, 1999
1. Los requiebros (Flattery) 9:51
2. Coloquio en la reja (Dialogue at the Window) 11:45
3. El fandango de candil (Candlelight Fandago) 6:13
4. Quejas o la maja y el ruisenor (Laments or the Maja and the Nightingale) 6:19
5. El amor y la muerte (Love and Death) 11:40
6. Epilogo: Serenata del espectro (Epilogue: The Ghost's Serenade) 8:24
7. El pelele ( The Straw Man) 4:59
8. Serenata goyesca (Serenade in the Style of Goya) 3:35
| Quote: | Enrique Granados was born in Lerida, near Barcelona. Son of an army captain, Granados began piano study with Joan Baptista Pujol (1835-1898) and subsequently studied harmony and composition with composer Felipe Pedrell (1841-1922).
The young Granados realised that in order to achieve his professional aspirations he would need to leave Spain. In 1887 he went to Paris where he studied with Charles de Beriot (1833-1914). After returning to Barcelona in 1889 Granados published his Danzas espanalas, which brought him international recognition.
From 1890 until his death Granados performed concerts in Spain, France and the United States collaborating with Isaac Albeniz, Pablo Casals, violinists Eug?ne Ysa?e and Jacques Thibaud, pianists Mieczyslaw Horszowski and Camille Saint-Saens. In addition to his numerous piano works he composed chamber music, vocal music, operas and symphonic poems. Granados was also a fine teacher and in 1901 he founded the Academia Granados, which produced such noted musicians as Paquita Madriguera, Conchita Badia and Frank Marshall.
In 1912 Granados met the American pianist Ernest Schelling, who was the first pianist to perform Granados's music outside Spain. Schelling arranged for the composer's works to be published in New York and encouraged Granados in his plans to convert the piano suite Goyesca, into an opera, later arranging for its premi?re at the Metropolitan Opera in New York.
Terrified of the ocean, Granados nevertheless sailed to New York for the premi?re of the opera on the 28th January, 1916. While in New York he performed numerous concerts, made piano-roll recordings, and performed at the White House in Washington. Granados and his wife returned to Europe via Liverpool but while crossing the English Channel on the British ship The Sussex, their boat was torpedoed by a German submarine and they both perished.
At age 43 Granados wrote in his diary: 'Finally I have had the good fortune to write something important - Goyescas'. Subtitled Los majos enamorados ('The Majos in Love'), Goyescas was published in two books, the first in 1909-1910 and the second in 1913-1914, along with a separate piece El pelele: Escena goyesca, traditionally considered as apart of Goyescas. The work is possibly unique in that the suite was subsequently transformed by the composer into an opera.
Goyescas, the title meaning Goya-esque or Goya-?like, is highly unusual in the complex nature of its inspiration. Through the influence of writer Fernando Periquet, Granados became inspired by the Spanish painter Francisco Goya (1746-1828). Granados drew inspiration from the painter's ability to depict what Granados saw as the essence of the Spanish character. It was the atmosphere, the people and the details of their lives within the context of Goya's Madrid, which spoke to Granados. He explained his fascination in a 1910 letter: '...I fell in love with the psychology of Goya and his palette... that rosy-whiteness of the cheeks contrasted with lace and jet-black velvet, those jasmine-white hands, the colour of mother-of-pearl have dazzled me...'
Goyescas is one of the truly great effusions of Romantic pianism and one of the most important Spanish keyboard works. Goyescas is a cyclical suite unified by thematic material and by its brilliant colour. Its jewel-toned harmonies, violent mood swings, and post-Romantic fervour led the critic Ernest Newman to describe Goyescas as '...the finest piano music of our day... a gorgeous treat for the fingers...' giving the performer and listener alike the '... voluptuous sense of passing the fingers through masses of richly-coloured jewels'. Indeed, the work is a formidable challenge for the performer - its complex passagework and rich texture require a virtuoso level of pianistic technique.
Los requiebros ('Flattery'), inspired by Goya's Capricho, Tal para cual, was written as ajota, a dance-form from Goya's native Aragon. Los requiebro, is a set of variations based on two phrases of an eighteenth century tonadilla, Tirana del Tripili, by Blas de Laserna.
In Coloquio en la reja - D?o de amor ('Dialogue at the window' - love duet) Granados creates a mood of veiled mystery filled with romantic yearning depicting a lady inside her house speaking with her suitor though the iron window-grill.
