View allAll Photos Tagged discogs
www.discogs.com/Walton-Epstein-Walton-Fa%C3%A7ade-Epstein.... Walton - Facade (Edith Sitwell) - Speaker, Flute Clarinet, Saxophone, Trumpet, Cello, Percussion & World Premiere Recording: Epstein - Night Voices (AM.Epstein) - Janet Bookspan Narrator, Boston Boy Choir, M.I.T. SO, David Epstein, Vox Candide CE 31116, 1976 1979 1980,
No exactly on D
www.discogs.com/release/10042446-Tschaikowsky-Jacques-Kle...
Gramophone:
The 1965 recording may lack modern brilliance and sweetness, but the stereo is genuine enough, and the performance is committed and enjoyable.
the Piano Concerto proves equally recommendable. I strongly suspect that the name conceals rather distinguished performer. The pianist has his wilful side— he believes in extreme tempi, fast and slow— but he carries one on convincingly, and reservations on detail matter comparatively little. The style is clean, the playing of the accompaniment both crisper, and more sensitive though again the not-so modern recording blunts the final edge. The piano tone is clattery.
www.discogs.com/Claude-Debussy-Maurice-Ravel-Alban-Berg-K...
Debussy - Sonata Flute, Alto Violin, Harpe - Doriot Anthony Dwyer Flote, Burton Fine Altviool, Ann Hobson Harp & Ravel - Introduction & Allegro Harpe, Strings, Flute, Clarinet - Nicanor Zabaleta Harpe, Monique Frasca-Colombier Violin, Marguerite Vidal Violin, Anka Moraver Altviool, Hamisa Dor Violoncello, Christian Larde Flute, Guy Deplus Clarinette & Alban Berg - Lyrische Lyrical Suite for Strings 1926 - LaSalle Quartet - Walter Levin Violin, Henry Meyer Violin, Peter Kamnitzer Altviolin, Jack Kirstein Violoncello, Muziek onder Woorden DGG MOW 040-1, Raoul Dufy: Hommage a Claude Debussy
www.discogs.com/Beethoven-Konzerte-Sonaten-Romanzen/relea.... Violin Concerto op.61 - Wolfgang Marschner Violin, Sudwestdeutsche Philharmonie, Gunter Neidlinger &
Piano Sonata "Mondschein Moonlight Clair de Lune" op.17, Piano sonata op.49, Piano Sonata "Pathetique" op.13 - Paul Badura-Skoda Piano &
Piano Sonata "Appassionata" op.57, Piano Sonata "Les Adieux" op.81a, Rondo "Wut uber den verlorenen Groschen" op.129 - Sviatoslav Klimov Piano &
"Fruhlingssonate" op.24, Sonate op.96 - Enri-Duo (Wolfgang Engels Violin, Hans Erich Riebensahm Piano) &
Piano Concerto No.5 op.73 "Emperor" - Hanae Nakajima Piano, Nurnberger Symph., Rato Tschupp &
"Coriolan-Ouverture" op.62, :Egmont-Ouverture" op.84 - Nurnbergen Symph., Zsolt Deaky, Violi romanze op.40 & op.50 - Wolfgang Marschner Violin, Sudwestdeutsche Philharmonie, Gunter Neidlinger
www.discogs.com/Johann-Pachelbel-Hans-Heintze-Orgelwerke/.... Review Gramophone 1968:
This valuable addition to the Archive series offers organ music by two contempories of Bach. Pachelbel, the elder of the two, proved a strong influence on Bach, while Krebs, sixty years younger than Pachelbel, was a favourite pupil of Bach's. A record like this convinces the hearer of a kind of musical laying-on of hands. And to the music of both these masters, who are linked to each other through a greater master, Hans Heintze proves as reliable a guide as he did to that of Buxtehude on an earlier Archive recording.
