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Valter13
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Sodi Braide - Schubert - 4 Impromptus op.90, Sonata D960 (2015) {Solstice}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 255 Mb |
Incl. Full Artwork @ 300 dpi (jpg) | 5% repair rar
© 2015 Solstice | SOCD309
Classical / Romantic / Piano Solo

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A cosmopolitan artist influenced by numerous cultures, Sodi Braide likes to explore a large repertoire, of different styles and periods. Born of Nigerian parents in Newcastle (United Kingdom), Sodi Braide started playing the piano at the age of 3 in Dublin, Ireland. He continued his musical studies in Nigeria and then in France, at the Conservatoire National Supérieur, Paris with Jacques Rouvier and Gerard Fremy, and at the Ecole Normale, Paris with Françoise Thinat.

Sodi Braide has won prizes in the international competitions of Pretoria, Seregno ("Ettore Pozzoli"), Leeds and Van Cliburn (Jury Discretional Prize).

“My first contact with Schubert’s piano music was during my last years at the Paris Conservatory. The first works I learnt as a student were Bach Preludes and Fugues, Beethoven piano Sonatas, Chopin Etudes: standard repertoire for a young pianist. Nevertheless, toward the end of my studies, I learnt the Impromptu in F minor D935 and the Sonata in A minor D784, and found myself overwhelmed by Schubert’s sincerity…” – Sodi Braide

The works on this recording, from the last years of Schubert’s life, are representative of all aspects of his art.

The Four Impromptus D 899 were written in 1827, although only Nos. 1 and 2 were published during his lifetime. Schubert composed the Sonata in B flat D 960 in September 1828, two months before his death. It is one of his greatest masterpieces, by virtue of both its form and its emotional depth.

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Personnel: Sodi Braide - piano

tracklist:
01 - Impromptu N.1 in C minor (Allegro molto moderato)
02 - Impromptu N.2 in E flat major (Allegro)
03 - Impromptu N.3 in G flat major (Andante)
04 - Impromptu N.4 in A flat major (Allegretto)
05 - Sonate N.21 in B flat major - I. Molto moderato
06 - Sonate N.21 in B flat major - II. Andante sostenuto
07 - Sonate N.21 in B flat major - III. Scherzo. Allegro vivace con delicatezza
08 - Sonate N.21 in B flat major - IV. Allegro ma non troppo

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Lisa Batiashvili - Bach (2014) {Deutsche Grammophon}
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© 2014 Deutsche Grammophon | 00289 479 2479
Classical / Concerto / Chamber Music / Violin

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Lisa Batiashvili presents a fine selection in chamber and orchestral music of popular, but also newly recorded Bach pieces. This includes the first ever recording of Bach’s famous aria “Erbarme Dich, mein Gott” in a transcription for violin, oboe and orchestra on Deutsche Grammophon. First ever recording of C. Ph. E. Bach’s Trio Sonata in b flat minor for violin, flute and BC on Deutsche Grammophon. For this Lisa teams up with the world’s famous flutist from Berliner Philharmoniker, Emmanuel Pahud. For one of the real hits on that CD, the double concerto for violin and oboe BWV 1060, Lisa collaborates with her husband, the oboist Francois Leleux. An interpretation from the heart!

While violinist Lisa Batiashvili has recorded mostly Romantic and modernist music, she has chosen to perform works by J.S. Bach for her third album on Deutsche Grammophon, signaling an expansion of a repertoire that is already quite varied. Even the selections on this 2014 release show a preference for a mix of pieces, with only the Violin Concerto in E major, the solo Violin Sonata in A minor, and the Sinfonia from the cantata Ich steh mit einem Fub im Grabe to showcase her talents as soloist. The rest of her program features her husband, oboist Francois Leleux, in the Double Concerto for violin and oboe in C minor, and the aria from the St. Matthew Passion, Erbarme dich, mein Gott, which he plays on oboe d'amore; and the Trio for flute, violin, and continuo in B minor by C.P.E. Bach, with flutist Emmanuel Pahud. Batiashvili generously shares the spotlight with these musicians, and their inclusion gives the whole CD an enjoyable feeling of conversation and flexibility of approach, which a straight run of violin concertos would have lacked. One drawback is the sound of the recording, which is echoic and a little indistinct, due to the resonant acoustics of the venues. Otherwise, this is a vibrant and appealing mainstream presentation of Bach that shows Batiashvili and her colleagues in a positive light.

Personnel:
Lisa Batiashvili - violin
Franсois Leleux - oboe
Emmanuel Pahud - flute
Sebastian Klinger - cello
Peter Kofler - harpsichord

Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks
Radoslaw Szulc - director

tracklist:
01 - J.S. Bach - Double Concerto for violin, oboe, strings & continuo in C minor, I. Allegro
02 - J.S. Bach - Double Concerto for violin, oboe, strings & continuo in C minor, II. Adagio
03 - J.S. Bach - Double Concerto for violin, oboe, strings & continuo in C minor, III. Allegro
04 - J.S. Bach - Sinfonia in F major
05 - J.S. Bach - Concerto for violin, strings & continuo in E major, BWV 1042, I. Allegro
06 - J.S. Bach - Concerto for violin, strings & continuo in E major, BWV 1042, II. Adagio
07 - J.S. Bach - Concerto for violin, strings & continuo in E major, BWV 1042, III. Allegro assai
08 - J.S. Bach - Sonata No. 2 for solo violin in A minor, BWV 1003, I. Grave
09 - J.S. Bach - Sonata No. 2 for solo violin in A minor, BWV 1003, II. Fuga
10 - J.S. Bach - Sonata No. 2 for solo violin in A minor, BWV 1003, III. Andante
11 - J.S. Bach - Sonata No. 2 for solo violin in A minor, BWV 1003, IV. Allegro
12 - C.P.E. Bach - Trio Sonata for flute, violin & continuo in B minor, Wq 143, I. Allegro
13 - C.P.E. Bach - Trio Sonata for flute, violin & continuo in B minor, Wq 143, II. Adagio
14 - C.P.E. Bach - Trio Sonata for flute, violin & continuo in B minor, Wq 143, III. Presto
15 - J.S. Bach - St. Matthew Passion for soloists, double chorus & double orchestra, BWV 244 (Excerpt)

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Умница! Smile
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Vladimir Horowitz - Favorite Chopin (1987)
EAC | FLAC | Image (Cue&Log) ~ 273 Mb (incl 5%) | (incl 5%) | Scans included
Genre: Classical | Label: CBS | # MK 42306 | Time: 01:12:14

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Horowitz proves on this CD why he was/is recognized as one of the greatest performers of all time. This CD has a collection of music that ranges from soft and serene to vigorous and powerful. Horowitz himself adds more emotion to each piece, and this CD displays both his talent as a piano player and Chopin's wide variety of composition. Chopin wrote some of the hardest music to play, and very few people can play it well and consistent. Horowitz does both at an extraordinary level. If you like either Chopin or Horowitz, this is a MUST.