El fandango de candil ('Candlelit fandango'), described by the composer as a 'scene to be sung and danced slowly and rhythmically', is suffused with nocturnal revelry.
Quejas, o la maja y el ruisenor ('Laments or the Maja and the nightingale'), based on a folk-song from Valencia, is one of the most poetic pieces of Spanish piano music. Granados transforms the melody through a series of variations, each more highly perfumed than the previous, culminating in a cadenza imitating the song of a nightingale.
El amor y la muerte - Balada ('Love and death' - ballade), a work of profound richness and dignity, both savage and mysterious, is possibly Granados's greatest individual composition. The title and inspiration are from one of Goya's Caprichos. According to Granados: 'All of the themes of Goyescas are united in El amor y la muerte... intense pain, nostalgic love and the final tragedy - death. The middle section is based on the themes of Quejas o la maja y el ruisenor and Los requiebros, converting the drama into sweet gentle sorrow...the final chords represent the renunciation of happiness.'
Epilogo: Serenata del espectro ('Epilogue' - The ghost's serenade) is the only piece of the suite not incorporated into the opera. In Serenata del espectro Granados made use of Dies Irae, the Roman Catholic chant for the dead. At the conclusion the score indicates that the 'ghost disappears plucking the strings of his guitar.'
El pelele - Escena goyesca ('The straw man'- scene from Goya), inspired by Goya's painting of the same title, depicts a group of Majas tossing a straw man into the air. This piece served as the opening scene of the opera.
Serenata goyesca ('Serenade in the style of Goya') is an unpublished work found in the Granados Archive, Barcelona. Although the manuscript is undated, most likely the piece was composed around 1909 as a preliminary sketch for Goyescas. This is the first recording of Serenata goyesca.
This performance follows the critical edition of Granados's piano works, directed and revised by Alicia de Larrocha, prepared and compiled by Douglas Riva, published by Editorial Boileau, Barcelona, which presents Granados's music as the composer himself passed his music down to his principal disciple and foremost student, Frank Marshall, who in turn passed the Granados legacy to Alicia de Larrocha.
Douglas Riva |
| Quote: | | "Having prepared a critical edition of Granados' piano works, Riva knows this music cold, and dispatches its colorful, multi-leveled textures and idiosyncratic figurations with fluent elegance... As a bonus, Riva includes the previously unrecorded "Serenata goyesca", a slight, rather inconclusive piece that may have formed part of Goyescas' first draft. Riva provides his own excellent, informative annotations. A highly recommended release." - Classics Today (9/10) |
| Quote: | There are marvelous recordings of this music; those of Alicia de Larrocha, Martin Jones, Artur Rubinstein come to mind. So why did Douglas Riva feel the need to record it again? Because he has something fresh to say about this lovable music, that's why. He is an American pianist/musicologist living in Spain, co-editor, with de Larrocha, of a new edition of Granados's piano music and he is continuing the work to bring out a new edition of ALL of Granados's music. He's a heckuva pianist, too. His take on the music is somewhat more analytical than some and that's to the music's benefit because it shows there is more meat on its bones; it's not all flash and languor.
This is the first of a set in which he will record all of Granados's piano music for Naxos. Another evidence that Naxos intends to keep on enriching our lives with music that might not otherwise be recorded. This CD contains probably Granados's most popular piano music. Frankly I can't wait to get my hands on the whole set as it comes out. |
| Quote: | I have spent several days listening to the piano music of Enrique Granados ( 1867 -- 1916) courtesy of a friend who lent me the Spanish Dances and "Goyescas" , both on Naxos. I have seldom had a more enjoyable time, simply relaxing and learning music that is not my usual fare.
Douglas Riva is an American pianist and a scholar of Spanish music. He studied with with Alicia de Larrocha and worked with her in producing a complete edition of Granados' works. Ms. de Larrocha is a master of this music, and her CDs are available on more expensive record labels. But Mr. Riva plays beautifully, with virtuosic technique, and with sensitivity to this highly-charged romantic score. He also wrote brief but informative program notes for this CD. Mr. Riva's rendition of "Goyescas" will serve as a wonderful introduction to Granados. It will appeal to the budget-minded listener who wants to reach out. Mr. Riva has gone on to record Granados' complete piano works on eight Naxos CDs. He makes a compelling case for this composer.
