46 Results for : admirably
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Sinfonie 8 "Sinfonie der Tausend"
"at once the most ambitious and the most impressive in Gergiev's Mahler series... The atmosphere of a great occasion is caught admirably, with the timpani and organ very impressive... A most competitive version." (Penguin Guide)- Shop: odax
- Price: 9.89 EUR excl. shipping
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Romantic Piano Concerto Vol.05
English Northern Philharmonia - David Lloyd-Jones (Dir) // "These three works make an excellent programme ... all in all an admirably conceived and executed disc" (Gramophone) // "Binns makes a strong case for all three works playing them superbly" (Fanfare, USA)- Shop: odax
- Price: 16.26 EUR excl. shipping
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Turandot
"the stereo version, as sheer sound, is pretty staggering. Indeed from the purely technical view this set can stand beside the Decca Rheingold... The Rome Opera chorus and orchestra certainly acquit themselves well here....Erich Leinsdorf .... knows how to build up an exciting climax, and he paces the riddle scene admirably. Nilsson's Turandot is superbly sung, and with the greatest of ease." ('Opera')- Shop: odax
- Price: 12.66 EUR excl. shipping
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Resurrection
O Mortal Man - (Herbert Howells 1892-1983) O Mortal Man is a setting of the Sussex Mummers' Carol (first collected and notated by Lucy Broadwood in 1908). It is a slightly mysterious work that seems only to have come to light within the last twenty years. In the 1990s, Christopher Palmer produced the first edition from the almost-complete manuscript source in the library at the Royal College of Music. When this disc was being recorded, it became clear that further consultation of the source was necessary, and, as a result, Sam Hayes produced the edition that is heard here, with great gratitude to Palmer's earlier work. The present reading corrects a few small errors found in the earlier edition, provides a slightly different completion of the missing final bars and offers occasional alternative readings of the string voice-leading, sometimes unclear in the source. It also suggests text for the charming inner verse for four-part choir. The source gives no text for this verse, but seems to suggest the placement of certain syllables using slurs. The original carol has at least seven verses, but Howells's manuscript for O Mortal Man suggests that the harmonisation of the inner verse should only be used once. The middle verse recorded here seemed the most logical choice, and complements the other two verses admirably. The date of the work is unclear, but a superficial comparison with the Four Anthems of 1941 suggests it may date from a similar period. Like as the Hart Desireth the Waterbrooks - (Herbert Howells 1892-1983) Composed in Cheltenham in early 1941, this setting of psalm 42 is one of a collection of four anthems written at this time, the other three being O pray for the peace of Jerusalem, We have heard with our ears O God, and Let God arise. The choice of texts is perhaps telling, as Howells's temporary residence in Cheltenham came as a result of his London home being bombed out in late 1940. Like as the hart is an acknowledged choral classic, combining Howells's trademark expansive melodies with his distinctive harmonic language, tonal and approachable, but not without a few more daring chromatic moments. Particularly striking is the warm, singable opening theme for tenors and basses in unison, the hauntingly ethereal soprano writing particularly in the divided section towards the end, and the reverent repose of the final bars. Life Cycle - Adam Pounds (born 1954) The Life Cycle was first composed as a piece for dance in 1992. At this stage it was written as a short piece for a chamber ensemble of seven players. After a successful performance (with dancers) at the Chelmsford Cathedral Festival, the composer decided to extend the work and transcribe it for full orchestra. In it's first transformation, the piece included a part for synthesizer but this was later discarded. Although programmatic, the 'Life Cycle' is perhaps one of the most experimental and abstract of Pounds' work. The opening was re-written in 2010 and describes 'a beginning'. The music then passes through different stages - birth, the joy of life (depicted by a minimalist section), stress and finally death (the music being a mirror image of the opening) followed by the ascension of the spirit. There is much use of exciting rhythms with virtuosic demands made on all sections of the orchestra. The percussion in the piece includes randomly tuned drums adding to the