Review by Beau, Amazon.com

This recording has amazing performances if you like Horowitz, and for some purposes, I do. I realize there are certainly better minds at the keyboard and more subtle performances. Richter is usually my first choice among pianists; he famously said that Horowitz had a great talent and a trivial mind. I have to agree. But after decades of immersing myself in the Ballades, and especially the No. 1 in G minor, Op. 23, I recommend this recording above all others. Horowitz lets it rip, and in just the right way, at just the right moment. When you want real oomph, real emotional impact with pieces like this, there is no one like Horowitz. That Ballade is simply gorgeous, as attested by its central appearance in the movie "Impromptu," about Chopin's life, with Hugh Grant as Chopin. There, Emanuel Ax did the honors and he plays well, no question. I also have Rubinstein, Ax, Entremont, and Pollini, as well as other recordings by Horowitz. It can be tricky to play with good phrasing. Alas, the sound on this recording is not great, but it's good enough. For real sizzle and bodice-ripping passion, this one is just the best.

Review by JMB1014, Amazon.com

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Frederic Chopin

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Vladimir Horowitz

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Tracklist:

01. Polonaise In A-flat Major, Op. 53 Heroic (06:27)
02. Mazurka In D Major, Op. 33, No. 2 (02:50)
03. Waltz In C-sharp Minor, Op. 64, No. 2 (03:13)
04. Polonaise In A Major, Op. 40, No. 1 Military (04:55)
05. Etude In E Major, Op. 10, No. 3 (03:37)
06. Etude In C-sharp Minor, Op. 10, No. 4 (02:07)
07. Prelude In B Minor, Op. 28, No. 6 Raindrop (02:09)
08. Etude In G-flat Major, Op. 10, No. 5 Black Key (01:40)
09. Ballade No. 1 In G Minor, Op. 23 (08:51)
10. Waltz In A Minor, Op. 34, No. 2 (05:00)
11. Mazurka In A Minor, Op. 17, No. 4 (04:09)
12. Etude In C Minor, Op. 10, No. 12 Revolutionary (02:40)
13. Nocturne In F Minor, Op. 55, No. 1 (05:13)
14. Mazurka In F-sharp Minor, Op. 59, No. 3 (03:30)
15. Mazurka In D-flat Major, Op. 30, No. 3 (02:55)
16. Mazurka In F Minor, Op. 7, No. 3 (02:13)
17. Mazurka In E Minor, Op. 41, No. 2 (02:09)
18. Scherzo No. 1 In B Minor, Op. 20 (08:32)

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Expressia - Cadence Ensemble: Tangos and Fantasies / Armenian Metamorpho [2008]
EAC Rip | FLAC, TRACKS+CUE, LOG | Covers | 2cd, 516 MB
Classical | Label: SRI Canada | Catalog Number: SIGCD129/140

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The listener wishing to get acquainted with Astor Piazzolla's tangos has many options to choose from: the composer's own recordings, adaptations for classical ensembles, and various more arcane versions. This release features a young Armenian group of classically trained musicians, but the performances don't quite fit under the classical umbrella. Instead they offer a way of playing tango music that would have been familiar three-quarters of a century ago, but isn't heard much these days: you might call it sentimental salon tango. The group uses a quintet instrumentation that compromises among Piazzolla's various groups: violin, piano, guitar, bandoneon, and bass. A few pieces, notably the opening Escualo, partake of Piazzolla's heavy tango rhythms, but mostly the group is after a more languid sound, with several newly arranged works putting emphasis on the duo of violinist Ashot Khoyetsyan and pianist (and arranger) Armen Babakhanian. Their approach brings Piazzolla closer to the relaxed tango sound out of which his own art grew, and it's no accident that of the non-Piazzolla works on the album, two of them, by Carlos Gardel and Hector Stamponi (not Stampioni, as the name erroneously appears in the booklet), are from the interwar tango generation. The tango fantasy, really more of a medley, on themes from Gershwin's Porgy and Bess, also suggests the music of an earlier period. Listeners' reactions to this are likely to vary according to their backgrounds: those enamored of Piazzolla's own recordings may recall his admonition to his musicians to put some more "mud" into their playing, but those who value tango as a specific kind of mood music rather than specifically for Piazzolla's groundbreaking stylistic fusions will find this an unusual addition to the corpus of recorded tango. The sound environment created at the venerable Abbey Road studios is well suited to the recording's aims.

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Performer:
Cadence Ensemble

Tracklisting:
CD1
Astor Piazzolla
01. Escualo (Ritmo Libre) (04:32)
02. Romance Del Diablo (06:44)
03. Tango Del Diablo (03:19)
04. Poem (06:00)
05. Muerte Del Angel (03:31)
06. Concerto Para Quinteto (10:33)
Carlos Gardel
07. Tango Por Una Cabeza (04:42)
Narine Zarifyan -
08. Tango Expressia (03:39)
Hector Stamponi
09. Tango El Ultimo Cafe (05:49)
George Gershwin
10. Fantasy On Themes Of Porgy And Bess (09:04)

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CD2
Komitas Vardapet
01. Krunk (04:15)
02. Kujin Ara Yev Gna-Gna (02:59)
Sayat-Nova
03. Khani Vur Jan Im (04:26)
04. Inch Khonim Hekimm (01:56)
Shirin
05. Dance (02:30)
Alexander Arutunian, Arno Babadjanian
06. Armenian Rhapsody (06:03)
Karen Ananyan
07. Folk Relections (12:51)
Aram Khachaturian
08. Adagio from 'Spartacus' (08:57)
09. Dance of girls in pink from 'Gayane' (02:35)
10. Lullaby from 'Gayane' (04:51)
11. Sabre Dance from 'Gayane' (02:02)

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Antonin Dvorak & Cesar Franck - Piano Quintets (1988)
Clifford Curzon, piano; Vienna Philharmonic String Quartet

XLD | FLAC | Tracks (Cue&Log) ~ 322 Mb (incl 5%) | (incl 5%) | Scans included
Genre: Classical | Label: Decca | # 421 153-2 | Time: 01:09:24

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This CD features two quite lovely piano quintets, beautifully played by a quartet of players from the Vienna Philharmonic Orchestra with Clifford Curzon at the piano. The first piece is by Antonin Dvorak, who composed two piano quintets. The first of these is a relatively early work that Dvorak composed in 1872 when he was 31. The second of his quintets was composed only 15 years later and remains one of his most popular chamber works.

The other piece on the CD is by Cesar Franck and, along with his other major chamber works - the violin sonata and the string quartet - reminds the listener of the atmosphere of Franck's best known work, the symphony in d minor. The recordings are quite dated now, coming from the early 1960s, but I never tire of listening to such beautiful music so engagingly played.