Granados composed his Spanish Dances as a young man of 22 while the "Goyescas" is a 20th Century work, completed in 1914. Granados transformed his piano music into an opera, which received its premiere in New York City. When the composer was sailing home, the ship was struck by a torpedo and both he and his wife died.
"Goyescas" is a suite in seven movements, each of which is a musical depiction of Spain as seen through the paintings of Francisco Goya (1746 --1828). The piano writing is varied and virtuosic, and the music shimmers with Spain and Madrid. I was struck by much of the writing in the high register of the piano, with sharp chords and arpeggios and a great deal of filigree. The melodic line is frequently carried in the lower middle, treble section of the keyboard in a singing voice which reminds me of a tenor or of a cello. The music frequently is distinctively rhythmical and heavily accented, but there are many lyrical and reflective passages as well. Granados gives a romantic, appealing account of Spain and its people. In several movements, Granados makes use of Spanish folk-songs.
The first movement of the work, "flattery" opens with the plangent, shimmering passages in the right hand and the left hand singing melody that I find characteristic of the work. The second movement is a dialogue between two lovers at a window that builds to an intense, passionate climax. The third movement is a highly accented dance, a Fandango, with big, splashing high chords and a swirling theme. The fourth movement, "The Maja and the Nightingale" is based upon a folksong and features long lacy and frilly trills, the nightingale singing, at the end of the movement. The fifth movement, "Love and Death" is, perhaps, the heart of "Goyescas". It opens with an ominous theme low in the piano and is followed by music in a variety of moods and forms. It moves from reverie, to tragic passion, only to end quietly. The sixth movement is "The Ghost's Serenade", beginning in a stacatto voice but working to a singing theme in the tenor under lots of decoration in the high register of the piano. The finale "The Straw Man" is a joyful piece and a highly accented dance. The CD closes with a work that remained unpublished during Granados' lifetime and which was apparently a sketch for the music that became "Goyescas". |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/99806753/DR-EGG.part1.rar
http://rapidshare.com/files/99809202/DR-EGG.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Sat Apr 26, 2008 9:20 am |
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Jordi Maso
Turina, Danzas fantasticas
Naxos 8.557150, 2004
Danzas fantásticas, for orchestra (or piano), Op. 22
01. Exaltacion
02. Ensueno
03. [ This is SPAM please report ]
Danzas andaluzas, for piano, Op. 8
04. Petenera
05. Tango
06. Zapateado
Danzas gitanas, for piano, Set 1, Op. 55
07. Zambra
08. Danza De La Seduccion
09. Danza Ritual
10. Generalife
11. Sacro-monte
Danzas gitanas, for piano, Set 2, Op. 84
12. Fiesta De Las Calderas
13. Circulos Ritmicos
14. Invocacion
15. Danza Ritmica
16. Seguiriya
Danzas sobre temas populares españoles, Op 41
17. Cadena De Seguidillas
18. El Arbol De Guernica
Bailete for piano ("Suite de danzas del siglo XIX"), Op. 79
19. I. Entrada
20. II. Tirana
21. III. Bolero
22. IV. Danza De Corte
23. V. Fandango
| Quote: | Jordi Masó was born in Granollers (Barcelona, Spain) in 1967. He studied at the Conservatory there with Josep M. Roger, at the Barcelona School of Music with the pianist Albert Attenelle, and at the Royal Academy of Music of London with Christopher Elton and Nelly Akopian, graduating in 1992 with the DipRAM, the highest distinction of the academy. He has won first prizes in many national and international competitions in Spain and has performed extensively in most European countries in piano recitals and chamber music concerts. He is also a regular guest soloist with the most important Spanish orchestras.
Jordi Masó's wide repertoire, covering all periods and styles, with special emphasis on music of the twentieth century, has brought first performances of many piano works written for him by the foremost Spanish composers. He has recorded over twenty discs, acclaimed by the most important publications.
His discography on the Naxos and Marco Polo labels include the 1993 world première recording of the complete works for piano of Roberto Gerhard, four discs with the complete piano music by Federico Mompou, two recordings with music by Josep Soler on Marco Polo, the complete piano works by Joaquim Homs and two discs with works by Déodat de Séverac and Mario Castelnuovo-Tedesco. He is currently recording the complete piano music by Joaquín Turina for Naxos. He has also recorded for other major companies.
