32 Results for : ravel's
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Around the World in 60 Minutes
Melissa Koprowski is Assistant Professor of Clarinet at the University of Wisconsin - Eau Claire. She graduated Summa Cum Laude from the University of Alabama, and completed her Master's and Doctorate degrees in clarinet performance from The University of Southern California, where she had the privilege to study with Yehuda Gilad. She has also studied with Danny Granados, Scott Bridges and Judy Donaldson. Dr. Koprowski is an active performer and soloist. She has won first place in numerous competitions, some of which include the International Clarinet Association Young Artist Competition, Pasadena Showcase, MTNA Young Artist, Grand prize from the Birmingham Music Club, and a three time first prize recipient of the Alabama Federation of Music Clubs Competition. At the age of 18, Dr. Koprowski was appointed as the 2nd/Eb clarinetist of the Tuscaloosa Symphony. She has also performed with many orchestras across America including the Alabama Symphony, Huntsville Symphony, Downey Symphony, Burbank Philharmonic, American Youth Symphony, and Debut Orchestra. Dr. Koprowski can be seen and heard as clarinetist on the Dreamworks film, The Soloist. Roberta Garten grew up in San Diego, CA and received her bachelor's and master's degrees from University of Southern California, where she studied with Johanna Graudan and Nancy Bricard. She has been on faculty of the Colburn School of Performing Arts as staff accompanist for over 30 years. Roberta has performed with principal players in many symphony orchestras, including the Los Angeles Philharmonic, Chicago Symphony, and New York Philharmonic and as has performed through the US, Spain, Japan, South Korea, and South America. She can be heard on Summit Label, and is very pleased to have performed and recorded with Melissa Koprowski. Russian-born Victor Babin (1908 - 1972) is best known in the United States as a duo-pianist with wife Vitya Vronsky, and as Director of the Cleveland Institute of Music from 1961 - 1972. His style is distinctly post-romantic - conservative but colorful. The Hillandale Waltzes for clarinet and piano (1947) was composed toward the end of World War II. The waltzes are based on a theme of the German composer Johann Nepomuk Hummel (1778-1837), which he used in his Introduction, Theme and Variations for oboe and piano. A series of eight waltz variations, some of which test the technical prowess of the clarinetist, follow the landler-like theme. The composition was dedicated to Anne Archbold, who kindly provided housing for the Babins in the Hillandale Mansion in Washington D.C., near Georgetown University, shortly after their immigration to the United States. Viennese-born composer Joseph Horovitz (1926 - ) emigrated to England in 1938 where he studied music at New College, Oxford. He was an official lecturer in music appreciation to the Forces and gave piano recitals in army camps. After completing his BMus and MA degrees, he studied composition with Gordon Jacob at the Royal College of Music and with Nadia Boulanger in Paris. He has won numerous prestigious composition awards throughout his long career. The Sonatina for clarinet and piano was composed in 1981 at the request of Gervase de Peyer and Gwenneth Pryor. It is light-hearted and utilizes the traditional three-movement division. The first movement concentrates on the middle register of the clarinet, mainly lyrical against a rippling piano background, and is in classical sonata form. The second movement is an A-B-A song structure employing some of the lowest notes of the wind instrument in a long cantilena over a slow chordal accompaniment. A loose rondo form is used for the finale. It alternates two themes in equal proportions, exploiting the upper register of the clarinet. The harmonic idiom of the whole work is tonal and is melodically and rhythmically influenced by jazz and other popular music. Arthur Benjamin (1893 - 1960) was Australian by birth before moving to London as a young man, where he studied composition and piano. He was active in the growing musical life of the time, giving many performances of new works, including his own. During the 1940's his music was inspired by the music of Caribbean natives. Le Tombeau de Ravel is a set of six contrasting Valse-Caprices framed by an introduction and a finale. This work is loosely modeled after Ravel's Valses nobles et sentimentales which, in urn, were inspired by two sets of waltzes by Schubert. The composition evokes the sound world of Ravel and the general atmosphere of French music of the time, including hints of the salons, echoes of the café-concert and images which seem to leap from Toulouse-Lautrec's illustrations. American composer, Sy Brandon (1945 - ), was recently commissioned by the Arizona Centennial Commission to compose a band composition to celebrate Arizona's 100th anniversary of statehood. Other first prize awards include WITF-FM's 25th Anniversary Composition Contest, and