52 Results for : mélodies
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Songs and Mélodies
Agata Schmidt (Mezzosopran) - Capella Bydgostiensis - Mariusz Smolij (Dir)- Shop: odax
- Price: 13.06 EUR excl. shipping
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Passion Vol. 2: les plus grandes voix, les plus belles mélodies
No description.- Shop: odax
- Price: 10.60 EUR excl. shipping
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Chanter et Souffrir: French Mélodies by Charles Gounod
No description.- Shop: odax
- Price: 14.82 EUR excl. shipping
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Milestones Of A Legend
"Mein ganzes Leben lang habe ich nichts anderes gemacht, als an der Schönheit und Wahrheit des Klanges zu arbeiten, am Stil und am Ausdruck", lautet das schlichte Bekenntnis der Elisabeth Schwarzkopf, die eine der ganz großen Sängerpersönlichkeiten des 20. Jahrhunderts war. Die große Sopranistin hat als Strauss-Interpretin einen herausragenden Status, Gleiches gilt für ihre Leistungen im Mozart-Fach. Die Künstlerin mit dem Glamour eines HollywoodStars sang an allen großen Opernhäusern der Welt und hat durch ihre makellosen und wundervoll nuancierten und sensiblen Interpretationen im Liedbereich Großes geleistet. Die vorliegenden 10 Original-Alben aus den Fünfziger- und Sechzigerjahren dokumentieren die große Bandbreite ihres Könnens und zeigen die Schwarzkopf in Höchstform. Es sind absolute Referenzaufnahmen darunter, maßstäbliche Interpretationen, die Musikgeschichte geschrieben haben: Elisabeth Schwarzkopf Sings Operetta (1959), SCHUBERT SONG RECITAL (1953), STRAUSS Capriccio-Closing Scene/ Four Last Songs (1953), HUGO WOLF From The Italian Song Book (1961), A Recital of Duets (1956), More Songs You Love The Elisabeth Schwarzkopf Christmas Album (1957), Scenes from Arabella (1955), Mozart Operatic Arias (1953), Mozart - Lieder et Mélodies (1956) und Hugo Wolf - Goethe Lieder (1959). Zahlreiche Bonustracks - darunter fantastische Ausschnitte aus dem "Rosenkavalier", Rolleninterpretation wie die der Hanna Glawari (Die lustige Witwe), Konstanze (Entführung), Gretel (Hänsel und Gretel), Ariadne sowie vielen anderen Beispielen ihres Könnens. Kongeniale musikalische Mitstreiter sind neben weiteren Herbert von Karajan, Walter Gieseking, Otto Ackermann, Christa Ludwig, Edwin Fischer, Gerald Moore, Irmgard Seefried.- Shop: odax
- Price: 23.34 EUR excl. shipping
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Reflections of Forever
Tuesday's Luminescence Quartet - Reflections of Forever Le groupe a été créé en 2003 par Tuesday Warren -saxophoniste américain installé depuis 2001à Paris- dans le but d'explorer différents chemins et possibilités de formes dans le jazz. Lors des dernières années le groupe a gagné la réputation d'un des plus innovateurs de Paris, ce qui leur a fait gagner à la fois l'admiration du public et le respect des musiciens. Leur créativité osée a attiré l'attention du label JazZDesign-Records qui, reconnaissant leur talent, a déjà travaillé avec le groupe pour de nombreux enregistrements. Tuesday's Luminescence Quartet sont actuellement distribués par CDBaby. Pour son tout dernier CD, le groupe a encore une fois pris un chemin révolutionnaire pour un quartet de jazz. Une grande partie de l'harmonie typique du jazz, a été mise de côté pour laisser en premier plan les mélodies. De nouvelles techniques ont été utilisées en studio pour améliorer la réverbération naturelle des instruments et optimiser la résonnance de l'approche unique du saxophone de Tuesday Warren. Tout ceci a lieu dans l'immortelle intemporalité du Père Lachaise qui est à la base de toutes les compositions. Les musiciens ont créé une beauté rare et magnifique qui a donné à cet endroit mythique une nouvelle vie. A ce jour, le groupe a donné des concerts au Sunside, à la Maison Selmer (salle Henri Selmer) à Paris, au Jazz Pour Tous à Angers, au Jazz and Boves à Arras, à l'Association L'Ecoutille, etc... et se produit régulièrement à Paris dans divers clubs de jazz. Il a participé au Concours National de Jazz de la Défense 2005, au Tremplin de Jazz d'Avignon 2008 et a été sélectionné pour jouer au Tremplin National de Jazz de Vannes 2006. Il se prépare actuellement à de nouveaux concerts ainsi qu'à des tournées. Il donne aussi régulièrement des concerts de jazz plus traditionnels. CDs précédents : Ten Poems of Hope 2002, Songs From the Bottom of the Wishing Well 2004, A Separate Peace 2007, Couleurs Vivantes 2007, Si Seulement... 