Piano Interludes
On this CD:
1. Piano Concerto No. 5 in E flat major ("Emperor"), Op. 73 Allegro
Composed by Ludwig van Beethoven
Performed by London Festival Orchestra
with Sylvia Capova
2. Piano Concerto No. 21 in C major ("Elvira Madigan") K. 467 Andante
Composed by Wolfgang Amadeus Mozart
Performed by Mozart Festival Orchestra
with Svetlana Stanceva
3. Piano Sonata No. 11 in A major ("Alla Turca") K. 331 (K. 300i) (Rondo) alla turca: Allegretto
Composed by Wolfgang Amadeus Mozart
Performed by Philippe Entremont
4. Piano Sonata in F major, K. 533/494 Allegro
Composed by Wolfgang Amadeus Mozart
Performed by Philippe Entremont
5. Piano Sonata No. 14 in C sharp minor ("Moonlight"), Op. 27/2 Adagio sostenuto
Composed by Ludwig van Beethoven
Performed by Dubravka Tomsic
6. Bagatelle for piano in A minor ("Für Elise"), WoO 59
Composed by Ludwig van Beethoven
Performed by Sylvia Capova
7. Piano Concerto No. 20 in D minor, K. 466 Romance
Composed by Wolfgang Amadeus Mozart
Performed by Mozart Festival Orchestra
with Svetlana Stanceva
8. Piano Sonata No. 8 in C minor ("Pathétique") Op. 13 Adagio cantabile
Composed by Ludwig van Beethoven
Performed by Sylvia Capova
9. Quintet for piano, violin, viola, cello & double bass in A major ("Trout"), D. 667 (Op. posth. 114) Andantino allegro
Composed by Franz Schubert
Performed by Vienna Chamber Orchestra
with Philippe Entremont
10. Impromptus (4) for piano, D. 899 (Op. 90) No. 4 in A flat major
Composed by Franz Schubert
Performed by Sylvia Capova
11. Concerto for piano & orchestra No. 1 in E minor, Op. 11, CT 47 Allegro maestoso
Composed by Fryderyk Chopin
Performed by Ljubljana Radio Orchestra
with Dubravka Tomsic
12. Waltz for piano in E flat major, Op. 18, CT 207
Composed by Fryderyk Chopin
Performed by Arthur Lima
13. Waltz for piano in D flat major ("Minute"), Op. 64/1, CT 212
Composed by Fryderyk Chopin
Performed by Arthur Lima
14. Waltz for piano in A minor, Op. 34/2, CT 208
Composed by Fryderyk Chopin
Performed by Arthur Lima
15. Waltz for piano in G flat major, Op. 70/1, CT 217
Composed by Fryderyk Chopin
Performed by Arthur Lima
16. Prelude for piano No. 7 in A major, Op. 28/7, CT 172
Composed by Fryderyk Chopin
Performed by Russell Sherman
17. Prelude for piano No. 16 in B flat minor Op. 28/16, CT 181
Composed by Fryderyk Chopin
Performed by Russell Sherman
18. Prelude for piano No. 18 in F minor, Op. 28/18, CT 183
Composed by Fryderyk Chopin
Performed by Russell Sherman
19. Prelude for piano No. 20 in C minor, Op. 28/20, CT 185
Composed by Fryderyk Chopin
Performed by Russell Sherman
20. Sonata for piano No. 2 in B flat minor, Op. 35, CT 202
Composed by Fryderyk Chopin
Performed by Sylvia Capova
21. Piano Concerto in A minor, Op. 54 Intermezzo: Andantino grazioso
Composed by Robert Schumann
Performed by St. Petersburg Philharmonic Orchestra
with John Robilette
22. Piano Concerto No. 1, for piano & orchestra in E-flat major, S. 124 (LW H4) Allegro maestoso, tempo giusto
Composed by Franz Liszt
Performed by Slavonic Philharmonic Orchestra
with Sylvia Capova
23. Hungarian Rhapsody, for piano No. 12 (aka "No. 2") in C sharp minor, S. 244/12 (LW A132/12)
Composed by Franz Liszt
Performed by Josef Bulva
24. Liebesträume, notturno for piano in A-flat major No. 3 (O Lieb, so lang du lieben kannst), S. 541/3 (LW A103/3)
Composed by Franz Liszt
Performed by Sylvia Capova
Piano Interludes, Music, Ludwig van Beethoven, Fryderyk Chopin, Franz Liszt, Wolfgang Amadeus Mozart, Franz Schubert, Robert Schumann, Ljubljana Radio Orchestra, London Festival Orchestra, Mozart Festival Orchestra, Slavonic Philharmonic Orchestra, St. Petersburg Philharmonic Orchestra, Wiener Kammerorchester, Arthur Lima, Dubravka Tomsic, John Robilette, Josef Bulva, Philippe Entremont, Russell Sherman, Svetlana Stanceva, Sylvia Capova, Bagatelle for Keyboard, Chamber, Chamber Music & Recitals, Classical, Classical Collections-Composer Desc., Classical Sonata/Sonatina for Keyboard, Concerto, Impromptu for Keyboard, Keyboard, Nocturne for Keyboard, Piano Concerto, Prelude for Keyboard, Quintet for Keyboard and Four String Instruments, Rhapsody for Keyboard, Romantic Sonata/Sonatina for Keyboard, Waltz for Keyboard
Average customer rating:
- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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ASIN: B00006O0NT
Release Date: 2002-12-03 |
Tracks:
- Overture To 'Tannhauser'
- Domna, Pos Vos Ay Chausida
- We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
- Hungarian Dance No.7
- The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
- Violin Concerto In D Major (Adagio)
- But For A Long Time It Was Seen As The Instrument Of The Devil.
- The Soldier's Tale: Triumphal March Of The Devil
- The Manipulative Seductiveness Of The Gypsy Violin.
- Csardas Music
- The Violin And The Initiation Of Nature
- The Four Seasons (Spring, Mvt 1)
- Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
- The Four Seasons (Summer, Mvt 1)
- Like The Devil, The Violin Is A Master Of Disguise.
- Old Viennese Dance No.3 'Schon Rosmarin'
- The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
- Tzigane
- Do We Now Have The True Measure Of This Instrument? Not Just Yet.
- Caprice No.24
- The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
- Variations On A Theme Of Frank Bridge (No.7)
- Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
- Romeo And Juliet: Act IV
- Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
- The Four Seasons (Winter, Mvt 1)
- The Violin Muted
- Clair De Lune
- The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
- Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
- The Pizzicato Violin
- Pizzicato Polka
- In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
- Violin Concerto No.2 In G Minor (Slow Mvt)
- Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
- The Planets (Mars - The Bringer Of War)
- The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
- Hungarian Dance No.4
- Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
- The Four Seasons (Autumn, Mvt 1)
- Now The Same Technique, But The Sound Might Have Come From Another World.
- Bolero
- Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
- Cadenza To The Violin Concerto By Brahms
- Now Compare That With A Real Violin Duet.
- Forty-Four Duos (No. 1: Teasing Song)
- Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
- Forty-Four Duos (No.2: Maypole Dance)
- And Now What May Be The Most Beautiful Accompanied Violin Duet In History
- Concerto In D Minor For Two Violins (Largo)
- The Soul Of The Violin Is In Song; But What About This Weird Passage?