primitive, distant aesthetic of the work. The Lord is my Shepherd - Lennox Berkeley (1903-1989) Lennox Berkeley began composing at a young age but initially the idea of making his living as a professional musician was not apparent. He studied Modern Languages at Oxford and it was here that he wrote his first published work. The composer Ravel, suggested that Berkeley should study composition with Nadia Boulanger in Paris. This he did and she had a profound effect on his development both personally and as a composer. The 'Lord is my Shepherd' is a relatively late work and represents Berkeley at his most lyrical. It was commissioned to mark the 900th anniversary of the foundation of Chichester Cathedral and was first performed in 1975, the year that Berkeley became president of the Performing Right Society. The piece features a fine and memorable treble solo as well as convincing word painting The Martyrdom of Latimer - Adam Pounds (born 1954) Composed to celebrate the tenth anniversary of the Ely Sinfonia, this work explores the final days of the cleric Hugh Latimer's life, his death at the stake and his martyrdom. In order to give a sense of period modal themes and liturgical ideas are combined with strong rhythmic statements. The opening music is based on that of the Tudor composer Robert White, who was Master of the Choristers at Ely Cathedral. After a strong bell-like statement from the full orchestra, a flowing liturgical figure is introduced. There then follows an adagio that features an oboe solo in which the isolation of the character can be felt. The music then rises in tension representing the execution of Latimer and the following bass and tuba interventions utter the final death throws. The harmony then changes in nature to a more ethereal character and heralds the four trumpet parts. In the original performance, two of the players are sited in the gallery in order to exploit the special acoustic of the cathedral. The composer was asked to explore the concept of resurrection in the piece and to this end he has designed a coda which employs material earlier heard in the work that represents Latimer's character. After a short chorale-like figure in the brass the opening music returns in a more extended and assertive form. This is intended to reinforce the concept that in death, Latimer became more powerful and therefore 'alive'. Lo, the Full Final Sacrifice - Gerald Finzi (1901 - 1956) Lo, the full, final sacrifice (Op. 26) was commissioned by the Revd Walter Hussey for the 53rd anniversary of the consecration of St Matthew's Church, Northampton. Finzi orchestrated the piece for it's performance at the Three Choirs Festival in 1947, and the reduced orchestration heard here is by Jonathan Rathbone, with support of the Finzi Trust. The text is assembled from two poems of Richard Crashaw (c. 1613-1649), an English poet of the Metaphysical tradition of John Donne and Thomas Traherne, 'Adoro Te' and 'Lauda Sion Salvatorem'. These constitute poetic translations of Latin hymns by St Thomas Aquinas (c. 1225-1274). Finzi did not set the entirety of both poems, he instead excerpted and re-ordered selected stanzas from Crashaw's original to create a composite text for the work. The music of the piece is typical of Finzi's style - expansive, colourful, with suggestions of nostalgia and longing. The highly sectionalized form follows the stanza divisions of the text, featuring episodes of homophonic textures as well as short stretches of polyphony. The choral forces are used in a very varied way, ranging from unison and two-part writing to the luxurious 8-part Amen at the end of the piece.- Shop: odax
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Out of the Shadows: Sacred Music of Francisco Guerrero and Thomas Crecquillon
In their lifetimes, Francisco Guerrero and Thomas Crecquillon were among the most popular and acclaimed composers of the 16th century. In the intervening years, however, Guerrero has been eclipsed in stature among Spanish Renaissance composers by his contemporary Victoria, Crecquillon, meanwhile, has disappeared almost entirely, with his greatest works surviving mostly as misattributions to better-known composers such as Clemens non Papa and Morales. Here we present a range of sacred works by both composers, including some of their most well-known compositions as well as pieces that may not have been heard by audiences in hundreds of years. Crecquillon, the earlier of the two composers whose works we present here, was choirmaster at the Imperial Chapel and unofficial court composer for Charles V, Holy Roman Emperor. He belongs to the generation of Franco-Flemish composers immediately following Josquin, a generation in which the art of imitative polyphony