Early Romantic Piano Concerti / Various - Early Romantic Piano Concerti / Various - COMPACT DISCS [CD]

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Early Romantic Piano Concerti / Various - Early Romantic Piano Concerti / Various - COMPACT DISCS [CD]

Name: Early Romantic Piano Concerti / Various - Early Romantic Piano Concerti / Various - COMPACT DISCS [CD]
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Album Tracks 1. Concerto in C Major I. Allegro Con Spirito 2. Concerto in C Major II. Adagio E Cantabile, Con Grande Espressione 3. Concerto in C Major III. Presto 4. Concerto No. 2 in A-Flat Major I. Allegro Moderato 5. Concerto No. 2 in A-Flat Major II. Poco Adagio 6. Concerto No. 2 in A-Flat Major III. Allegro Moderato Innocente 7. Concerto in G Major, Op. 73 I. Allegro Moderato 8. Concerto in G Major, Op. 73 II. Andante Grazioso 9. Concerto in G Major, Op. 73 III. Rondo 1. Concerto No. 5, Op. 48 I. Allegro Maestoso 2. Concerto No. 5, Op. 48 II. Larghetto 3. Concerto No. 5, Op. 48 III. Rondo a L'hongroise 4. Divertissement de Concert, Op. 204 5. Concerto in C-Sharp minor, Op. 55 I. Allegro Maestoso 6. Concerto in C-Sharp minor, Op. 55 II. Larghetto 7. Concerto in C-Sharp minor, Op. 55 III. Rondo Allegretto

Early Romantic Piano Concerti / Various - Early Romantic Piano Concerti / Various - COMPACT DISCS [CD]

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Within the extensive repertoire of the German composer Paul Hindemith (1895-1963), music for cello and piano occupies a considerable position in terms of both quantity and quality. Hindemith was primarily a violist and conductor, but his wide-ranging interests led him to experiment with a great variety of instruments both as a composer and a player, making him a de facto multi-instrumentalist. Among his favorite instruments, the cello always occupied a special place in his activities, partly due to his collaboration with his brother Rudolf, an excellent cellist. His original compositions for the specific duo of cello and piano are varied and numerous, offering a synthetic vision of the different stylistic instances of an author who never tired of rethinking and redefining his language. This recording brings together and offers the listener this entire wonderful portion of Hindemith's catalogue. The Drei Stücke Op. 8 (1917) are undoubtedly among the most important pieces of the composer's youthful phase. The later Sonata Op. 11 No. 3, a composition of considerable constructive commitment and complex genesis, is recorded here for the first time in both versions one from 1919 (lost piano parts reconstructed by Fazil Say), the other from 1921. The delicate and expressive Drei leichte Stücke 'Cello in first position', composed in April 1938, are intended for the didactic sphere, without renouncing the peculiarities of the harmonic language of the composer. The same can be said of the brief and melancholic Meditation, a transcription of a movement from Hindemith's orchestral ballet Nobilissima Visione. More complex is A Frog he went a-courting. Despite it's brevity, it is one of the finest pieces on this program. A dozen concise variations, framed by the initial exposition and the concluding return of the traditional English theme, present a wealth of instrumental, timbral

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The technical challenging of balancing a choir singing at full volume and a guitar, renowned for it's gentle sound, has tended to discourage composers from pairing these resources. Handled sensitively, however, the combination yields a seductive sound-world, full of mystery and imagination, tending in this trio of works to evoke a reassuring feeling of familiarity there is balance, a sense of form, awareness, and respect for a past that is renewed while it nourishes the present. At the peak of his maturity in 1959 and in a burst of creativity, Mario Castelnuovo-Tedesco set to music seven poems by Federico García Lorca as a cycle, Romancero Gitano Op.152. The vocal writing is limpid, capturing the colours and contrasts of Lorca's text, whether it is representing the placid flow of three rivers (Baladilla de los Tres Rios) with an incessant stream of semiquavers, or depicting Carmen's dance through the streets of Seville with an elegant and slightly grotesque InchTempo di SeguidillaInch (Baile). Everywhere, what shines through, to quote the composer, is a sense 'of the Spanish lands the parched Castile, the pale olive groves, the scent of the orange orchards in Andalusia and, along the coast, the sea which breaks at the shore with vibrations, almost, of a guitar.' Receiving their first recordings here are Nulla Sors Longa Est by Nicola Jappelli (b.1975) and Materna by Nicola Campogrande (b.1969). Jappelli's chosen text was written by the Roman philosopher Seneca, and addresses the concept of happiness, ending with a bitter reflection on human frailty. Campogrande's piece has a more positive outlook, celebrating motherhood in a commission from the guitarist on this recording, Nicolò Spera, to mark the birth of his daughter. Campogrande has set four texts - also in Latin - by the contemporary poet Marco Vacchetti, who was in turn inspired by Renaissance-era nativities p

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Won't nearly an hour and three quarters of music for violin and piano by the same composer be too monotonous? No it won't because it is Dvorak... Dvorak never repeated himself; in every work, he created a different musical world. It would be hard to find another composer capable of such diversity within a single musical genre. After the earliest of the pieces, the Romance, he sent his Simrock the Mazurek, which he dedicated to the Spanish virtuoso Pablo de Sarasate. The almost meditative Nocturne first appeared in a string quartet and then a quintet before being heard for the first time as an independent piece in arrangements including one for violin and piano. The Violin Sonata in F major, a chamber music pendant to Dvorak's Violin Concerto, clearly took inspiration from Brahms's First Violin Sonata. And there is more the virtuosic Capriccio, the haunting Romantic Pieces, the Slavonic Dance No. 2 presented here uniquely in the composer's own arrangement, the delightful Humoresque arranged by Fritz Kreisler... and a work bearing the opus number 100, which Dvorak deliberately reserved for his Sonatina dedicated to two of his children; though simple, it is no less individual than any of the composer's other mature opuses. To sum it all up, this is a unique collection of Dvorak's complete works for violin and piano recorded by the virtuoso Jiri Vodicka, concertmaster of the Czech Philharmonic, sensitively accompanied by David Marecek at the piano. The recording is enhanced by the beautiful acoustics of the Rudolfinum's Dvorak Hall in Prague. Dvorak for violin and piano. A new world of music in every composition.

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Early Romantic Piano Concerti / Various - Early Romantic Piano Concerti / Various - COMPACT DISCS [CD]

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