- Violin Concerto No.1 In D Major (Mvt 2)
- The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
- Symphony No.1 'Titan' (Mvt 1, Opening)
- Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
- The Sleeping Beauty (Act II, No.15: Entr'Acte)
- Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
- The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
- Also Sprach Zarathustra (Of The Afterworldsmen)
- Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
- Variations On A Theme Of Frank Bridge (No. 4)
- Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
- Four Sea Interludes (Dawn) From 'Peter Grimes'
- To End This Outing With The Violins, A Charming Little Elfin Dance
- Elfenreigen
Tracks:
- Introduction To The Viola
- Viola Concerto (Mvt 1)
- Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- Gayane Suite No.1 (Armen's Solo)
- Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- Passacaglia, Op.33b From 'Peter Grimes'
- The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
- Harold In Italy (Mvt 4)
- The Muted Viola: Intimate, Gentle, Poignant In Dvork
- Cypresses (No.9)
- The Massed Violas Of The Modern Symphony Orchestra In Mahler
- Symphony No.4 (Mvt 3)
- The 'Period' Viola In Bach
- Brandenburg Concerto No.6 (Last Mvt)
- The Cello: A Voice Of Unique Nobility
- Suite No.1 For Unaccompanied Cello (Prelude)
- Brahms And The 'Soul' Of The Cello
- Piano Concerto No.2 In B Flat Major (Mvt 3)
- Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- Symphony No.3 'Eroica' (Finale)
- But The Cello Is Not Condemned To Spend Its Life In The Basement.
- Elfentanz, Op.39
- Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- The Protecting Veil (Opening)
- A Cello With An Identity-Crisis: The Pizzicato Flamencan
- Flamenco
- Double-Stopping In The Lower Reaches Of The Cello's Range
- Solo Suiet For Cello And Piano (Sardana)
- It's In The Middle Register That The Cello Really Comes Into Its Own.
- Oriental Dance, Op.2 No.2
- It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
- Symphony No.9 (Finale)
- Introduction To The Double-Bass
- The Carnival Of The Animals (The Elephant)
- But The Double-Bass Can Be Intensely Expressive And Graceful.
- Elegy No.1 In D Major
- The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
- Capriccio Di Bravura
- Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
- The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
- Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Tracks:
- The Antiquity And Magic Of The Flute
- Prelude A L'Apres-Midi D'Un Faune
- The Versatility And Agility Of The Flute
- Orchestral Suite No.2 In B Minor (Badinerie)
- The Flute In Fifteenth-Century Spain
- Sa'Dawi
- Other Flutes: The Bass And Alto
- Chamber Music No.II
- The Piccolo - Aptly Named
- La Naissance D'Osiris (Mvt 6)
- From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- Suite No.1 For Small Orchestra (Valse)
- A Variety Of Techniques
- Chamber Music No.II
- Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- The Nutcracker (Act II, No.2: Scene)
- From The Transverse To The Vertical: The Baroque Recorder
- Recorded Suite In A Minor (Menuet II)
- An Unfamiliar, Early Vision Of The Instrument
- Naelden, Naelden
- The Bachian Oboe
- Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- Introduction To The Cor Anglais Or 'English Born'
- Symphony No.9 'From The New World' (Mvt 2)
- The Loneliness Of The Cor Anglais
- The Swan Of Tuonela
- The Cor Anglais Joins The French Horn In Haydn.
- Symphony No.22 'The Philosopher' (Opening)
- Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- Bolero
- The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- Gayane Suite No. 1 (Mvt 5)
- The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- The Range Of The Normal Clarinet Parts Goes Quite High...
- The Snow Maiden (Scene 5: Melodrama)
- ...And Quite Low.
- Peter And The Wolf (The Cat)
- The Clarinet As Concerto Soloist
- Clarinet Concerto In A Major (Rondo)
- But That's Not The Instrument Mozart Wrote It For; This Is:
- Clarinet Concerto In A Major (Rondo)
- Introduction To The Saxophone
- Hary Janos Suite (Mvt 4)
- The Soprano Saxophone Has Quite A Different Feel To It.
- L'Arlesienne Suite No.1 (Minuet)
- The Little Sopranino Sax Goes Even Higher.
- Bolero
- The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- Pictures At An Exhibition (The Old Castle)
- The Saxophone Can Be Quite Contagiously Good-Humoured.
- Sax-O-Phun
- The Puffa-Puffa Image Of The Bassoon
- Peter And The Wolf (Grandfather)
- The Bachian Bassoon, In Accompanimental Mode
- Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- And Ravel, Also In Spanish Mode, Does Likewise.
- Bolero
- The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- Symphony No.3 (Opening)
- The Eerie Bassoon In Its Highest Register
- The Rite Of Spring (Opening)
- Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- The Firebird Suite (1919, Berceuse)
- The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- Bassoon Concerto In G Minor (Finale)
- The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- The French Horn Under Its Woodwind Hat
- Wind Quintet, Op.43 (Last Mvt)
- Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- The Horn In Harmonious Blend With Strings In Another Quintet
- Horn Quintet, K.407 (Finale)
Tracks:
- The Trumpet As Virtuoso Soloist
- Brandenburg Concerto No.2 (Last Mvt)
- The Special Brillance Of Paired Trumpets
- Concerto In C For Two Trumpets, RV537 (Mvt 1)
- The Ceremonial Trumpet
- Fanfare For The Common Man
- Trumpets And Drums - An Incomparable Alliance
- Messiah (The Trumpet Shall Sound)
- The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- Piano Concerto In F (Slow Mvt)
- The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- Carmen Suite No.2 (Habanera)
- The Trumpet As The Voice Of Strength And Courage
- Carmet Suite No.2 (Toreador's Song)
- The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- Billy The Kid
- The Trumpet As Character Actor
- Pictures At An Exhibition (No.6)
- The Trumpet As The Voice Of God
- Mass In B Minor ('Et Exspecto')
- The Birth Of The Trombone
- Aenmerckt Nu Hier
- The Birth Of The Brass As A Family
- Canzon 12 In Double Echo
- The Trombone In The Eighteenth Century
- Trombone Concerto In B Flat Major (Finale)
- The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- Hosannah
- The Trombones Become Part Of The Orchestra.
- Symphony No.5 (Finale)
- The Wagnerian Trombone:/Overture To 'Tannhauser'
- The Trombone As Caricaturist
- Pulcinella (No.19: Vivo)
- The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- The Horn And The Hunt
- Horn Concerto No.4 In E Flat, K.495 (Finale)
- The Challenging Horn Of The Baroque
- Abaris Ou Les Boreades (Menuet)
- The Scarcity Of First-Rate Players In Handel's Time
- Walter Music (Minuet 1)
- The Horn As Magician/The Firebird Suite (1919, Finale)
- Horns And The Sound Of Nobility
- Overture To 'Tannhauser' (Opening)
- The Special Sound Of The Horn In Its Higher Register
- Mass In B Minor ('Quoniam Tu Solus Sanctus')
- The Trumpet-Like Sound Of Massed Horns
- Symphony No.3 (Mvt 1, Opening)
- The Tuba - Unfairly Maligned?
- Symphony No.6 (Mvt 3)
- The Tuba Perfectly Cast By Ravel
- Pictures At An Exhibition (Bydlo)
Tracks:
- Introduction. And We Begin With A Bang.
- Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- At The Opposite Extreme Is The Triangle.
- Piano Concerto No.1 In E Flat (Scherzo)
- Categories Of Percussion: Tuned And Untuned. The Side Drum
- Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- The Tambourine. One Of The Oldest Instruments In The World
- Den Hoboecken Dans
- Even Older Is The Originally Oriental Gong.
- Ma Mere L'Oye - Mother Goose (Laideronette)
- No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- Gymnopedie No.2
- The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- Rodeo (Hoe-Down)
- Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- Scherzi Musicali (Damigella Tutta Belle)
- A Still Earlier Example From Fifteenth-Century Spain
- Yo M'Enamori D'Un Aire
- The Birth Of The Bongo
- Symphonic Dances From 'West Side Story'
- From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- Onwards To The Tuned Percussion. First, The Timpani
- Also Sprach Zarathustra (Introduction)
- But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- Taking Advantage Of Tunability
- Music For Strings, Percussion And Celeste (Mvt 2)
- The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- Saint-Saens And The Xylophone
- The Carnival Of The Animals (Fossils)
- Ravel And The Xylophone
- Ma Mere L'Oye - Mother Goose (Laideronette)
- Introducing The Marimba/Carmen Suite (First Intermezzo)
- Introducing The Vibraphone
- The Treasure Of The Sierra Madre (Narange Dolce)
- The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- Introducing The Hungarian Cimbalom
- Folk Dances
- The Cimbalom And The Symphony Orchestra
- Hary Janos Suite (Mvt 3)
- Introducing The Tubular Bells
- Hary Janos Suite (Viennese Musical Clock)
- A More 'Up-Front' Approach From Rodion Shchedrin
- Carmen Suite (Introduction)
- But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Introducing The Celeste
- The Nutcracker (Dance Of The Sugar Plum Fairy)
- Magic, In The Use Of Collective Percussion
- Miroirs (La Vallee Des Cloches)
- Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- Brandenburg Concerto No.2 (Slow Mvt)
- The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- Petrushka (Russian Dance)
- The Anti-Romantic Piano As An Integral Part Of The Orchestra
- Music For Strings, Percussion And Celeste (Last Mvt)
Tracks:
- Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- Symphony No.3 'Organ' (Finale)
- But Things In Handel's Day Were Very Different.
- Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- The Organ Is Difficult To Classify.
- An Unexpected, Organ-related Guest
- Concerto Pour Zampogna (Last Mvt)
- Peasant-Fancying... And A Touch Of The Roaming Cowboy
- Les Miserables (Drink With Me)
- Outside Artefacts And The Power Of Association
- Mahler's Sleighbells
- Symphony No.4 (Opening)
- A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- Don Quixote (Variation VIII)
- National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- The Sitar Of India/Evening Raga: Bhapoli
- The Accordion For France (Especially Paris)/Paris Canaille
- The Zither For Vienna/The Third Man (Theme)
- The Cimbalom For Hungary/Folk Dances
- The Guitar As An Integral Part Of The Orchestra/Rondena
- There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Nocturnes
- Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- The Carnival Of The Animals (The Cuckoo)
- The Flute As An All-purpose Aviary
- The Carnival Of The Animals (The Aviary)
- The Oboe As Duck
- Peter And The Wolf (The Duck)
- The Recording Of Reality. Does It Work As Well?
- The Pines Of Rome (The Pines Of The Janiculum)
- The Recording Of Reality Electronically Reborn In New Guises
- Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- Symphony No.6 'Pastoral' (Andante Molto Mosso)
- Some Improbable Casting: The Violin As Braying Donkey
- The Carnival Of The Animals (Persons With Long Ears)
- A Truly Orchestral Hee-haw To Be Reckoned With
- Overture To 'A Midsummer Night's Dream'
- A Thunderstorm In A Million
- Symphony No.6 'Pastoral (Allegro-Allegretto)
- the Instrumental Depiction Of A Silent World
- The Carnival Of The Animals (The Aquarium)
- Saint-Saens' Menagerie Takes A Curtain Call.
- The Carnival Of The Animals (Finale)
Tracks:
- The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- Forty-Four Duos (No.4)
- A Great Contrast, Of Both Pitch And Character: Violin And Viola
- Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- Arrival Of The Standard String Trio: Violin, Viola, And Cello
- String Trio In B Flat (Menuetto)
- The String Quartet: Two Violins, Viola, And Cello
- String Quartet In F, Op.18 No.1 (Mvt 3)
- The String Quintet - When The Extra Instrument Is A Second Viola
- String Quartet No.5 In D, K.593 (Adagio)
- The String Quintet - When The Extra Instrument Is A Second Cello
- String Quintet In C (Mvt 3)
- The String Sextet: Two Violins, Two Violas, And Two Cellos
- String Sextet In B Flat (Mvt 2)
- The String Octet: The Standard String Quaret Times Two
- Octet In E Flat, Op.20 (Mvt 1)
- Double The String Octet: A Fully Fledged String Orchestra
- String Symphony No.2 (Finale)
- The Massed Strings Of A Symphony Orchestra
- Fantasia On A Theme Of Thomas Tallis
- Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- Wind Quintet In A Minor, Op.100 No.5 (Theme)
- In The First Variation It's The Horn That Gets The Lion's Share.
- Wind Quintet In A Minor, Variation 1
- In Variation Two The Torch Is Handed To The Bassoon.
- Wind Quintet In A Minor, Variation 2
- In Variation Three The Oboe Leads.
- Wind Quintet In A Minor, Variation 3
- Variation Four: Conversation Before Returning To A Solo-dominated Texture
- Wind Quintet In A Minor, Variation 4
- And Variation Five is Dominated By The Clarinet.
- Wind Quintet In A Minor, Variation 5
- The Next To Be Featured Is The Virtuoso Flute.
- Wind Quintet In A Minor, Variation 6
- Individual Farewells And A Closing Chorus
- Wind Quintet In A Minor, Variation 7
- A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- Octet In F (Mvt 3)
- The Early Classical Symphony Orchestra Of Haydn And Mozart
- Symphony No.29 In A, K.201 (Finale)
- Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- Canzon 28
- Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- Symphony No.5 (Finale)
- From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- Symphoy No.6 'Tragic' (Mvt 1)
- The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- When Large Doesn't Necessarily Mean Loud: Debussy
- Images (Gigues)
- A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- Turangalila Symphony (Chant D'amour 1)
- The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- Balle De Xerxes (Gavotte En Rondeau)
- Computer And Synthesiser: Friends Or Foes?
- Concerto In D Minor For Two Violins (Largo)
- A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')
Customer Reviews:
Instruments of the Orchestra - Great Reference Material!.......2007-04-04
This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!
Beginner or Expert.......2007-03-12
This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!
Very Informative and Enjoyable.......2006-11-20
Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!
Frank's view.......2006-08-19
This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.
Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08
I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.
The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!