Franklin and Marshall College's Wind Ensemble Composition Contest. The Czech National Symphony Orchestra, the Philharmonia Bulgarica, and the Kiev Philharmonic have recorded his music. Two compositions of his are heard on this CD. Badinerie, composed in 2001, is a rhythmic exciting piece in a modal style. The piece is in a large ABA form. The A sections contain much syncopation and counterpoint. The B section has a more sustained clarinet part over an ostinato in the piano. Die Fledermaus Fantasy, which closes this CD, is modeled after Sarasate's 'Carmen Fantasy'. It uses themes from the opera and expands upon them in order to show off the solo instrument. The material used comes from the overture along with Rosalinde's Csardas inserted in the middle. Carlos Guastavino (1912 - 2000) was born in Santa Fe, Argentina. He was one of the foremost Argentine composers of the 20th century. His reputation was based almost entirely on his songs, and Guastavino has sometimes been called "the Schubert of the Pampas." His style, always tonal and lusciously romantic, is fully based on Argentine folk music. Tonada y Cueca (1965) is comprised of two contrasting pieces exploring rhythms from Northwestern Argentina. A Tonada is defined as a Latin American folk song of the sentimental type or as a work song that accompanies such diverse tasks as milking, farming, maize milling, and harvesting. The Cueca, derived from the Peruvian 'Zamacueca', is a lively couple's dance of courtship and is also the national dance of Chile.- Shop: odax
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Theatre
This début CD of the Miranda Trio covers three centuries of music from three different countries - Russia (the former Soviet Republic), Argentina and France - and includes pieces by well-known and lesser known composers. But here, of course, it is obvious that music has little to do with borders, centuries or names. Going from France to Argentina might seem like a huge leap, yet both Angel E. Lasala and Astor Piazzolla had links with France and Russia. Lasala was an admirer of Mussorgsky. During his younger years, Piazzolla studied piano under a pupil of Rachmaninov, later he would take lessons from the legendary Nadia Boulanger in Paris. Inspired by such composers as Bach, Ravel and Stravinsky, on the one hand, and by jazz on the other, Astor Piazzolla gives new shape to the Argentinean tango and calls his music the Tango Nuovo, or new tango. Here was a composer who considered his music more the listening kind than the dancing kind. Little is known about Angel E. Lasala. We do know, however, that he favoured the combination of flute, harp and voice, which might speak to the great love he had for his wife, the soprano Zulema Castello. The Poemas Norteños are thought to be among his favourite songs. Lasala was born in Buenos Aires and began his career as a concert pianist. Later, after Athos Palma took him under his wing, his interest began to shift toward composing. This developed in a wide range of forms: chamber music, symphonic, religious and theatrical. His work has a distinct character, especially because he managed to fuse inspiration from Argentinean and American music into a single style. A bit of research has revealed something else: Lasala has the same music publisher as Piazzolla. That in itself is an indication of the importance and reputation of his music in Argentina. The poem Viens!Une flûte invisible soupire by Victor Hugo has inspired a number of composers. The first to set the poem to music was Camille Saint-Saëns. His duettino titled Viens! Was written for two voices with piano accompaniment. That piece was published in 1856, the same year the poem was printed (as part of Les Contemplations). Saint-Saëns returned to the poem in 1885, the year of Hugo's death, and composed a second version for voice, flute and piano, titling it Une flûte Invisible. By resetting the poem nearly thirty years later, he may have been bidding a discreet farewell to it's author. Among the other composers who set this poem to music were Léo Delibes (Eglogue, 1863), George Bizet (Après l'hiver, 1866), Bemjamin Godard (Viens!, 1872), Gabiel Pierné (Les Trois Chansons, 1890) and André Caplet (Viens!Une flute invisible soupire, 1900). What drew so many composers to this poem? Could an invisible flute hold such appeal to their imaginations? France is a flute-loving country. Jacques Ibert wrote his Entr'acte for flute in 1935. Debussy said of Iber: "His art is exceptional in it's intelligence, classic sobriety and esprit and 'fantasie dans la sensibilité'". Stylistic classification of works by Ibert is virtually impossible. The composer himself once remarked, " All stylistic tendencies are fine, as long as they are used to create music." Maurice Ravel originally wrote his Cinq mélodies populaires grecque for piano and voice. With Ravel's consent, the renowned French harpist Carlos Salzedo edited the piano score for the harp. The songs were written between 1904 and 1906 to original lyrics that were translated into French