Review by Dr. H. A. Jones, Amazon

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Antonín Dvorak

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Cesar Franck

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Clifford Curzon

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Performers:

- Clifford Curzon (Piano)

Vienna Philharmonic String Quartet:

- Willi Boskovsky (Violin)
- Otto Strasser (Violin)
- Rudolf Streng (Viola)
- Robert Scheiwein (Cello)

Tracklist:

Antonín Dvorak (1841-1904)
Quintet for Piano and Strings no 2 in A major, Op. 81/B 155:
1. I. Allegro ma non tanto (10:14)
2. II. Dumka: Andante con moto (13:29)
3. III. Scherzo (Furiant): Molto vivace (04:16)
4. IV. Finale: Allegro (07:41)
- Recorded: Sofiensaal, Wien, October 1962

Cesar Franck (1822-1890)
Quintet for Piano and Strings in F minor, M 7
5. I. Molto moderato quasi lento. — Allegro (15:27)
6. II. Lento, con molto sentimento (10:04)
7. III. Allegro non troppo, ma con fuoco (08:10)
- Recorded: Sofiensaal, Wien, October 1960

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Ivry Gitlis - The Art of Ivry Gitlis (1992) 2CD
Tchaikovsky - Bruch - Sibelius - Mendelssohn - Bartók
EAC | FLAC | Tracks (Cue&Log) ~ 530 Mb (incl 5%) | Scans included
Genre: Classical | Label: VoxBox | # CDX2 5505 | Time: 02:39:09

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There are several reasons to own this Vox Box 2CD set. For the first, it includes five great violin concertos in some of the very best performances in their discography. For the second, Ivry Gitlis (born 1922) is a great living violinist and these recordings made in early 1950s show his art in the best way, when Ivry's violin sounded powerful and brilliant.

Anton Zimmerling "Sturla", Amazon.com

I'll limit my comments to Bartok's and Sibelius' Violin Concerto - reasons enough to treasure this set. Not many recordings have followed the trail blazed by premiere performers of Bartok's Violin Concerto in 1939, Zoltan Szekely and Willem Mengelberg conducting the Amsterdam Concertgebouw Orchestra (Violin Concerto 2), a trail scorched with white-heat intensity. Most have rather pursued a tradition established by Menuhin in his premiere recording from 1946 with Antal Dorati conducting the Dallas Symphony Orchestra (Violin Concerto 2) and continued by him in his three subsequent recordings, the famous one (but not the best) with Furtwängler in 1953 (Violin Concerto 2), and two more in stereo again with Dorati (1957 Minneapolis Violin Concerto 2 and 1965 Philharmonia Bartok: Violin Concertos, Viola Concerto, 6 Duo for 2 Violins, Violin Rhapsodies; Yehudi Menuhin): more gentle, taking more time, to the point of lingering almost, in the concerto's more lyrical passages (which doesn't preclude dashing motion in the faster sections). Just take the opening bars, the tolling harp chords leading to the violin's entry and statement of the lyrical theme. Most conductors start very deliberately, if not lazily, introducing a gentle, laid-back and lyrical unfolding of the violin's statement; the intensity comes (when it comes) later.

Gitlis and Horenstein, in one of the work's earliest recordings, remain to this day one of the most glowing exceptions. It was made in 1954 or 1955 (Vox' production info is imprecise here and I haven't been able to establish the exact year; it was reviewed in The Gramophone of November 1955) and, to the best of my knowledge, the fourth version to have been published on LP, after Rostal-Sargeant 1951 Bartok Beethoven Brahms: Concerto, Varga-Fricsay 1951 (Cd reissued in the early 1990s on DG's 11-CD Fricsay portrait but not listed here individually, you'll find it on the European sister companies under ASIN B000025EIG) and Menuhin-Furtwangler 1953. Sure, the mono sonics allow only for distant and mono-dimensional pickup of the orchestra, blurring a number of Bartok's finest filigree (although if you listen carefully over headphones, you still can get much of it); still, the brassy outbursts, under Horenstein's stewardship, retain a mighty and raw impact.

But Gitlis! Man, he's on fire. He hurls into it with unleashed energy and hardly ever relents. His finale is wild and unruly. It doesn't mean that this is a version lacking in lyricism. On the contrary, Gitlis' molding of those lyrical phrases that abound in the concerto is particularly intense, with subtle inflections of vocal nature and sometimes a tight vibrato that is evocative of the longing chant of some siren. But the forward thrust is never lost. Gitlis' lean tone and unsentimental approach is ideally suited to the second movement, where he also applies finely levelled dynamic shadings (just try the opening phrases, where the soloist first sounds like he is sitting in the middle of the orchestra, only to emerge from it with Bartok's crescendo marking) and displays the same kind of dazzling forward drive as in the outer movements in the "allegro scherzando" passage at 6:15 and even in the ensuing "commodo".

In many ways, Gitlis evoked what Heifetz might have done with the concerto, had he elected to play it, and made me rue that he never did, comforted only by the thought that Gitlis did it in his stead. This, alongside Szekely and Mengelberg's, is a recording that should be studied and pondered by every musician (fiddler or conductor) tackling Bartok's Concerto.

Something, I feel, has been lost with the development of music interpretation in the second half of the 20th century. The overriding trend has been for tempos to expand, every generation of interpretation digging deeper (or so they think) into the compositions' lyrical and expressive veins, as if to bring to light new ores of expression not tapped by their predecessors.

But what has been lost in the process is a sense of unrelenting and breathless forward thrust. That's a sense that old-generation stars like Toscanini or Heifetz (and still Isaac Stern) had. The forward motion was never checkered for sake of "expressivity" (which can verge on fussing), but it also never came at the expense of lyricism. On the contrary, the lyricism was all the more intense as it was expressed through subtle inflexions of phrasings (Heifetz was unique in that respect) within a given, fleeting tempo.

As evidenced again in his Sibelius Concerto (also recorded circa 1954, originally paired with Bruch), Gitlis also had that sense of the music's unquenchable forward motion. The Israeli violinist starts by phrasing the opening melody of Sibelius' Violin Concerto very sinuously and sensuously, making it sound like some languid oriental melisma. You'd think it were Szymanowski in his oriental style. But then, what ensues as early as the first 16th note scales (circa 1:20) is a performance of considerable drive, energy, vehemence and passion, sometimes almost rhapsodic (not to say Bartokian), one that at times (including the first movement cadenza) even "out-heifetzes" Heifetz in speed and fire - but with always a sense of searing lyricism. It sounds urgent, but never rushed. Gitlis plays with consummate technical mastery and fine if rather thin tone, luminous in the upper reaches, although in the fiendish double-stop scales followed by two-octave leaps of the finale he conveys slightly more of a sense of struggling and hanging by the skin of his teeth than Heifetz (and even Heifetz is far from perfect there, in 1935, Heifetz Plays Strauss (Violin Sonata op. 18 ), Sibelius (Violin Concerto), Prokofiev (Violin Concerto 2) and in 1959, Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD]; Hilary Hahn is perfect, but I ran out of authorized links: ASIN B0011WMWUW with Schoenberg's VC). He finds in Jasha Horenstein a like-minded partner, whipping up his orchestra to great power. The orchestra lacks clarity and definition, although some fine orchestral points can be heard and the explosive muscularity certainly comes through (and the searing passiong in the second movement).