I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
- Quite enjoyable
- Some Dvorák Rarities and Old Friends, Nicely Played
- A Great Mix of Dvorak Favorites and Rarities
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Dvorák: American Suite; Silent Woods; Prague Waltzes; Mazurka
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
Polkas
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Similar Items:
- Dvorák: A Hero's Song; Czech Suite; Hussite Overture; Festival March
- Dvorák: Piano Concerto, Op. 33; The Water Goblin, Op. 107
- Dvorák: String Quartets Opp. 96 "American" and 106
- Dvorák: Czech Suite; Waltzes & Polonaise
- Brahms: Hungarian Dances Nos. 1-21
ASIN: B0006IGQ72
Release Date: 2005-01-18 |
Tracks:
- Mazurka For Violin & Orchestra, Op. 49 (B90)
- Rondo For Cello & Orchestra, Op. 94 (B181)
- I Capriccio: Allegro Risoluto
- II Andante Sostenuto
- III Con Molta Espressione
- IV Allegro Con Brio
- V Allegro Assai
- VI Serenata: Andantino Con Moto
- VII Allegro: Animato
- Silent Woods (Klid) For Cello And Orchestra, Op. 68, No. 5 (B182)
- Polonaise In E Flat Major, B100
- Nocturne In B Major, Op. 40 (B48)
- Andante Con Moto
- Allegro
- Moderato: All Polacca
- Andante
- Allegro
- Five Prague Waltzes, B99
- Polka In B Flat Major, Op. 53A/1 (B114)
Customer Reviews:
Quite enjoyable.......2007-07-20
Some of the pieces are unfamilier music by Dvorak, but most of them are beutiful. If you like Dvorak's music, you should listen to this. Sound quality is not bad, though it is not great.
Some Dvorák Rarities and Old Friends, Nicely Played.......2005-02-20
Although I have a number of CDs conducted by Dmitry Yablonsky, and though I knew he was a cellist, I don't recall hearing him play that instrument. On the basis of this CD I'd have to say that he is one of the better cellists around these days (Side note: in an upcoming review, I'll have more raves about the marvelous German cellist Maria Kliegel, whose Bach Solo Suites has lately been causing some compulsive listening on my part.) He gets a chance here to play and conduct two Dvorák cello and orchestra pieces: the semi-familiar 'Silent Woods' and the less-well-known 'Rondo.' 'Silent Woods' ('Klid' in Czech, sometimes known as 'Waldesruhe' in German) is occasionally heard in concert. It is a contemplative pastorale originally part of a solo piano suite. It sounds as if it couldn't have been composed for anything other than cello and orchestra; it's hard to imagine a pianist being able to maintain the slowly moving legato melodic line with anything comparable to the cello's ability to sing it ecstatically. Yablonsky's cello sings like a great baritone. His performance of 'Rondo,' a six-minute minor-key work is equally well-played but the piece itself is relatively trivial, if pretty enough.
The glory of this set is the first track, a six-minute wonder, 'Mazurka for Violin and Orchestra,' Op. 49 (B90), played full-out in Oistrakhian fashion by a violinist I am only vaguely familiar with, Alexander Trostianski. Both the piece and the performance are barnburners, full of exciting rhythms, virtuosic double-stops and other violinistic sparkle. This is not deep music, but it assuredly is exciting. Too bad violinists don't ordinarily play encores in orchestral concerts after they've played the obligatory concerto. This would send the crowd out dancing. Superb!
The 'American' Suite is beautiful and reasonably well-known, and has had a number of fine recordings, among them those by Neumann, Dorati and Tilson Thomas, as well as older ones by Ancerl and Talich. It is given a competitive performance with delicacy and point by Yablonsky and his increasingly impressive Russian Philharmonic.
The rest of the disk comprises works that are not from Dvorák's top drawer. 'Seven Interludes' for small orchestra, although with some fine moments, seem pretty slight to me, although the third movement, 'Con molta espressione,' a slow 3/4 meditation, is extraordinarily lovely and played rapturously here. The 'Five Prague Waltzes' are a cut above the Interludes as music per se, and the performance is exhilarating. One wants to get up and dance around the room. But, that said, I slightly prefer a recording by the Hungarian conductor Iván Fischer and the Budapest Festival Orchestra. 'Polonaise in E Flat Minor,' 'Nocturne in B Major' and 'Polka in B Flat Minor'--the latter an old friend that I fondly remember being played in a wind band arrangement in my own hometown with its large Bohemian population-- are all given fine performances here.
This would, I think, be a perfect budget recommendation for someone who wants to slightly broaden their knowledge of Dvorák's always tuneful and accessible orchestral music.
TT=78:42
Scott Morrison
A Great Mix of Dvorak Favorites and Rarities.......2005-01-26
One of the reasons I love the music of Dvorak is that it is both predictable and varied. In all of his music, his distinct Czech national sound, as well as his flair for orchestration is easy to detect. Yet he is able to write some of the most creative pieces ever composed. The Naxos label has released a great catalogue of Dvorak's work. Most of the releases have some of his well known pieces as well as some of his lesser known works and this new release AMERICAN SUITE follows suite.
The best known works of the compilation include "American Suite," "The Polonaise in F Flat Major" and "Five Prague Waltzes." While all of the pieces are played beautifully by Russian Philharmonic Orchestra under the direction Dmitry Yablonsky, I found the works for soloist and orchestra most enjoyable. The "Mazurka for Violin and Orchestra" which opens the CD is a work that I am surprised is not a familiar concert showpiece and the same can be said for cello pieces "Rondo" and "Silent Woods."
Once again, Naxos has released a wonderful compilation at a reasonable price with excellent liner notes.
Average customer rating:
- Got to like it
- A gleaming vision of brass sound
- wow
- Essential CD
- The Best "Best of" the Canadian Brass
|
The Essential Canadian Brass
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Best of the Canadian Brass
- The Christmas Album
- Super Hits: Canadian Brass
- Go For Baroque! - The Canadian Brass
- Red Hot Jazz: The Dixieland Album
ASIN: B00000413N
Release Date: 1992-08-11 |
Tracks:
- Zarathustra Fanfare - (From 'Also sprach Zarathustra')
- Concerto For Two Trumpets In C: Allegro
- Concerto For Two Trumpets In C: Largo
- Concerto For Two Trumpets In C: Allegro
- Canzone prima a 5
- Turkish Rondo (Rondo alla turca)
- Fugue In G Minor 'Little'
- Beale Street Blues
- Il Barbiere di Siviglia: Largo al factotum - From 'Il barbiere di Siviglia'
- Serenade K. 361: Theme, Interludes And Re-Variations
- The Flight Of The Tuba Bee - From 'The Tale Of Tsar Saltan'
- La Virgen de la Macarena (Traditional)
- Die Dreigroschenoper: Cannon Song
- Amazing Grace - (Traditional)
- Tuba Tiger Rag - (Traditional)
- Toccata And Fugue In D Minor
- Prelude No. 2, BWV 847 From 'The Well-Tempered Clavier': Be-bop Bach
- Prelude No. 8, BWV 853 From 'The Well-Tempered Clavier': Blue Bach
- Fugue No. 2, BWV 847 From 'The Well-Tempered Clavier': Dixie Bach
- Canon
- The Saint's Hallelujah - (Traditional)
Customer Reviews:
Got to like it.......2007-02-01
When I heard samples from this CD, I really wanted to get it. However, when I did and listened the full versions I did not seem to like them that much. There are several pices that I totally do not care for, a few I really like (especially, Bach's pieces), and some I got used to. Overall, I like the CD, but not as much as I though I would.
