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In 1976, just as the fire of Britain's first wave of Punk was burning at its brightest in the south of the country, in the north, a band of four men were developing a sound that would take the genre into new directions. They were, and will be always remembered, as Joy Division. Theirs was a noise borne of a youth spent listening to forward-thinking US influences such as The Stooges and Iggy Pop, of a classicism borrowed from great literature, and, more importantly, of the mental turmoil inherent

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Sämtliche Klavierwerke

Tenerife Symphony Orchestra - Lü Jia (Dir) // The piano works by Isaac Albéniz range from indisputable masterpieces to ravishing salon music, the composer painting with bright Spanish colours as well as the hues of Classicism and Romanticism.

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Complete Edition (new)

It would not be an overstatement to declare that Ludwig van Beethoven stands as one of the most significant figures in Western civilisation: a composer who shaped the course of music history through his mastery of rhythm, melody and harmonic exploration, pushing the boundaries of form and effectively bridging the gap between Classicism and Romanticism - and yet all the while continuously professing how difficult he found composition. Detailing his complete output - from his earliest years to his last, by which time he had almost completely lost his hearing - this 85CD box reveals an extensive palette of styles and mediums, rendered all the more obvious by the box's division into different genres (starting with the symphonies and ending with the large corpus of different national folk songs). This box is the 2017 reissue of Brilliant Classics' acclaimed Beethoven Complete Edition, with updates including Beethovenian pianist par excellence Alfred Brendel now in the complete cycle of Piano Concertos, Alessandro Commellato on historic fortepianos in brand new recordings of the 18 sets of 'without opus' piano variations, Emmy Verhey in the Violin Concerto and Romances and a definitive Mass in C from Stuttgart's Gächinger Kantorei and Bach-Collegium. Reissue of the famous Brilliant Classics Beethoven Complete Edition. The ONLY Complete Beethoven Edition available! Well in advance of the momentous year 2020, the 250th Anniversary of Beethoven's birth. With the addition of some brand new recordings (Piano Variations) and featuring the iconic Alfred Brendel in the Piano Concertos. One of the best selling Brilliant Classics Editions ever.

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Mayhaw Vaudeville

Perhaps Houston Press writer Nicholas L. Hall summed it up best when he wrote, "Listening to multi-instrumentalist Lee Alexander is a lot like taking a leisurely stroll through about a century of American popular music...Alexander has earned a reputation as both a strikingly original voice and an able torch-bearer for a broad handful of American musical idioms, layering Nilsson-esque pop-standard fare, dusty country ballads, the occasional bluesy stomp, touches of jazz classicism and damn near anything else he wants." This past year, Alexander's catchy melodies and razor sharp lyrics have placed him as a finalist in the John Lennon Songwriting Contest, and he has been honored as Best Male Vocalist by the Houston Press Music Awards. Other past honors include being a grand finalist in The Bugle Boy Songwriting Competition, the Independent Music Awards, a regional finalist in the 2007 Mountain Stage Newsong Folk Festival, and a semifinalist in the 2005 UK Songwriting Contest. Alexander has also been a featured artist in the Songwriter's Serenade Folk Festival, 'M' Music and Musicians Magazine, Performing Songwriter Magazine, the 2007 Mardi Gras Festival, the John Lennon Educational Tour Bus 2006 Summer NAMM Showcase, the 2006, 2007, and 2008 Houston Press Music Awards, the 2006 Houston Fair Compilation, and the 2006 Houston International Music Conference and Festival, as well as being a featured artist on Sonicbids.

