Over time, the memory of Eugène Ysaÿe (Liège, 1858 - Brussels, 1931) the brilliant virtuoso gradually supplanted that of Ysaÿe the composer in the public consciousness. It should be reminded that Eugène Ysaÿe created in his poems for string instruments a totally new and original genre, distinguishing himself by a competence in writing and a harmonic richness that were far removed from the purely virtuosic merits of his early compositions. These poems are therefore thoroughly deserving of rediscovery. The French conductor Jean-Jacques Kantorow, Ysaÿe's great specialist, leads the Liège Royal Philharmonic and soloists through works for violin and orchestra, for cello and orchestra, for two violins and orchestra and for string quartet and orchestra.
Since its opening in January 2017, the Elbphilharmonie Hamburg has been the cultural landmark of the city. The Latvian organist Iveta Apkalna has made her her new musical home, as Apkalna regularly performs in the Elbphilharmonie as titular organist and knows the spectacular Klais organ in the Great Hall like no other artist. Berlin Classics now presents the world premiere recording of a solo program on the Elbphilharmonie organ with titular organist Iveta Apkalna: "Light & Dark".
Classical music captures the spirit of romance like no other music and this charming collection of perennial favorites includes music from the most romantic of composers - Chopin, Rachmaninov, Tchaikovsky, Puccini and many more. The set is themed for every romantic mood, with the first two discs devoted to the stirring passion of orchestral music, the second two to the intimacy of solo piano music, and the last two to the wide-ranging emotions of opera. Includes music from three works written for the greatest love story ever told, Shakespeares Romeo and Juliet, with music from Tchaikovskys overture, Prokofievs ballet and the main theme from the soundtrack to Franco Zeffirellis film, by Nino Rota. Recordings from some of the world s greatest artists including Luciano Pavarotti, Joan Sutherland, Sir Georg Solti, Herbert von Karajan, Vladimir Ashkenazy, Radu Lupu, Nigel Kennedy and Bryn Terfel.
To celebrate what would have been Herbert von Karajan's 100th birthday on April 5, 2008, EMI has gathered together all of the conductor's recordings for the label in two super-budget boxed sets. Volume 1 weighs in at an imposing 88 discs and focuses on orchestral repertoire (the second volume consists of vocal and operatic works). The first nine discs encompass Karajan's EMI Vienna Philharmonic sessions…
Ernest Bloch was born in Geneva in 1880 and died in Oregon in 1959. He was a man of varied interests as well as strong feelings and these qualities are reflected throughout his music. It is probably as a "Jewish composer" that he is best know, and although definitions of Jewish music tend to be complex, suffice to say that there is evidence to indicate his self-styled "Jewish works" contain genuine ethnic traits in both manner and matter. – booklet notes
Violinist Maxim Vengerov is joined by Virtuosi, an ensemble of 11 violins lead by Mikhail Parhomovksy. 'This is above all a fun record - even more than most collections of violin lollipops a disc for those with a very sweet tooth… Here is a young violinist at the peak of his form enjoying himself from first to last in music undemanding on the ear if not the technique, outrageously showing off in a way that for most will be very endearing. Not that the playing is extrovert all the time… 'Meditationi' from Massenet's Thais conveys a rare depth of feeling, making it more than just a lyrical interlude.
This second volume of the Guide to Musical Instruments explores the history of musical instruments in the period from 1800 to 1950. Its purpose is both to discuss improvements and transformations of instruments dating from before 1800 and to investigate all the novelties thought up by instrument makers during this era. All these developments took place in a context in which the process of instrument making moved from artisans’ workshops to commercial firms which became veritable factories, typical of the ‘age of industrialisation’. The majority of the musical examples are recordings of individual instruments that allow us to hear timbres often lost under the weight of the orchestral mass.This second volume of the Guide follows the same principles as the first.
This disc most definitely has a recital feel about it. I say that not solely because it was recorded live at the Smetana Hall in Prague, where thankfully the audience was silent throughout until breaking into wild applause at the end of each item. The chief cause for the recital feel is structural – groups of arias interspersed by three intermezzi – two Italian, one French – thus providing a good framework for the whole. Having composers similarly grouped and arias given in sequence within each opera is also beneficial to the listener.