A gleaming vision of brass sound.......2005-10-18
The Canadian Brass have been a lively and fun force in music for decades, since being brought together in Toronto 'by a gleaming vision of brass sound'. They are now world famous, having delighted and dazzled people in concerts all over the globe. One of the problems for a group such as this is the lack of repertoire readily available, so the group has become expert at arranging pieces for other instruments for their ensemble. They have also commissioned a good number of pieces of their performance.
One such commission is found on this recording, entitled 'The Well-Tampered Bach', a take-off on the Bach work 'The Well-Tempered Clavier'. This is a setting of various pieces by J.S. Bach for brass quintet and drums, worked by Luther Henderson for the ensemble's 1985 appearance in Toronto. Henderson is a frequent arranger and composer for the Canadian Brass, having also put together the 'Tuba Tiger Rag', reminiscent of the World War I era, and jazz pieces like 'Beale Street Blues'.
More traditional composers are represented in arrangement for brass, such as a more standard arrangement for Bach's Fugue in G minor, Mozart's Turkish Rondon, and pieces from Gabrieli, Vivaldi, Strauss, Rossini, Rimsky-Korsakov, and Pachelbel.
The disc has a wonderful blend of pieces classical and modern, 'proper' composition and traditional/folk inspiration, and a very lively and powerful presentation of all the music.
wow.......2001-07-20
This CD is amazing. It's a shame more people don't know about this incredible group. I'm a brass player and I just learned of these guys a few months ago. If you like classical music or brass music, this is a must own!
Essential CD.......2000-12-12
If you like the sound of brass and if your tastes run the gamut from Gabrieli to Handy, with stops hither and yon, this CD is essential to your collection. In it, the Canadian Brass demonstrate their amazing ability to play the early Baroque masters right along side the early jazz masters -- and make it seem perfectly natural! In the process, a bit of Rimsky-Korsakov, Mozart and Lord knows what gets thrown in for good measure. Plus, they play a rousing rendition of Bach's "Little Fugue in G Minor." If the music on this CD doesn't get you going, you need to immediately go to the ER at the nearest hospital!
The Best "Best of" the Canadian Brass.......1999-10-26
If you buy one Canadian Brass CD, buy this one. It contains the widest variety of musical eras and styles. Our favorite CB song, Beale Street Blues is hard to find, but on this CD. There are serious, classical selections and fun songs such as the "Tuba Tiger Rag" and "Flight of the Tuba Bee". This is Brass Quintet music at its best!
Average customer rating:
- Barber: genius; Pollack: great, but not as great as John Browning
- A variety of emotions
- Samuel Barber's Piano Music
- What's the rush?
- Barber at a bargain
|
American Classics: Barber: COMPLETE PUBLISHED SOLO PIANO MUSIC
Manufacturer: Naxos
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Similar Items:
- Samuel Barber: Orchestral Works, Vol. 2
- Barber: School for Scandal/Symphonies 1 & 2
- Barber: Knoxville, Summer of 1915
- Barber: Violin Concerto, Op. 14; Souvenirs (Ballet Suite), Op. 28; Serenade for Strings, Op. 1; Music for a Scene from Shelley, Op. 7
- Samuel Barber: Capricorn Concerto; A Hand of Bridge; Intermezzo from Vanessa
ASIN: B00000GV5P
Release Date: 1998-12-15 |
Tracks:
- Sonata for Piano, Op 26: Allegro energico
- Sonata for Piano, Op 26: Allegro vivace e leggiero
- Sonata for Piano, Op 26: Adagio mesto
- Sonata for Piano, Op 26: Fuga: Allegro con spirito
- Excursions, Op 20: Un poco allegro
- Excursions, Op 20: In Slow Blues Tempo
- Excursions, Op 20: Allegretto
- Excursions, Op 20: Allegro molto
- Nocturne, Op 33: Moderato
- Three Sketches: Lovesong: Tempo di valse: Allegretto
- Three Sketches: To My Steinway (To No.220601): Adagio
- Three Sketches: Minuet: Tempo di minuetto
- Interlude I ('For Jeanne'): Adagio, ma non troppo
- Ballade, Op 46: Restless
- Souvenirs, Op 28: Waltz: tempo di valse, Allegro con brio
- Souvenirs, Op 28: Schottische: tempo si Schottische, Allegro ma non troppo
- Souvenirs, Op 28: Pas de deux: Adagio
- Souvenirs, Op 28: Two-Step: Allegro molto
- Souvenirs, Op 28: Hesitation Tango: Con moto
- Souvenirs, Op 28: Galop: Allegro molto
Customer Reviews:
Barber: genius; Pollack: great, but not as great as John Browning.......2007-05-29
This CD includes a mini biography of the composer and a short description of each piece, which is always a plus. I am still amazed he wrote those 3 sketches at such a young age! Barber's music is always lyrical, even when it sounds a-tonal. While John Browning is the most popular interpreter of Barber's music, Pollack also does a wonderful job. The only problem I have is his playing of the Nocturne, op. 33, because he plays it very heavily and too fast, much unlike a nocturne should be.
A variety of emotions.......2006-11-16
This CD collects all the published piano music of Samuel Barber, including the highly regarded masterwork SONATA, OP.26. The SONATA, in four movements, goes from the severe in the first movement to the openly joyous in the second; the third movement builds slowly to a mighty grumbling before just as slowly resigning itself to a quiet resolve. The final movement is all energy, requiring great technical prowess, which pianist Daniel Pollack has. It's an excellent performance.
Some of the other pieces, though less demanding, are most enjoyable. The four EXCURSIONS explore "regional idioms," including boogie-woogie, the blues, and country roots (this last is delightful). The four SOUVENIRS show Barber at his most humorous: the Waltz is laugh-out-loud charming, and the Hesitation Tango is just that - and very compelling. This is an excellent CD all around, from the varied and intelligent music of Barber to the assured, lyrical interpretations by Pollack. Highly recommended.
Samuel Barber's Piano Music.......2003-11-26
Samuel Barber's(1910 --1981) music is lyrical, romantic, and accessible. But his music still manages to be challenging. As is the case with many American composers, Barber tried to develop an American voice by combining art music with American themes derived from jazz and American popular culture. Again, Barber wrote in an accessible way using sophisticated 20th century compositional techniques.
Although he did not compose a great deal of music for solo piano, much of what Barber did write is outstanding. This disc on the budget-priced Naxos label includes all of Barber's published solo piano music performed by Daniel Pollack. Pollack knows and plays this music well indeed. He performed Barber's piano sonata at the First International Tchaikovsky Piano Competition in 1958. The CD includes detailed, insightful liner notes by Victor and Marina Ledin.
Barber's piano sonata op 26 (1946) is the highlight of this disc and is a work that has become an important part of the piano repertory. The work is in four movements, and in it Barber uses an expansive musical vocabulary which includes serial composition. The work is romantic and virtuosic and immediately appealing. Vladimir Horowitz championed this music and it has been recorded many times.