2008, One Drop of Water 2008, J'y étais 2009 Culturejazz 2010 Yves Dorison Tuesday Warren est un saxophoniste émérite, on l'entend dès la première note. Son travail de composition qui lie au jazz des formes musicales issues du classique ne manque pas de personnalité. Les autres membres du quartet assurent une cohérence de bon aloi. L'écriture de Warren est limpide, tout comme son propos (...) ses qualités intrinsèques ne sont pas négligeables et dégagent une esthétique douce amère qui peut séduire. Citizenjazz 2008 Jérôme Gransac Il en ressort une musique structurée autour de petites suites aux tempos variables, aux phrasés très divers et aux ambiances dynamiques et tendues. Un disque original et dynamique servi par des instrumentistes peu connus mais très efficaces, et qui réserve de petites surprises... Jazz Hot 2006 Yves Sportis Sur une petite scène, la découverte en live du saxophoniste fut un excellent moment, une information de plus après son dernier CD Songs From The Bottom Of The Wishing Well. Tuesday a donné un programme alternant des originaux et des standards (« The Night Has A Thousand Eyes », « Speak Low », « Mood Indigo », « But Not For Me », « Night And Day », etc.) Il est à l'aise sur ce répertoire de standards qui apporte un intéressant contraste avec les originaux plus éthérés qu'il a privilégiés dans son CD, l'ensemble offrant reliefs et contrastes. Son jeu paraît tour à tour musclé et incisif puis inspiré et doux. (...) Tout ce beau monde mérite l'attention des amateurs de jazz et le jeune leader du soir possède un professionnalisme tranquille et souriant à l'épreuve de tous les cadres. Jazzman 2005 Franck Bergerot Après des débuts dès l'âge de dix-sept ans dans les clubs de Washington et Baltimore, ce jeune saxophoniste mène une carrière nomade qui l'a conduit jusqu'en Scandinavie. L'exemple de la musique classique lui inspire un répertoire ambitieux sur le plan des formes et des structures, comme en témoignent les déclinaisons du long développement thématique de The Bottom of the Wishing Well, les tiroirs rythmiques d'Endless Walking Night et les variations mélodiques proposées autour de la cellule de départ de I Never Wanted It Anyway... De belles idées qu'on aimerait voir à nouveau présentées d'ici quelque temps... SWEJS - Swedish Executive Jazz Society 2001 Dans le groupe, il y a un jazzman américain très doué, Tuesday Warren. Nous avons eu le plaisir d'écouter plusieurs fois son saxophone « dynamite » pendant des jam sessions, et il va maintenant jouer avec le tromboniste Torgny Nilsson - le meilleur en ville selon notre président. Nous avons été étonnés par l'inventivité de ce jeune saxophoniste de jazz seulement âgé de 25 ans. Il a joué au festival de jazz de Montreux et en Hollande (North Sea Jazz Festival), et ça a évidemment donné des résultats!- Shop: odax
- Price: 25.17 EUR excl. shipping
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Theatre
This début CD of the Miranda Trio covers three centuries of music from three different countries - Russia (the former Soviet Republic), Argentina and France - and includes pieces by well-known and lesser known composers. But here, of course, it is obvious that music has little to do with borders, centuries or names. Going from France to Argentina might seem like a huge leap, yet both Angel E. Lasala and Astor Piazzolla had links with France and Russia. Lasala was an admirer of Mussorgsky. During his younger years, Piazzolla studied piano under a pupil of Rachmaninov, later he would take lessons from the legendary Nadia Boulanger in Paris. Inspired by such composers as Bach, Ravel and Stravinsky, on the one hand, and by jazz on the other, Astor Piazzolla gives new shape to the Argentinean tango and calls his music the Tango Nuovo, or new tango. Here was a composer who considered his music more the listening kind than the dancing kind. Little is known about Angel E. Lasala. We do know, however, that he favoured the combination of flute, harp and voice, which might speak to the great love he had for his wife, the soprano Zulema Castello. The Poemas Norteños are thought to be among his favourite songs. Lasala was born in Buenos Aires and began his career as a concert pianist. Later, after Athos Palma took him under his wing, his interest began to shift toward composing. This developed in a wide range of forms: chamber music, symphonic, religious and theatrical. His work has a distinct character, especially because he managed to fuse inspiration from Argentinean and American music into a single style. A bit of research has revealed something else: Lasala has the same music publisher as Piazzolla. That in itself is an indication of the importance and reputation of his music in Argentina. The poem Viens!Une flûte invisible soupire by Victor Hugo has inspired a number of composers. The first to set the poem to music was Camille Saint-Saëns. His duettino titled Viens! Was written for two voices with piano accompaniment. That piece was published in 1856, the same year the poem was printed (as part of Les Contemplations). Saint-Saëns returned to the poem in 1885, the year of Hugo's death, and composed a second version for voice, flute and piano, titling it Une flûte Invisible. By resetting the poem nearly thirty