I can't think why Krebs's jolly Toccata and Fugue in E major is not heard more often. The Toccata, in triple-time and with an opening pedal solo, is perhaps obviously based on Bach's better-known and more masterly Toccata in F major ; and is none the worse for that. Bach supplies models for the five chorale-settings, too, but there is a surprise here: the treatment of Ich riff' zu dir is in marked contrast to that in the Or gelbnchlein. In Bach's setting, the tune in the soprano is accompanied by a gently phrased semiquaver movement supported by an even gentler pulse of quavers in the bass, all of which underlines the poignancy of the hymn. Krebs's setting also has the tune in the highest part but is a more boisterous affair, which Heintze quite appropriately, registers loudly. This interpretation arises naturally out of the music itself, for Krebs uses in his accompaniment the 'joy-motif' used by Bach in Der Tag der ist so freudenreich. Of course, Bach did not label this tiny rhythmic formula so: that was left to Schweitzer and Pirro centuries later, and Krebs did not have the advantage of their researches into Bach's pictorial symbolism. Even so, it seems curious that Krebs, who was so close to Bach—did not Bach refer to him as "the only crayfish (Krebs) in my brook (Bach)" ?—who admired him so greatly, and thanks to whom some of Bach's organ music was preserved for posterity, did not sense this aspect of his great mentor's musical language. If Bach's setting is infinitely more sensitive to the text of Ich ruf' zu dir, Krebs's version remains, nevertheless, a splendid piece of music. The pupil makes amends with his highly expressive setting of Ach Gott, erhOr mein Seufzen, the only familiar one among these five chorale-settings, for Straube included it among his Choralvorspiele alter Meister as long as sixty years ago.
The five Pachelbel pieces on this record are completely secular, in that none of them is based on a chorale-melody. Like the Krebs Toccata, Pachelbel's Praeludium begins with a pedal solo, but as the piece progresses its sequences sound far more predictable than those of Krebs who had a superior model. Heintze follows a brilliant account of this Prelude with all the gravity becoming Pachelbel's very conjunct Fugue in D minor, where the rumbling sixteen-foot pedal tone suggests, exceptionally, the English Cathedral Organ series, which only goes to show the versatility of the Silbermann instrument in Freiberg Cathedral. Its fine range of organ colours is further exploited in the charming Air with Variations (from the Hexachordum Apollinis), the Toccata in F (which is a very different kettle of fish from Bach's and evokes, rather, Zipoli's Pastorale in its pastorale consonance and simplicity) and the long, magnificent Ciacorta in F minor, which is the uncle if not the father of Bach's Passacaglia. Strongly recommended.
Pachelbel - Orgelwerke - Fantasia g-moll, Das Magnificat Mariae,'Meine Seele erhebt den Herren' Orgelchoral 'Vom Himmel hoch, da komm ich her', Orgelchoral 'O Lamm Gottes unschuldig',Orgelchoral 'Christ lag in Todesbanden', Orgelchoral 'Komm, Gott Schopfer, heiliger Geist', 'Werde munter, meine Gemute', Choral mit 4 Variationen, 1683, Toccata c-moll - Hans Heintze Orel Organ Orgue,, Preludium d-moll, Fuge d-moll, Aria e-moll mit 5 Variationen 1699, Toccata F-dur, Ciacona in f - Silbermann-Orgel, Kirche zu Reinhardtsgrimma, 1731 & Grossen Silbermann-Orgel im Dom zu Freiberg 1711-1714, 1966-1967 - DGG Archiv 2547 077
Music from the film FUTURO by Ektroverde (EKTRO-005CD) 1998... elektro music from Finland
FUTURO A New Stance for Tomorrow, movie soundtrack.
CD cover.
Another great discovery last weekend after long months of waiting ... and long hours of research with Google ...
To finally find it on Discogs from a vendor living 30km from my home in Belgium ...
www.discogs.com/Ektroverde-Futuro-A-New-Stance-For-Tomorr...
I'm really not sure there was a second copy available on the internet "today" ...
Find the soundtrack a few days after finding the book (with the DVD of the movie) is most improbable!
And find both in Belgium is one thing I can not imagine
www.discogs.com/Walid-Akl-Borodine-Rachmaninoff-Borodine-... rare record
Walid Akl (Piano)
Born: 1945 - Mehaytzeh, Lebanon
Died: September 27, 1997 - Paris, France
The Lebanese pianist, Walid Akl, studied music in Paris from 1963, at the Margueritte Long Academy, at the Superior National Conservatory, then at the École Nationale Supérieure. Among his teachers were Professors Germaine Mounier, Yvonne Lefébure and Jacques Février. The professional education added to his exquisite talent a touch of excellency.
