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Cantina116 Results for : cantilena
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Vespro della Beata Virgine (Milano 1610)
Cantilena Antiqua, Musica Fiorita, Daniela Dolci (Dir)- Shop: odax
- Price: 18.01 EUR excl. shipping
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Kammermusik
"It is a charming collection, beautifully played, this is precisely the repertoire in which the Nash excels ... The opening cantilena of the Oboe Sonata is positively rapturous ... just as the mysterious fugal introduction to the finale of the early Piano Quintet [is] fabulously played by cellist Paul Watkins and violist Lawrence Power" (The Guardian)- Shop: odax
- Price: 29.09 EUR excl. shipping
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Insiraf-Arabo-Andalusische Musik Des 13.
Cantilena Antiqua, Stefano Albarello (Dir)- Shop: odax
- Price: 20.82 EUR excl. shipping
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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
- Price: 19.50 EUR excl. shipping
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Live Recital
With his "fascinating musical personality and the bewitching beauty of his tone" (Frankfurter Allgemeine Zeitung), cellist Orfeo Mandozzi has captivated audiences throughout Europe, the USA, Canada, Asia and South America. Orfeo Mandozzi, born in Ticino Switzerland, made his debut as soloist as part of the Eurovision Young Musicians Competition. He has won first prizes at several international competitions such as the Johannes Brahms Competition and the UFAM Paris. Orfeo Mandozzi, now enjoying a busy career as a soloist, has worked closely with several leading cellists such as Mstislav Rostropovich, Yo Yo Ma, Paul Tortelier, Maurice Gendron and Harvey Shapiro. Bernard Greenhouse that, "he could be one of the leading cellists of our time". Orfeo Mandozzi's regular performing partners include Nikolaj Znaider, Julian Rachlin, and Yuri Bashmet. As soloist Orfeo Mandozzi performs with conductors such as Fabio Luisi, Kristjan Järvi and Michail Jurowski. Also a prolific recording artist, award panels have described his playing as "so captivating, one has to hold one's breath" (pizzicato). Orfeo Mandozzi has appeared in some of the world's finest concert halls, including the Carnegie Hall, Wigmore Hall, the Musikverein and the Teatro Colón. The cellist is also in demand as a regular guest at festivals such as the Jerusalem Chamber Music Festival, the Salzburg Festival, the Vienna Festwochen and the Lockenhaus Festival. His highly acclaimed recitals are much sought-after and Mstislav Rostropovich said about his performance of the Boccherini Sonata that, "he has the most beautiful Italian cantilena I have ever heard". On this album Orfeo Mandozzi plays on a cello made by Giovanni Grancino in 1710 (Milano), which belonged to the famous cellists Enrico Mainardi and Amedeo Baldovino.- Shop: odax
- Price: 25.46 EUR excl. shipping
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Quiet Songs
The Olson/De Cari Duo has a unique and intimate approach to song performance that comes from soprano Gioia De Cari's background as both a film/theater actor and a classical singer, and guitarist John Olson's sensitive and intelligent approach to both new and traditional repertoire. NYlon Review described a recent performance as 'superb . . . served up with style and elegance.' Their debut CD, Quiet Songs, features songs and guitar solos highlighting the quiet intimacy of the guitar and the guitar/voice combination. The selections range in style from traditional classical to jazz-inspired, and include familiar repertoire as well as several rarely-heard pieces. From the liner notes by J. Andrew Dickenson: Setting the tone for the CD is the enchanting Aria (Cantilena) from Heitor Villa-Lobos's Bachianas Brasileiras No. 5. Meditative and haunting, the piece begins with a short, rhythmic introduction on the guitar. Almost as if the voice is reluctant to join, it creeps in without words - a single note on the vowel "ah." The soaring melody evokes images of beautiful landscapes, luminescent moons, and longing for a lover, reflections that are echoed in Portuguese during the middle, più mosso, section. After a dramatic declaration, the wordless, haunting melody returns, this time with an even softer hum. Both Bachianas Brasileiras and the following guitar solo, Prelude No. 3, were