years later, he may have been bidding a discreet farewell to it's author. Among the other composers who set this poem to music were Léo Delibes (Eglogue, 1863), George Bizet (Après l'hiver, 1866), Bemjamin Godard (Viens!, 1872), Gabiel Pierné (Les Trois Chansons, 1890) and André Caplet (Viens!Une flute invisible soupire, 1900). What drew so many composers to this poem? Could an invisible flute hold such appeal to their imaginations? France is a flute-loving country. Jacques Ibert wrote his Entr'acte for flute in 1935. Debussy said of Iber: "His art is exceptional in it's intelligence, classic sobriety and esprit and 'fantasie dans la sensibilité'". Stylistic classification of works by Ibert is virtually impossible. The composer himself once remarked, " All stylistic tendencies are fine, as long as they are used to create music." Maurice Ravel originally wrote his Cinq mélodies populaires grecque for piano and voice. With Ravel's consent, the renowned French harpist Carlos Salzedo edited the piano score for the harp. The songs were written between 1904 and 1906 to original lyrics that were translated into French by Michel Calvaradossi. Ravel had a great interest in folk music and combined the classical with the contemporary. The completely different states of mind that arise in this piece relate, for instance, to a marriage proposal, macho behaviour and dancing for joy. Remarkably, during the period that this beautiful succession of songs was published, Ravel competed annually in the Prix de Rome (1900-1905) without ever winning. In 1900 and in 1905 the great composer wasn't even admitted to the final round, despite his prominence by 1905. The only living composer on this CD, Belarusian-born Sergey Beltiukov, possess a Neo-romantic, yet exceptionally individual style. He occupies a very special place among the great composers, not merely as the father of the flutist Dasha, but also because his composition was written specially for the Miranda Trio. Beltiukov, a member of the Union of Composers to tell a fascinating story within three minutes. The poem on which the composition is based, The Theatre, is by Bella Akhmadulina, one of Russia's most celebrated contemporary female poets. The Lark by Mikhail Glinka is an old Russian favourite. Originally it was a song on which Mili Balakirev wrote variations, which were later arranged for harp by Xenia Erdeli. It is a virtuoso piece, at times it seems that more than two hands are playing. Besides being a hero to the Russian people, Glinka is the founder of the Russian National Opera. Like many of his contemporaries, he studied in Italy. Most composers of this era shed their roots, but Glinka developed a genuinely classic Russian musical language and had many followers, for instance the magical Group of Five. Mikhail Ippolitov-Ivanov was renowned during his lifetime. He conducted (being the first to perform the Matthäus by Bach in Russia) and played a major role within the music scene. He was the director of the Moscow Conservatory and held several positions at the Bolshoi Theatre. Ippolitov-Ivanov studied composition with Rimsky-Korsakov and the master's influence greatly affected his style. During eleven years in Georgia, where he worked as the director of the Tbilisi Opera, he collected music from that region. Interests in oriental music, particularly the music of ethnic minorities from the former Russian republic, are to be found within his oeuvre. His works were written in a late-romantic idiom and have been profoundly influenced by the Caucasian folk music that he had studied meticulously. Ippolitov's love for the Orient is clearly expressed in the Five songs from Japanese poetry (for soprano and harp) and the Three songs from the poetry of Rabindranath Tagore (for soprano, flute and harp).- Shop: odax
- Price: 39.38 EUR excl. shipping
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Affairs of the Heart
The Complete Mélodies of Paul Paray The renowned French conductor and composer, Paul Paray, was born in 1886 in Le Tréport. After studying music at the Maîtrise Saint-Evode in Rouen where he composed his first works, he continued his musical studies at the Paris Conservatory. Paray was awarded the coveted Premier Grand Prix de Rome in 1911 for his cantata, Yanitza. From 1911-1913 at the Villa Medici in Rome he composed most of his mélodies. Paray was elected associate conductor of the Lamoureux Orchestra of Paris in 1919 and named director of that ensemble the following year. In successive years, he was to assume several other conducting posts: at the Concerts Colonne, Monte Carlo, the Paris Opera, the National Orchestra, the Detroit Symphony Orchestra-with which he made several highly acclaimed recordings and then, for the remainder of his life, as guest conductor throughout the world. Paray left an all too small but diverse corpus of works that includes three