There have been since Heifetz' 1935 premiere recording many outstanding versions of Sibelius' VC and this is one of them. A broader view first illustrated (not so convincingly I find) by Ginette Neveu in 1945 (Brahms, Sibelius: Violin Concertos) and (much better) by Camilla Wicks in 1951(Camilla Wicks (violin) plays Sibelius and Valen: Violin Concertos) and leading to Hilary Hahn has ultimately taken precedence. The more urgent approach illustrated by Heifetz, Stern and Gitlis retains my preference, and I think that its falling out of custom is a great loss to music.

Review by Discophage, Amazon.com

Gitlis’s recordings readily appeal to the venturesome, and to the open-minded. This is partly a question of repertoire, as he has espoused a lot of twentieth century music, but it is also to do with his sound - his tone, his bowing, his vibrato usage - and to the very personalised approach he has adopted to standard concertos and sonatas. This has not always endeared him to the rectitudinous but it has granted him a degree of ‘maverick’ status amongst fellow musicians and admirers. I’ve heard him in concert, and the audience was duly represented by both such groups. I was struck on that occasion by his charm and, to be precise, his good manners in presenting his young piano accompanist with the opportunity to play more than one, extended, solo.

I’ve had a mixed experience over the years listening to him on disc. But these Vox recordings represent some of his best playing. The Tchaikovsky is with the Vienna Symphony and Heinrich Hollreiser. Gitlis predictably engages in some unusual changes of colour and inflexion and rubato. His tone is famously spiky, lacking the obvious sensual or magisterially broad range of more famous exponents. But his ‘post-Huberman’ resources are striking, as indeed are the exchanges with an outsize clarinet principal – or the outsize recording engineers’ intentions, more likely. The slow movement is plausibly Russian, very intense, not at all songful but vehemently warm-blooded. And like many Gitlis recordings, the finale has a fair degree of believable spontaneity about it – bold and masculine. The Bruch is good too after its fashion. The start is hardly stealthy, the violin entering very loudly; another recording miscalculation. The tenor here is upfront boldness with his accompanist Horenstein stretching out very elastically at a couple of points. Theirs is not the elegant and rich boned approach of other pairings, it need hardly be added but as usual Gitlis’s finale is purposeful, propulsive and very exciting.

I wondered, as I was listening to the Sibelius (again with Horenstein), whether Gitlis had listened to Ginette Neveu and decided on balance he probably had. He would certainly have had opportunities to hear her in concert, or on disc. But more than this, one notices Gitlis’s very individualistic approach all-round. In higher positions there’s a tense, oscillatory quality that gives the playing an edgy, uneasy quality – the opposite, for instance, of Anja Ignatius’s way with it. Gitlis is vehement but not strident. His playing has a bold sense of projection but it certainly stands at a remove from more central recommendations. His Mendelssohn is with Hans Swarowsky. It starts eagerly, pressing forward but in the slow movement Gitlis’s over-quick vibrato limits tone colours. He’s rather razory in the finale, which he takes quickly. He’s never dull, but he fails to convince.

From here on we discover works that I tend to think of as his natural metier, which is music from the second quarter of the twentieth century. His Bartók is really impressive. He joins with Horenstein once again for the Second Concerto and here he evinces a natural authority which, on its own terms, rivals that of Menuhin and Rostal, to cite two almost contemporaneous recordings. Gitlis has the febrile intensity for this work, and he has a command of its rhetoric and its narrative development. The sense of characterisation is finely etched, and the collaboration with Horenstein is solid – a conductor who really insists on some deep, dark bass tone from the Vienna Symphony. The solo sonata is played with colossal commitment and a sense of fiery abandon often characterised as ‘gypsy’ in Gitlis’ case. I think, rather, that he catches the folkloric spirit in such a way that it lives from the inside out; also that his intense vibrato promotes an ethos of incessant drama and motion. Heady stuff.

Review by Jonathan Woolf, MusicWeb-International.com

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Ivry Gitlis

Performers:

Ivry Gitlis - violin

Vienna Symphony Orchestra (CD1, CD2 #1-6)
conductors:
Heinrich Hollreiser (CD1#1-3)
Jascha Horenstein (CD1#4-9, CD2#4-6),
Hans Swarowsky (CD2#1-3)

Tracklist:

CD1:

Pyotr Il'yich Tchaikovsky (1840-1893)

Violin Concerto in D Major, Op.35
01. I. Allegro moderato (16:03)
02. II. Canzonetta (6:06)
03. III. Finale: Allegro; Vivacissimo (7:39)

Max Bruch (1838-1920)

Violin Concerto in G Minor, Op.26
04. I. Allegro moderato (7:45)
05. II. Adagio (7:51)
06. III. Finale: Allegro energico (6:18 )

Jean Sibelius (1865-1957)

Violin Concerto in D Minor, Op.47
07. I. Allegro moderato (14:03)
08. II. Adagio di molto (7:02)
09. III. Allegro ma non tanto (6:54)

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CD2:

Felix Mendelssohn (1809-1847)

Violin Concerto in E Minor, Op.64
01. I. Allegro molto appassionato (11:02)
02. II. Andante (7:30)
03. III. Allegretto non troppo (5:36)

Bela Bartok (1981-1945)

Violin Concerto No.2 (1938 )
04. I. Allegro non troppo (14:47)
05. II. Andante tranquillo (9:05)
06. III. Allegro molto (10:59)
07. Sonate for Solo Violin (1944) (20:27)

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Alain Kremski – Musiques Rituelles pour Cloches et Gongs (1999)
Classical/Contemporary | FLAC lossless | cuesheets+log | covers+booklet | 59m45s | 189 mb
Label: Auvidis | cat. no. A 6266

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Alain Kremski performs the score of 'Ritual music for bells and gongs' on the following instruments: 72 early gongs from Iran (17th - 18th century), a number of early gongs from other countries (China, Afghanistan, Syria, Greece, Italy, France) and 13 tuned gongs, the lowest being as much as one metre in diameter. The bells are arranged in a specific order, according to size, timbre and pitch on parallel bars, suspended from rectangular wooden frames. Altogether these bells cover a range of two octaves, with all the chromatic degrees.
Bell frames have been in use since antiquity, both in the Orient and in the West (in the Middle Ages). They may still be seen today in Taiwan, where, standing at the entrance to the temple, they are used for religious ceremonies. This principle of bells supported on a frame inspired Alain Kremski to form this collection which is unique in Europe and now belongs to the Jeunesses Musicales de France. The music Alain Kremski performs on these bells and gongs is written down. He follows a specific course in time and space, in which the successive impressions follow a particular order. The writing of his scores for bells may be compared to that of Gregorian chant, It is very free (flowing, generous, without bar lines, the varying spaces between the notes acting as punctuation and breathing space). The many small vertical arrows placed above or below certain notes indicate the quarter tones. Alain Kremski strikes the outside of the bells with special hammers which are hard enough to produce a clear sound and soft enough to enable the performer to create a whole range of nuances and colours and obtain tones that may be pure, transparent or muffled, with great delicacy both in the loud notes and in the subtlest of pianissimos, and they are light enough to permit great virtuosity and enable the musician to produce a quick succession of notes. To play these works, the composer moves along the main bell frame and also from one frame to the other, setting the bells in motion in a very precise order.

