14 Results for : franck's

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    Cousin Franck's Household
    Cousin Franck's Household ab 25.99 € als Taschenbuch: Or Scenes In The Old Dominion (1852). Aus dem Bereich: Bücher, Taschenbücher, Romane & Erzählungen,
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    Thirteen, Fourteen...Little Boy Unseen: A Heart-Breaking Mystery Thriller (Rebekka Franck, Book 7) , Hörbuch, Digital, ungekürzt, 327min
    A fast-paced mystery from best-selling author Willow Rose. Alexandra wasn't delicate and petite like all the other girls. She did not want to wear dresses or play with dolls. In school, she was mocked, and people thought something was wrong with her. They all thought they were doing what was best for her. The pastor, the therapist, the doctors, and especially her parents thought they were only helping Alexandra when forcing her to wear dresses, act like a girl, and play with dolls instead of cars. Twenty years later, a string of strange deaths occurs in Rebekka Franck's hometown. The bodies' genitals are mutilated. The men are dressed as women and women are dressed as men. Rebekka Franck is back at Zeeland Times when the first bodies appear, and soon, she realizes a ruthless serial killer is roaming the streets of the small coastal town. A killer with a message. Thirteen, Fourteen...Little Boy Unseen is a story about how being accepted for whom you are while growing up is vital for every child. It is the seventh book in Willow Rose's best-selling Rebekka Franck series.Grab a copy today. ungekürzt. Language: English. Narrator: Rebecca Cade. Audio sample: https://samples.audible.de/bk/acx0/206910/bk_acx0_206910_sample.mp3. Digital audiobook in aax.
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    Klavierwerke
    Im Mittelpunkt unserer neuen Soloeinspielung mit dem begabten und erfolgreichen Pianisten Michael Korstick steht Cesar Franck's grosse Violinsonate in A, arrangiert für Klavier von Alfred Cortot. "Die Fassung ohne störende Kratzgeräusche hat doch ihren Reiz", meint Korstick ironisch, und er schiebt nach: "Ich weiß, dass ich mich jetzt bei allen Geigern äußerst unbeliebt mache, aber manches kommt in der reinen Klavierfassung sogar besser zur Geltung. Man vermisst die Geige nicht."
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    Klavierquintett in f-moll/Streichquart.in g-moll
    Franck's Piano Quintet and Debussy's String Quartet make an apt and unusual coupling, each work its composer's only, unsurpassable, contribution to the genre. Both receive authoritative performances from Marc-André Hamelin and the Takács Quartet.
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    Klavierkonzerte
    This debut concerto recording, with the Orpheus Sinfonia under Thomas Carroll, features the premiere recording of Stephen Goss's Piano Concerto, inspired by the designs of Thomas Heatherwick. The work is accompanied by two similarly expressive and characterful works, Saint-Saëns' ever-popular Piano Concerto No 2 and Franck's Variations symphoniques.
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    Musique pour piano
    Andrew Hardy (Violine) - Uriel Tsachor (Piano) - Members of the Quatuor Academica - Daniel Blumenthal, Jacob Bogart & Dominique Cornil (Piano) - Nouvel OS de la RTBF - Edgar Doneux (Dir) - Ensemble César Franck // This boxed set gives a wonderful survey of Franck's piano compositions, including his second Piano Concerto, Piano Quintet and Trios, as well as some late pieces.
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    Franck & Mendelssohn : String Quartets
    Mendelssohn and Franck wrote these quartets each in the last year of their lives, but under very different circumstances. Mendelssohn's Op.80 was written after hearing of the death of his beloved sister Fanny. The music of "classical poise and refined romantic feeling" with which he had become associated is swept aside as Mendelssohn pens one of the most impassioned and powerful statements of his output. The first movement, with it's dramatic sforzandos and fast-repeated notes, alternates between passionate frenzy and a sense of lamentation. The dramatic coda with a soaring virtuosic run in the first violin leaves the audience gasping for breath. The second movement is far removed from the light and airy Scherzo of Mendelssohn's famous Octet. Intense and sardonic, there is no let-up in mood. The trio section introduces a melancholy, waltz-like theme in the viola and cello which only seems to add to the sense of anguish. The elegiac Adagio allows a respite from the dark key of F minor, but despite the major key, the movement is a heart-breaking lament. The last movement, with it's rapid dovetailing of the instruments offers little in the way of solace or acceptance and ends with a wild dance played high up in the first violin. Mendelssohn subtitled the work 'Requiem for Fanny' but it would also serve as his own since he died two months later of a stroke. Franck, perhaps inspired by an infatuation with one of his former composition students, Augusta Holmes, was enjoying the most fruitful period of his career, composing a series of masterworks in a remarkable five year period. After the successful premiere of his string quartet in 1890, Franck declared "The public is at last beginning to understand me." A tour de force, showcasing Franck's uniquely rich harmonic language and innovative use of the cyclic form, the thick textures and liberal use of double-stopping almost create the impression of a chamber orchestra, rather than a single string quartet. The first movement contains a wealth of thematic complexity and melodic expression with a broad and impassioned opening Poco lento introducing the main cyclic theme. The agile second movement sees all four instruments in a state of flight, interrupted by abrupt silences. The strings are muted throughout, apart from a molto cantabile declaration of the cyclic theme on the cello. The movement seems to nod towards Mendelssohn, (Franck apparently had the scores of his quartets, alongside those by Brahms and Beethoven on his piano while composing this work). The unapologetically languorous third movement is full of wonderful colours and impassioned climaxes whilst the vigorous Finale revisits all the major themes, providing a contrapuntal feast that unites the work.