Jordi Masó is piano professor at the Granollers Conservatory and at the Esmuc (High Music School of Catalonia), and since 1996 he has been a member of the contemporary music group Barcelona 216. |
| Quote: | This disc is part of the valuable “Spanish Classics” series from Naxos. So far this has tended to explore lesser-known composers such as Arambarri, Guridi and Serra (each of whom has one highly recommendable disc) in preference to Albéniz, Falla and Granados (just one disc between them). There is, however, quite an extensive collection of Rodrigo’s orchestral music and this is a third outing for Turina. It nicely complements previous discs of his orchestral music (8.555955) and piano trios (8.555870) and is billed as the first of a complete series of his piano music.
All the works on this disc are dances and draw deeply from the musical tradition of the composer’s homeland. It opens with the original piano version of the Danzas fantásticas which is in three movements entitled Exaltation, Fantasy and Orgy. This offers a rather cooler landscape than in the orchestral version which is included on 8.555955. In the three Andalusian Dances which follow there are strong echoes of Albéniz, especially in the opening petenera. The first set of five Gypsy Dances (op.55) was a big success when first performed by José Cubiles, a pianist who championed Turina’s works. This led the composer to produce an orchestral version and a second set of five (op.84), in which Falla’s influence can be detected. The two dances on popular Spanish themes were first performed in London. The first is a seguidilla based on local rhythms from Seville where Turina was born. The final work, a suite of five dances from the 19th century, contains several themes which seem familiar, presumably because they have also been used by other Spanish composers.
Turina’s piano music is attractive and inventive but perhaps not quite as imaginative as the works of Albéniz and Granados. Jordi Masó is one of Spain’s leading pianists. His playing is controlled and idiomatic but sometimes lacks the feeling of abandon that Alicia de Larrocha brings to the Spanish piano repertoire. The sound and documentation are good, and this is excellent value. Know and love the Iberia Suite and Goyescas, and hankering for more? This could be the answer. - Patrick C Waller |
| Quote: | A dutiful son, Joaquin Turina (1882-1949) began to study medicine but he soon abandoned everything that interfered with music. Thank goodness! It has been customary to regard early 20th-century Spanish music as centered on two pairs of composers: Albéniz and Granados, Falla and Turina. However, any resemblance between the latter two is superficial. Nor is there much of Albéniz in Turina, although some of his works have a relationship with the style of Granados. Despite the picturesque local flavor in some compositions, Turina tried perhaps harder than any of his Spanish contemporaries to write music of a European standard in the conventional major forms. Turina was the only one of the four leading twentieth-century Spaniards to write a symphony. However, when it came to his piano music, or at least much of it, the Spanish flavor was inescapable. He was himself a wonderful pianist, having studied in Paris with Moritz Moszkowski, and his piano music is virtuosic. His music, like Falla's, partakes a bit more of Impressionist gestures. Still, it is colored by a subtle humor, grace and elegance characteristic of his native Seville.
On this disc pianist Jordi Masó plays works based on dance Spanish and/or Gypsy rhythms. Probably Turina's best known works are the 'Danzas fantásticas,' Op. 22. That is partly because he also orchestrated them brilliantly and they have featured on many symphony programs. My own favorite, perhaps of all of his music, is the hypnotic and lovely 'Ensueño' ('Fantasy'), the second of that set. Masó plays it very well, but I will confess that I prefer the orchestral version and for that very much like the recording made by Jesús López Cobos with the Cincinnati SO. Of piano versions, Masó's is as good as any I've heard.
'Three Andalusian Dances' are early pieces, written while he was still in Paris, but it is clear that Turina already had developed his own personal style. I particularly like Masó's performance of the third, 'Zapateado.' There are two sets of 'Gypsy Dances' ('Danzas gitanas'), Opp. 55 and 84, ten characteristic pieces. Particularly effective, for me, are Masó's interpretations of the mysterious (and almost French-sounding) 'Invocación' and the piece that follows it, the lightning-fast 'Danza ritmica' ('Rhythmic Dance') that is over almost before it begins. Following are the rarely heard 'Dos Danzas sobre temas populares españoles' ('Two dances on traditional Spanish themes'), Op. 41. I say they're rarely heard; I suppose what I mean is that I don't recall ever hearing them before. The first, 'Cadena de sequidillas' ('Chain of Sequidillas') is based on Andalusian melodies. The second, 'El arból de Guernica' ('The Tree of Guernica') is based on a Basque dance, the 'zorzico,' and is in 5/8 time. (The piece has nothing to do with Picasso's famous anti-war painting 'Guernica'; it was composed 11 years before the painting was done for the 1937 World's Fair.)