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Trio Nahual

The program presented on this CD is made up, for the most part, of works seldom played in the world of chamber music for classical guitar, and dedicated to the even rarer formation of the trio. Nevertheless, the aim is to present a repertoire chosen from pieces having in common, beauty and depth of feeling. In order to compose a typical recital program ranging from the Baroque period to the present day, different sources have been used, such as, for example, the transcription technique, ever attentive to the real essence of the work. We have also explored the 'historical' repertoire for three guitars, and, lastly, we have introduced new pieces, which enrich the contemporary repertoire for this formation. Furthermore, we consider that the use of three identical guitars made by the same luthier helps to create the sense of listening to one single instrument, in complete accordance with our philosophy of 'making music together'. Our program begins with the only work not originally intended for guitar trio: an unusual transcription of the G major Concerto for two mandolins, strings and basso continuo (RV 532) by Antonio Vivaldi (Venice, 1678 - Vienna, 1741). Phenomenal violinist and prolific composer of concertos, the Red Priest wrote this piece for the 'figlie di choro', a large instrumental and choral ensemble entirely composed of young girls taken in and educated by the Pio Ospedale della Pietà, a prestigious Venetian orphanage noted for the high quality of the musical education imparted there. Since the Concerto for two mandolins is composed in effect of three real parts, with the violins doubling the solo instruments during the Tutti, the arrangement foresees two guitars for the melodic parts (mandolins and first and second violins), whilst a third instrument is assigned to playing the basso continuo (originally played by a cello and a polyphonic instrument). The concerto bases the structure of it's three movements on the principle of a continual search for a strong contrast of sound and is composed in Vivaldi's most typical creative and stylistic vein, defined by Joachim Quantz as 'a new genre of musical pieces with magnificent ritornellos'. Such a contrast of sound, both harmonic and melodic, is realized magnificently through the continuous dialogue between the two mandolins, moving freely from the brilliant, virtuoso character of the two fast movements to the splendid cantabile of the central Adagio. Leaving behind the Italian Baroque period, we now move towards the elegant classicism that permeates the Trio Concertant pour trois guitares Op. 29 in D Major by the French composer Antoine L'hoyer (Clermont - Ferrand, 1768 - Paris, 1852). Despite the fact that the figure of L'hoyer received little attention during his lifetime, to be then completely forgotten for over a hundred years, the great artistic value of his recently rediscovered compositions assures his right today to be considered one of the most interesting composers for the guitar of the nineteenth century. The piece is divided into four movements following the archetype of the classical sonata. It opens with a substantial Allegro moderato in sonata form, which rebels against the usual patterns of musical writing for the guitar by searching out, during the development, the most daring harmonies that one could wish. The second movement, on the other hand, is a short Menuetto in E minor with a Da Capo finale, and a poco vivace tempo but with a playful contrasting central Trio in the major key. The third movement is an Adagio molto cantabile, characterised by melodies that are simple and flowing but not lacking in great lyricism. A brilliant Andante with variations closes the whole cycle underlining throughout the six variations all the typical possibilities of the guitar writing of the period. Although the Trio Concertant would seem to be less striking when compared to the virtuoso duets for guitar, they share an excellent instrumental effect, underlining all the qualities of the unusual group of instruments to which it is dedicated. It could be said that here, too, L'hoyer's refined writing arises as a veiled tribute to the great piano composers - Haydn and Mozart - to whom he surely owes his inspiration. The exquisite composition that Jean-Michel Damase (Bordeaux, 1928) dedicated in 2004 to the guitar trio, takes us to modern-day France, in spite of being devoted to evoking a nostalgic retro mood. Quatre pour trois, in fact, does nothing to hide the deep admiration that Damase professes for the Parisian music of the Belle Époque period and, of course, for it's distinguished founders, Debussy, Fauré and Ravel. The charm and elegance of his works remain true to the stylistic tradition learnt at the Paris Conservatoire where his composition studies earned him, at only nineteen years of age, the Prix de Composition and subsequently the prestigious Prix de Rome. The four extremely short bagatelles that make up the work, entitled simply I, II, III, IV, remind us of the tiny musical pieces placed within the eccentric French piano suites. The real difficulty of these short pieces, however, proves to be not so much a technical one as a creative quest among different shades and colours in order to highlight the dialogue between the guitars. Functioning as a kind of stylistic watershed, the following piece, takes us towards the Central European cultural scene, which developed right at the very beginning of the Twentieth Century. In spite of it's small size, the Rondo fur Drei Gitaren by the German composer Paul Hindemith (Hanau, 1895-Frankfurt en Main, 1963) can without doubt be considered one of the masterpieces of the chamber music repertoire for the classical guitar. Conceived as a musical intermezzo, the Rondo was composed in 1925 within the new musical language that Hindemith developed from the 1920's onwards, characterized by a complex contrapuntal style already distant from the Expressionism and late German Romanticism that imbued the works of his youth. This new style found extensive space for research in the music for instrumental groups to which Hindemith dedicated a series of works written between 1922 and 1927, called simply Kammermusik. The mechanicalness of the Rondo, with the aggressive rhythm of it's counterpoint and it's anti-Romantic 'assembly-line' tempo correspond to the ideal of music that found broad confirmation in the Italian artistic movement known as Futurism. It was not by chance that Marinetti, the author of the Manifesto that exalted technology, progress and the dynamism of industry, defined Hindemith, perhaps after having listened to Chamber music, 'the leading figure of futurist mechanism'. We end the musical journey undertaken in this CD by returning once more to Italy, where we began. Two pieces are now presented written expressly for the Trio Nahual by the young guitarist, composer and painter Marco De Biasi (Vittorio Veneto, 1977). The first piece, Eires (The title is derived from the word 'serie' read backwards) is a theme with variations in six sections. The theme, conceived in the vein of a freely treated serialism, is characterised by a captivating melodic line spread between the three guitars. The various thematic units are later taken up and developed in different ways so as to create the five variations that, alternating opposing characters and sound settings between them, range from the South American sounding waltz, to the languid central recitative, to the wild counterpoint of the final variation. The careful reader will have understood at this point that Eud Eires, as suggested by the title, is in a certain sense, the continuation of the previous piece, therefore 'serie due' (second series). The complex formulations that are at the basis of this Fantasia for three guitars, can be found in the studies that the composer carried out on the theories expounded by Kandinsky in his book 'The spiritual in Art'. In Eud Eires, created at the same time as the pa

