47 Results for : timbres
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Oleg Pokhanovski: The Mirror Image
The CD is one of the kind. It has already been called 'the CD of 25th century', 'the birth of new stunning violin pieces', 'unimaginable', 'breathtaking', 'incomparable'. This CD is dedicated to legendary Jascha Heifetz as a tribute to his amazing artistry, musicianship, and also to his phenomenal gift as a violin arranger. The artist of this CD was particularly influenced by Heifetz' recordings of his own transcriptions which inspired Pokhanovski to make new transcriptions for violin, and record them. As a music critic Gwenda Nemerofsky put it, 'he found transcribed music to have gained new meaning, with enhanced colors and timbres. He strongly believed that the works gained power and expression when arranged for violin and piano. The challenges presented by these works also offered Pokhanovski the opportunity to explore and experiment with new techniques for violin. The virtuosity of many of these transcriptions is evident, some considered 'almost unplayable'. Pokhanovski's high-energy performances are characterized by an unmistakeably genuine passion for the music. The intimate studio sound will make listeners feel they are literally inches away from this gifted musician, who possesses an old-world style of violin playing. Urgent, serious and heartfelt - all words that describe Oleg Pokhanovski's playing.- Shop: odax
- Price: 43.92 EUR excl. shipping
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After the Rain
The primal beauty of water in all it's forms has always inspired composers: the perfect jagged symmetry of falling snow-flakes, the sinuous whorls and eddies of a slow summer river, and the raw animal power of a storm. Water sustains us on a physical level yet quenches a more emotional thirst. After the Rain focuses on the gentler forms of Water, painted musically with the soft brush and gentle majesty of the quiet piano, interwoven with other subtle instrumental timbres for secondary melodies, harmonies and counter-themes. Peter Pritchard's 'Studies for the New Zealand Harmonic Piano' album reached American Billboard Magazine's Top 200 Album charts in the firdt month of it's release.- Shop: odax
- Price: 26.65 EUR excl. shipping
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Nutcracker-Suite/Carnival Of The Animals
This release features two of the most famous compositions in Western music history, though not quite as the listener knows them. As with many canonic works over the course of time, Saint-Saëns's Carnival of the Animals and Tchaikovsky's Nutcracker Suite have been boldly reimagined here for organ 4-hands, transcribed by Alexander Därr, these pieces find inventive solutions to the challenges of colour and texture posed by the originals, and yet are respectful of the range and potential of the instrument.A matter of intrinsic creativity, therefore, which contrasts with earlier times in which transcriptions were a means of introducing opera to wider audiences, enriching the repertoire of certain instruments and providing adaptations for different ensembles. Also included on the set is Ralf Bölting's lively Toccata Française sur le nom Helmut, a magnificent composition that celebrates great works of the past and calls for an enormous amount of skill on the part of the players, who are faced with what one critic described as a 'staggering tour de force'. It's an exciting 'filler' on a release detailing consummate performances by maestros Emanuele Cardi and Gianfranco Nicoletti, two of Italy's leading organists.Other information:- Recorded 27-28 August, Vairano Scalo, Caserta, Italy.- This CD is a showcase of the magnificent organ, built in 2011 by the famous organ builder Mascioni, located in the Church of Santi Cosma e Damiano, in Vairano Scalo.- The seemingly boundless possibilities of this instrument, which is inspired by the legendary Cavaillé-Coll organs, are demonstrated in these spectacular arrangements of two popular scores, the Carnival of the Animals by Saint-Saëns and the Nutcracker Suite by Tchaikovsky: a festival of colours, timbres and sheer power!- Played with obvious zest and enjoyment by two fine Italian organists: Emanuele Cardi and Gianfranco Nicoletti.- Booklet contains liner notes, artist biographies and information about the organ specifications.- Shop: odax
- Price: 9.85 EUR excl. shipping
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Die Orgel Des Glenalmond College