by Michel Calvaradossi. Ravel had a great interest in folk music and combined the classical with the contemporary. The completely different states of mind that arise in this piece relate, for instance, to a marriage proposal, macho behaviour and dancing for joy. Remarkably, during the period that this beautiful succession of songs was published, Ravel competed annually in the Prix de Rome (1900-1905) without ever winning. In 1900 and in 1905 the great composer wasn't even admitted to the final round, despite his prominence by 1905. The only living composer on this CD, Belarusian-born Sergey Beltiukov, possess a Neo-romantic, yet exceptionally individual style. He occupies a very special place among the great composers, not merely as the father of the flutist Dasha, but also because his composition was written specially for the Miranda Trio. Beltiukov, a member of the Union of Composers to tell a fascinating story within three minutes. The poem on which the composition is based, The Theatre, is by Bella Akhmadulina, one of Russia's most celebrated contemporary female poets. The Lark by Mikhail Glinka is an old Russian favourite. Originally it was a song on which Mili Balakirev wrote variations, which were later arranged for harp by Xenia Erdeli. It is a virtuoso piece, at times it seems that more than two hands are playing. Besides being a hero to the Russian people, Glinka is the founder of the Russian National Opera. Like many of his contemporaries, he studied in Italy. Most composers of this era shed their roots, but Glinka developed a genuinely classic Russian musical language and had many followers, for instance the magical Group of Five. Mikhail Ippolitov-Ivanov was renowned during his lifetime. He conducted (being the first to perform the Matthäus by Bach in Russia) and played a major role within the music scene. He was the director of the Moscow Conservatory and held several positions at the Bolshoi Theatre. Ippolitov-Ivanov studied composition with Rimsky-Korsakov and the master's influence greatly affected his style. During eleven years in Georgia, where he worked as the director of the Tbilisi Opera, he collected music from that region. Interests in oriental music, particularly the music of ethnic minorities from the former Russian republic, are to be found within his oeuvre. His works were written in a late-romantic idiom and have been profoundly influenced by the Caucasian folk music that he had studied meticulously. Ippolitov's love for the Orient is clearly expressed in the Five songs from Japanese poetry (for soprano and harp) and the Three songs from the poetry of Rabindranath Tagore (for soprano, flute and harp).- Shop: odax
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Maurice Ravel
The idea of publishing, performing and recording piano transcriptions is not novel in that this has been an important historical practice by composers and publishers, made popular in performance by artists such as Liszt and Busoni. Reductions of operas, symphonies, and other large works for solo piano or one piano-four hands were customarily done so that a wider public would be exposed to music that otherwise might not have been heard or available in any other context. Concert halls and opera houses were not necessarily or readily accessible. Also, mass media sound reproduction did not yet exist in the 19th Century and it was some time before it was made available and affordable to the general public in the 20th Century. Ravel himself approved transcriptions of his orchestral and chamber works, done at the request of his publisher, Durand. These transcriptions were usually done by Lucien Garban, Jacques Charlot and Roger Branga (who might have been Garban, note the anagram of the name). The idea of performing and recording all three on a solo piano disc UisU novel in that these three works have not been performed or recorded together in that mode. "Ma Mere L'Oye" and "Daphnis and Chloé Suite No. 2," rarely performed and even more rarely recorded by solo pianists, are rich in pianistic challenges, virtuosity and absolutely ravishingly beauty, sometimes in the most simple of phrases. Together, these three ballets form both musical and historical juxtapositions of Ravel's life and compositions during the same time period in his life. "Ma Mere L'Oye" was originally a 5-movement suite for 4-hands written for Mimi and Jean Godebski, although they did not give the premiere performance as they were 6 and 7 years old at the time. "Between 1906 and 1908 we used to have long holidays at my parents' house in the country, La Grangette at Valvins. It was there that Ravel finished, or at least brought us, Ma Mère l'Oye. But neither my brother nor I was of an age to appreciate such a dedication and we regarded it rather as something entailing hard work. Ravel wanted us to give the first public performance but the idea filled me with a cold terror. My brother, being less timid and more gifted on the piano, coped quite well. But despite lessons from Ravel I used to freeze to such an