Tracks:

01. Musiques rituelles pour cloches et gongs - Le Christ au Mont des Oliviers [0:18:11.06]
02. Musiques rituelles pour cloches et gongs - Prieres et meditation secretes [0:08:46.98]
03. Musiques rituelles pour cloches et gongs - Poemes de l'Exaltation [0:10:11.30]
04. Megalithes pour piano - Regard sur un temps immemorial [0:03:38.53]
05. Megalithes pour piano - Dans le temple de Gvr'inis [0:06:10.45]
06. Megalithes pour piano - Camac, porte du Temps [0:12:49.54]

Performer:

Alain Kremski – gongs and bells (tr.1-3); piano (tr.4-6)

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Jeroen van Veen - Arvo Part: Für Anna Maria, Complete Piano Music (2014) 2CD
EAC | FLAC | Tracks (Cue&Log) ~ 406 Mb (incl 5%) | Scans included | Time: 02:00:24
Genre: Contemporary Classical, Minimalism | Label: Brilliant Classics | # 95053

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A much-admired contemporary, living composer whose popularity among a wide cross-section of music devotees and casual listeners transcends genre barriers. This new double-disc set of the complete piano music encompasses works composed over a 50 year span. Jeroen Van Veen is a preeminent and critically-favored Minimalist advocate and multi-dimensional artist with a noteworthy backlist of Brilliant Classic releases to his credit with more to come. Booklet notes written by Jeroen Van Veen.

Jeroen van Veen brings us not only Arvo Pärt’s complete piano music, but also the complete Pärt ‘total immersion’ in versions of Für Alina which total nearly 50 minutes when laid end to end. Looking at this remarkable piece you wouldn’t expect it to have quite this much potential.

Sparsely printed on two pages, with about 15 bars and very few notes, this is music which invites meditative exploration. It represents an “extreme reduction of sound materials and a limitation to the essential: minimalism with maximum effect.” Jeroen van Veen keeps to the text, but takes the notes into different registers of the piano, creating some fascinating variations. It might be argued that we get too much of a good thing here, but I’d rather have two well-filled discs of deeply atmospheric playing than blank space, and with Van Veen’s sustained and introspective journey these are rewarding experiences in their own right.

Technically speaking we should really have started with the earlier works on CD 2, but I suspect the majority of listeners will play CD 1 the most. The Variationen zur Gesundung von Arinuschka are almost as sparing as Für Alina, teasing sonorities from sympathetically sounding strings and bringing deep expression again from a very few notes. If anything I would have preferred this a little more sustained from Van Veen, but it is a beautiful lyrical performance. There are some simple little pieces here which lay no real claims to being the greatest of art. Ukuaru valss is one such work, a little waltz which precedes the playful miniature Für Anna Maria which also appears in a slightly swifter version further on in the programme.

There are works by Pärt which are more familiar in one or other versions, and Pari Intervallo is probably better known on organ or one of the ensemble versions which have been recorded. It exists for solo piano or as here for two pianos – again, simple and restrained, but gorgeous and profoundly spiritual. Hymn to a Great City is again for two pianos and another strangely compelling work – little more than a procession of cadences, but with a call and answer feel which draws us in as would the stained glass windows of a great cathedral. CD 1 ends with two works with cello marked as bonus tracks, Fratres, perhaps best known with violin, and Spiegel im Spiegel. The deep piano sonorities inFratres are superb here, and with flageolet tones from the cello there are moments of real magic.Spiegel im Spiegel you will have heard as backing to many a cinematic moment but it remains a strikingly effective work of musical art, this version with cello very expressive and moving.

CD 2 introduces us to works written by Arvo Pärt before he entered the style of his best known pieces.Vier leichte Tanzstücke ‘musik für kindertheater’ is the earliest collection and a highly effective and entertaining quartet of incidental descriptive pieces. Pärt’s imagination is every bit as striking in the two neo-classical Sonatinas from 1959. These are by no means modernist in character, and as music ‘of its time’ live happily alongside contemporary influences such as Shostakovich. The Partita Op. 2 is more modernist but not frighteningly so, with technical echoes of the likes of Hindemith in itsFughetta, harmonic stresses in the Larghetto which betray distinctly romantic urges and a finalOstinato which has moments fighting to break out into something suspiciously jazzy. CD 2 concludes with another extensive and sublime ‘take’ on Für Alina.

In terms of completeness there is little competition for this two disc set. Ralph van Raat comes close with his Naxos disc 8.572525 which is superbly performed and recorded, keeps Für Alinato a compact 3:25 and includes the remarkable Lamentate for piano and orchestra. Which you will prefer depends on your taste for transformation, though any collection can comfortably accommodate both. Jeroen van Veen’s recording can stand alongside the best from any source, and this set is worthy of high praise in every regard.

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Arvo Part

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Jeroen van Veen

Tracklist:

CD1:

01. Fur Alina (1976) 20:18
02. Variationen zur Gesundung von Arinuschka (1977) 5:56
03. Ukuaru valss (1973, rev. 2010) 2:54
04. Fur Anna Maria (2006) 1:21
05. Fur Alina (1976) 2:42
06. Spiegel im Spiegel (1978) 8:25
07. Pari intervallo (1976, rev. 2008 ) 5:28
08. Hymn to a Great City (1984, rev. 2004) 5:14
09. Fratres (1977, rev. 1980) 11:26
10. Fur Anna Maria (2006) 1:09
11. Fur Alina (1976) 3:15


CD2:

01-04. Vier leichte Tanzstucke 'Musik für Kindertheater' (1956-57) 7:39
05-07. Sonatina No.1 (1959) 7:16
08-10. Sonatina No.2 (1959) 5:42
11-14. Partita Op.2 (1958 ) 7:19
15. Fur Alina (1976) 23:07

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Valery Gergiev, London Symphony Orchestra - Tchaikovsky: Symphonies 1 - 3 (2012)
FLAC (tracks) 24 bit/48 kHz | Time - 126:02 minutes | 1,19 GB | Artwork: PDF sleeve

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Two alumni of the St Petersburg Conservatory are brought together on this recording – Pyotr Ilyich Tchaikovsky and Valery Gergiev, both educated in the same historic city a hundred years apart.