The premiere recording of two of Naji Hakim's latest works entitled Sakskobing Praeludier and Glenalmond Suite are performed by the composer himself in this fantastic collection of organ works. Hakim arranged this programme to articulate the timbres of the new 26 stop organ at Glenalmond College, including works by Grigny, Boëllmann and Franck as well as opening with Te Deum, one of the most famous pieces by Jean Langlais.- Shop: odax
- Price: 15.96 EUR excl. shipping
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Far From Over
Keyboarder und Komponist Vijay Iyers Reihe an Energie-geladenen ECM-Veröffentlichungen hat international reichlich Lob eingefahren. Und doch erreicht Iyer auf seinem fünften Album für das Label seit 2014 - Far From Over, eingespielt mit seinem dynamischen Sextett - ein neues Level. Damit steigert er diese künstlerische Entwicklung weiter, die den englischen 'Guardian' dazu brachte, ihn "einen der weltweit einfallsreichsten Jazzpianisten der neuen Generation" zu nennen.Far From Over präsentiert sein Sextett aus virtuosen Improvisatoren - mit den Bläsern Graham Haynes, Steve Lehman und Mark Shim und einem Rhythmusgespann aus Bassist Stephan Crump und Tyshawn Sorey. Dabei nutzt die Gruppe die Fülle der Jazzhistorie, während sie kühn nach vorne drängt. Das Spektrum der Musik reicht von aufregend Explosivem ("Down to the Wire", "Good on the Ground") bis zu Elegischem ("For Amiri Baraka," "Threnody"), wobei melodiöse Hooks, bezaubernde Atmosphäre, rhythmische Kraft und ein urwüchsiger Spirit zur Faszination des Ganzen beitragen. "Diese Gruppe hat eine Menge Feuer in sich, aber auch Erdiges, denn ihre Klänge, Timbres und Texturen haben eine solche Tiefe", sagt Iyer.- Shop: odax
- Price: 17.69 EUR excl. shipping
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Dark Side of Rhe Bass
Bass World magazine n° 33 Sounding Board The Dark Side of the Bass Francesco Fraioli, double bass Francesco Buccarella, piano N.B.B. Records NBB23 2009 The dark Side of the Bass features stunning performances by Italian double bassist Francesco Fraioli with Francesco Buccarella on piano. The CD includes three sonatas for double bass and piano by the composers Vilmos Montag, Hans-Peter Linde and Paul Hindemith. On the first track, the first movement (Allegro moderato) of the sonata by Vilmos Montag, Fraioli establishes his wide range of dynamic expression and depth of lyricism. Clearly, he is very influenced by one of his teachers, Francesco Petracchi.The entire work demands a legato tone that must be maintained over the wide register and over string crossings. Fraioli's agile shifting and string crossing technique allows him to maintain the dramatic and intense lyricism that score demands. Aided by the recording engineer's decision to utilize a close mic, he is able to clearly articulate every note of the rapid gestures while sustaining his lyricism throughout. However, it was very surprising to hear him occasionally negate his best qualities by opting to perform some of the spiccato passages very off-the-string. Fraioli's pizzicato tone is supportive, deep,very sustained, rich in overtones, and most importantly, dark in timbre. This is especially true at the end of the first movement. Perhaps his dark, rich timbre is what inspired the title of the CD. Despite the close mic, which favors clarity of fundamental frequencies and transients of the envelope more than the overtones of the bass, I'm even more impressed at how Fraioli was able to achieve such dark timbres under these circumstances. The Vilmos Montag Sonata was composed in 1967, but it's careful chromaticism and restrained emotion will remind the listener of the conservative romanticism of the cosmopolitan French tradition of the late 19th century. In other words, if you liked César Franck's Sonata for Violin and Piano, you will like the Montag. The effective writing is very idiomatic and does not confront the double bassist with unreasonable and unmanageable difficulties. Vilmos Montag wrote the Sonata for his brother, Lajos Montag, a double bassist. The Sonata by Hans-Peter Linde, also written in 1967, will immediately remind listeners of the music of Shostakovich, especially the fugato section of the first movement. Also, like much of the music of Shostakovich, the Sonata by Hans-Peter Linde successfully walks the tightrope between the two extremes demanded by late 20th century audiences. It is accessible to the casual listener, yet the work can also satisfy the more sophisticated listener who also wants to analyze the work on multiple levels. Fraioli's approach on the Linde Sonata differs from the Montag. It is much more passive, careful, and in some places, even introspective in nature. The approach is cautious, carefully studied and rigorously appropriate. It is absolutely à propos for the mood of the Linde Sonata. There are formidable double stops in the third movement, and