30 Results for : oboes
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Feuerwerksmusik
New College Choir Oxford // "This recording recreates the scale of [the] original outdoor performance with 24 oboes, nine each of horns and trumpets, a dozen bassoons, and a mighty percussion of four pairs of timpani including a unique pair of extra-large 'double drums' and four side-drummers. The effect is shattering, the clearest justification for 'authenticity' in performance" (BBC Music Magazine Top 1000 CDs Guide)- Shop: odax
- Price: 16.26 EUR excl. shipping
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Lecons de Tenebres
Alexis Kossenko (Dir) -- Charpentier composed Tenebrae settings throughout his career, thirty-one lessons in all. The three presented here, written for the Wednesday, Thursday and Friday of Holy Week, are scored for a solo bass voice, accompanied by an orchestra composed of recorders, oboes, strings, bassoon and organ.- Shop: odax
- Price: 17.70 EUR excl. shipping
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I Remember
Jade CDs are widely heard on national and fine music stations throughout Australia, and are recognised as a valuable resource by educational authorities as being uniquely representative of the work of Australian composers. They are manufactured in limited runs of 500 and stocks are therefore may be regarded as collectors' items! All Jade CD covers are distinctive. Most Jade CDs have an anthology format and include works by several composers. It's great to have these CDs on offer for a wider audience at CD Baby. I REMEMBER JADCD 1094 Works by: Eric Gross, Ann Carr-Boyd, Robert Allworth, Richard Austin, Derek Strahan. Duration: 70'18 One of the aims of the Jade label is to preserve Australian musical history by re-mastering and releasing significant recordings. The centrepiece of this release is a live recording made in Christ Church St. Lawrence, Sydney, at the Liturgy on Good Friday in 1979, sung to traditional plainchant with choruses by Tomas Luis de Victoria (1549-1611) by Charles Dale, Donald Haws and Brian Copeland with the Church choir conducted by Colin Sapsford. This is preceded by Allworth's Times Remembered for 3 oboes and two organ works by Eric Gross. The religious theme is also present in solo piano and organ works by Allworth, and No. 4 of Austin's Meditations (for piano) on the Ten Commandments. Secular music is represented by Allworth's 3 piano solos titled after well-known TV soap operas, Carr-Boyd's jazzy piano piece Carl's Motel Music, and 3 of Strahan's satirical songs for voice and guitar written for a Breakfast Show TV spot, and performed by the composer. A larger selection of Strahan's songs can be heard on the CD Take Me To Your Leader RDS004, available at CD Baby.- Shop: odax
- Price: 19.62 EUR excl. shipping
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Symphony No. 1 & Other Works
Alexander Negerevich began writing Symphony No. 1 in September 2007 at his home in Stanthorpe, Queensland, Australia and completed the four movement work after a prolonged illness in late 2008. The four-movement work aims at exploring the relationship between tonal and dissonant harmonic structures. The tonal elements of the Symphony contrast against the dissonant subject material, creating an almost 'love-hate' relationship. The First Movement (Moderato) begins with a melancholic theme doubled by oboes and trumpets. It is accompanied by underlying semiquaver woodwind passages that give way to brass and string flourishes. After a brief pause in the strings and horns, a short rhythmic figure is announced by the first trumpet and mimicked by other brass and woodwind instruments. This motif is explored and soon joined by slow ascending and descending glissandos in the upper strings, followed by horns. This is accompanied by similar glissandos in the lower strings. English horn and oboe then follow with brief lyrical melodies that give way to a new subject announced by the 1st and 2nd Violins. A triplet motif hovering on the same pitch appears above the strings and leads to an echo-like figure punctuated by the brass. Another detached three note rhythm is played by the 2nd horns and copied by various Wind and Brass instruments which leads into a crescendo chord with an underlying timpani roll that announces the Allegro Vivace. A change of key signature at this point, introduces dramatic string passages that are interplayed between Woodwind and Brass flourishes. After some jostling between parts a small fugue develops between opposing String voicing that eventually lead to a high pitched 4 note semitone cluster that is soon released by another new String triplet motif which soon leads to a brief Moderato section where the 1st Oboe nonchalantly remembers the opening theme of the Symphony. Immediately, the Allegro