The sonata opens with a two-note falling figure with the second note heavily accented that becomes the basis for the opening allegro movement. Throughout the first movement, loud, virtuosic passages alternate with quieter sections, with feathery piano writing in the instrument's high register. The two-note figure is prominent at the end of the movement with a shift in accent to the first note of the pair. The second movement is a short, light scherzo which picks up on the quieter portions of the first movement. The third movement, an adagio, is spare and minimalist. It rises to a large climax before the music falls away pensively over a walking bass. The last movement is a fugue which begins rapidly and quickly develops to a frenzied, cataclysmic conclusion.
The other extended works on this CD are two piano suites. The first suite, "Excursions" Op. 20 (1942-1944) was also championed by Horowitz. It consists of four movements based upon American jazz and popular song. The first movement features a syncopated theme with repeated notes over a boogie-woogie theme in the bass. The second movemement develops as a blues, with a slow-drag theme that becomes more prominent as the movement progresses. It reminded me of a Gershwin piano prelude. The third movement consists of a lyrical, rippling theme in a moderate tempo which undergoes brief variations. The final movement is a foot-stomping barn dance. The movement reminded me of a conservative Charles Ives.
The other suite in this collection is titled "Souvenirs", op 28 (1951-1952) It consists of six short dance movements. (Barber used it for a ballet.) I loved this piece. It is deliberately anachronistic in character and is a throw-back to a hotel-style elegance just before WW I. In listening to this suite, I tried to think of the tone it intended to convey. Some people find this music light and frivolus while others find it ironic. I heard it as loving, but detached and a bit distant. Barber is trying deliberately to recreate a musical experience in an idiom that is no longer his. I think the tone is affectionate, with the music played straight (rather than satirically), but with a distinct feeling of looking back. Thus the title, "Souvenirs".
There are a number of short pieces on this CD including three sketches dating from Barber's 13th year. I enjoyed the Nocturne which is highly chromatic (op. 33) and the late Ballade, Op. 46 among these short works.
This disc is part of the Naxos "American Classics" series. It will allow the listener to get to know some great works of 20th century American piano music.
What's the rush?.......2003-10-22
I can't tell if the overly fast tempi on much of this recording is so all the works could be jammed onto one CD, or if Mr. Pollack was dared to see how fast he could go. To be fair, he starts the Sonata at the metronome marking in the score (which some performers do not) but he doesn't keep it there. He pulls back tremendously in the second theme, then rushes through much of the closing theme so quickly as if to suggest that hearing the notes is not the important part. I'm impressed at how fast he can play certain parts (and the scherzo), but what honestly is the point? Passages in the development and coda are reduced to a blurry mash. Along with this he punches many notes (first and third movements), especially in the base, that have no need for added emphasis. Barber provided enough angularity to this piece that just playing it gets the message - and the music - across. The fourth movement, I will concede, is as admirable as any other performance.
The rest of the works on the CD fare better - in areas where a change in tempo might be tasteful, Mr. Pollack seems invariably to push ahead but it doesn't sabotage anything as badly as the Sonata.
Despite the tempting price, a newcomer to Barber's piano output would do better to buy John Browning's recording and come back to this one later for a different viewpoint.
Barber at a bargain.......2001-09-10
Daniel Pollack has a special relationship to this music. He premiered Samuel Barber's Piano Sonata in the Soviet Union, and played it to wildly enthusiastic acclaim during the 1958 Tschaikovsky competition. That was the year Cliburn took the Gold medal, but Pollack was also a winner, and was very well received.
I am very familiar with the Sonata. I performed it at my senior piano recital in college. I also had the pleasure of playing most of the Sonata for Daniel Pollack when I competed in a college-based piano competition. It was a special pleasure for me to learn how intimately he knows this piece. Pollack plays the Sonata with tremendous energy, brilliance and passion. The recorded sound of this Naxos CD is bright and a little too resonant for my taste. Still, the performance is thoroughly exciting, sometimes to the point of being overwhelmingly powerful (for example, at the end of the fugue).
I own eleven recordings of the Barber Piano Sonata on CD or LP. Although Pollack's is not my first choice, his playing is so exciting and powerful that I regard his performance as special and worth having. My favorites are Cliburn and Horowitz. My other recordings include Garrick Ohlsson, Willis Deloney, two by John Browning, Leo McCawley, Earl Wild, Peter Lawson and Ruth Laredo. It would be difficult to rank these performances, as they all have something special to commend them. Pollack's passion and abandon stand out in this group.
The other Barber works are less familiar to me, and so I am less able to comment on them. They seem beautifully played and, again, only hampered a little by the overly resonant sound.
If one is looking for a single disc of Barber's piano music, this one would be hard to beat, especially at its budget price.
Average customer rating:
- I defer to Mr. White, but I like this disc
- A groundbreaking concept for the time but somewhat flat...
- strange, but rewarding
- Cage has a revolution with this work.
- An unexceptional performance of an important early Cage work
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Cage: Sonatas and Interludes for Prepared Piano
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ASIN: B00000JMYM
Release Date: 1999-07-20 |
Tracks:
- Sonatas And Interludes For Prepared Piano: Sonata I
- Sonatas And Interludes For Prepared Piano: Sonata II
- Sonatas And Interludes For Prepared Piano: Sonata III
- Sonatas And Interludes For Prepared Piano: Sonata IV
- Sonatas And Interludes For Prepared Piano: First Interlude
- Sonatas And Interludes For Prepared Piano: Sonata V
- Sonatas And Interludes For Prepared Piano: Sonata VI
- Sonatas And Interludes For Prepared Piano: Sonata VII
- Sonatas And Interludes For Prepared Piano: Sonata VIII
- Sonatas And Interludes For Prepared Piano: Second Interlude
- Sonatas And Interludes For Prepared Piano: Third Interlude
- Sonatas And Interludes For Prepared Piano: Sonata IX
- Sonatas And Interludes For Prepared Piano: Sonata X
- Sonatas And Interludes For Prepared Piano: Sonata XI
- Sonatas And Interludes For Prepared Piano: Sonata XII
- Sonatas And Interludes For Prepared Piano: Fourth Interlude
- Sonatas And Interludes For Prepared Piano: Sonata XIII
- Sonatas And Interludes For Prepared Piano: Sonata XIV and XV Gemini (After the work by Richard Lippold)
- Sonatas And Interludes For Prepared Piano: Sonata XVI
Customer Reviews:
I defer to Mr. White, but I like this disc.......2006-04-27
Edward Wright (see above review) knows more about this stuff than I do. I'm impressed that he has heard not one, not two, not three, but *four* different versions of Cage's Sonatas and Interludes! I thought I was doing great to hear just this one.
I have for a long time been interested in Cage as a sort of iconoclast and philosopher of sorts, so I picked this up at the good old Naxos bargain price, brought it home, listened to the first few pieces, and said, "What is this crap?"
But being no complete musical moron, I figured the idea of the music would grow on me, and grow on me it did. Lately, I want to hear this CD--not my Schubert or Beethoven--all the time. What initially sounded random and chaotic now seems magical. This music is by and large more rhythm and texture based than harmony based. It's tough music. I wonder what Ives would have thought of it (he never heard it, as far as I know).
When I hear Cage, I'm proud to be an American. The same goes for when I hear Ives.
I like this whole CD, but my favorite piece is, now at least, probably the Second Interlude, especially the last minute or so of it. It has a droning, clocklike, dreamy quality to it, but there might also be a little menace there as well, like the soundtrack to a slightly threatening dream. Much of this is, in fact, rather dreamlike.