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Sunrise Vol. 2

SUNRISE (Vol. 2) presents three live recordings of performances in the morning by Pt. Vijay Raghav Rao, symbolizing the ascending vitality of modernism in traditional Indian classical music. Like SUNRISE (Vol. 1), this album of exceptional artistic brilliance features music rooted in the natural metaphor of a rising sun. "Makes the notes dance and quiver in an enchanting manner, spouting mellifluous melody in a variety of tonal nuances, embellishing delectable compositions notable for a refined sense of design..." - The Times of India Typifying the genius of the legendary flautist-composer, the music in this album represents innovation that imparts freshness in melodic composition and elegance in execution to traditional musical structures, enhancing their appeal whilst maintaining the dignity of classicism. AHIR BHAIRAV In this live, recorded performance Panditji interprets in his inimitable style a variation of the oldest known scale in traditional Indian classical music. The rendering summons ethereal emotion that blends a deeply felt spiritualism with romantic visions of a sun rising over a rustic country scene, in which Lord Krishna - in the guise of a cowherd playing the flute - tends to his flock of cattle, preparing them for the day ahead. In the hands of the finest flautist-composer of our time the weight of tradition mingles seamlessly with rusticity and heart-felt devotion. Tabla: Pt. Mahadev Indorkar BHOPAL TODI In this live recording Panditji interprets a rare variation of one of the most popular scales in Indian classical music. The performance emotes compassion and heartfelt empathy with those who suffer physically, intellectually or spiritually. The elegiac composition leans on unadorned musical notes - shorn of technical dazzle - to highlight, without obtrusion, the unassailable dignity of the spirit amidst what chaos there may have been. In the process, classicism finds new meaning appropriate for the modern condition. Tabla: Pt. Mahadev Indorkar HINDOL In the spirit of this album's character highlighting Panditji's devotion to Lord Krishna, this selection features his interpretation of a Raga traditionally associated with an image of Lord Krishna reclining on a swing, surrounded by his devotees. The atmosphere is suffused by playful reverence. An early morning's ambience burnishes the joie de vivre. Panditji's composition is delectable in that the melody easily straddles the subtle ground between elegance and intellectualism, even as it uses rhythm and tempo to present an objective, physical picture of a divine swing in perpetual motion. That the enchanting melody is essentially based on four musical notes - skillfully woven into a substantive, poem-like song - is a testament to Panditji's artistic genius. Tabla: Sanjay Kumar 'No substitute for his flute...the complete master' - The Hindustan Times?? "A volcano of creative expression' - The Indian Express?? "His flute is an unending fountain of myriad melodies, always fresh, always original..." - The Patriot?? 'Creator of beautiful, wide and ethereal canvasses...' - The Deccan Herald?? '20th Century Renaissance Genius..' - The Cleveland Plain Dealer?? 'Intensely romantic...lyrical...extremely serene...' - Rave Magazine?? "Innovator in the world of music.. a versatile genius." -The JS Magazine?? "Seeker of truth through music. One of the greatest flautists of this world" - The Times of India?? "Reflective music, refreshing and genuinely haunting" - The New York Times?? "Awe inspiring. Freshness and finesse in every note. Marked by gay abandon, innovativeness and imaginative vitality" - The Statesman?? "Suave tonicity, lyricism, rich melodic beauty" - The Listening Post?? SUNRISE (Vol. 2) Originally recorded live in Bombay, India and Springfield, VA, USA Digitally re-mastered at The Red & Green company, VA, USA Special thanks to Smt. Lakshmi V. Rao CD version of Sunrise (Vol. 2) manufactured by Disc Makers, Philadelphia, PA, USA Sound Executive Dr. Vijay Vardhan Elchuri Executive Producer Sanjay Kumar © (p) 2014 by Pt. Vijay Raghav Rao & family from The Red & Green Company "Rays from sunrise drew forth buds and stretched them into long stalks, lifted up sap in noiseless streams, opened petals, and sucked out scents in invisible jets and breathings." - Thomas Hardy.