Fraioli executes them with poise and precision. The final sonata on the CD is Paul Hindemith's Sonata for Double Bass and PIano (1949). Fraioli realizes this venerable staple of 20th century repertoire with distinctive lyricism. Both Fraioli and pianist Francesco Buccarella eschew the traditional, misguided practice of square, mechanical and cold phrasing that has often plagued performances of the Hindemith Sonata. From the first sustained note, Fraioli shapes each note with sensitive detail drawing from his expressive vibrato and his command of the lyrical strokes in his right-hand bowing technique. The interpretation is fresh and classic all at once. The recording engineers Lorenzo Gerace and Stefano Cappelli are to be commended for their recording of the piano and double bass in an unusual space that would normally invite unwanted resonances and distortions of the sound waves. Not only did they compensate for such an unfavorable environment, they were able to allow the reverberations of the hall to appropriately color the sound of the double bass and piano. The balance of the double bass and piano in terms of volume and frequency distribution across the spectrum allowed for a unification of the two instruments as a chamber ensemble and ultimately empowered the musicians to produce a recording that is both transparent and ideal. -review by Jeremy Baguyos ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ The dark side of the bass project aims at emphasizing the "hidden" assets and qualities of the double bass, on the one hand highlighting the instrument's enthralling poetic aspect while on the other hand stimulating interest in it's repertoire. Conceived together with Luca Aversano, lecturer in the history of music at the DAMS department of Roma Tre University College of Liberal Arts, the project's relationship with the academic world has proved so fruitful that it has transcended the mere cultural level and lead to the shared use of a physical space. In fact, the university's main hall was transformed into a recording studio that hosted both the musical performances and the recording sessions. Relying on the technical mastery and performance skills of Francesco Fraioli on double bass and Francesco Buccarella on piano, The dark side of the bass features works by Vilmos Montag (Sonata in E minor, 1967), Hans-Peter Linde (Sonata in E, 1967) and Paul Hindemith (Sonata, 1949). Besides their being paradigmatic examples of twentieth century music, the artistic style of double bass, as brought into play by these works, has proved a valid testing ground for daring musical experiments, whilst allowing for the creation of refined aural moods. One of the highlights of the CD, for both it's cultural and historical relevance, is the premiere recording of Hans-Peter Linde's Sonata in E (1967). Furthermore, the author has even agreed to be personally involved in the project by providing an introductory note to the sonata for the booklet accompanying the CD. Luca Aversano ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------Vilmos Montag, sonata in e minor for double bass and piano (Ed. F Hoffmeister, 1967) Vilmos Montag was born in Budapest February 16, 1908. A student of V. Kladirko and N. Zsolt, he received his diploma in violin at the music high school in Budapest. Later, he graduated in orchestral conducting at the national conservatory. At the same time, he studied composition with L. Lajtha and graduated with honors (Franz Liszt award). At the age of 20, Montag joined the Budapest Opera orchestra as well as that of the philharmonic society. In 1957 he moved to Sweden where he continued composing and where he died in 1991. His musical production consists of pieces for piano solo, a method on piano playing, 5 cadenzas written for the classical concert repertoire, orchestral works, chamber music and a mass. The sonata for double bass and piano in e minor, composed in 1967, is a product not only of musical inspiration, but of family alliances, as well. In fact, it was his brother Lajos Montag who asked him to compose a piece for the double bass. Lajos was a first rate double bassist and composed considerable music as well as a didactic method for the instrument. The part of the double bass in this sonata is transposed a step down from the normal pitch, except for the lowest string. The three higher strings are raised a whole tone according to the classic tuning of Bottesini, while the bottom e-string remains the same. The result is a mixed tuning which opens up new melodic possibilities. Instead of the normal perfect 4th intervals between the strings: e-a-d-g, we now have e-b-e-a. A perf- Shop: odax
- Price: 21.09 EUR excl. shipping