Whilst Gergiev’s distinguished musical career has never been in doubt, Tchaikovsky was initially not so fortunate. Becoming a composer in 1860s Russia was not an easy path, and Tchaikovsky was originally destined for the civil service. Moreover, as an aspiring young composer he was poised between the western classical music tradition and the earthier, folk-inspired one of his native land. If finding his way to a musical career was hard enough, how was he to develop his own compositional language between competing interests?

The symphonies on this disc chart Tchaikovsky’s journey from a conscientious explorer of classical structures to someone altogether freer and more inventive, via the attractive nationalism of Symphony No 2 (the ‘Little Russian’). By the third symphony – a five-movement work lasting nearly fifty minutes – Tchaikovsky has fused folk impulses and dance-like episodes within a larger, more reflective structure. The result is both joyous and convincing. The riddle has been solved.

The lyricism of Tchaikovsky ballet scores pervades all three symphonies, but melodic ideas are subjected to a great deal more rigour – such as intense contrapuntal development (in the final movement of the first symphony) and endless thematic reworkings (eg the third movement of No 2). The composer’s inventive approach to orchestration is remarkable, too. In retrospect it does not seem entirely tragic that the vast Russian civil service did without this particular recruit.

And the interpreter? Having found his way to St Petersburg a century after Tchaikovsky, Gergiev has become almost synonymous with the place, closely associated with its musical traditions and intensely proud of them, too. But as a global musical figure he is always suspended somewhere between east and west, not unlike the young Tchaikovsky himself. Who better to guide us through the composer’s first essays in symphonic form? Gergiev’s adopted orchestra gives a full-blooded performance and the LSO strings appear to have become naturalised Russians under his direction. These are compelling accounts by any standards.

Tracklist:

01 - Symphony No 1: i. Allegro tranquillo
02 - Symphony No 1: ii. Adagio cantabile ma non tanto
03 - Symphony No 1: iii. Scherzo: Allegro scherzando giocoso
04 - Symphony No 1: iv. Finale: Andante lugubre - Allegro maestoso
05 - Symphony No 2: i. Andante sostenuto - Allegro vivo
06 - Symphony No 2: ii. Andantino marziale, quasi moderato
07 - Symphony No 2: iii. Scherzo: Allegro molto vivace
08 - Symphony No 2: iv. Finale: Moderato assai - Allegro vivo
09 - Symphony No 3: i. Introduzione e Allegro: Moderato assai
10 - Symphony No 3: ii. Alla tedesca: Allegro moderato e semplice
11 - Symphony No 3: iii. Andante elegiaco
12 - Symphony No 3: iv. Scherzo: Allegro vivo
13 - Symphony No 3: v. Finale: Allegro con fuoco

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Franz Schubert - Symphonies Nos. 3-5 (2013)
Swedish Chamber Orchestra, conducted by Thomas Dausgaard
EAC | FLAC | Image (Cue&Log) ~ 379 Mb (incl 5%) | Scans included
Genre: Classical | Label: BIS | # BIS-SACD-1786 | Time: 01:20:58

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Thomas Dausgaard's recordings with the Swedish Chamber Orchestra of three of Franz Schubert's middle symphonies are displays of authentic period practice in state-of-the-art reproduction, and it's a winning combination. The watchword here is clarity, because these symphonies are models of Classical form and precision, with orchestral writing that is utterly transparent and ideally balanced, so the music is only enhanced by the spacious multichannel recording and direct stream digital processing. The Swedish Chamber Orchestra offers pristine string sonorities, and the winds have the distinctive and slightly pungent timbres of the 18th and early 19th century instruments Schubert knew. Dausgaard's interpretations are clearheaded and meticulous, and it's obvious that his musicians respond to his cogent direction with energy and enthusiasm. BIS recorded these performances on different occasions between 2009 and 2011 in the Orebro Concert Hall in Sweden, so in spite of the breaks between sessions, there is consistently superb sound quality, thanks to the first-rate engineering team and the unchanging venue. Highly recommended.

Review by Blair Sanderson, Allmusic.com

Thomas Dausgaard’s Schubert symphony cycle picks up right where it left off with the previous volume, which is to say, at a very high standard of excellence. These are fleet, exciting, fiercely played readings, and the music thrives under this treatment. Hard-stick timpani, strong rhythmic accents and a very flexible approach to string vibrato are the hallmarks. You won’t hear much vibrato in some of the rapid passages of the Tragic Symphony, but in that one especially the violins become very expressive throughout the slow movement.

I’ve been a fan of many of the Swedish Chamber Orchestra recordings with Dausgaard. They’re probably one of the best chamber orchestras in the world, thrillingly precise and full of character. Also they’re not afraid to grab you by the collar and get in your face. Their spunky fire-and-brimstone take on Beethoven’s Third is one of the few interpretations that really demonstrates how revolutionary and shocking the work must have been. I think it predates the very similar Paavo Jarvi album on RCA.

The SCO/Dausgaard Schubert Sixth was glorious, and their “Unfinished” restored the allegro to a speed not burdened by excessive morbidity or faux-profundity. If you know those performances, or if you appreciate the new chamber orchestra style that accounts for period practice, this is an easy recommendation. Indeed, the only let-down so far has been the Great C Major, curiously unsatisfying; try Charles Mackerras and the Philharmonia instead. You may disagree if you like your Fifth Symphony to be unyieldingly pastoral and easygoing: the tempos are, again, faster than usual, and some may think there is too great a sacrifice of charm.

I’ve been listening to these new albums more frequently than Harnoncourt’s benchmark Concertgebouw cycle, which sacrifices some excitement for a tiny — though bigger in No. 5 — gain in refinement and class. BIS’s sonics on the new CD are up to their usual high standards. The recording really packs a punch at climaxes, especially given the aggressive Swedish brass, so brace yourself. This is Schubert that’s really cookin’.

Review by Brian Reinhart, MusicWeb-International.com

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Franz Schubert

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Thomas Dausgaard

Tracklist:

Symphony No.3 in D major

01. I. Adagio maestoso - Allegro con brio (08:36)
02. II. Allegretto (04:11)
03. III. Menuetto. Vivace (03:49)
04. IV. Presto vivace (06:38 )

Symphony No.4 in C minor

05. I. Adagio molto - Allegro vivace (08:50)
06. II. Andante (07:31)
07. III. Menuetto. Allegro vivace (02:51)
08. IV. Allegro (10:26)

Symphony No.5 in B flat major

09. I. Allegro (06:27)
10. II. Andante con moto (08:54)
11. III. Menuetto. Allegro molto (04:28 )
12. IV. Allegro vivace (08:11)

rec. May 2009 (No. 5), January 2010 (No. 3),
May 2010 and August 2011 (No. 4), Orebro Concert Hall, Sweden

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William Walton - Symphonies & Concertos (2005) [2CD] {Decca}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 679 Mb |
Incl. Full Artwork @ 300 dpi (jpg) | 5% repair rar
© 2005 Decca Music | 475 6534
Classical / Symphonie / Concerto

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Kyung Wha Chung’s now legendary recording of the Violin Concerto was made in 1972 in the presence of the composer and immediately drew the most enthusiastic reviews: “… she gets to the heart of this music, demonstrates its toughness as well as its soul-searching lyrical warmth … Chung’s incisiveness compasses the fearsome virtuoso writing of the Scherzo not just with assurance but with wit and obvious enjoyment in display ... here in sum is a great, deeply involving performance.”