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Piano Recital I

PARTITA No. 2 in C minor, BWV 826 JOHANN SEBASTIAN BACH (1685-1770) Bach's six Partitas date from the ripe period following his move to Leipzig (1723). His first published instrumental works, they appeared individually in the years 1726-31 (the present C minor Partita in 1727) and were assembled as his 'Opus One' in 1731, collectively titled Clavierübung (keyboard Practice or Exercise). According to Bach's first biographer, Johann Nicolaus Forkel, the partitas made 'a great noise in the musical world. Such excellent compositions for the clavier had never been heard before. Anyone who had learnt to perform well some pieces out of them could make his fortune in the world thereby,... they are so brilliant, well sounding, expressive, and always new.' Forkel was correct in his appraisal, and these creations do indeed unfailingly renew themselves. They are effectively playable on piano, harpsichord and clavichord, and lend themselves to a multitude of interpretations. The Partitas (known also as German Suites, as Bach announced, consisted of 'Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, and other Galanteries.' The Partita in C minor opens with a Sinfonia rather than a Preludium which is in effect a three-stage Italian Ouverture beginning with a clarion call to order. The proscribed Allemande, Courante and Sarabande are filled out with a Rondeau (replacing the Menuet} and a vigorous, driving Capriccio in lieu of the concluding Giga. VARIATIONS in F minor, Hob. XVII : 6 SONATA No. 53 in E minor Hob. XVI : 34 JOSEPH HAYDN (1732-1809) The F minor Variations (sometimes commonly known as 'Andante con Variazioni') were composed in 1793, and exemplify the mastery and tremendous emotional breadth of some other late Haydn symphonies. As a matter of fact, one can draw a striking analogy between the Tema of this masterpiece and one of the so-called 'Drumroll' Symphony's second movement: Both of these are double themes consisting of a first part minore, it's sequel in answering maggiore. Of course each variant becomes increasingly more embellished until the coda where a climax of astonishing intensity and subdued drama is joltingly introduced. When young Beethoven was sent to Vienna with a stipend from Count von Waldstein so that the burgeoning composer could study with Haydn and 'regain the soul of Mozart' (who had just died), I daresay that Beethoven did indeed inherit much from Mozart, but Haydn probably had the biggest influence on his young charge. These sublime Theme and Variations offer evidence for this writer's assertion. The Sonata in E minor was first published in July 1773 by Beardmore & Birchall of London but almost certainly, Haydn had composed it considerably earlier. In any event, this E minor Sonata is one of the finest and most popular of the master's 'middle period.' It's first movement, Presto's engaging, disjunctive style is for me reminiscent of C.P.E. Bach innovative mood. One noteworthy feature is the way the music keeps breaking up into small paragraphs and then resuming it's forward course. Such drama and imagination! In contrast, the Adagio slow movement sings with a long, ruminative line. As the movement reaches it's apex, the pulse begins to quicken and, almost without resolution we find ourselves face to face with a sprightly Finale, Vivace molto innocentemente. This linking of these two movements is very much a harbinger of the familiar device used by Beethoven in so many of his mature compositions (e.g. The Fourth and Fifth Piano Concertos, the Violin and Triple Concertos, the Waldstein, Appassionata and Lebewohl Sonatas and the Serioso String quartet). DREI KLAVIERSTÜCKE, Op. 117 JOHANNES B HMS (1833-1897) During the Summer of 1890, Brahms completed his String Quintet in G