Rhapsodic

Kreisler Spielt Kreisler

Liebesleid, Liebesfreud, Caprice Viennois op.2, Tambourin chinois op.3, Der alte Refrain, Schön Rosmarin, La Gitana, Viennese Rhapsodic Fantasietta (Aufnahmen 1942-1946).

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Bloch's single-span second sonata, subtitled Poème mystique (1924), is mainly on the striving side - a beautiful, rhapsodic unfolding - while brutalism is obtruded by the middle movement of Shostakovich's 1968 sonata. Janácek's fascinatingly inventive and searching four-movement sonata (1922) is the disc's deeply rewarding centrepiece (P. Driver, Sunday Times).

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Summer Of '13

180 Gramm LP. Das sechste Album des Ex-Arab-Strap-Members wurde lange erwartet - und es ist super.Malcolm Middleton verkörpert eigentlich den klassischen Folksänger, schreckt jedoch nicht davor zurück, im Alternativerock-Gewand nebst Band Gas zu geben. Die Singer/Songwriter-Referenz Simon & Garfunkel konkurriert beständig mit Bruce Springteens Breitwand-Rock um die Vorherrschaft in Malcolms Soundgefüge - ohne dass ein eindeutiger Sieger auszumachen wäre. Der gebürtige Schotte lebt die Liebe zur Musik seit den Neunzigern berufsmäßig aus. Zu der Zeit sammelt er erste Banderfahrungen, die sich erstmals 1995 zu einem international ernst zunehmenden Projekt verdichten. Gemeinsam mit Aidan Moffat hebt er die Folk-Indies Arab Strab aus der Taufe. In der elfjährigen Bandgeschichte veröffentlichen die beiden sechs Studioalben. Malcolm tritt erstmals 2002 als Solist in Erscheinung und lenkt den Fokus nach dem Arab Strab-Split auf seine Solokarriere. Der Mittdreißiger beherrscht ein ungewöhnlich großes Spektrum diverser Musikinstrumente wie Saxofon, Gitarre oder Piano. Er gilt als zynischer Charakter, der seine Aussagen mit einer gehörigen Portion Ironie spickt: Ich genieße den Schreibprozess. Dabei schreibe ich darüber, was ich weiß. Jedoch weiß ich nicht wirklich viel. (LAUT.de) His first album for seven years and the sixth solo album from the ex-Arab Strap man, is set for release on the relaunched Nude Records. In Malcolm's songs hope and optimism have always existed (they were just well hidden) and catchy has always been his prime prerogative, but with the new album glimmering with heady production, this clearly shines through. Calling upon the expertise of Glasgow-based dance producer Miaoux Miaoux, the album also features guest appearances by Beta Band/The Aliens founder Gordon Anderson aka Lone Pigeon (also creator of the album s artwork, technicolour photography and who became a 'soundboard' for Malcolm after he moved into the cottage next door). De Rosa's Martin John Henry and First Aid Kit s Scott Simpson also add to the albums sonic swirl and sense of fun. A wonky tonk fun-land of squelching synths and sweeping strings, Steps is a cosmic space ride through pitch bends and vocal manipulation whilst Information In The Voice unexpectedly drops pop RnB hip hop. But it s never without feeling, take the romantic You & I or shimmering and rhapsodic Big Black Hole with its twinkling piano hook. Put together, there s a neon glow of 80s new wave, alongside smoggier shades of the Chromatics or Johnny Jewel s Glass Candy. Malcolm has always enjoyed challenging his listeners and this time around is no exception. TRACKS: 1. Steps 2. You & I 3. Information In The Voice 4. Brackets 5. Like John Lennon Said 6. Little Hurricane 7. Music Ticks 8. Summer Of '13 9. Big Black Hole 10. Lullaby

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Our Vines Have Tender Grapes

An endearing and quietly rhapsodic slice of Americana about a single year among the Norwegian immigrants in a Wisconsin farm town, Our Vines Have Tender Grapes enthralled 1945 audiences and critics with it's timeless joys. Told from the viewpoint of little Selma (Margaret O'Brien), the film explores grand childhood adventures: making friends, a pet calf, Christmas, a terrifying trip down a flood-swollen river, a barn fire and a ride on a circus elephant's trunk. In a change-of-pace role, Edward G. Robinson is a revelation of wisdom and compassion as Selma's father, leading a fine cast that illuminates the profound power of everyday triumphs and sorrows.

