Bach was still writing The Art of Fugue at the time of his death. The work was intended to explore the possibilities of counterpoint, but Bach never wrote dry, academic music. It served its didactic purpose, but always there is warm humanity bursting from it. The Art of Fugue has been arranged for many musical groupings, and is always at best a guess at what Bach had in mind. What Robert Simpson has done here is to transpose the work so that it is playable by a string quartet. He does so without apology–Bach himself was a great transposer–and the results are totally convincing. Simpson knows a thing or two about string quartets (his own are well worth checking out), and he has breathed life into a work that is given a terrific performance here by the Delmé Quartet.
Stradivarius' 1991 studio and live digital recordings of Sviatoslav Richter are now brought together for a new definitive mid-price luxurious digipak box. Sviatoslav Richter is widely regarded as one of the finest pianists of the 20th century.With a career that began in Soviet Russia in the 1930s, listeners in the West had their first opportunity to hear him through recordings made in the 1950s, and his reputation among classical fans grew quickly. Richter's approach to music is best illustrated by the enormous range of his repertoire. In recital and on recordings he played everything from Bach to Stravinsky to George Gershwin as well as championing unknown or unpopular works he thought deserved the public's attention.
On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.
This Impulse two-fer revives a pair of LPs by arranger, composer, and saxophonist Oliver Nelson, Happenings and Soulful Brass, released in 1966 and 1968, respectively. Happenings, a date with pianist Hank Jones, is the better album, unlike Soulful Brass, which was co-led with comedian/pianist Steve Allen. Unfortunately, both pianists are featured mainly on harpsichord, which tends to dominate, and at times overwhelm, the compositions.
One of the most persistent questions that musicians ask themselves while practicing a piece is the inevitable query of how the composer himself might have performed his music. There are many written reports on how the old masters such as Bach, Mozart, and Beethoven may have played or improvised; and there are lines of teacher/pupil relationships which can trace their lineage back to the pianistic greats such as Liszt, but still we have to imagine the sound since we cannot actually hear it.
In the 20th century, the great American composers – simmering in the mighty melting pot – evoked Hollywood glamour, folksy landscapes, irresistible swing, poignant nostalgia, showbiz pzazz, sweet sentiment, streetwise sophistication, and hypnotic minimalistic drive. This 6-CD box – featuring such citizens of the world as Simon Rattle, André Previn, The Labèque Sisters, Renaud Capuçon, Hélène Grimaud and Paavo Järvi – take us on an exhilarating journey across the musical horizons of the USA.
This is a great collection of rare and hard to find tunes compiled by Jeffrey Glenn. Hundreds of odds & ends by little known groups, famous singers, and famous singers before they became famous.