major, Op. 111 and, in September, sent the manuscript to Fritz Simrock, his publisher. Simrock had hoped Brahms would oblige with a Fifth Symphony and indeed, the composer had begun work on such a score. But, alas, along with the Quintet's manuscript, came a note: ' The time has come for you to say goodbye to any further compositions of mine.' A new symphony was out of the question and Brahms facetiously added further that he had thrown his leftover manuscript paper in the river at the end of his vacation at Bad Ischl. Incentive was restored by a visit to Meiningen in March 1891. The rejuvenating catalyst was an evidently superb musician named Richard Mühfeld and posterity owes to him a substantial debt for causing Brahms' change of heart. Having come forth with two works inspired by Mühlfeld, the Trio for Clarinet, Cello and Piano, Op. 114 and the Quintet for Clarinet and Strings Op. 115, and with his creative juices restored, the 'retired' master, as an extra bounty, penned a superb collection of short piano pieces, Op. 116-119, his two sonatas Op. 120, the Ernste Gesang, Op. 121 and the Chorale Preludes for Organ, Op. 122. The three Intermezzi Op. 117 were published in 1892, the same year as Op. 116. No. 1 in E Flat, an Andante in 6/8 metre with a second section, piu adagio--un poco andante, is a German version of a Scottish cradle song 'Lady Anne Rothwell's Lament' and Brahms follows it so closely that in one section the words can actually be fitted to his melody. The second Intermezzo in B flat minor is likewise, another song without words. It's mood of bittersweet nostalgia is very much akin to the poco Allegretto third movement of the Third Symphony, Op. 90 (Brahms tempo indication for Op.117/2 is Andante non troppo--piu adagio). The triptych is completed by the Intermezzo in C sharp minor (Andante con motto--poco piu lento moto ed espressivo, again inspired by an old ballad. SONATINA (1957) Edino Krieger (1928) Edino Krieger was born in Brusque, Santa Catarina on March 17, 1928. He studied music with his father, a conductor, composer, and founder of the local Conservatory, and later studied the violin with Edith Reis (1943) and composition with Hans-Joachim Koellreutter (1944-48) at the Rio de Janeiro Conservatory, and subsequently had lessons with Aaron Copland at the Berkshire Music Center in Tanglewood and with Peter Mennin (1948-49) at the Juilliard School. His early works were in late Romantic and Impressionist style, but after a brief dodecaphonic period (1947-53), he turned toward neo-Classicism with nationalistic allusions, and fused the latter two styles from 1966. The composer has given his own text for the Sonatina here recorded: 'Composed in 1957, the piano Sonatina belongs to Krieger's neoclassical period. In 1952 the composer abandoned avant-garde experiments in order to heighten his command of traditional forms, with classical and pre-classical styles within a free tonal-modal idiom and incorporating Brazilian thematic elements. The neoclassical phase includes teaching pieces, designed for developing young instrumentalists. Among these works are the Suite for Strings, the Prelude and Fugue and the Sonatina for piano. The Sonatina is in two movements. The first, marked Moderato, begins with a binary Alberti bass, below a ternary melodic line with a cantabile, lyric character. The contrasting marcato second theme appears in the left hand and both themes are worked in a long and dynamic development. The brief recapitulation brings the return of the initial lyric material. The second, Allegro, has a moto perpetuo character and is built upon a wild, undulating melodic figure in the low register. Above this appears an affirmative theme of episodic character, though the initial undulating material predominates throughout.' Music Notes by Harris Goldsmith.