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Music for Solo Cello

Cassado: Suite for solo cello I. Preludio - Fantasia II. Sardana (Danza) III. Intermezzo e danza finale Ysaye: Sonate Op. 28 for solo cello I. Lento e sempre sostenuto II. Poco allegretto e grazioso III. Adagio IV. Allegro Tempo fermo Ligeti: Sonate for solo cello I Dialogo II Capriccio Kodaly: Suite Op. 8 for solo cello I. Allegro maestoso ma appassionato II. Adagio III. Allegro molto vivace ---------------- When Johann Sebastian Bach composed his six cello suites around the year 1720, they were labeled "6 Suites a Violoncello Solo senza Basso." This curious title can be explained by the fact that it was a novelty at the time to write for cello alone, an example that would not be followed any time soon: not counting the various solo cello studies, capriccios, and other pieces composed by cellists for educational purposes, one needs to wait nearly two centuries before finding important repertoire in the medium. The famous Catalan cellist Pau Casals (1876-1973) was partially responsible for the rebirth of the solo cello repertoire: his "discovery" of Bach's cello suites at the beginning of his career and his subsequent efforts to propagate them helped convince the younger generation of composers to write for solo cello. The four works presented on this CD illustrate the rise of the modern solo cello repertoire. Common characteristics of this collection include a powerful rhetorical discourse, a rhapsodic character, and a complete technical mastery in writing for the instrument. That the four composers represented here had an excellent knowledge of the cello came from their own practical experience: Zoltán Kodály and György Ligeti had studied cello before becoming composers, the famous Belgian violinist Eugène Ysaÿe was competent enough to play the cello part in private chamber music evenings, and Gaspar Cassadó, Casals's student, was a celebrated cello virtuoso. Kodály's Sonata for Solo Cello, Op. 8 (1915) and Cassadó's Suite for Cello Solo (1925) are colored with regional flavor. As early as 1905, Zoltán Kodály (1882-1967) had traveled with Bartók to record the peasant and popular music of Central Europe. Reminiscences of these ethnomusicological travels are present in Kodály's sonata, not only in the imitation of traditional instruments (violin, percussion, cimbalom, etc.) and their modes of playing, but also in the poetic description of the landscapes in which the music was born. Perhaps in a more folkloric way but still with much panache and poetry, Gaspar Cassadó (1897-1966), in his Suite for Solo Cello, imitates flamenco singing and guitar playing. He also quotes the Catalan sardana dance with it's introduction for flabiol (Catalan piccolo recorder), it's grotesque cobla (traditional Catalan ensemble), and indispensable nostalgic solos played by the tible (Catalan shawm). Like Fritz Kreisler, Cassadó was accused of musicological crimes: he attributed some of his own compositions to famous composers of the past such as Frescobaldi, Couperin, Boccherini, and Schubert, calling them "transcriptions." A good example of Cassadó's skill in pastiche can be found in the second movement, Sardana, at the expression marking burlesco: here he literally forces the cellist to imitate the approximate intonation of a traditional village ensemble by writing a series of unisons in such wide fingering spans that no cellist can play them in tune. We should not forget to mention that the first theme of Cassadó's suite is an embellishment of the opening of Kodály's sonata, a nod to the older Hungarian composer. György Ligeti (1923-2006) wrote the two movements of his Sonata for Solo Cello at a five-year interval. The first part, composed in 1948 for a young cellist with whom he was secretly in love, consists of a musical dialogue between a woman and a man. The composer's gift was not reciprocated, however, and the work was left unperformed until Ligeti added a second movement in 1953 in response to a famous