symphonies, a Fantasy for piano and orchestra, a Mass, an oratorio, a ballet, cantatas, chamber music, sonatas, piano pieces, and some choral music. He died in 1979 at Monte Carlo at age ninety-three. Paray's poetic impetus is given free rein in his exquisite mélodies. This recording represents the complete known works for solo voice of Paul Paray. They are all published by Editions Jobert, Paris. This is first complete recording of his songs, 'Affairs of the Heart.' Also included here are premiere recordings of his three songs for choir and orchestra. The CD booklet contains original language texts (French and Latin) with English translations as well as program notes on each of the works recorded. CD #1 Song titles: Songs with orchestral accompaniment: 1 Le papillon 2 Infidelité 3 La dernière feuille 4 Serment 5 Après l'orage 6 Adieux 7 Après le bal 8 Désir de mort 9 Villanelle 10 La promesse 11 Le chevrier 12 La plainte 13 Il est d'étranges soirs 14 Nocturne (for violin and orchestra) Three songs for choir and orchestra: 15 Soleils de Septembre 16 L'aurore vermeille 17 Nuit tombante CD #2 Song titles (Song for voice and piano): 1 Emprise 2 Nuit d'Italie 3 Chanson violette 4 Sépulture 5 Champs de bataille 6 En un pays de Cocagne 7 Vocalise-Étude 8 Chanson napolitaine 9 Embarquement pour l'idéal 10 Viole 11 Mortes les fleurs 12 Paroles à la lune 13 Dans les bois 14 Le Poète et la Muse 15 Chaque chose a sa petite place 16 In manus tuas 17 Panis Angelicus The Performers: Ruth Lapeyre has been performing and teaching voice in the Detroit area since 1985. After winning several scholarships she took up vocal studies at New Orleans' Loyola University with Mary Tortorich and Larry Wyatt. She has been awarded many prizes in opera auditions of different cities of the USA and has continued studies with Jan Albright and Eugene Bossart. She performs solo works in orchestral concerts and chamber music recitals and often appears in opera, oratorio and Mass performances. Nadine Deleury, cellist, was born in Arras, France, near Paul Paray's native city, Le Tréport. Following studies at the Paris Conservatory with André Navarra and with Aldo Parisot at Yale University, she moved to Detroit where she holds the position of principal chair in the Michigan Opera Theater Orchestra and teaches cello at Oakland University, among many other musical activities. Adam Stepniewski is a graduate of the prestigious Chopin Academy of Music in Warsaw, Poland. Prior to his present position as Assistant Principal Second Violin of the Detroit Symphony Orchestra, he was Assistant Concertmaster of the Radio Orchestra of Copenhagen and of the National Philharmonic in Warsaw. Eric Everett, a vocal student of Mjerial Bigalli and Mario Laurenti, has performed with the Florida Lyric Opera Company and is a frequent soloist with the Assumption Grotto Choir and Orchestra. Eduard Perrone studied piano with Lee Luvisi, composition with Moritz Bomhard, and orchestral conducting with Jorge Mester. He was ordained a priest for the Archdiocese of Detroit in 1978. He is currently devoted to performing, recording and publishing, in cooperation with Editions Jobert, Paris, the music of Paul Paray. The Assumption Grotto Orchestra & Choir, Detroit, Michigan From the Critics... 'This two-disk set of Paray's complete songs is a labor of love. Indeed, the best of these songs deserve to join the standard repertoire of the French mélodie. Paray seems to have found his own voice early on, and the craftsmanship is consistently high. Ruth Lapeyre [is] a soprano whose bright, finely focused sound seems well-suited to Paray's music....she's a sensitive and often stylish singer. Perrone clearly knows the music inside and out.' Gramophone Magazine 'In many ways [Paray's] more interesting than other contemporary French composers who enjoy considerably more celebrity. I am impressed by the sound which in the orchestral portions matches the clarity, depth, richness, and perspective of anything by the major labels.' American Record Guide 'Each work displays a sensitivity alive to the nuances of language and the preservation of mood, with a wonderful attention to creative orchestral detail. [Ruth Lapeyre] has the intimate manner necessary for this music, and achieves some splendid effects. The orchestra comes up a winner with a sensitive and nuanced performance. Perone's conducting and accompaniment invatriably find the right tempo and dynamic balance. Highly recommended to listeners and fine singers in search of fresh material alike.' Fanfare Magazine 'There is sweetness pervading this music, whether secular or sacred. If you have any affinity for the quintessentially diaphanous French touch with these matters, I can highly recommend this string of musical pearls. I confess I succumbed, especially to the orchestral songs.' Crisis Magazine.- Shop: odax
- Price: 43.41 EUR excl. shipping