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Above the Night Sky

From his earliest years, Zem began composing music on the piano. Today he is in the vanguard of a new generation of modern composers, expanded the existing spectrum of sound and musical language to a new and unique level. Zem's greatest wish is that Above the Night Sky offers you another epic adventure in sound as After Hours did. ----------------- A very special thank you to the following people: • Hartley D. Peavey, CEO Peavey Corporation, recognized authority worldwide in the music industry. Thoughts and Appreciation... "Regarding Zem's music CD After Hours, I am playing your CD in my office carousel. It is very good!" • Museum of Making Music, Carlsbad, CA. • Sheraton San Diego Hotel and Marina. • Betty Patrick and Family and Michael J. Fremont. • My fans who keep playing the After Hours album to achieve a more tranquil state of mind. • Steve Jahrling of the New Mexico based, The Daily Times: "Keyboard scaling reminiscent of Carlos Santana." • Bill Fark of the San Diego North County Times: "He ranges from European classicism to contemporary music... it showcases the composer's mastery of the keyboard." • Nathalle Taylor, award winning entertainment journalist: "The allure of his music is part inspirational and part repose."

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Musik Aus Der Schlosskirche in Bonn

The Schlosskirche - A Space Of Sound The Schlosskirche, a church located on the grounds of Bonn University, was built in 1779. Previously a chapel to the court of the principality and archbishop of Cologne it was devastated by a fire and was then rebuilt in the rare 'Louis Seize' style which marks the transition from Rococo to Classicism. In the Schosskirche the young Ludwig van Beethoven was first taught to play the organ and was the organist there for some years. The Rheinische Friedrich-Wilhelms-Universität was founded in 1808 within the former castle of the archbishops of Cologne. Protestant citizens of Bonn had already been worshipping for 2 years in the castle's church - thus the Schosskirche is known as the first place of Protestant preaching and worship on the Rhine's left bank. The church hosted parish and university congregations until 1871, but since then has served solely as a church for the university. After being almost completely destroyed on 18 October 1944 during WWII the Schlosskirche experienced it's own resurrection as a space for worship centrally located in the city of Bonn. In 1959 the renowned organ building company Ott built a new two-keyboard organ in the church. Many vocal and instrumental ensembles appreciate the excellent acoustics of the church where the space transforms into a body of sound. Because of this the Schlosskirche today has become one of the leading spaces for sacred music in and around the Bonn area. Christoph Müller was born in Bonn in 1966 into a family dedicated to music. He developed an early love of music and at ten years of age started to learn trumpet. During his studies at the Robert Schumann Hochschule in Düsseldorf he taught and gave concerts. After completing his studies he became involved in TV and radio productions and for many years played solo trumpet with the Klassische Philarmonie Bonn. Solo concerts in and around Cologne and Bonn are an expression of his artistic work through which he has developed a special collaboration between organ and trumpet. He continues to teach music. This CD recorded in autumn and spring 2008/2009 presents Christoph Müller's second independent production. Miguel Prestia, was born in 1967 in Buenos Aires, Argentina. He grew up in Nürnberg where he attended a High School that specialised in music and arts. He studied music at the University of Göttingen and from 1989 at the Musikhochschule of Cologne where he completed a course in Protestant Sacred Music with the A-Examen in 1994. From sixteen years of age he has worked as an organist in various congregations. Since the summer of 1991 Miguel Prestia has been the musician for Protestant sacred music at the Schlosskirche of the University of Bonn. As a conductor for choir and orchestra, as well as the organist for the academic services of worship, he is responsible for concerts, Oratorios and various other musical events at the university. In addition he conducts the choirs of two Protestant congregations in Bonn and works as a music teacher.

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20th Century Italian Piano Music

A substantial anthology of piano music written by Italian composers in the 20th century. In an era dominated by opera several Italian composers chose a radically different path, concentrating on purely instrumental music, influenced by widely varying sources such as Wagner, Impressionism, Neo-Classicism and Dodecaphony. This set offers a fascinating overview of piano works by Martucci, Cilea, Busoni, Sinigaglia, Caetani, Fano, Respighi, Pizzetti, Casella, Castelnuovo-Tedesco, Dallapiccola, Rota, Malipiero, Castiglioni and Einaudi. Performances by leading Italian pianists such as Sandro Ivo Bartoli, Michelangelo Carbonara, Pietro de Maria, Alessandra Ammara, Michele d'Ambrosio and others. A set which will surprise and delight many collectors and piano lovers!

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