Vivace is then re-introduced and hurries towards a dramatic finale, with Timpani hammering along in high gear. With virtually no pause the Symphony progresses into the second movement (Adagio) by a long held sustained note introduced in the bass clarinet. Immediately, a five note bird-like motif, which is developed throughout this entire movement, is announced by the English horn. With continuous obstinacy this motif is re-introduced many times by different instruments. A second melodic motif is played by the Clarinet with a same pitch triplet that often is interrupted by minor second clashes in the background, that again argue between consonance and dissonance. The movement progresses to a second dramatic flourish which finally gives way to a receding minor fifth fall in the strings followed by a small bass clarinet solo which dies away completely to nothing. The Third Movement (Moderato) is introduced by a chord shared between woodwind and strings that quickly leads to a chorale style Brass passage. Each individual String part then announces a Canon-type motif, played in a minor key which bears the sound of "burgeoning optimism". When the lower strings finally take up the minor-theme, short triplet motifs are sounded by Flutes, Bassoons and Clarinets that lead to a long held Contra Bassoon and Timpani pause which introduces a delicate String tremolo section. After a "softly treading" pizzicato figure in the strings that accompanies French Horn solos, the Brass announce a new melodic figure which is expanded by all sections of the orchestra. An urgent crescendo leads to a loud spine-tingling climax within the movement. Lower Woodwind and Brass then develop a rousing Fortississimo, which drops in tension to a Flute flourish and English Horn solo. Finally the strings play a series of chords that are accompanied by Flutes and Horns which mimic the earlier pizzicato of the Strings. The fourth movement Allegro Moderato begins with an "urgent", "pressing" motif announced by Horns and Trombones whilst Timpani rolls thunder underneath. Wind and Brass announce short thematic motifs that are strongly accompanied by rapid broken chord passages within the Strings. A two-bar Timpani solo leads into a slowly expanding crescendo, of small semiquaver motifs, played by the Strings to a huge climax. Towards the conclusion of the movement a slower tempo change occurs heralded by a long Bassoon note which is joined by a small Bass Clarinet solo, reminding the listener of the second movement thematic material. Gradually the musical focus changes into a punctuated dotted rhythm with rising triplet flourishes that culminate in a dynamic ending. The Lament on Shattered Lives was composed in 2007. It reflects the tragedy of daily life for innocent Iraqi citizens going about their daily business in the unstable environment post Saddam Hussein. Influenced by the daily news reports filtered through the worldwide media, the Lament depicts the atrocities committed by terrorists and extremists, bent on causing mayhem and destruction. Upon listening to one such news report, telling of the deaths of more than fifty people killed by a senseless act of destruction, the composition aims at reflecting the belief that no religion can condone the death of innocents for any reason, nor can any human justification be given for such barbarism. The Lament is composed for String Orchestra alone. Cellos introduce a melancholy five bar melody which gradually is taken up by each section playing the same theme. The work then moves into a forceful passage of suspensions. After a climax of repeated notes, the tension is released and then interrupted by a surge of dissonance that depicts the peace of daily life being forever interrupted by shattering explosions. Another tonal cluster with each section appears in two bar intervals and grows in intensity into a frenzied rhythmic attack. This climax unwinds into a fading, but ominous sounding duet between the cello and double bass sections. New thematic material emerges in the middle section, with the theme being enveloped by tremolo and counter melodies. After a second round of dissonant triplets, the original theme returns in a new key and fades to a peaceful ending. The Manhattan Requiem was composed on the very day American citizens and the world witnessed the tragedy of September 11th, 2001. The composition is a tribute to those Americans and individuals of different nationalities who lost their lives as a result of the terrorist attacks that occurred. The composition was originally conceived and written for Piano Quartet, but was subsequently reworked one year later for full String Orchestra with timpani in an expanded form. The work depicts the horror and tragedy of the day through long, drawn-out chord clusters with suspensions. The unison movement of the work portrays a chorale structure, reminiscent of a hymn. The work concludes with layered sections building towards a climax.- Shop: odax