After finishing his studies in 1969, Walid Akl traveled extensively, dazzling audiences in European cities such as Paris, London, Brussels, Manheim, Weisbaden, Fribourg, Lausanne, Geneva and Madrid. He also toured the USA, Canada, Mexico, and the Middle East. He played with orchestras as the Münchner Philharmoniker, Orchestre Philharmonique de Radio France and Symphony Orchestra of Mexico City. He played the music of various composers such as L.v. Beethoven, Franz Liszt and Borodin, but his favorite was Joseph Hayden. Akl didn't just play melodies. He added zest, life and character to each composition he performed. He died in Paris following heart surgery, only 52 years old.
Rare Record. No Backside. www.discogs.com/release/13048069-Das-Orchester-Der-Staats...
Helge Rosvaenge, Franz Volker, Rose Pauly, Maria Cebotari, Margherita Perras, Viorica Ursuleac, Tiana Lemnitz, Helge Rosvaenge, Lotte Schone, Irene Eisinger, Karl Joken, Maria Ivogun, Marcel Wittrisch, Gino Sinimberghi, Vera Schwarz, Benno Ziegler, Joseph Schwarz, Robert Hutt, Paula Buchner, Irmgard Langhammer, Erich Witte, Gustav Rodin, Josef Greindl, Barbara Kemp, Richard Tauber, Hedwig von Debicka, Emanuel List, Hermann Jadlowker, Charles Kullmann, Eugen Fuchs, Jaro Prohaska, Theodor Scheidl, Zinaida Jurjewskaja,
Irmgard Armgart, Tilly de Garmo, Erna Berger, Peter Anders, Mathieu Ahlersmeyer, Lola Artot de Padilla, Gerhard Husch, Miliza Korjus, Gertrude Runger, iLonka Holndonner, Michael Bohnen, Liselotte Enck, Willi Storring, Hilde Konetzni, Torsten Ralf, Eduard Kandl, Delia Reinhardt, Gitta Alpar, Kate Heidersbach, Margarete Klose, Gerhard Husch, Eugen Fuchs, Peter Anders, Erich Witte, Bjorn Talen, Paul Reinicke, Alexander Kipnis, Fritz Krauss, Gertrud Bindernagel, Robert Philipp, Karin Branzell, Eduard Erhard, Frida Leider, Lauritz Melchior, Herbert Janssen, Rudolf Bockelmann, Kirsten Flagstad, Paula Buchner, Benno Arnold, Max Lorenz, Jaro Prohaska, Marta Fuchs, Josef von Manowarda, Gertrude Runger, Wilhelm Rode, Elfriede Marherr-Wagner, Robert Hutt, Friedrich Schorr, Leo Schutzendorf, Maria Muller, Ludwig Suthaus, Gustav Rodin, Gerhard Witting, Jaro Prohaska, Wilhelm Hiller, Felix Fleischer, Otto Husch, Franz Sauer, Maria Muller, Franz Volker
No Backside
www.discogs.com/Georg-Friedrich-H%C3%A4ndel-Xerxes/releas...
1 of 3 copies
From Operanews.com:
HANDEL: Serse
Forrester, Popp, Lehane, Miller, Tyler; Hemsley, Brannigan; Vienna Academy Chorus, Vienna Radio Orchestra, Priestman. Text and translation. Deutsche Grammophon CD 477 8339 (3)
opera news
Deutsche Grammophon has delved into its vaults to reissue the very first "complete" studio recording of Handel's Serse. (Absent are one recitative and the B section of Serse's aria "Più che penso," crossed out in Handel's autograph score.) Recorded in 1965 and originally issued on the Westminster label, this fine performance has never been available on CD, nor has it previously been issued complete on LP outside of the United States. Its return to the catalogue is most welcome.
Maureen Forrester's rich, lustrous tone brings an ideal gravity to the role of Serse that aurally distinguishes her from the rest of the cast. While a high note may occasionally present a challenge that is not entirely surmounted, the Canadian contralto's musicianship, vocal power and ability to spin out amazingly long phrases always win the day.