female cellist (with whom he was not in love, as the composer tells us), who commissioned a full sonata from him. During the communist period, the Hungarian Composer's Union refused to allow the work to be published or performed on the grounds that the second movement was too modern. This might amuse us today, because the work - composed under the influence of Kodály and Bartók - is much more traditional than Ligeti's later compositions. Like Cassadó and Casals, the violinist Eugène Ysaÿe (1858-1931) was a great admirer of Bach's solo works and among the first to include them on his concert programs. Ysaÿe shows his devotion to Bach in his Violin Sonata No. 2 "Obsession," where he quotes the opening of the Partita for Solo Violin in E-major. Although there are no direct quotations from Bach's solo violin works in Ysaÿe's Sonata for Solo Cello, Op. 28 (1923), we sense nevertheless that the famous violinist was more familiar with Bach's writing for solo violin than solo cello. This can be heard in the many chords and detailed contrapuntal writing, in Bach's solo cello works, chords are less frequent and the polyphonic lines are distributed in a more arpeggiated fashion. Ysaÿe's cello sonata, not as well-known as his six sonatas for violin but sharing many of the same difficulties, includes the composer's own fingerings. The work was dedicated to the Belgian cellist Maurice Dambois, with whom - along with pianist Yves Nat - Ysaÿe had formed a trio. While Pau Casals played a crucial role in the development of the solo cello repertoire at the beginning of the twentieth century, cellists such as Siegfried Palm and Mstislav Rostropovich inspired the following generations of composers. One needs only to reflect on composers such as Dallapiccola, Zimmermann, Henze, Scelsi, Britten, Sessions, Penderecki, Xenakis, Dutilleux, Ginastera, and Berio to understand the richness and diversity of the modern solo cello repertoire, which we hope to present to you in future recordings. NICOLAS DELETAILLE - TRANSLATION THOMAS SVATOS Nicolas Deletaille After having received his musical education in Belgium and in the USA, Nicolas Deletaille has begun his professional life as a concert performer. In the same time, he has recorded the Bach six Cello Suites, the Beethoven five Cello Sonatas, major works from the solo repertoire (Kodály, Cassadó, Ysaÿe, Ligeti) as well as chamber music CDs (Schubert, Dvorák, Franck, Tchaikovsky,...) Nicolas Deletaille has also earned distinction as an arpeggione player by recording the Schubert arpeggione sonata in the rare original arpeggione version with the vienese maestro Paul Badura-Skoda on an original 1820 pianoforte. Nicolas Deletaille has collaborated extensively with composers of our time. He has given approximately 50 world premiere creations, most of which were pieces written for him by composers from Belgium, France, Taiwan, USA, Italy, England, Switzerland, Korea, Norway and Canada. Nicolas Deletaille is currently a faculty member of the Eastern Mediterranean University, TRNC. Français Quand Johann Sebastian Bach composa ses six suites pour violoncelle vers 1720, elles furent baptisées « 6 Suites a Violoncello Solo senza Basso ». Ce titre curieusement redondant s'explique par l'originalité d'écrire à cette époque pour violoncelle seul. Cet exemple ne sera d'ailleurs pas suivi de longtemps : mis à part d'innombrables études, caprices et autres exercices de virtuosité, écrits par les violoncellistes eux-mêmes dans un but purement pédagogique, il faudra attendre que le célèbre violoncelliste catalan Pau Casals se fasse l'ambassadeur des Suites de Bach lors de ses tournées de concerts à l'aube du XXe siècle pour que des compositeurs se montrent peu à peu enclins à écrire des œuvres importantes pour violoncelle seul. Les quatre œuvres reprises sur ce CD, composées au cours de la première moitié du XXe siècle, s'inscrivent dans la cadre de ce développement du répertoire pour violoncelle seul. Elles ont en commun un discours rhétorique puissant, un c

