Sunday, May 27, 2012

!±8± Telemann Edition

Brand : | Rate :

| Price : $74.24
Post Date : May 27, 2012 04:55:25 | Usually ships in 24 hours

More Specification..!!

Promotion Burberry Watch Strap Canon Power Shot A95 Save You Money!

Friday, May 18, 2012

!±8± Langgaard: The Symphonies

Brand : | Rate :

| Price : $65.13
Post Date : May 18, 2012 19:38:03 | Usually ships in 24 hours

With his symphonies the Danish composer Rued Langgaard
(1893-1952) offered 16 vastly different versions of what a symphony
can be. His captivating, complex genius made room for
all conceivable idioms and a wealth of styles ranging from the
grandiosely Late Romantic to the purest Absurdism. This box
is the first collected recording of Langgaard's 16 symphonies
based on the critical edition of the scores; recordings which
demonstrate, with spectacular sound quality, Langgaard's
masterly grasp of the orchestra and his ecstatic view of art.

More Specification..!!

Best Dakine Pipe Snowboard Bag (northwood, 12 X 7 X 62-inch)...

Thursday, May 10, 2012

Britten: 4 Sea Interludes; The Young Person's Guide to the Orchestra; Elgar: Enigma Variations [Hybrid SACD]

!±8± Britten: 4 Sea Interludes; The Young Person's Guide to the Orchestra; Elgar: Enigma Variations [Hybrid SACD]

Rate :

| Price : | Post Date : May 10, 2012 20:34:09
N/A

Edward Elgar (1857-1934) and Benjamin Britten (1913-1976) each stood at the forefront of his respective generation of British composers. The success of Elgar's Enigma Variations spread awareness of his music to an international audience, while Britten's first full-scale opera, Peter Grimes, solidified his position as the most important English opera composer of the century. Both works are deeply personal pieces drawn from life experiences.

Elgar began the Enigma Variations without a specific commission. He sent the completed score to Hans Richter, who conducted the first performance in London a year later. There was great buzz about the significance of each of the "enigmas," as Elgar hinted at a deeper aspect to each of the pieces. This has long since been resolved, and some of the enigmas represent sketches of the composer's friends and musical acquaintances, and/or portray incidents in which they were involved.

Britten dedicated a large portion of his compositions to music with a youthful theme, from pieces like The Sword in the Stone and Simple Symphony to Young Apollo. He wrote The Young Person's Guide to the Orchestra for an educational film called The Instruments of the Orchestra, and designed the work for performance with or without narration (the performances on this recording do not include narration). Like Britten's other works for youth, it blends simplicity with sophistication. The subject of its variations is a theme from an earlier giant of British music, Henry Purcell. Variants on a hornpipe from Act III of Purcell's incidental music to Abdelazer are tossed from one orchestral section to the next.

The Four Sea Interludes from Peter Grimes could be called a set of variations - not in musical terms, but as a series of related images. The `variations' were written at the same time as the opera and then later extracted as a suite. The Interludes depict the sea in its various states and at different times of the day, while carrying the drama forward through musical means between changes of scene.

Prices Luminox 8815 Lowest Price Fossil Watches

Friday, May 4, 2012

Complete Duo Recordings

!±8± Complete Duo Recordings

Brand : | Rate :

| Price : $57.49
Post Date : May 05, 2012 01:38:04 | Usually ships in 24 hours

Complete Duo Recordings

Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.

Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."