It is pure joy to hear Lucia Popp's girlish Romilda, recorded at the beginning of her career and just a year after her triumphant Queen of the Night for Klemperer on EMI. Her voice is fresh, effortlessly produced and used with the sensitivity and musicality that would always characterize her singing. Melismatic passages, such as those found in "Se l'idol mio," are rendered flawlessly and with deceptive ease, and her singing is completely free of the "note squeezing" mannerism she would later develop. Marilyn Tyler is superb as Romilda's sister Atalanta, her dusky soprano providing a clear contrast to Popp's gleaming tone, and she exhibits an impressive range up to a brilliantly finessed high D in the final cadenza of "Voi mi dite." Distinguished vocal contributions also come from Maureen Lehane as Arsamene, particularly impressive in rapid-fire coloratura, and Mildred Miller as the perpetually disguised Amastre. Thomas Hemsley and Owen Brannigan are satisfactory as Ariodate and Elviro, respectively. Conductor Brian Priestman's tempos seem spot-on throughout the work, and he leads the Vienna Radio Orchestra - playing on modern instruments - in a surprisingly stylish performance for this vintage. Martin Isepp's harpsichord riffs are inventive and always enjoyable, if occasionally rather amusingly over the top.
The stereo sound, newly remastered from original master tapes, is mostly superb, with plentiful orchestral detail and a robust lower range, although occasionally some very mild distortion dims the brilliance of the higher frequencies. The wide soundstage employed suggests character movement, and several sound effects are used to add further theatricality. (The Act II thunder effect is successful, but the subsequent "swordfight" is hopelessly silly.) Popp's angelic offstage singing at the beginning of the opera is beautifully realized, with a glowing aura of ambience surrounding the voice. It is totally believable that Serse could fall in love with Romilda at first listen - just as one will probably fall in love with the many charms of this performance.
www.discogs.com/release/8082203-Various-Second-Internatio...
1963 sofia Bulgaria, Nancy Tatum, Ava Cooper, Nikola Guselev, Franco Pagliazzi, L. Tschkonja, Pavel Gerdjikov, Blagovesta Karnobatlova, Cristine Pakulska, Gladys Kriese, Milka Eftimova, Alberto Remedios, Nadejda Kniplova, Bogdan Mugur,
Depeche Mode - Where's the Revolution
Depeche Mode are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (guitar, keyboards, vocals, main songwriter since 1982), and Andy Fletcher (keyboards, bass guitar). Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke (keyboards, guitar, main songwriter from 1980 to 1981), left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, bass guitar, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next 13 years. Depeche Mode have been a trio again since 1995, when Wilder left.
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Music from the film FUTURO by Ektroverde (EKTRO-005CD) 1998 ... elektro music from Finland
FUTURO A New Stance for Tomorrow, movie soundtrack.
Inside the box ... illustration that covers the CD is the floor plan of the FUTURO house.
Another great discovery last weekend after long months of waiting ... and long hours of research with Google.
To finally find it on Discogs from a vendor living 30km from my home in Belgium.
www.discogs.com/Ektroverde-Futuro-A-New-Stance-For-Tomorr...
I'm really not sure there was a second copy available on the internet "today".
Find the soundtrack a few days after finding the book (with the DVD of the movie) is most improbable!
And find both in Belgium is one thing I can not imagine
www.discogs.com/Hoffnung-Festival-1-Concert-Public-Au-Roy...
Yvonne Arnaud, Malcolm Arnold, Francis Baines, Dennis Brain, Norman del Mar, Dr. Gordon Jacob, Leopold Mozart, Grande Ouverture, Concerto Popolare, Symphony No.94 'La Surprise' Haydn, Allocution Gerard Hoffnung, Mazurka No.47 op.68, Lochinvar, Variations 'Annie Laurie', HM768
1 of 2 copies. www.discogs.com/Rian-De-Waal-Liszt-Tausig-Balakirev-Godow...
Liszt - Prelude & Fugue BWV543 & Liebeslied Widmung op.25 No.1 Schumann, Meine Freuden Moja Pieszczotka op.74 No.12 Chopin, Grande Etude Paganini No.3 'La Campanella', Tausig - Das Geisterschiff-Ghost Ship-Vaisseau Fantome op.1, Balakirev - The Lark-Die Lerche-L'Alouette Glinka, Godowsky - Kunstlerleben-Artist's Life-Vie d'Artiste op.316 - Etcetera ETC 1016, 1983
www.discogs.com/Johann-Sebastian-Bach-G%C3%BCnther-Ramin-...