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Remember

The choral selections on this recording cover a wide spectrum in their approach to life and it's inevitable ending. The composers of these pieces have created strong emotional works that can move the listener to tears, but at the same time raise that listener's spirit. Listening to this music is a chance to remember - but that can be experienced in different ways. Five of the compositions are directly related to war. Three of them are based on texts from World War I. Of those, two are set to Laurence Binyon's timeless poem For the Fallen. Canadian composer Eleanor Daley's setting makes evocative use of the trumpet so often associated with military ceremonies. Mike Sammes' composition for male voices is incredibly moving and ends with the piano playing the final notes of The Last Post. It has been sung at every Saskatoon Chamber Singers' Remembrance Day concert as the Act of Remembrance. Many choral compositions have been written to the words of John McCrae's In Flanders Fields. Canadian composer Kirkland Adsett has chosen to use violin and cello to create a melodic and lyrical setting of this famous text. We Remember Them by American composer Donald McCullough (The Holocaust Cantata) has a distinctively sad and melancholy character. The text by Rabbi Sylvan Kamens and Rabbi Jack Riemer is, in many ways, reminiscent of Binyon's poem mentioned above. The text reminds us that we must all remember the terrible things that can happen in the world when hate, prejudice and oppression go unchecked, so we can try to prevent them from happening again. A Soldier's Prayer by Canadian composer Beverly Lewis is set to an anonymous text found by a hospital nurse in the Philippines during World War II. The text begins "Let them in, Peter, for they are very tired" and then goes on to enumerate those things that the dead will never see or do or know. The fallen in war deserve to be given "things they like" and be told that "they are missed." The plaintive sound of the oboe adds to the poignant mood of this piece. Following along the lines of these pieces is Michael Horvit's Even When God Is Silent. The text for this piece was found by Allied troops in Cologne, Germany, written on a basement wall by someone who had been hiding from the Gestapo. It was commissioned by Congregation Emanu-El on the occasion of the 50th anniversary of Kristallnacht. In Ose Shalom, John Leavitt uses clarinet, violin, cello, bass, and piano to accompany the choir in this moving plea for God to create not only peace in the heavens, but also peace for the Jewish people. Four of the selections are more traditionally sung as hymns. There are two settings of O God, Our Help in Ages Past. Paul Christiansen uses chorale-like arrangements of the familiar tune "St. Anne" for verses one, three, and five. The first and fifth are for male voices and the third for mixed voices. Each of these verses is joined by a contrasting verse that creates a sense of tension and despair. Alan Hovhaness wrote his own tune and accompaniment and set only three verses of the text. The first and third are homophonic in nature, the second has the voices entering one after the other, and all are accompanied by organ. Stephen Hatfield's Amazing Grace is a wonderful and innovative setting of this very familiar tune. The actual hymn tune is heard only in the solo oboe, accompanied throughout by a very beautiful counter melody for the choir. My Shepherd Will Supply My Need was arranged by our accompanist, Rod Epp. He has taken the traditional tune associated with this text and created a wonderfully tender and melodic piece. Both British composer William Walton and Canadian composer Jeff Enns have set Phineas Fletcher's poem "Litany" to music. Although Walton seldom wrote church music, A Litany, composed when he was only fourteen, already foreshadows his distinctive style. Jeff Enns' Litany, inspired by Walton's version, is a composition that is both heartfelt and uplifting and full of beautiful melodies and rich harmonies. The text begins "Drop, drop, slow tears." The shedding of tears is a natural part of the grieving and remembering process. Three of the compositions on this recording are better known for their text than the music to which they have been set. Australian composer Graeme Morton chose Tennyson's timeless poem Crossing the Bar, in which the final stages of life are paralleled with the sailor's evening return to port at journey's end. Christina Rossetti's poem Remember is the text used by Canadian composer Stephen Chatman. The sentiments of this poem reflect much of what we are asked to do when we remember: never should we let the pain of memory take away the joy of living. Chatman's piece is reminiscent of chant in that the character and movement of the piece are reliant on the ebb and flow of the words of the text. Canada's senior composer, Healey Willan, has written a sublime piece to a text by Henry Wadsworth Longfellow, How They So Softly Rest. One of Willan's early works, it hints of Russian church music with it's rich chords for both male and female choirs and is typical of his soaring melodic lines. Canadian composer Allan Bevan has written a truly beautiful arrangement of Ave Maria for two soprano soloists and women's voices. This piece won first prize in the equal voices category in the 1999-2000 Association of Canadian Choral Communities' choral composition competition. The beautiful melody and harmonies unite to create a piece that soars majestically to it's conclusion. Another Canadian composer, Stephanie Martin, set to music comforting words from the Eastern Byzantine rite (circa 842). Kontakion, although homophonic in nature and sung with a feeling of chant, creates a sense of peace now that death has come and a sense of jubilation about what is yet to come. The words of the faithfully departed ask that they be given rest with the saints in a place where there is no longer pain, sorrow, or sighing, but only life everlasting. Cellist Pablo Casals composed O Vos Omnes to a short text from Lamentations. At first Casals sets the male voices against the female voices, but soon they come together as one to reflect a united sorrow. I'm Stillen Friedhof by Hugo Wolf is one of his early compositions and was probably written for the Ritterbund, a close group of friends who came together on a weekly basis for music and good company. The sombre mood first set by the opening chords of the piano gives way to a rhapsodic melody that is sung in turn by the four voices before once again returning to the same sombre mood of the opening. The piece asks us to consider the speed with which the body within a grave can be forgotten, since life seems to continue unaffected. Canadian composer Pierre Mercure wrote Cantate pour une joie in 1955. It is a remarkable work of seven movements, six of which depict the horror and savagery and sadness of war and the state of the world. The cantata concludes, however, with a joyous A Cry of Joy in which the opening piano introduction imitates the pealing of bells on some auspicious occasion, and this sense of festivity and celebration continues throughout the piece. Mercure was concerned with the yearning for joy rather than the concept of joy itself. Jeff Enns' God Be in My Head serves as a suitable conclusion or benediction for this CD. Sung in unison, it's simplicity of melody and text calls us back together to do what the title of the CD first asked us to do - Remember.