The final work is 'Bailete: Suite de danzas del siglo XIX' ('Dance: Suite of nineteenth-century dances'), Op. 79. It was dedicated to Joaquin Nin y Castellanos, a Cuban composer who was the father, as it happens, of feminist writer Anaïs Nin and of one of my favorite 'unknown' composers, the Cuban-American Joaquin Nin-Culmell, who died precisely a year ago at 95. It comprises five traditional 19th-century dances--Entrada, Tirana, Bolero, Danza de corte, and Fandango. This is a brilliant suite, one I'd never heard before, and the highlight of the disc for me.
If you love Spanish piano music--and who doesn't?--and don't know Turina this is a good place to start. It is budget-priced, the piano is beautifully recorded and Masó plays very nicely. There is a notation that it is 'Volume 1.' Chances are you'll get hooked by this one and have to buy each new issue as it comes out. - Scott Morrison |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/99813448/JM-TDf.part1.rar
http://rapidshare.com/files/99816767/JM-TDf.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Sun Apr 27, 2008 12:14 pm |
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Philip Glass
Dancepieces
CBS MK 39539, 1982
In The Upper Room
1. Dance I
2. Dance II
3. Dance V
4. Dance VIII
5. Dance IX
Glasspieces
6. Glasspiece # 1 ('Rubric')
7. Glasspiece # 2 ('Facades')
8. Glasspiece # 3 ('Funeral' From Akhnaten)
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/99821542/PG-D.part1.rar
http://rapidshare.com/files/99822006/PG-D.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Mon Apr 28, 2008 12:29 am |
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Rolf Lislevand
Nuove musiche
ECM New Series ECM 1922, 2006
01. Arpeggiata addio
02. Passacaglia antica I
03. Passacaglia andaluz I
04. Passacaglia antica II
05. Passacaglia cromatica
06. Passacaglia antica III
07. Passacaglia cantus firmus
08. Passacaglia celtica
09. Passacaglia spontanea
10. Passacaglia andaluz II
11. Toccata
12. Passacaglia cantata
13. Corrente
14. Corrente
15. Toccata
16. Ciaccona
17. Toccata cromatica
Rolf Lislevand - archlute, baroque guitar, theorboe
Arianna Savall - triple harp, voice
Pedro Estevan - percussion
Bjørn Kjellemyr - colascione, double-bass
Guido Morini - organ, clavichord
Marco Ambrosini - nyckelharpa (viola d’amore a chiavi)
Thor-Harald Johnsen - chitarra battente
| Quote: | Is it fair for baroque to sound so sensual? An elegiac soprano voice wafts above an instrumental piece by Giovanni Girolamo Kapsberger. Flamenco rhythms underpin a passacaglia. Then suddenly we hear the typical harmonies and ornaments of Celtic folk music. Is that how this music really sounded in Italy in the early 1600s? Of course not. But what the Norwegian lutenist and guitarist Rolf Lislevand and his six colleagues bring off on Nuove musiche, their début album for ECM, has all the earmarks of a manifesto. Their vibrant and literally unheard-of readings of early baroque music from Italy are meant to grab the listener directly, as if it really were 'new music'.
'For years people tried to play early music as closely as possible to the way it was played at its time of origin', Lislevand explains 'But that's a philosophical self-contradiction. The first question is whether it's possible at all to replicate the performance of a musician who lived centuries ago. As far as I'm concerned, reconstruction is not really interesting at all. Do we really want to act as if we hadn't heard any music between 1600 and the present day? I think that would be dishonest. With this recording we say goodbye once and for all to early music's authenticity creed.'
This doesn't mean that anything goes - on the contrary. Lislevand, who learned his craft at the famous Schola Cantorum in Basle, has been professor of lute and historical performance practice at Trossingen Musikhochschule since 1993. He has turned out many prize-winning recordings, some of them with his Kapsberger Ensemble, which forms the core of the musicians on Nuove Musiche. He avidly scrutinises every available scrap of information on what he plays and how to play it properly. But those are only the preconditions for a convincing performance. After all, one vital element in baroque music was improvisation: 'Pieces were played to meet the needs of the moment', Professor Lislevand points out. 'To play strictly according to the notes on the page would be tantamount to lying, for the scores were written in a sort of shorthand. They presuppose a good deal of knowledge and self-assurance from the player.'
