Friday, May 4, 2012

Magnificat: 500 Years of Choral Masterworks

Magnificat: 500 Years of Choral Masterworks

Magnificat: 500 Years of Choral Masterworks
Brand : | Rate : | Price : $135.95
Post Date : May 04, 2012 17:34:31 | Usually ships in 24 hours

Magnificat: 500 Years of Choral Masterworks

This unique, limited-edition boxed set offers 50 CDs of the greatest choral masterpieces of the past 500 years, stretching from Renaissance Masses and the glories of the Baroque and Classical eras through to the major works of the Romantic era and the diversity of the 20th and 21st centuries, all in some of the greatest recordings ever committed to disc.

Western art music owes its very existence to the church: harmony and multi-stranded polyphony derive from the work of church musicians working across Europe 500 years ago, seeking either to expiate sins or glorify and magnify the Almighty with praises: hence the title `Magnificat'.

The performances include an array of stellar artists in exceptional - even legendary - recordings from two of classical music's greatest labels, Decca and Deutsche Grammophon. Citing just some: John Eliot Gardiner's definitive Bach B Minor Mass, and St John Passion, famed Monteverdi Vespers and Brahms Requiem readings; Peter Schreier's Award-winning Mozart Requiem; Paul McCreesh's Haydn Creation and Schütz Vespers; Giulini's Rossini Stabat Mater; Solti's incandescent Verdi Requiem and Mahler Symphony No. 8; Christopher Hogwood's incisive period-instrument Messiah; the acclaimed Walton Belshazzar's Feast with Bryn Terfel; Britten's own definitive War Requiem and Bernstein's interpretation of his Chichester Psalms among many others. Sung texts - including a translation into English where appropriate - are included on a special bonus CD

A 160-page booklet offers detailed tracklistings, full artist and production information including details on recording dates and venues and producers. A 4000-word essay by noted choral music writer Andrew Stewart is provided in English, French and German.

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Thursday, April 19, 2012

Beethoven: The Symphonies

Beethoven: The Symphonies

Beethoven: The Symphonies

Brand : KARAJAN,HERBERT VON
Rate :
Price : $53.99
Post Date : Apr 19, 2012 10:16:19
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Beethoven: The Symphonies

No Description Available
No Track Information Available
Media Type: SACD
Artist: KARAJAN,HERBERT VON
Title: SYMPHONIES
Street Release Date: 11/25/2003
Domestic
Genre: CLASSICAL ARTISTS

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Thursday, April 12, 2012

Complete Duo Recordings

Complete Duo Recordings

Complete Duo Recordings
Complete Duo Recordings

Rate : | Price : $50.62 | Post Date : Apr 12, 2012 10:48:04
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Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.

Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."

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