- Price: 24.61 EUR excl. shipping
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Fear & Desire
Take the two beautiful angelic voices of Holland Zander & Jinger Christal, and blend them into a swirling mix of pop, straight-ahead jazz, orchestral rock 'n' roll, a slight bit of country, a hint of new age and a sprinkle of magic and you've got the basic recipe for Fear and Desire by the band of almost the same name, "Fear & Desire" (note the ampersand). Holland Zander and Jinger Christal both sing solos and harmonies throughout the album. Holland inherited her singing voice from her famous dad (Robin Zander) of Cheap Trick, but she adds her own style and delivery in a touching, inimitable way. Jinger has been singing all of her life and lends a crystalline beauty with her lovely voice, somewhat reminiscent of Karen Carpenter. When their voices blend together, it's almost overpowering in it's aching beauty. The album was written, recorded, and produced by John Bishoff, a lifetime RAMI (Rockford Area Music Industry) award winning musician. The album features gorgeous, orchestral production reminiscent of the Beatles and the Beach Boys late period work. With violins, cellos, French horns, trombones, trumpets, oboes, flutes, clarinet, tympani, harp, saxophones, pianos, classical guitar, Latin percussion, vibes and more, the lush production is a wall of gorgeous beauty swirling around the touching sadness of many of the songs. Patrick McDonough wrote in his review for Beet Café.com: "Fear and Desire' is a soothing mix of songs expressing emotions ranging from love found, to love lost, and from pain and sorrow stemming from abuse, to resurfaced memories and at the end of it all spiritual salvation. Bishoff's songs weave an ever-present wisdom throughout storylines meticulously placed into each lyric and melody.??This is a definite take home album, with songs like 'It's the Best,' a light-hearted look at new love, to the mystical closing song 'When I Reach the Sea', Bishoff takes us on a meandering journey through life experiences that reflect humankind with both it's flaws and beauty". Frank Schier, Editor, Rock River Times said of their debut concert at Paragon on State. 'The music had a 1930s nightclub feel that stretched out to the rock 'n' roll of the 1970s. The jazzy crooning and strong range of Christal and Zander even topped their beauty. Fans of all three were captured by the evening's two shows, drawn in by the obvious good times, sad times, and the quality that comprised the compositions.??Bishoff gives Rockford's good name in the music business another boost with his versatility as a talented modern composer". In addition to the orchestral instrumentalists from the Rockford Symphony Orchestra, and the big band players from the Moonlight Jazz Orchestra, the album also features multi-platinum selling new age flutist Nicholas Gunn.- Shop: odax
- Price: 25.46 EUR excl. shipping
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George Frideric Handel: Sonatas for Oboe & Continuo, Trio Sonatas for 2 Oboes & Continuo
No description.- Shop: odax
- Price: 17.15 EUR excl. shipping
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Gran Partita
Members of the Concertgebouworkest // The Gran Partita is here performed by wind players from one of the world's finest orchestras, the Amsterdam Concertgebouworkest, under the direction of oboist Alexei Ogrintchouk. Ogrintchouk has also chosen the coupling, a set of variations by Beethoven on Mozart's famous aria from Don Giovanni scored for two oboes and English horn.- Shop: odax
- Price: 15.66 EUR excl. shipping
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Handel In Italy-Cantatas,Arias,Serenata
This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works. Indeed, listeners might well feel as though they are listening to scenes from operas - cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking. A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone). This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set's focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel's stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists. Recorded between 1988 and 2014. Contains liner notes written by Philip Borg-Wheeler.- Shop: odax
- Price: 47.33 EUR excl. shipping
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Per la Tromba & il Corno da Caccia
The old instruments of the Stadtpfeiffer were replaced by French-styled oboes and bassoons in German courts and cities at the beginning of the 18th century. These became the "bandes de hautbois" to which trumpets were added, the combination becoming the basis of the military band.- Shop: odax
- Price: 18.70 EUR excl. shipping