Take the percussion instruments, for instance. We know they were used, but nobody around 1600 bothered to write down the parts. So we have no way of knowing for sure how they were used. Did they only serve as timekeepers, or was their timbre exploited as well? Lislevand has very strong views on the subject: 'The idea that it wasn't until today that we could freely express our feelings is not only naive but arrogant. Personally I believe that the people of the 17th century were much richer and more self-aware than we assume today.' It is only natural, then, that the percussionist Pedro Estevan offers a huge range of expressive sounds and rhythms on Nuove musiche.
Lislevand searches for points of contact between the 400-year-old pieces on this recording (by Kapsberger, Pellegrini, Piccinini and others) and the musical horizons of today's performers. Usually the starting point is the passacaglia, a set of increasingly dramatic variations on an unchanging bass pattern. Passacaglias formed the core repertoire of the lute and guitar books of the 17th century. 'They thrive on chromaticism, harsh dissonances and offbeat rhythms. If the composers tried to get these effects, then we have every right to go even further. My idea is simply to develop and elaborate things already there in the material. Arianna Savall's melody really does come from the Kapsberger toccata itself. Everything there that smacks of echoes from current popular music is already contained in the pieces. I just coax it out.'
Unlike Lislevand's earlier recordings, Nuove musiche was produced at the Rainbow Studio in Oslo under the auspices of Manfred Eicher using multi-tracking techniques. Each musician wore a set of headphones. Acoustical space - sometimes a problem for unamplified string instruments - gave way to virtual space. 'The sound we heard there was very inspiring', Lislevand recalls. 'Having better control of the sound, we could grant ourselves much more license, not only in tempo but in dynamics and timbre.' Many things emerged spontaneously during the recording sessions. 'Once, we'd just played through a toccata and Manfred Eicher signalled us to go on playing in order to keep up our energy. At first we were at a bit of a loss: after all, the piece was over. But then one of us varied the rhythmic pattern, and suddenly we felt the freedom we needed to go on without an original model to play from. Normally we wouldn't have dared.'
The final balance and spatial placement of the instruments were only worked out later at the mixing stage by Lislevand, Eicher and the studio engineer Jan Erik Kongshaug. Nuove Musiche: for Lislevand the term also means placing music in a new communicative context. The intimacy of the narrow rooms of old, where lute music was normally played, is a thing of the past. But the need for closeness remains: 'Things close to us, spatially and physically, also move us. When we speak of physical intimacy, we mean that the presence of the music must be felt. Otherwise it won't trigger our emotions. The artificial space of the studio can create this closeness. For far too long we made baroque music degenerate into a distant ritual, almost into a symbolic act. We're out to change all that!' |
| Quote: | | Born in Oslo in 1961 Rolf Lislevand studied the classical guitar at the Norwegian State Academy of Music before entering the Schola Cantorum Basiliensis in Basle where he worked with Hopkinson Smith and Eugène Dubois. In the late eighties he started playing in Jordi Savall’s groups such as Hespèrion XX, La Capella Reial de Catalunya and the Concert des Nations. Lislevand whose solo recordings have won numerous international prizes is now a professor at the Staatliche Musikhochschule in Trossingen. |
| Quote: | | Rolf Lislevand and friends embark on an elaboration of Baroque forms such as the passacaglia and toccata while incorporating more modern styles that seemed to grow naturally out of the nature of both music and instruments: Kapsberger gets a vocalise courtesy of Arianna Savall; Pellegrini gets a stylish Nuevo Flamenco treatment; Frescobaldi’s beautiful ‚Cosi mi disprezzate’ gets double-bass and guitar solos. The expansion and contraction of arranged and improvised elements allows the original Baroque material to breathe authentically in our own time, resulting in a phantasmagoria whose haunting effects are only accentuated by ECM’s beautifully spacious recording. - William Yeoman |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/100572146/RL-Nm.part1.rar