This CD is positively not conventional Western music. The prepared piano highlights the percussive quality of the instrument (see Sonata 5), and the music seldom repeats itself thematically. It is brimming with ideas, but these are not ideas that everyone will find all that interesting.
A groundbreaking concept for the time but somewhat flat..........2005-06-16
John Cage was obviously both a musical visionary and renegade. Most of his key musical ideas and philosophy completely challenged and even shatttered three centuries of musical development. The idea of literally destroying a piano would have seemed blasphemous to the great classical composers, however Cage realised that music need not be so strict and constricting. The prepared piano was a simple but groundbreaking idea in its time, however today this music feels pointless and the listener is left feeling detached and uninspired. This release is probably best listened to for analytical purposes only.
strange, but rewarding.......2005-01-07
I arrived at this cd coming from the angle of electronic (dance) music. I can stand quite a bit of experiment, and I like music that sounds like machines. Where the music on this cd is not so machine like, it does have the same clinical, at times nearly desolate feel. The way the composer creates that feeling is rather unique i'd say. The feeling reminds me of the electronic music by the likes of frank bretschneider and some other mille-plateaux artists, even though the means of performance are rather different. It's a feeling that not everyone likes. And it's a feeling for special occasions. I enjoy this cd most on traintrips very early in the morning. Should say that I can hardly ever listen the cd untill the end. That's just too much. But I have experienced some of those magical listening moments when listening to this cd.
So, it may not be for everyone, it may not be for anytime, but I do recommend trying it.
Cage has a revolution with this work........2004-07-13
John Cage has written his best pieces for prepared piano during 1946-1948,when he composed the sonatas and interludes for this particular genious instrument.His approach to the rythmic structure instead of the harmonic one,is shooting excellent results,which are interesting to the ear,and simply creating something new,enjoyful.Another thing no one did before Cage until this work,is putting inside the music Zen Buddhism and Hinduism influences-the music remindes us of these eastern culture very well-and only for the best.The result is amazing,feeding us with wonder and excitement.
The work may also remind you modern-like dance tythms,and it is obvious,fore Cage has worked during that period as the director for the Merce Cunningham ballet(The works he had written for the Cunnigham ballet are some of his best).
The percussion effects produced by the prepared piano are wonderful,,and unbelivable,hearing a whole percussion orchestra,and sometimes you may want to shake your hooks with these maccabre effects.
A classical John Cage work from his earlier years,worth of everything in order to hear how wonderful and interesting and new it sounds,even until today.
The performance here by Boris Berman is excellent and quite assartive-I like it very much.He truly understands The music of Cage,though sometimes I feel he lack the excitement of these works.All by all,still an excellent performance,and a very interesting conrtol over the preapred piano.
An unexceptional performance of an important early Cage work.......2004-01-08
John Cage's Sonatas and Interludes have long been one of his most popular works (if popular means anything in the case of Cage). They are written for a piano prepared by inserting various objects onto the piano strings so as to partially dampen the sound in a variety of different ways. This preparation results in the piano becoming almost a one-man percussion orchestra (the comparison to Indonesian gamelan is useful, if oversimplistic). In addition, when the piano is prepared as Cage requests, each note has its own distinctive timbre as well as pitch, thus creating a link between these two musical elements.
The Sonatas and Interludes were inspired by Cage's study of Hindu aesthetics as discussed by Ananda Coomaraswamy, and were an attempt to create music based around the Hindu theory of the nine emotions (the "white" emotions of heroism, eroticism, mirth and wonder and the "black" emotions of fear, anger, sorrow and disgust, all tending towards the most important emotion, tranquility). The result was a collection of twenty single-movement pieces, lasting something over an hour in complete performances. The sixteen sonatas are mostly based on repetitive rhythms and brief, fragmentary modal melodies, while the four interludes tend to be rather more rhythmically varied than the sonatas.
There have been many recordings made of this set of works (the invaluable John Cage discography at http://www.johncage.info lists no fewer than 20 rival recordings), and it would be foolish to claim that Boris Berman's matches up to the best of them (Karis, Schleiermacher, Goldstein and Henck all have prior claims on the listener). In particular, Berman occasionally rushes the music, disturbing the intended tranquil feel, and his Russian-sounding espressivo playing in some of the sonatas seems distinctly at odds with Cage's aesthetic. I wonder if this recording was not made too soon, as Berman's second bite at the Cage cherry (a collection of miscellaneous prepared piano pieces recorded a year later and also available on Naxos), displays a distinctly greater empathy for the idiom.
Average customer rating:
- excellent overview of contemporaneous classic music
- For the price you can't lose
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- Short Ride In A Fast Machine - Bournemouth Symphony Orchestra
- The Lord's Prayer - Choir Of St. John's College, Cambridge
- II. Lento E Largo-Tranquillissimo - Zofia Kilanowicz
- Lullaby - Philharmonia Orchestra
- Vision Of The Hunt I - Philharmonia Orchestra
- Voice For Solo Flute - Robert Aitken
Customer Reviews:
excellent overview of contemporaneous classic music.......2007-03-22
excellent overview of contemporaneous classic music.
Should be continued, plenty more 20th-century composers to be discovered.
For the price you can't lose.......2007-02-21
This 2 cd set consists of, as the title indicates, various 20c pieces or movements from the Naxos catalog. Sound quality is uniformly high, although for some such as Stockhausen's it's not clear if that's good or bad. What is excellent is the variety of the collection--some familiar (Debussy), others not, some pretty, others intentionally weird. Few will find every piece to his or her taste, but many listeners who do not spend much time on 20c music will find something to like. Overall, a great introduction to a period of much off-putting, yes, but also much compelling music.
Average customer rating:
- Gay pride taken to absurdity
|
Gay American Composers-Volume 2
Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Gay American Composers
ASIN: B000005TYR
Release Date: 1997-05-20 |
Tracks:
- Aeolian Harp
- The Banshee
- The Lilt Of The Reel
- Ulysses At The Edge Of The World
- Excursions For Piano: Un Poco Allegro
- Excursions For Piano: In Slow Blues Tempo
- Excursions For Piano: Allegretto
- Excursions For Piano: Allegro Molto
- Concerto For Piano & Orchestra: Moderato Molto
- Sonata For Violin & Piano: Moderate Tempo
- Symphony No. 3: Allegro Moderato
- Symphony No. 3: Tempo Di Valzer
- String Quartet No. 2, Op. 35 (1951)
- Ryoanji
- Electronic Dance Music: Frail Demons: Dance 1
- Electronic Dance Music: Tribe: Dance 2
- Sonatas & Interludes For Prepared Piano: Sonata XIII
Customer Reviews:
Gay pride taken to absurdity.......2001-09-26
A compilation with no purpose, pasted together (tastefully) from slices of other great CRI releases. Is this supposed to have educational value? Shock value? Wouldn't you rather hear Cowell paired with, say, an openly hetero Charles Ives? Or a complete epic Partch work? Or an entire CD of Cage's Sonatas & Interludes? None of these composers made being gay central to their musical identities. I doubt if they would have done so even in the present era. What next? The Greatest Throbbing Hits of Tchaikovsky? The secret gay composer, artist or poet was no secret to his patrons, friends & most dedicated fans. He even enjoyed certain advantages,
At least the "lesbian" series showcases lesser known women composers who would never have gotten past the hunky bouncer at a Virgil Thomson tea party in 1950.