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    Glory in the Highest
    The majestic sounds of Bach, Beethoven and Franck inspire, their music encourages us to travel beyond our everyday world to try and connect with something much higher than ourselves. Music can create heavenly worlds using heavenly words! The Toccata, Adagio & Fugue must have sounded glorious when first performed by Bach on the organ, more than a century later the Italian virtuoso pianist, Feruccio Busoni, transcribed Bach's composition for the piano, filling in all the sonorities and spaces with bravura passagework at the keyboard. The American composer, Samuel Barber was a master at writing beautiful melodies and his poignant and very personal nocturne pays homage to the earliest nocturnes written by John Field and serves as a wonderful transition between the music of Bach and Franck- like a cool sorbet served to cleanse the palette during a rich meal. Like JS Bach, Franck was also an organist and whatever he wrote for the piano, always sounded as if he were imitating the organ's full sonorities. His Prelude, Chorale and Fugue, inspired by Bach, is a very personal and romantic statement written during a period of intense inner turmoil for the composer. And what can compare to the glories of Beethoven's music. This man never wrote for the piano, but always went beyond the instrument. It's as if the piano was not large enough to accommodate his grand vision. With wonderful rhythmic energy, the Waldstein opens, and we are propelled forward by it's sheer momentum and virtuosity. WIth the second movement, we can catch our breath but plunge deep down for some true soul-searching. Beethoven links this Adagio to the finale. Any trace of the storm (Inner or outer) subsides and we are left basking in the warmth of sunshine with this delightful Rondo. A brilliant coda concludes this beloved work. Several musical miniatures conclude Barbara's recital program- a romantic and sentimental piece by Granados that can tear at our heartstrings and make us weep, two of Ginastera's early Argentine dances, full of uncomplicated joy and passion and to close the recital, the popular Clair de Lune- just heavenly music to experience, enjoy and feel! "The inner glow that is a feature of all of Nissman's playing warms Franck's neogothic textures to create a magical world of affectionate splendor." 'For my money, she's one of the great pianists of my time, and probably other times as well."
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    Sinfonische Orgelwerke
    The Grand Organ (and massive acoustic) of St Paul's Cathedral brings the symphonic organ works of César Franck to life, played by Simon Johnson, the current Organist of St Paul?s Cathedral. He plays his own transcription of Franck's Symphony in D minor, a troublesome work which was despised by critics at its premiere.
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    • Price: 15.18 EUR excl. shipping
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    Dark Side of Rhe Bass
    Bass World magazine n° 33 Sounding Board The Dark Side of the Bass Francesco Fraioli, double bass Francesco Buccarella, piano N.B.B. Records NBB23 2009 The dark Side of the Bass features stunning performances by Italian double bassist Francesco Fraioli with Francesco Buccarella on piano. The CD includes three sonatas for double bass and piano by the composers Vilmos Montag, Hans-Peter Linde and Paul Hindemith. On the first track, the first movement (Allegro moderato) of the sonata by Vilmos Montag, Fraioli establishes his wide range of dynamic expression and depth of lyricism. Clearly, he is very influenced by one of his teachers, Francesco Petracchi.The entire work demands a legato tone that must be maintained over the wide register and over string crossings. Fraioli's agile shifting and string crossing technique allows him to maintain the dramatic and intense lyricism that score demands. Aided by the recording engineer's decision to utilize a close mic, he is able to clearly articulate every note of the rapid gestures while sustaining his lyricism throughout. However, it was very surprising to hear him occasionally negate his best qualities by opting to perform some of the spiccato passages very off-the-string. Fraioli's pizzicato tone is supportive, deep,very sustained, rich in overtones, and most importantly, dark in timbre. This is especially true at the end of the first movement. Perhaps his dark, rich timbre is what inspired the title of the CD. Despite the close mic, which favors clarity of fundamental frequencies and transients of the envelope more than the overtones of the bass, I'm even more impressed at how Fraioli was able to achieve such dark timbres under these circumstances. The Vilmos Montag Sonata was composed in 1967, but it's careful chromaticism and restrained emotion will remind the listener of the conservative romanticism of the cosmopolitan French tradition of the late 19th century. In other words, if you liked César Franck's Sonata for Violin and Piano, you will like the Montag. The effective writing is very idiomatic and does not confront the double bassist with unreasonable and unmanageable difficulties. Vilmos Montag wrote the Sonata for his brother, Lajos Montag, a double bassist. The Sonata by Hans-Peter Linde, also written in 1967, will immediately remind listeners of the music of Shostakovich, especially the fugato section of the first movement. Also, like