extent that the idea had to be abandoned." (Mimie Godebska Blacque-Belair, 1938) The actual premiere was performed by Jeanne Leleu and Geneviève Durony. "He (Ravel) wanted the Petit Poucet to be very uniform in sonority. I used to wait impatiently for the cuckoo to enter! It was great fun to play the cuckoo! (Jeanne Leleu to Hélène Jourdan-Morhange in Ravel According to Ravel) Jacques Charlot transcribed this version to solo piano in 1910. It was commissioned as a ballet in 1911 and premiered as such fully orchestrated with the addition of a Prélude, an additional movement entitled, "Danse du rouet" and connecting music in 1912. It is not clear whether Ravel or Charlot wrote the additional movements for piano solo. "Ma Mere L'Oye," juvenile piano-duets, dates from 1908. The idea of conjuring up the poetry of childhood in these pieces has naturally led me to simplify my style and clarify my writing. I have made a ballet of the work which has been put on at the Théâtre des Arts." "Daphnis and Chloé" was commissioned by Sergei Diaghilev for the Ballets Russes in 1909, although it was 1912 before it would be performed for the first time. The principals involved in it's creation in addition to Diaghilev and Ravel were Michel Fokine, the choreographer, Léon Bakst, the designer, Pierre Monteux, the conductor, and Nijinsky and Karsavina, the dancers. Ravel completed his first version of the score for piano by 1910, however, the birth of this piece was fraught with difficulties, not the least of which was the continual fighting between Fokine and Nijinsky which almost caused Diaghilev to cancel the project. Ravel also had difficulty completing the final dance entitled "Danse générale", which took a full year in the end to finish. At first Ravel had composed it in 3/4 meter, but rethought it. Once he had delivered it, the dancers had difficulty with it's 5/4 meter. They solved this dilemma by using the syllables, "Ser-gei'Di-a-ghi-lev." After seeing it's premiere, Jean Cocteau stated, "Daphnis et Chloé is one of the creations which fell into our hearts like a comet coming from a planet, the laws of which will remain to us forever mysterious and forbidden. Stravinsky called it "not only Ravel's best work, but also one of the most beautiful products of all French music." Suites No. 1 and 2 for orchestra are derived from the full ballet and are often performed separately. Of the three, only "Valses nobles et sentimentales" was originally composed for solo piano and is regularly performed and recorded as such, although it was booed at it's premiere. It was inspired by Franz Schubert's earlier work in the same genre. As Ravel himself said, 'The title sufficiently indicates my intention to compose a succession of waltzes, after Schubert's example.' Louis Albert, to whom this suite was dedicated, gave the first performance of this work in 1911, it was subsequently orchestrated and received it's premiere as a ballet in 1912 under the name Adélaïde ou le langage des fleurs (Adelaide: The Language of Flowers). Allison Brewster Franzetti.- Shop: odax
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5
Allen Barton is an LA-based writer, director, and classical pianist, who has performed regular recitals on both coasts for the last 20 years. This latest CD, Barton's 5th (hence the title), is based on his December 2008 recital, dedicated to his acting and directing mentor Milton Katselas, who died shortly before the performance. Barton added to the recital Rachmaninoff's 'Elegie' as well as Milton's favorite piece, Ravel's 'Pavane pour une infante defunte.' Also featured is Liszt's monumental Sonata in B minor, which comprises 26 minutes of this new disc.- Shop: odax
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Journeys of Soul: From Bach to Balakirev
Each of these composers takes us on a personal journey with their music. They allow the performer and the listener to enter their private sound world, and they are willing to share their deepest emotions. Inspired by the music of the Italian Vivaldi, Bach composed his 'Concerto in the Italian style' and dedicated it to 'music lovers, to refresh their spirit.' Bach returns to the baroque concerto, imitating it's solo and tutti contrasts. Written originally for a two manual harpsichord, the pianist imitates these contrasting keyboards with their alternating dynamics. There is a sense of joy and triumph throughout, especially in it's opening and closing movements. The middle movement is a touching vocal aria, sung over a moving ostinato bass. The Concerto joyfully concludes with the presto finale- a brilliant and virtuosic tour-de-force. According to Bach, all of his music was written to glorify God. Ravel was thirty years old when he composed his 'little' Sonata. There is an elegance, a purity and a peacefulness to this miniature gem. No sense of struggle here- Ravel knows the pathway he is following. My favorite movement is the 2nd movement Minuet- minimally written- not one note too much or too little- perfection in every way. The last