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Middleton, M: Summer Of '13

Malcolm Middleton verkörpert eigentlich den klassischen Folksänger, schreckt jedoch nicht davor zurück, im Alternativerock-Gewand nebst Band Gas zu geben. Die Singer/Songwriter-Referenz Simon &amp, Garfunkel konkurriert beständig mit Bruce Springteens Breitwand-Rock um die Vorherrschaft in Malcolms Soundgefüge - ohne dass ein eindeutiger Sieger auszumachen wäre. Der gebürtige Schotte lebt die Liebe zur Musik seit den Neunzigern berufsmäßig aus. Zu der Zeit sammelt er erste Banderfahrungen, die sich erstmals 1995 zu einem international ernst zunehmenden Projekt verdichten. Gemeinsam mit Aidan Moffat hebt er die Folk-Indies Arab Strab aus der Taufe. In der elfjährigen Bandgeschichte veröffentlichen die beiden sechs Studioalben. Malcolm tritt erstmals 2002 als Solist in Erscheinung und lenkt den Fokus nach dem Arab Strab-Split auf seine Solokarriere. Der Mittdreißiger beherrscht ein ungewöhnlich großes Spektrum diverser Musikinstrumente wie Saxofon, Gitarre oder Piano. Er gilt als zynischer Charakter, der seine Aussagen mit einer gehörigen Portion Ironie spickt: "Ich genieße den Schreibprozess. Dabei schreibe ich darüber, was ich weiß. Jedoch weiß ich nicht wirklich viel. (LAUT.de) His first album for seven years and the sixth solo album from the ex-Arab Strap man, is set for release on the relaunched Nude Records. In Malcolm's songs hope and optimism have always existed (they were just well hidden) and 'catchy' has always been his prime prerogative, but with the new album glimmering with heady production, this clearly shines through. Calling upon the expertise of Glasgow-based dance producer Miaoux Miaoux, the album also features guest appearances by Beta Band/The Aliens founder Gordon Anderson aka Lone Pigeon (also creator of the album's artwork, technicolour photography and who became a 'soundboard' for Malcolm after he moved into the cottage next door). De Rosa's Martin John Henry and First Aid Kit's Scott Simpson also add to the albums sonic swirl and sense of fun. A wonky tonk fun-land of squelching synths and sweeping strings, 'Steps' is a cosmic space ride through pitch bends and vocal manipulation whilst 'Information In The Voice' unexpectedly drops pop RnB hip hop. But it's never without feeling, take the romantic 'You &amp, I' or shimmering and rhapsodic 'Big Black Hole' with its twinkling piano hook. Put together, there's a neon glow of 80s new wave, alongside smoggier shades of the Chromatics or Johnny Jewel's Glass Candy. Malcolm has always enjoyed challenging his listeners and this time around is no exception.