http://rapidshare.com/files/100573285/RL-Nm.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Mon Apr 28, 2008 12:30 am |
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Norbert Kraft
Britten, Tippett, Schafer. Guitar Music
Chandos CHAN 8784, 1989
Michael Tippett - The Blue Guitar. Sonata For Solo Guitar
01. I. Medium Slow-Slow
02. II. Very Slow
03. III. Fast
Benjamin Britten - Nocturnal After John Dowland, Op. 70
04. I. Musingly
05. II. Very Agitated
06. III. Restless
07. IV. Uneasy
08. V. March-like
09. VI. Dreaming
10. VII. Gently rocking
11. VIII. Passacaglia
R. Murray Schafer - Le Cri de Merlin
12. I. Violently
13. II. Calmly
14. III. Very Relaxed
15. IV. With Movement
16. V. Slowly And Mysteriously
17. VI. Very Slowly
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/100577343/NK-BTSGM.part1.rar
http://rapidshare.com/files/100578542/NK-BTSGM.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Tue Apr 29, 2008 7:18 am |
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Daniel Ligorio
Manuel de Falla, Piano Music 2
Naxos 8.555066, 2007
01. Cancion (Song) 02:16
02. Cortejo de gnomos (Cortege of Gnomes) 02:18
03. Vals-capricho 03:11
04. Canto de los remeros del Volga (Song of the Volga Boatmen) 03:39
05. Mazurka 05:23
06. Fantasia baetica 13:17
La vida breve (arr. piano)
07. Danse espagnole No. 1 03:36
08. Danse espagnole No. 2 04:26
El sombrero de 3 picos (The 3 Cornered Hat) (arr. for piano)
09. Danza de la molinera (Dance of the Miller's Wife) 04:19
10. Danza de los vecinos (Dance of the Neighbours) 03:35
11. Danza del molinero (Dance of the Miller) 02:29
12. Danza del corregidor (Dance of the Corregidor) 02:00
13. Danza final (Jota) (Final Dance (Jota)) 05:17
| Quote: | This is Volume two of the first recording of Falla's complete piano music, including juvenilia and all his piano transcriptions of his own orchestral works, as well as pieces written expressly for the instrument. The early works are fascinating - some of them show great potential and are clearly the work of an exceptional student, although they are written very much in a Romantic vein which he would later abandon. Existing published versions of Falla's transcriptions of the suites from his world-famous stage works El sombrero de tres picos, La vida breve and El amor brujo at times seem to drift rather too far from the originals, and so for this recording I have consulted the composer's sketches (in which the writing is often almost unplayable for a solo piano) and thus achieved an effect closer to that of the orchestral version.
The earliest works in this collection date from the turn of the twentieth century: Canción, Vals-Capricho, (first performed at the Madrid Athenaeum), Cortejo de los gnomos and Mazurca, were all written between 1899 and 1902, when Falla was in his twenties and studying at the Madrid Conservatory, where he was taught composition by Felipe Pedrell.
1913 saw the première of the lyric drama La vida breve, two of the dances from which Falla later transcribed for piano. The first and best-known of these is a captivating, highly rhythmical piece, with contrasts of great emotional impact in its central section, while the second, recorded here for the first time, is more light-hearted and employs simpler techniques when it comes to structural development. Falla's original sketches of both dances have been carefully studied as part of the preparation for this recording, in order to convey the original orchestral sounds and colours as faithfully as possible.
In 1919 Diaghilev's Ballets russes gave the first performance of El sombrero de tres picos at London 's Alhambra Theatre, with sets and costumes by Picasso. Falla's piano suite includes five dances: Danza de la molinera, Danza de los vecinos, Danza del molinero, Danza del corregidor and the " Jota ", and is recorded here in full for the first time.
A year later, Arthur Rubinstein gave the première of the Fantasía bética in London, having commissioned the work himself from Falla, aware that his friend was experiencing some financial difficulties (the composer also dedicated it to the pianist). This is without doubt Falla's greatest masterpiece for piano, and indeed one of the great piano works of the twentieth century, blending as it does virtuosity, rhythmic variety, folk themes and Andalusian cante jondo in an idiom at times orchestral, at others much more intimate. The Fantasía is a showpiece of all the skills Falla had learned as a composer of piano music over the previous two decades.