movement is a virtuosic finale and according to Ravel, this movement was much too difficult for him to play. He wasn't a virtuoso like the great Franz Liszt. Liszt struggled all his life with his personal relationship with God, and his Sonata in B minor serves as his spiritual confessional. Since a young child, Liszt was torn as to how best serve the Lord- whether he should enter the church with a life devoted to prayer or whether as an artist he could still serve. He finally resolved this conflict in his fifties when as Abbé Liszt, he took minor orders in the Catholic Church . His Sonata in B minor is one of the masterworks of the entire piano literature and represents his personal journey, running the gamut of emotion. He takes us from birth through life and then to what lies ahead. The ending of this work is extraordinary for Liszt makes us experience in it's last measures the ascension of the soul towards a higher place. We feel it's peaceful acceptance before the final low B- It's quite a journey! For me as a performer, this work is always evolving- every time I perform it, it let's me know exactly where I am- where I've been and where I'm headed- a bit like taking my musical pulse. Scriabin also walked the pathway of discovery. I think if he were alive today, he probably would be dressed in flowing robes and beads, and be living and seeking truth somewhere in an ashram in India. I adore his early Etudes, we can hear Chopin's influence but we also can feel Scriabin's Russian romantic soul. He wrote his Etude, Op. 2 No. 1 when he was only fifteen and it's a beauty. In his Etude, Op. 8, No. 10 in double thirds, we are reminded of Chopin's Etudes but also combined with lots of Lisztian virtuosity. With the Etude, Op. 42 No. 5, the passion and sense of forward momentum that Scriabin creates is just dazzling. Scriabin studied to be a pianist and while practicing Balakirev's Islamey, injured his right hand. That's why he wrote the Nocturne for the left-hand alone. Hard to imagine that only one hand is responsible for this beautiful composition. We conclude with the virtuosic showpiece of Balakirev, Islamey. Balakirev was basically self-taught and became one of the leaders of the 'Russian Five.' This group of composers wrote music linked to their homeland- nationalistic music inspired by Russian folklore and history. In this 'Fantasy-Orientale' Balakirev includes the folk songs of Central Asia. You might recognize the middle section tune that we know as 'Stranger in Paradise.' The piece might sound a bit dated nowadays but it is fun for the pianist to play and entertaining to hear occasionally. From Bach to Balakirev- it's been quite a trip!! "Nissman's opening movement raptures me out and tells me something new about Ravel's music. Nissman shows the passion and the 'lovely bones' beneath. She plays the second-movement minuet so beautifully, it stops your breath. This may be the finest recording of the Sonatine I've heard, at least equaling my benchmark, Gieseking." "She also provides the bonus of bringing clarity to Liszt's complex textures and made me realize how truly contrapuntal the work is. There's plenty of excitement and genuine tenderness in her account. She also shares with Argerich a spontaneity. I can't predict how she will finish a phrase or what subtle adjustments in tempo and dynamics she will make to a line, but it nevertheless sounds not merely individual, but right." "Since Nissman plays Chopin so beautifully, she turns each of these Scriabins into gems. She actually makes Scriabin sound as natural as breath, like Fred Astaire dancing." 'an impressive series: brilliant, technically and musically. Lifelike sound and totally satisfying discs." "A true transcendental performance. In her journey to the spiritual, technique, intellectual structure and dramatic structure have all been transcended."- Shop: odax
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La Accordoniste
L'Accordéoniste is a tantalizing new recording of cabaret-inspired music from all over the world, featuring three local virtuoso musicians - mezzo-soprano Kimberly Barber, pianist Peter Tiefenbach, and accordionist Mary-Lou Vetere, together with The New Berlin Ensemble: Julie Baumgartel, violin, Paul Pulford, cello, and Carol Bauman, percussion. L'Accordéoniste's eclectic arrangements evoke the smoky clubs of Berlin, the dance halls of Paris, the sunny shores of Naples, and the tango dens of Argentina. At the heart of each arrangement is the poignant, nostalgic quality of the accordion. The program includes the raunchy songs of Kurt Weill and his 1920s German cabaret contemporaries, the legendary Edith Piaf's signature tunes La Vie en Rose, and the CD's title track, L'Accordéoniste, and fresh takes on Italian sentimental favourites. Hypnotic dance rhythms like the tarantella, the tango and the habanera inspired several of the arrangements on L'Accordéoniste. Originally composed for bandoneon, Astor Piazzolla's Fugata is a tango-inflected salute to the fugues of J.S. Bach. Lila Downs' mesmerizing