Showing 1–12 of 76 results
A Nathan Milstein Recital : Pergolesi, Schumann, Brahms, Suk, Bloch, Milstein
This work is the last of twelve trio sonatas that Pergolesi wrote for two violins and bass. It is played here in a transcription by the Italian scholar-composer Alessandro Longo.
Al Cohn : The Jazz Workshop : Four Brass One Tenor
As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-facetted and tailormade to suit the accomplishments of the individual instrumentalists.
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.
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 : Piano Concerto No. 3 in C minor : Glenn Gould – Leonard Bernstein
The composition of Beethoven’s Third Piano Concerto is linked to a number of musical innovations that mark the character of this weighty work in C minor. Unlike his two previous concertos for the keyboard, in the Third Beethoven does not permit the piano part to melt with the orchestra, but lets the instrument act for itself as a opponent, as it were, within the symphonic context.
Beethoven : Symphony No. 5 – Symphony No. 4 – Bruno Walter
Schoenberg, Zemlinsky, Korngold – Bruno Walter knew them all: musicians who sought refuge from the henchmen of the Nazi Party in the New World and found artistic fulfilment there. And they all knew him and his meteoric rise to success at all the great houses in Europe. Formed by working with Gustav Mahler in Hamburg, under whose wing he rose from répétiteur to Chorus Director and then to Kapellmeister, Walter took on further posts as Chief Conductor in Vienna, Munich and Leipzig where the talented artist matured to become a true maestro.
Brahms : Symphony No.1
Brahms's Reticence as a symphonist is well known. It was not until 1876, when he was 43, that he completed his first published symphony. When writing the first movement, Brahms was transposing into an orchestral mould the highly condensed and open-ended lyrical idiom that he was developing in his chamber music....
Brahms Sonatas for Cello and Piano : Janos Starker/Gyorgy Sebok
Brahms’s Cello Sonatas could well be described as “romantic expression dressed in classical garb”, filled as they are with the selfsame musical philosophy which is to be found in many of his instrumental works. Although 21 years lay between the two compositions, Brahms remained true to the formal musical language of the Viennese masters, and this brought him – and other composers of his time – the reproach of imitating Beethoven.
Chamber Music From Marlboro – Brahms : Liebeslieder Watzer, Op. 52 / Schubert : The Shepard on the Rock Op. 129
The waltz was perhaps the most important thing that the rather level-headed and conservative Johannes Brahms from Hamburg brought back with him from his sojourn in Vienna. In addition to his purely instrumental waltzes for the piano, he also composed the "Liebeslieder Waltzes" – uniquely folk like and highly original vocal joyfulness in ¾ time. The lyrics are taken from real life and tell of love, longing, desire, and suffering but also of anger and derision.