much of the music of Shostakovich, the Sonata by Hans-Peter Linde successfully walks the tightrope between the two extremes demanded by late 20th century audiences. It is accessible to the casual listener, yet the work can also satisfy the more sophisticated listener who also wants to analyze the work on multiple levels. Fraioli's approach on the Linde Sonata differs from the Montag. It is much more passive, careful, and in some places, even introspective in nature. The approach is cautious, carefully studied and rigorously appropriate. It is absolutely à propos for the mood of the Linde Sonata. There are formidable double stops in the third movement, and Fraioli executes them with poise and precision. The final sonata on the CD is Paul Hindemith's Sonata for Double Bass and PIano (1949). Fraioli realizes this venerable staple of 20th century repertoire with distinctive lyricism. Both Fraioli and pianist Francesco Buccarella eschew the traditional, misguided practice of square, mechanical and cold phrasing that has often plagued performances of the Hindemith Sonata. From the first sustained note, Fraioli shapes each note with sensitive detail drawing from his expressive vibrato and his command of the lyrical strokes in his right-hand bowing technique. The interpretation is fresh and classic all at once. The recording engineers Lorenzo Gerace and Stefano Cappelli are to be commended for their recording of the piano and double bass in an unusual space that would normally invite unwanted resonances and distortions of the sound waves. Not only did they compensate for such an unfavorable environment, they were able to allow the reverberations of the hall to appropriately color the sound of the double bass and piano. The balance of the double bass and piano in terms of volume and frequency distribution across the spectrum allowed for a unification of the two instruments as a chamber ensemble and ultimately empowered the musicians to produce a recording that is both transparent and ideal. -review by Jeremy Baguyos ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ The dark side of the bass project aims at emphasizing the "hidden" assets and qualities of the double bass, on the one hand highlighting the instrument's enthralling poetic aspect while on the other hand stimulating interest in it's repertoire. Conceived together with Luca Aversano, lecturer in the history of music at the DAMS department of Roma Tre University College of Liberal Arts, the project's relationship with the academic world has proved so fruitful that it has transcended the mere cultural level and lead to the shared use of a physical space. In fact, the university's main hall was transformed into a recording studio that hosted both the musical performances and the recording sessions. Relying on the technical mastery and performance skills of Francesco Fraioli on double bass and Francesco Buccarella on piano, The dark side of the bass features works by Vilmos Montag (Sonata in E minor, 1967), Hans-Peter Linde (Sonata in E, 1967) and Paul Hindemith (Sonata, 1949). Besides their being paradigmatic examples of twentieth century music, the artistic style of double bass, as brought into play by these works, has proved a valid testing ground for daring musical experiments, whilst allowing for the creation of refined aural moods. One of the highlights of the CD, for both it's cultural and historical relevance, is the premiere recording of Hans-Peter Linde's Sonata in E (1967). Furthermore, the author has even agreed to be personally involved in the project by providing an introductory note to the sonata for the booklet accompanying the CD. Luca Aversano ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------Vilmos Montag, sonata in e minor for double bass and piano (Ed. F Hoffmeister, 1967) Vilmos Montag was born in Budapest February 16, 1908. A student of V. Kladirko and N. Zsolt, he received his diploma in violin at the music high school in Budapest. Later, he graduated in orchestral conducting at the national conservatory. At the same time, he studied composition with L. Lajtha and graduated with honors (Franz Liszt award). At the age of 20, Montag joined the Budapest Opera orchestra as well as that of the philharmonic society. In 1957 he moved to Sweden where he continued composing and where he died in 1991. His musical production consists of pieces for piano solo, a method on piano playing, 5 cadenzas written for the classical concert repertoire, orchestral works, chamber music and a mass. The sonata for double bass and piano in e minor, composed in 1967, is a product not only of musical inspiration, but of family alliances, as well. In fact, it was his brother Lajos Montag who asked him to compose a piece for the double bass. Lajos was a first rate double bassist and composed considerable music as well as a didactic method for the instrument. The part of the double bass in this sonata is transposed a step down from the normal pitch, except for the lowest string. The three higher strings are raised a whole tone according to the classic tuning of Bottesini, while the bottom e-string remains the same. The result is a mixed tuning which opens up new melodic possibilities. Instead of the normal perfect 4th intervals between the strings: e-a-d-g, we now have e-b-e-a. A perf
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    • Price: 21.09 EUR excl. shipping

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