written in homage to Johann Sebastian Bach. The Bachianas Brasileiras themselves are a set of nine pieces, each written with the intention of combining Villa-Lobos's love for the baroque master with the rhythms and melodies of his homeland, Brazil. Originally written for an orchestra of eight cellos and soprano, the Aria, with this arrangement by the composer himself, reflects Villa-Lobos' passion for two of his favorite instruments, the guitar and the cello. Prelude No. 3, from the composer's set of five for guitar, bears the subtitle 'Homage to Bach.' Although it may be difficult to find a specific citation of baroque music in the score, the piece does make innovative use of historical techniques such as pedals, voicing, and arpeggios. The homage, perhaps, is not so much in the character of the music as it is in stylistic reverence for the compositional master. Johann Sebastian Bach's devotion to God and the church is evident in all of his music, though his song settings give him the opportunity to express this devotion in words. The three songs in this set are from a collection of 954 spiritual songs and arias compiled by Georg Christian Schemelli, a well-known cantor of his day. The preface, published in 1736, explains that Bach - Electoral Saxon Capellmeister and Director Chori Musici in Leipzig - composed or 'improved' melodies and figured bass for many of the texts. Accompanied here by the gentle sounds of the guitar and interspersed with two movements from the third lute suite, the songs become intimate portraits of faith. Lyrical and gentle, the harmonies are appropriately uplifting and contemplative as the words and melodies profess spirituality, admiration, and awe. In contrast, David Leisner's Outdoor Shadows are five songs that profess a love for the earth, nature and humanity. Speaking of sun that gives "the tan of earth to me," birds that have achieved 'freedom that flows in form,' and earth's 'nitwits numskulls universal nincompoops,' the poems by Robert Francis describe the natural world with admiration, color, and wit. Francis's 'lyricism and impeccable craft make the poems eminently settable to music,' writes Leisner. 'His interest in all things natural and simple resonates with mine. In 1985, when I wrote these five songs on a commission from the University of Arizona and the Tucson Guitar Society, these were the most important compositional issues for me, and, I might add, this was determinedly out-of-step with the prevailing interest of the musical composition establishment in complexity and all things cerebral.' The listener will find the accompaniment for these songs often written as a single line, colored with more traditional guitar arpeggios and chordal accompaniment. The joyful melody of the last movement, Sing a Song of Juniper, is bolstered by energetic strumming. The haunting arpeggio and melody that introduce John Duarte's Five Quiet Songs are an appropriate beginning to a set of deeply personal music. Written a year after the influential female French guitarist Ida Presti died in 1967, each movement is a vignette describing the frailty of humanity. Spiritual and profound, these songs capture a side of Duarte's music - and of himself - that speaks of life and it's brevity. New York guitarist Frederic Hand has established a recognizable style that interweaves his classical training with a lifelong love for jazz. 'Musical boundaries are routinely being crossed,' he writes in his program notes for Missing Her, 'and the result is a lot of new and exciting music.' Originally written for a small ensemble, this melodic piece combines jazz harmonies with classical arpeggios, and even includes an improvisational section. Nostalgic by it's nature, Missing Her effectively evokes longing and desire from the singing, luscious chords. 'If, in it's proper sense, the term 'classic' refers to something that is a model of it's kind, and that has survived the test of time,' writes John Duarte, 'the songs of George Gershwin are indeed 'classics.'' Perhaps some of the most familiar music in the American repertoire, Gershwin's songs are brief glimpses into a past era of vibrant Americana. Each song captures the invigorating breath of life that Gershwin was capable of in his music. Duarte's arrangements are refreshing and innovative, reflecting his keen understanding of and affection for this wonderful music.- Shop: odax
- Price: 21.07 EUR excl. shipping