performance of the habanera Alcoba Azul in the film Frida inspired the full ensemble arrangement recorded for this CD. Viaggio Italiano is a thrilling tarantella medley that opens with a musical quotation from the Italian national anthem. Kimberly Barber, Peter Tiefenbach, and Mary-Lou Vetere are known individually for their virtuosity and versatility. Together, their rhythmic energy and ability to improvise freely within these arrangements results in an expressive tour-de-force and a fresh take on classic songs from the early 20th century. Mezzo-soprano Kimberly Barber has sung on some of the great opera house and concert stages of the world. Her career balances the standard repertoire with contemporary and baroque works with smaller, experimental companies. Her discography includes a solo recording of arias by Handel and Hasse (CBC Records), the title role in Handel's Rinaldo (Naxos Records) and Ravel's L'Heure espagnole with the LSO under André Previn (DGG). Peter Tiefenbach enjoys an extraordinarily varied career as a performer, composer and teacher. He has collaborated with many of Canada's leading singers including Maureen Forrester, Isabel Bayrakdarian, Brett Polegato, Sally Dibblee, Kimberly Barber, Russell Braun, and Donna Brown. He also appears frequently with duo-piano partner, Robert Kortgaard. With soprano-comedienne Mary Lou Fallis, he has co-written several shows which have toured throughout Canada, to the U.S., Japan, England and Iceland. Mary-Lou Vetere has performed extensively in three performance areas: piano, accordion, and voice, and is completing her PhD in Historical Musicology. As a mezzo-soprano, she has appeared as soloist in oratorios, operas, and numerous recitals in North America and Europe including her New York City debut in 2001 as the mezzo-soprano soloist in Beethoven's Messe in C and the Chorale Fantasie with the Orchestra of St. Luke's. Recent concert reviews for L'Accordéoniste: An entranced and captivated crowd was transported to the impassioned streets of war-time Europe on Sunday afternoon at Central United Church in Barrie. Led through a series of charming, cabaret-style musical vignettes by the ensemble known as L'Accordéoniste, the audience was touched by the despair of a Germany betrayed by Hitler and both the comedy and desolation of love sought and love lost in Italy and France. Soulful and heart-wrenching or quirky and heart-warming, the music was at all times poignant. Nationalistic flavours were instantly recognizable and were brought forth in arrangements of the group's own making, each performer drawing on vast improvisational skills and immense knowledge of era and style. This was a world-class performance. Bravo. (Marilyn Reesor, The Barrie Examiner, September 28, 2009) 3.5/4 stars for L'Accordéoniste CD If you love Kurt Weill and his contemporaries, as well as Édith Piaf, check out this self-produced album by Toronto-and-area based pianist Peter Tiefenbach, accordionist Mary-Lou Vetere, violinist Julie Baumgartel, cellist Paul Pulford and percussionist Carol Bauman, collaborating with mezzo-soprano Kimberly Barber. Here is the playfully caustic spirit of the late 19th-century salon and early 20th-century cabaret vividly and elegantly rendered in 17 tracks by people who clearly love the material. Instrumental pieces, such as Fugata, pulse with red-blooded zest for life. Barber adds a polished sheen to frothy little gems such as Weill's Berlin i'm Licht-Song, then turns around to apply dramatic force to Weill's tragic Sailor's Tango. (John Terauds, Toronto Star, July 28, 2009)- Shop: odax
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Sämtliche Werke Für Violine Und Klavier/sonate In
Maurice Ravel's mature works for violin and piano have established a central place in the core recital repertoire and are considered among the most popular of the genre. These diverse works acknowledge the influences of a range of musical styles from jazz to Impressionism and fuse the tonal colours of Debussy with the lyricism of Franck. The addition of Guillaume Lekeu's masterwork, the extensive and engaging Violin Sonata, makes this major new release a chamber disc to treasure.- Shop: odax
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Reves d'Espagne-Lieder
Spain and Spanish themes are at the core of this unusual and attractive recital from Dutch baritone Henk Neven. Ibert's Quatre chansons de Don Quichote, Shostakovich's Six Spanish Songs op100 imbue the Spanish theme with an unmistakable Russian flavour, Ravel's Trois chanson de Don Quichote, Dorumgard Spanish Traditional Songs.- Shop: odax
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Klavierkonzerte
Vincent Larderet's performance of Ravel's piano concertos on this recording is marked by careful adherence to the original score and respect for the composer's markings while, at the same time, liberating if from certain habits of interpretation. Ravel's work is supplemented by a piece of Florent Schmitt.- Shop: odax
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