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Complete Chamber Music With Piano

A collection of effervescent French chamber music, generously compiled (almost 140 minutes), unrivalled in the current catalogue, in stylish new recordings, complemented by an extensive and authoritative booklet-note. André Jolivet (1905-1974) is surely one of the most interesting yet neglected French composers of the last century. Outside the constraints of the Parisian conservatoire tradition, he developed an idiom way ahead of its time compared to many of his contemporaries, indeed, while Edgard Varese was ploughing his furrow, Jolivet was his only European pupil between 1929 and 1933. However, Varese-like acerbity and austerity is out of place here. Jolivet was never less than a skilled melodist, and one who wrote for his chosen instruments rather than against them. Much that is here such as a sensuous Flute Sonata, a muscular Violin Sonata or a jocular Suite for oboe and piano is pitched, to ears unfamiliar with Jolivet, in an idiom somewhere between Poulenc, Messiaen and Dutilleux, but that's the voice of Jolivet, and closer acquaintance with this set will accustom listeners to it in all its unpredictable, quicksilver charm. The Flute Sonata has received several recordings in the company of the likes of Poulenc and Koechlin, but there is much here that will be unfamiliar to even the most dedicated discophiles and followers of French musical fashions: an Ouverture en Rondeau for 4 ondes martenot, piano & percussion, for example, or the Petite Suite for string quintet, piano and percussion. Few of the individual pieces or movements are of any great length - Jolivet knew the value of succinct expression like many French musicians of his generation, and had a horror of pomposity - but there is a ten-minute Nocturne for cello and piano, and a rhapsodic Chant de Linos for flute and piano of the same length. The later music - the set is helpfully arranged in chronological order - is especially intriguing, once Jolivet had found for himself a new form of classicism aimed at synthesizing serial and freely atonal music together with modal developments. One fine example is the Hopi Snake Dance for two pianos. An invaluable set, masterminded by the pianist Filippo Farinelli, who has previously accompanied distinguished colleagues in the complete songs of Jolivet (BC9220), Ravel (BC94743) and Dallapiccola (BC95202). André Jolivet (1905-1974) is considered one of the most interesting French composers of the 20th century. His vast oeuvre includes nearly all musical genres. Actively open to all musical genres (he never had a proper conservatory education) he developed a personal style that was distinctly avant-garde. This new recording spans Jolivet's entire lifetime, and presents his complete chamber music with piano in combination with violin, viola, cello, flute, oboe, saxophone, clarinet, trumpet, double-bass and Ondes Martenot. Fascinating, vibrant and colourful music! Excellent performances by Italian soloists and pianist Filippo Farinelli, the driving force behind several Brilliant Classics projects: complete songs by Ravel, Jolivet and Dallapiccola, Koechlin Saxophone Music and others. The extensive liner notes are written by a musicologist.

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Price: 16.75 EUR excl. shipping

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