Rare Record. Gramophone Review:
With a dozen versions of the St. Matthew Passion in the current catalogue, it is an eye-opener to go back half a century, when this recording—the very first in German—was made, and discover how this great work was then viewed. The move towards 'authenticity' had only recently, and tentatively, got under way: here a harpsichord is employed for the continuo (albeit a Neupert, complete with massive 16-foot tone), but the gamba had to be omitted; big rallentandos are made at the end of every number; the string playing is nearly always legato, with little articulation, and the violin solo in "Erbarme dich" is, to our ears, smearily sentimental.
Yet, otherwise, objectivity seems to have been the guiding principle. There are no appoggiaturas, recitatives are strictly metrical (though relaxed slightly in Part 2), chorales are sung non-expressively, speeds are reverentially slow, and the work's dramatic aspect is played down—the competent but over-sober chorus, sluggish in such numbers as "Es ist des Todes schuldig", doesn't catch fire until near the end of Part 1, with the cries of "Lasst ihn! Bindet nicht!". The whole moves at so deliberate a pace (the Matthew chorale "0 Haupt vol I Blut" has probably never been sung more slowly) that the 1941 producer, already doubtful about issuing so long a work on 78rpm discs, decided to present it in abbreviated form: recitatives were reduced, do capos cut down or eliminated, and seven arias were omitted (including the soprano's No. 19 with the two oboi d'amore and the alto's No. 70 with the two oboi da caccia). Even so, the issue ran to 31 sides, and the producer, having to bear in mind the four and-a-half minute limitations of a side, was forced to juggle with the order so as not to split long arias over more than one disc.
This has been straightened out for CD (which retains only slight vestiges of the original surface scratch, but of course cannot reproduce Bach's antiphonal effects of his double choir and orchestra) and which, despite all reservations arising from what is said above and this performance's distance from present-day ideals, succeeds in conveying a spirit of devoted commitment to the music. To a great extent this is due to the soloists, all of whom (except for Schulze, an ex member of the St Thomas Choir and then a student of medicine) were established artists of considerable experience and reputation: they are given forward microphone placing. Karl Erb had retired from the operatic stage a decade earlier but continued to be recognized as a leading Evangelist: although in his mid-sixties in 1941, his voice shows little sign of ageing, his high register is free and true, and his enunciation is exemplary: it is not his fault but Ramin's that "Ich will bei meinem Jesu wachen" plods. Even more distinguished is Gerhard Misch, whose beauty and nobility of tone, musicianly phrasing and, again, clarity of enunciation make his contribution outstanding. Friedel Beckmann is a fine, tonally steady alto with a good sense of style (though she shouldn't have been allowed to take breath between the words "meiner" and Zähren" each time in "Erbarme dich"), and able to cope successfully with Ramin's slow tempo in "Buss' und Reu' ".
The soprano Tiana Lemnitz, touchingly angelic voiced as she is, seems to belong to the lyrical operatic sphere rather than the oratorio, and her words are less distinct than those of her colleagues. All in all, a performance of undoubted historical interest and with many rewarding points, even if not ideal by present criteria. L.S.
Artwork: Albrecht Durer 1513
www.discogs.com/Vivaldi-Maurice-Andr%C3%A9-Vittorio-Negri.... Vivaldi - Concerto Ut majeur P.16 - Arndt Schone, Wilfried Gartner, Roland Zimmer, Franz Just, Erhard & Elisabeth Fietz, Manfred Weise & Hans Tuppak, Alfred Schindler, Joachim Zindler, Friedrich Franke, Artur Meyer, Clemens Dillner, Staatskapelle Dresden, Hans Otto, Christoph Albrecht Organ Orgel Orgue, Vittorio Negri & $ Seasons - Gianna Cernuschi Violon, Europa Chamber Orch., Alessandro Balestri & Concerto Trompette, Violon & Cordes - Rouen Chamber Orch., Albert Beaucamp