Average customer rating:
- Early beautiful meditative Cage
|
Complete Piano Music, Vol. 1
Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD
Cage, John
| ( C )
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Similar Items:
- John Cage - Complete Piano Music, Vol. 3 - "Music Of Changes" / Schleiermacher
- John Cage: Complete Piano Music, Vol. 8 (Hommage à Satie)
- John Cage: Complete Piano Music, Vol. 2
- John Cage: Complete Piano Music, Vol. 7
- John Cage: Complete Piano Music, Vol. 5 (Two Pianos)
ASIN: B0000021HL
Release Date: 1997-10-21 |
Tracks:
- Bucchanale
- Totem Ancestor
- And The Earth Shall Bear Again
- Primative
- I.
- II.
- Our Spring Will Come
- A Room
- Tossed As It Is Untroubled
- I.
- II.
- III.
- IV.
- V.
- VI.
- Root Of An Unfocus
Tracks:
- The Unavailable Memory Of
- Spontaneous Earth
- Triple Paced
- I.
- II.
- III.
- Prelude For Meditation
- Mysterious Adventure
- Daughters Of The Lonesome Isle
- Music For Marcel Duchamp
- I.
- II.
Tracks:
- Sonata I.
- Sonata II.
- Sonata III.
- Sonata IV.
- Interlude I.
- Sonata V.
- Sonata VI.
- Sonata VII.
- Sonata VIII.
- Interlude II.
- Interlude III.
- Sonata IX.
- Sonata X.
- Sonata XI.
- Sonata XII.
- Interlude IV.
- Sonata XIII.
- Sonata XIV.
- Sonata XV.
- Sonata XVI.
Customer Reviews:
Early beautiful meditative Cage.......2005-01-26
You will not be disappointed or dismissive of this early music, primarily for prepared piano, an instrument that has sort of fallen out of existence. I know of no vigorous repertoire that had followed Cage's innovations. The idea for placing nuts and bolts, woodscrews and erasers between the piano's internal strings was from Henry Cowell, a piano timbral innovator in his own right. Cage developed the instrument as an accompaniment to the performances of Merce Cunningham dance in the early Forties, and the idea simple took off toward theatre,toward performance art and associative images, Lincoln Kirstein also commissioned works from Cage. Well here you get the full weight of this repertoire, and my favorite is "Perilous Night", it reveals the "subjectivity" residing in Cage despite his numerous attempts to circumvent his persona, Well it comes through here although you always sense that timbre and rhythm remain the primary focus of this early music.Also the un=prepared works, single exposed threadbare lines are what interested early Cage .The timbral differences of the piano preparation are interesting in and of itself and seem to engage concept and image;as "prelude and meditation",a minimal work of three four lines, only a few strings are prepared, or the "Music for Marcel Duchamp" where only the middle register of the piano is utilized with a single melody written in alto clef. This work has more a lyric interest yet having a deeply sombre feel to it.
The more expansive "Sonatas and Interludes" are all here, and there are now dozens of recordings,(like a standard within the repertoire,as Chopin's "preludes") and some play them fast(Joshua Pierce) others slow. I prefer the John Tilbury, Decca recording (now unavailable) but here as well the renderings/readings are quite engaging. The negative feature to all this music is that the timbre seems to never suggest anything more than what it is, it is like anything remains beautiful. Perhaps that is why there has not been a "thousand flowers" blooming from this instrument. It has astatic quality to it,one-dimensional. Cage you feel knew this and did introduce as much variety, distributions of densities, and rhythms, textures, and the structural plan as well adheres to maintaining an agenda for variety. The "Sonatas" here being the primary focus, the exposition, and the "Interludes" the digression relief from the gestural whole.
Average customer rating:
|
Piano Interludes
Manufacturer: Intersound Records
ProductGroup: Music
Binding: Audio CD
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ASIN: B00000K1LU
Release Date: 1999-09-21 |
Tracks:
- Pno Con No.5, 'Emperor': Allegro - Sylvia Capova
- Pno Con No.21: Andante (Elvira Madigan Theme) - Svetlana Stanceva
- Pno Son No.11: (Rondo) Alla Turca: Allegretto - Philippe Entremont
- Pno Son No.15: Allegro - Philippe Entremont
- Moonlight Son: Adagio Sostenuto - Dubravka Tomsic
- Fur Elise - Sylvia Capova
- Pno Con No.20: Romance - Stanceva Svetlana
- Pathetique Son: Adagio - Sylvia Capova
- Trout Qnt: Theme And Vars: Andantino - Philippe Entremont
- Imrpomptu in A flat - Sylvia Capova
Tracks:
- Pno Con No.1: Allegro Maestoso - Dubravka Tomsic
- 19 Waltzes: No.1, Grande Valse Brillante, Op.18 - Arthur Lima
- 19 Waltzes: No.6, Minute Waltz - Arthur Lima
- 19 Waltzes: No.7 - Arthur Lima
- 19 Waltzes: No.11 - Arthur Lima
- 24 Prlds, Op.28: No.7 - Russell Sherman
- 24 Prlds, Op.28: No.16 - Russell Sherman
- 24 Prlds, Op.28: No.18 - Russell Sherman
- 24 Prlds, Op.28: No.20 - Russell Sherman
- Pno Son No.2: Funeral March - Sylvia Capova
- Pno Con in a: Intermezzo: Andantino Grazioso - John Robilette
- Pno Con No.1: Allegro Maestoso, Tempo Giusto - Sylvia Capova
- Hungarian Rhap No.2 - Joseph Bulva
- Love Dreams, No.3 - Sylvia Capova
Average customer rating:
|
An American Life: Music from the Radio Documentary
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD
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ASIN: B00062IDG0
Release Date: 2004-10-12 |
Tracks:
- Somewhere
- Allegretto
- Molto deliberato (Fanfare); Allegro risoluto
Tracks:
- Dawn
- Allegro molto
- "A Julia de Burgos"
- Presto - Allegro assai
Music Review:
- Pictures at an Exhibition & Bolero & La Valse
- Preludio Latino; Latin-American Guitar Music
- Puccini: La Boheme (Highlights)
- Rachmaninov Songs
- Rameau: Pieces De Clavecin en Concerts
- Rheinberger: Complete Organ Works, Vol.1
- Rosenberg: Piano Works, Vol. 2
- Schubert: Symphony in Bf No5, D485; Quintet in A D667, Op114
- Shostakovich: String Quartets 1,7 & 14
- Songs for Rudor King
Music Review
music review
Music Review
Together [CD-single] [Import]
Badinerie: Classic Mallets Play Bach
Bach: Das Kantatenwerk, Vol.2
Complete Savoy Sessions: Master Takes [Import]
Burke's Law - Original Television Soundtrack [Import]
Chakra Suite
Black Sabbath, Vol. 4
Blood Bath Beyond [Enhanced] [Explicit Lyrics]
Amazing Grace
Bernstein Favorites : Ballet Dances
Between the Lines
Almendra 68-70 [Box set] [Import]
Be My Baby [CD-single]
Wind Chamber Music of Theodor Blumer
Piano Jazz: McPartland/Steely Dan