was raised to arguably it's highest state. Crecquillon's skill in polyphonic writing was widely recognized in his lifetime and immediately thereafter-a collection of motets published in 1576 calls him 'the most celebrated master' of Charles V's court, and many great composers of his and the following generation wrote parody masses on melodies of Crecquillon's. It is not clear why Crecquillon's music has been largely neglected in the resurgence of interest in Franco-Flemish polyphony, as it's beauty and skill in counterpoint hold up admirably in comparison to music of contemporaries such as Gombert and Clemens non Papa. One composer of the late 16th century who found Crequillon's melodies worthy of incorporating in his own music was the Spaniard Francisco Guerrero. Of the eighteen settings of the mass Guerrero produced, one of the most successful is the Missa Congratulamini mihi, based on the Crecquillon motet of that name, which we include on this recording. Guerrero was a prodigy, graduating from choirboy at Seville, where he was born, to choirmaster at Jaen [needs diacritic] while still in his teens. He soon returned to Seville with the promise of eventually succeeding to the post of choirmaster there. Despite having apparently obtained his dream job, Guerrero seemed to have a great curiosity about the world at large and spent many years away from his post traveling, which included a remarkable visit to the Holy Land that culminated in his capture and ransom by pirates. His published account of this journey became almost as popular as his music. As a composer, he was perhaps best known in his lifetime for his deeply felt settings of Marian texts, which earned him the sobriquet 'El Cantor de Maria.' In the initial revival of interest in sacred Renaissance polyphony in the mid- to late 20th century, Guerrero's music was mostly neglected in favor of that of his contemporary and countryman Tomas [needs diacritic] Luis de Victoria, in recent years, however, many significant performances and recordings have begun to redress this imbalance. - Tom Crawford, 2013 King Solomon's Singers: Heather Ahrenholz Michael Byrley Tom Crawford Tamara Ghattas Jessica Melger Stephanie Sheffield William Bouvel William Chin Matthew Dean Amy Mantrone Peter Olson King Solomon's Singers is an ensemble dedicated to the performance of Renaissance polyphony and chant. The members of the ensemble are professional and semi-professional singers from the Chicago area-members of ensembles such as Chicago Chorale, Schola Antiqua of Chicago, The Oriana Singers, The Chicago Early Music Consort, and Chicago a cappella-who share a love of this particular repertoire. For more information, visit our website or find us on Facebook. Special Thanks: This recording is dedicated to Robert and Susan Crawford, who made it possible.- Shop: odax
- Price: 26.65 EUR excl. shipping
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Prelude
Announcing the release of 'Prelude', SF jazz vocalist Milla Milojkovic's sophomore CD. Milla is a San Francisco-based singer that possesses the unique ability to deliver shy and gutsy in the same breath, using her empathic abilities to affect her audience to it's core. In Prelude, Milla maximizes the talent of her recording band, led by pianist Adam Shulman. Dayna Stephens' dreamy sax solos wail over the burnin' rhythm section (John Wiitala on bass and Tim Bulkley on drums) revealing new ideas in an old setting. Guitarist Bob Brumbeloe joins the group for a couple tunes, upping the cool factor considerably with his groovy sound. At the heart of it all is the voice of Milla. She delivers with sex appeal, sorrow, sass, and intensity. Her sound is educated and inspired. Milla's warm, sultry tone translates effortlessly between genres, also exemplified in Prelude. From smoky bossas to fearless blues, her style is distinct and her interpretations soulful. The CD features imaginative arrangements of well-represented classics, in addition to the lesser-known gems she digs up and just has to share. Of her new CD Prelude, Milla comments, "If I had to picture someone listening to this CD, I would hope they'd be near a lover and a fireplace." '[Milla] sings with admirably good taste, keen sense of time and implacable intonation . . . . Her emotional colors warm and animate her soulful interpretations" -Dr. Herb Wong, famed jazz journalist/producer "Milla stands out with a beautiful vocal sound....This woman has real feeling in her singing." -Larry Vuckovich, jazz pianist 'Milla is an emissary from another era -- her music, her lingo, her style. She evokes experiences certainly beyond her years. Must be that Balkan soul.' -Bruce Bellingham, SF Examiner.- Shop: odax
- Price: 34.78 EUR excl. shipping