Personnel:
Kyung Wha Chung, Paul Neubauer, Robert Cohen

Royal Philharmonic Orchestra, London Symphony Orchestra & Bournemouth Symphony Orchestra, Vladimir Ashkenazy, Andre Previn & Andrew Litton

tracklist:
CD1
01 - Symphony No.1 - Allegro assai
02 - Symphony No.1 - Presto, con malizia
03 - Symphony No.1 - Andante
04 - Symphony No.1 - Maestoso - Brioso ed ardentemente
05 - Violin Concerto - Andante tranquillo
06 - Violin Concerto - Presto capriccioso alla napolitana
07 - Violin Concerto - Vivace

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CD2
01 - Cello Concerto - 1. Moderato
02 - Cello Concerto - 2. Allegro appasionato
03 - Cello Concerto - 3. Tema ad improvvisazioni Lento
04 - Viola Concerto - 1. Andante comodo
05 - Viola Concerto - 2. Vivo, con molto preciso
06 - Viola Concerto - 3. Allegro moderato
07 - Symphony No. 2 - 1. Allegro molto
08 - Symphony No. 2 - 2. Lento assai
09 - Symphony No. 2 - 3. Passacaglia Theme, variations, fugato & coda Scherzando

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Cesar Franck: Symphony in D minor; Albert Roussel: Symphony No. 3 – Orchestre National de France; Leonard Bernstein
1 CD | EAC Rip | 345 MB | FLAC+LOG+Cue | Complete scans
Classical | Label: Deutsche Grammophon | Recorded 1981 | Published: 1994 | Catalog Number 445512-2GMA

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Leonard Bernstein's rendition of the Franck Symphony, taken from live performances, is typically larger than life, with a huge contrast of tempo and a typically generous emotional outpouring. Folks who prefer a more classically proportioned view of the work are best advised to stay clear, but for the rest of us it's a steamy good time. What makes this disc even more special, however, is the inclusion of what is probably the best-ever performance of Roussel's fabulous Third Symphony. If you don't know this piece, you're in for a treat. It's a rousing, spiky, rhythmically propulsive neoclassical symphony in four elegantly proportioned movements. Try it, you'll like it. - David Hurwitz

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On this CD:
C. Franck - Symphonie en re mineur (d-moll)
1. 1. Lento - Allegro non troppo [19:21]
2. 2. Allegretto - attaca [11:22]
3. 3. Allegro non troppo [11:48]
A. Roussel - Symphonie no. 3 en sol mineur op. 42 (g-moll)
4. 1. Allegro vivo [06:12]
5. 2. Adagio [11:10]
6. 3. Vivace [03:10]
7. 4. Allegro con spirito [06:25]

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Jewels Of The Madonna - The Kaleidoscope of Orchestral Works 1984
Hiroshi Ishimaru / Tokyo Metropolitan Symphony Orchestra
EAC+LOG+CUE | FLAC: 348 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Denon # 38C37-7304 | Country/Year: Japan 1984
Genre: Classical | Style: Romantic, Early 20th Century

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Tracklist:

1. Intermezzo No.1, Jewels of the Madonna (Wolf-Ferrari)
2. Pomp and Circumstance, Op.39, No.1 (Elgar)
3. Prelude No.1, La Traviata (Verdi)
4. Slavonian March, Op.31 (Tchaikovsky)
5. Skaters Waltz, Op.183 (Waldteufel)
Gayne, Ballet Suite No.1 (Khachaturian)
6. 1/ Sabre Dance
7. 2/ Lullaby
8. 3/ Dance Of The Rose Maidens
9. Invitation To The Dance, Op.65 (Weber-Berlioz)

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Imre Rohmann & Andras Schiff - Franz Schubert: Piano Duets (1994)
EAC | FLAC | Tracks (Cue&Log) ~ 202 Mb (incl 5%) | Scans Included
Genre: Classical | Label: Hungaroton | # HCD 11941 | Time: 00:56:18

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How poor the piano literature for four hands would be without Schubert! This musical form is indebted to him for its most significant enrichment — ranging from the popular marches to works of virtually symphonic size. The roots of the genre sprang from different soils. Schubert's musical invention was so prolific that often the two hands of a pianist proved to be insufficient, and thus the performance of complicated counterpoint, the countless subsidiary themes and delicate harmonic details demanded two pianists and four hands, resembling the four parts of a string quartet.

In this sense the Rondo in A major resembles a real string quartet. The four hands are "performers" in an extremely rich musical event, the intensity of the music, the beauty of its sound, transcending the possibilities of piano music written for two hands.

With his marches Schubert renders tribute to a war-like age. It makes one reflect that Schubert, with his lyrical disposition, averse to every form of militarism, wrote so much lovely music for the purpose of military ceremonies. Of these the March in D major has become world famous; musically, however, the two "Marches caracteristiques" are richer by far. Both works may actually be regarded as great symphonic scherzos, and it is almost incomprehensible why some later great composers did not orchestrate these pieces, which are really so orchestral in character.

"Lebenssturme" dates from 1828, the last year of Schubert's life. It is part of his last creative period of almost inconceivable richness, and it is quite possible that — like the Grand Duo — it was intended as the first movement of a monumental sonata. Or should we say instead, a symphony? At that time Schubert's symphonies lay in the archives of different Societies, and the composer never heard a performance of any of his symphonies. It may be presumed that he clad his ideas intended for orchestral use in the garb of less demanding four-handed piano music, because in this way the pieces were at least played by a wide circle of music lovers.

The Fantasy in F minor, dedicated to Countess Caroline Esterhazy, is undoubtedly one of the most important of all piano duet works. The extraordinarily expressive and noble melody in F minor — to a certain extent reminiscent of Barbarina's Cavatina from "The Marriage of Figaro" — is interworked throughout the piece as a leitmotif, and it is clearly perceptible that in a symphony sense the melody falls into four sections. The pathetic Allegro theme appearing mainly in canon also constitutes the core of the closing fugue, where it soars with an intensification that storms the heavens. Between these two F minor blocks appears the grandiose "Handelian" Largo in F sharp minor, with a dreamy F sharp major middle section, and a lengthy Scherzo also in F sharp minor, with its tender and delicate Trio ("con delicatezza" — Schubert indicates). The last word, however, is given to the plaintive opening theme. After a sudden interruption of the fugue, it is heard, now for the last time, with a resigned gesture, and is only followed by a plagal cadence of a beauty and depth unusual even in Schubert.