Canción de los remeros del Volga (1922) is a one-off piece commissioned by Falla's friend Ricardo Baeza, a diplomat, in tribute to the refugees from the Russian Revolution. - Daniel Ligorio |
| Quote: | | This is Volume 2 of the first recording of Falla’s complete piano music, including juvenilia and all his piano transcriptions of his own orchestral works, as well as pieces written expressly for the instrument. The early compositions included here, Cancíon, Vals-Capricho, Cortejo de los gnomos and Mazurca, are clearly the work of an exceptional student, although they are written very much in a Romantic vein which Falla would later abandon, in favour of the overt nationalism that marks his mature work. For the Suite from El sombrero de tres picos (The Three Cornered Hat), Daniel Ligorio has edited the composer’s sketches and unfinished transcription in order to achieve an effect closer to the orchestral version. |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/103163432/DL-MdFPM2.part1.rar
http://rapidshare.com/files/103164690/DL-MdFPM2.part2.rar |
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| Classical Music - everybody welcome rapidshare | |
| Posted: Tue Apr 29, 2008 7:19 am |
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Rosa Torres-Pardo
Granados, Twelve Spanish Dances
Naxos 8.554313, 1998
01. Spanish Dances Book 1, Op. 37: Minueto 2:43
02. Spanish Dances Book 1, Op. 37: Oriental 5:24
03. Spanish Dances Book 1, Op. 37: Fandango 4:11
04. Spanish Dances Book 2, Op. 37: Villanesca 7:15
05. Spanish Dances Book 2, Op. 37: Andaluza 4:12
06. Spanish Dances Book 2, Op. 37: Rondalla Aragonesca 4:27
07. Spanish Dances Book 3, Op. 37: Valenciana 5:07
08. Spanish Dances Book 3, Op. 37: Sardana 3:52
09. Spanish Dances Book 3, Op. 37: Mazurca 5:49
10. Spanish Dances Book 4, Op. 37: Danza triste 5:01
11. Spanish Dances Book 4, Op. 37: Zambra 8:21
12. Spanish Dances Book 4, Op. 37: Arabesca 5:34
13. Estudio 4:40
| Quote: | I had been listening to some very different types of music when a friend offered to lend me this CD of Enrique Granados' (1867 -- 1916) "Twelve Spanish Dances" performed by Spanish pianist Rosa Torres-Pardo. The CD was a welcome change of pace from my more usual and more solemn listening. I have heard these dances before in concert but not on CD, and I greatly enjoyed having the opportunity to spend time with them. Rosa Torres-Pardo was entirely new to me. She plays these works with elan and high spirit. This is a budget CD and a fine choice for those wanting to get to know Granados.
Granados' music straddles the late 19th -- early 20th century, with the Spanish Dances dating from 1889 when the composer was 22. They are arranged in four books of three dances each. The Dances are frequently arranged for the guitar and other instruments, but it is good to hear them on the piano, the instrument for which they were composed.
This music reminded me of the sonatas of Domenico Scarlatti, with its guitar-like strumming, echoes of castanets, strong and varied rhythms, and lightness. The music also reminded me of the dance sets of Brahms and Dvorak, written at almost the same time as these pieces, and sharing their popular appeal and nationalistic celebrations. Yet, these pieces by Granados are a delight in themselves, and shouldn't be analyzed as much as savored and enjoyed.
The pieces are written in different dance forms. Some of the dances took me away to long, hot romantic evenings while others are flamboyant and lively. The first set of three dances includes two flashy outer pieces, "Minueto" and "Fandango" surrounding a much more plaintive haunting middle dance, "Oriental". The second set includes the most famous of these dances, "Andaluza", a strongly rhythmical piece, together with a flowing, pastoral work "Villanesca" and a brief finale "Rondalla Aragonesca", which gradually increases in intensity and includes a song in its middle section. The third book of dances begins with a bouncy "Valenciana" followed by a work with alow singing theme in the treble and strumming rhythms, "Sardana". The concluding "Mazurca" is a flamboyant showpiece. The final book of dances opens with a famous "Dance Triste" . The second dance, "Zambra", the longest of the collection is a snappy, rhythmical piece, and the final light "Arabesque" reminded me of Spain's Moorish heritage and of Robert Schumann's piano work of the same name. The CD closes with a shimmering, impressionistic piece, "Estudio" published after Granados' death.
Listening to these dances brought home to me again the variety there is in music and how much joy there is to be gained by exploring. I was fortunate to have the opportunity to hear the Spanish Dances in depth and to try to communicate something of the music to those who might like to hear it. - Robin Friedman |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/103168057/RTP-GTSD.part1.rar
http://rapidshare.com/files/103169872/RTP-GTSD.part2.rar |
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