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Albeniz – Iberia Turina – Danzas Fantasticas
As in numerous other works by Spanish composers, Isaac Albeniz's aim in his Iberia Suite was to portray the landscape and express the zest for life which is so abundant in southern countries. Infused with folk music elements, the suite is introduced by the dance like Evocacion which vividly evokes a picture of Iberia. The lush, extravagant harmonies and the stark contrasts of the dynamics in particular - from the softest pianissimo to the extreme fortissimo - certainly whet one's appetite. Don't worry - Spain has a lot to offer!
Albeniz – Suite Espanola
The Suite espanola, written by the piano virtuoso and composer Isaac Albeniz, is one of the most outstanding works in the history of Spanish music. Albeniz invites the listener to join him on a musical journey through eight great Spanish cities, each steeped in tradition, investing each scene with local colouring as an homage.
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Antill – Corroboree / Ginastera – Panambi
In 1947, Sir Eugene Goossens gave the first performance of this composition that documents the Australian Aboriginal dance known as a "Corroboree". This longplay record was cut directly from the original 35mm magnetic film using an "all tube" cutting system for maximum fidelity.
Apres Un Reve : Gary Karr and Harmon Lewis
Gary Karr, acclaimed as »the world's leading solo bassist« (Time magazine), is, in fact, the first solo doublebassist in history to make that pursuit a full-time career. It is a career that adds new lustre to his already lustrous 1611 Amati doublebass which was given to him by the widow of Serge Koussevitzky.
Bach – Suites For Unaccompanied Cello Complete
Without a doubt, Starker allows his instrument to resound freely but without forcing the tone. Starker’s full-bodied sound and technical brilliance are complemented by his finely chiseled interpretation that lends immense expression to Bach’s thrilling harmony and verve to the strict rhythmic construction of the movements. Just listen to his organ-like double-stopped passages, the eloquent dialogues, and the pure excitement created by his highly individual treatment of tempo. Then you will surely agree with the often-quoted paradox that Bach’s Cello Suites are ‘polyphony for a solo instrument’.
Bartok – Concerto for Orchestra
For years, the Concerto for Orchestra has been not only the most-played of Bartok's works, but also the most frequently performed among other contemporary scores. Since its original release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured.
Bartok – Dance Suite for Orchestra, Two Portraits
Bartók composed his Dance Suite as the result of a commission from the city fathers of Budapest to celebrate the 50th anniversary of the union of the two towns Pest and Buda. While on his travels, Bartók liked to collect old folksongs, and he used this opportunity to express the act of fraternity in his music in the manner of a hidden programme. As he himself stated, he made use of Arabian, Hungarian and Romanian influences in the Suite, whose dances are linked together by means of ritornello-like interludes.
Bartok : Concerto for Violin
During his career spanning 60 years Isaac Stern recorded this major contemporary work several times and demonstrates once again his superb mastery of his instrument in this particular recording. With bravura he conjures up eruptive snatches of melody out of the rhapsodic depths, allows the slow movement to glow with pastoral sentiment, and tears through the vast variations finale with a perfect command of the score, his instrument and his creative prowess.
Bartok : Klavierkonzert Nr.1 Und Rhapsodie
This uncompromising severity presents an enormous challenge that is mastered with aplomb by Géza Anda and the RSO Berlin under Ferenc Fricsay. Bartók’s musical language is milder and more accessible in his Second and Third Piano Concertos, which are now available in a new pressing from Speakers Corner Records (DGG 138 111).
Bartok : Piano Concertos Nos. 2 and 3
Bartók wanted his Second Piano Concerto to be understood as a contrast to his harsh and – for the orchestra – extremely difficult First Piano Concerto. But notwithstanding its more easily understandable theme, this work too was composed using strict classical sonata form. With a bright atmosphere, fired on by the sound of trumpets, the theme of the first movement forges ahead and sets the course for the whole work. Lively exuberance and a committed interplay between the soloist and orchestra result in a work that is wholly positive throughout and which remains full of energy yet bell-like and accessible right up to the final movement.
Beethoven – Complete Incidental Music to Goethe’s Egmont
Ludwig van Beethoven - Complete Incidential Music to Goethe's Egmont Pilar Lorengar, Klaus-Jrgen Wussow and the Vienna Philmarmonic Orchestra conducted by Georg Szell "It is a happy state of events to see two great masters unite in a glorious work and thus fulfil every wish of the thoughtful connoisseur. Beethoven has proved that he alone - among many composers - was certainly the one to comprehend the tender and at the same time powerful poem deep in his innermost soul: every tone which the poet struck resounded in his heart like a string tuned at the very same pitch and vibrating at the same rate, and so the music was created which now threads its way and binds all together like a brightly coloured ribbon woven from brilliant tones." Such were E.T.A. Hoffmann's enthusiastic words about Beethoven's Egmont: indeed very little else needs to be added - except that this recording has been newly pressed and is now available on the DECCA label once again.