Jurg Demus

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Andras Schiff

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Imre Rohmann

Among the miracles of Schubert’s output are the pieces he wrote for four hands. In a genre often intended for social delight with two performers engaged at one keyboard, Schubert produced some major masterpieces. This includes everything on this disc. Some years ago, Sony issued three two-CD sets and one CD that encompassed all the music the composer left for the genre. Unfortunately, they are no longer available. But for those unfamiliar with these works, this disc, produced in 1979, offers as fine an introduction to them as one might want. Contemporary with the composer’s last three piano sonatas, they are melodically rich, harmonically bold, and often ethereal in their otherworldly gentleness. Indeed, here is music that illustrates how Leonard Bernstein made a grave omission when he said, “Alone among all composers, Beethoven had a direct line to God.” He should have included Schubert. Everything about the playing here does justice to the music. Allegros are animated but never rushed; strange modulations are not spoiled by overstatement; and, where apt, as in the two marches, the playing crackles with vibrant energy. With Hungaroton’s fine reproduction, this remains an especially distinguished release that no one who cares about Schubert can afford to miss.

Review by Mortimer H. Frank, Fanfare

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Tracklist:

01. Fantasy in F minor, D.940 (18:16)
02. Lebenssturme in A minor, D.947 (11:13)
03. Grand Rondeau in A major, D.951 (12:16)
04. 2 Marches Caracteristiques in C major, D.886 - No.1 (07:03)
05. 2 Marches Caracteristiques in C major, D.886 - No.2 (07:28 )

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Oleg Karavaychuk - Concerto Grosso (2009)
EAC | FLAC | Image (Cue&Log) ~ 328 Mb (incl 5%) | Scans included
Genre: Classical, Contemporary | Label: Bomba-Piter | # CDMAN 392-09 | Time: 01:17:59

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R.I.P. Oleg Karavaychuk (December 28, 1927 — June 13, 2016)

Monday, June 13, in Saint-Petersburg on 89-m to year of life has died the composer Oleg Karavaychuk (Каравайчук Олег Николаевич) – composer of music to many films and performances. Some call composer Oleg Karavaychuk a genius, others a spook. For the third one he is unknown, although, by and large, his works are known to all. Karavaychuk composed the music for 200 films.

The first was "Alyosha Ptitsyn produces character" in 1953, then "Two Captains" and "Virgin Soil Upturned." Among the most famous are "Brief Encounters" and "The Long Goodbye" by Kira Muratova and "Monologue" by Ilya Averbakh. Only in the last two years he created music for four movies, but nobody paid him. Karavaychuk is the author of music for "The Devils" at the Maly Drama Theatre. He also worked for "Sovremennik".

Wunderkind
There are so many legends and rumors about Karavaychuk that it is hard to separate the truth from fiction, especially, that he passes through this matter least of all. If you remember "Volga-Volga" and one of the final scenes, when the glib pioneer sits at the piano and masterfully plays "Many songs rang over Volga", then this was the first apparition of the young genius to people. Another piano genius, Heinrich Neuhaus admired his play; Stalin himself graciously caressed the head of child prodigy. Karavaychuk composes music at nights when everyone is asleep, and prefers not music-paper but wallpaper rolls and not the traditional characters but old Russian hooks. Karavaychuk lives in Komarovo because for him, the city is vainly and noisy.

The spy
If you have ever seen Karavaychuk you will not forget him anymore. At any season of the year, he invariably puts on a beret with long hair peering out; wears sunglasses, a weird coat or a stretched sweater. At the same time Karavaychuk is so swift that you will not realize right off what gender was the being, who just raced by. He likes to tell stories that during Soviet era, because of his strange appearance and sunglasses, he was repeatedly taken to the police as a "spy", a homeless or a junkie.
"Once at the train station in Moscow, because of me, Shukshin punched a cop in the face, who stuck to me on the platform, as if I was a spy. The cop recognized Shukshin and silently walked away."
- Why do you play in the lying position?
- This way I feel more comfortable.

Lying down and wearing a pillowcase.
It has been long time since Karavaychuk keeps his special look at concerts as well: he plays wrapping his head with a pillowcase so he can see nobody and nothing.

“It is very difficult to play for people. They evoke a feeling of great fatigue just when they arrive. They affect me, they play me, I'm repeating their rhythm. I would put down the entire Philharmonic orchestra, maybe then they would play better.”

- During the concert you comment your performance: "I played like a boss" or "my hand is genius like a hell" or "I'm getting nowhere fast. What does it depend on?
- Even on persons you meet on the way to the concert, on the audience. Today it was so terrible, so pathetic. It's so hard for me.

Monologue
It is worth noting that Oleg Karavaychuk's monthly concerts are held in the museum-apartment of the artist Isaak Brodsky on Arts Square. The next one is scheduled for June 11. This is not a concert in the usual sense: there is no program; Oleg improvises, alternating pieces of his own works with excerpts from classic's works that cannot be immediately recognized, because he executes them in his own interpretation. For Karavaychuk are important such sound nuances, which – let alone the average person – not every musician ponders over. At that, he reasons aloud. The excerpts sound as if they were coming from the infinite inner monologue about art. For example: "The grace is when proportions are unequal. Mass art is terrible for being uniformly: if in a movie someone punches somebody in the face, he also hits you with some musical computer knockout."

Karavaychuk sometimes acts in St. Petersburg but at the same time, despite of financial difficulties, refuses all commercial projects, working only in those projects that are constructively interesting for him. Karavaychuk often takes part in performances, synthesizing his music, classical and modern ballet, poetry and video. His style is scandalous performance with a pillowcase on his head; playing the piano while lying or on his knees. The composer himself explains this as a desire to get concentrated and to stay with his music only. His main work direction is improvisational composition: in the presence of audience he sits down at the piano composing a work in the course of the play. Two largest St. Petersburg theaters: "Aleksandrinsky" and MDT - "Theatre of Europe" use the music specially composed the performances "Izotov" and "Demons".

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Full title - Concerto Grosso с двумя музыкальными антрактами "Письмо лежащему на дне Титанику" / Concerto Grosso with two musical interludes "The letter to Titanic lying on the bottom".

Recorded at Grand Piano "Schröeder" from State Hermitage collection in 2007.

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Tracklist:

01. Part I (23:10)
02. Part II (13:04)
03. Interlude 'On the Beautiful Blue Danube' (J Strauss) (02:57)
04. Part III (19:09)
05. Part IV (12:27)
06. March-interlude 'Americaniana' (04:59)
07. Part V (02:09)

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