79 Results for : méditation

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    Adagietto
    "Mischa Maisky gilt als einer der profiliertesten und renommiertesten Cellisten unserer Zeit." (Fono Forum). Mit "Adagietto" legt er jetzt ein ganz besonderes und persönliches, neues Solo-Album vor, welches er seiner jüngsten Tochter Mila widmet - am Klavier begleitet wird er dabei von seiner Tochter Lily. Das reizvolle Repertoire mit kleineren Stücken und Arrangements reicht von Bachs Bearbeitung des Adagios aus Marcellos Oboenkonzert über Solveigs Lied von Grieg und Massenets Méditation bis hin zu Tschaikowskys Valse sentimentale. Dazu werden Werke von Scriabin, Mozart, Schuman, Brahms u.v.m., die perfekt für den warmen Klang des Cellos und Maiskys lebendigen wie runden Ton geeignet sind.Ein besonderes Highlight des Albums ist das berühmte Adagietto aus Mahlers fünfter Sinfonie, das von Maisky in einem außergewöhnlichen Arrangement dargeboten wird: außer der Harfenstimme werden sämtliche Stimmen auf dem Cello von Maisky selbst gespielt, sodass eine außerordentlich fesselnde Version dieses Meisterwerks zu hören ist.Als Bonus enthält das Album darüber hinaus drei Stücke bei denen Maisky zusammen mit langjährigen musikalischen Wegbegleitern und engen Freunden wie Martha Argerich, Janine Jansen, Julian Rachlin und Sascha Maisky spielt.
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    Tchaikovsky-none But The Lonely Heart
    Daniel Lozakovich widmet sich auf seinem neuen Album für Deutsche Grammophon dem Werk Tschaikowskys. Neben dem berühmten Violinkonzert hat Lozakovich auch Tschaikowskys Méditation für Violine und Orchester sowie Arrangements von zwei Vokalstücken: der Arie des Lenski aus Eugen Onegin und die Romanze op. 6 Nr. 6, Nur wer die Sehnsucht kennt mit dem National Philharmonic Orchestra of Russia unter der Leitung des Dirigenten und Geigers Vladimir Spivakov eingespielt.None but the Lonely Heart gibt der Melancholie Ausdruck, die Tschaikowskys Musik zugrunde liegt und die doch oft ins Bewusstsein dringt. »Tschaikowsky schrieb sein Violinkonzert 1878 in Clarens am Genfer See«, sagt der Geiger. »Er fuhr in die Schweiz, um sich von dem Unglück seiner Heirat zu erholen, und skizzierte dort das Werk in nur drei Wochen. Es lenkte ihn von der Realität ab und von seinen düsteren melancholischen Gefühlen. Darum ist None but the Lonely Heart gewissermaßen das Motto dieses Albums. Das Violinkonzert kann den Zuhörer manchmal in seiner Extrovertiertheit packen, aber bei der Romanze geht Tschaikowsky ganz nach innen. Man versteht das Gefühl des völligen Alleinseins. Nur wer die Sehnsucht kennt ist die Stimme des Herzens.«
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    Vivaldi: The Four Seasons
    Christian Li präsentiert sein Debütalbum "Vivaldi: The Four Seasons" bei Decca Classics. Mit einem Alter von 13 Jahren ist er der jüngste Künstler, der jemals Vivaldis Vier Jahreszeiten für ein Album aufgenommen hat. In der mitreißenden Aufnahme eines der populärsten Werke der klassischen Musik spielt Christian mit einem Kammerensemble von Musikern des Melbourne Symphony Orchestra, das er zugleich auch dirigiert. Es war Christians Darbietung des "Sommers" beim Menuhin-Wettbewerb, die ihn als jüngsten Gewinner aller Zeiten im Alter von nur zehn Jahren international bekannt machte. Neben Vivaldi's Meisterwerk präsentiert das Repertoire weitere Werke wie 'Fisherman's Harvest Song', ein traditionelles Volkslied, das von der Ernte der Fischer im südchinesischen Meer inspiriert ist und vom zeitgenössischen chinesischen Komponisten Li Zili bearbeitet wurde, Massenets 'Méditation' aus "Thaïs" oder 'La Ronde des Lutins' von Antonio Bazzini.
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    Méditation Cithare & Piano
    Philippe Davenet (Pno), Martial Murray (Cit)
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    M,ditation-Les quatre saisons du Luth
    Auf seinem zweiten Soloalbum für Arcana, nach "L'ultimo romano", erkundet Simone Vallerotonda die metaphysische und sinnliche Welt der französischen Lautenmusik des 17. Jahrhunderts. Das Ergebnis heißt "Méditation": vier Suiten in vier verschiedenen Tonarten, die jeweils mit einer Jahreszeit und einer der vier "Temperamente" (melancholisch/Herbst, sanguinisch/Frühling, phlegmatisch/Winter, cholerisch/Sommer) assoziiert werden.
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    Dolce
    This album use sphere recording Technique, when you use headphone hearing this album, you will feel amazing phantom image scene in front of you, not just in your brain. Yi-Tzu Pan, a girl with strong passion toward dessert. After a proper meal, she always queries with her twinkling eyes: what's next? Her quotes "girls has a spare stomach for dessert". During the recording, we can't help discuss food when encountering the difficulty to best express the piece. Maybe for those who are sensitive to music also carries sensitive sense of taste. From time to time I am stunned by the fact that we shared the same thoughts that certain music pieces goes with certain food. Relying on the memory of delicacy, we create the character piece just as delicate. Isn't dessert like character piece? A condensed piece has to deliver sufficient emotion and music contrast to draw people's attention and trigger the desire to listen and taste. It is exquisite, precise and yet a perfect ending of a great meal then leaves you to linger for more. We wish this album would deliver the same to enrich your sensation. 1. Ispahan / SALUTE D'AMOUR - Edward Elgar Ispahan, an ancient country and also a name of rose breed. Nevertheless, inspired by the fresh dessert gourmet, Pierre Hermé, Ispahan enjoys a more beautiful linkage to rose-raspberry macaroon. The tangy acid of raspberry is embraced by the sweetness of lichee. Along with the remarkable marriage, it comes with the delight fragrance of roses. What dessert could fit better with the "Salute D'amour' from Edward Elgar? 2. Truffettes au chocolat/ VOCALAIS - Sergei Rachmaninoff Truffette doesn't actually include truffle. Instead, it is a rich chocolate ball coating with cocoa. The origin came from it's outlook. Truffette is so easy to melt even on your finger tips. When it melts in your mouth, it swirls with cooca and brings the exquisite mouth, which feels just like this "Vocalais" from Sergei Rachmaninoff. The piece carries on and on, and seems to bring your thoughts to the furthest. 3. Delizia al Limone / SICILIENNE - Gabriel Fauré 'Delizia' means pleasure, lust, or pure land. 'Delizia al Limone" therefore refers to the pleasure of lemon. This is a specialty dessert in Sorrento peninsula where is famous for lemon. The fragrance comes from it's specialty, Limoncello. You will miss it in neither the cake paste nor the lemon sugar coat. The refreshing taste and the fragrance spreads over your mouth, which seems to bring you imagination to the endless grassland in Sisley island and the mountainous hills. 4. Tiramisu / MELODY FROM ORPHEUS - Christoph Willibald Von Gluck Tiramisu is the typical dessert in Italy. The initial mouth feel is the fresh and tender mascarpone cheese. Then, the ladyfinger, sprinkling with espresso, interlaces with the coffee fragrance and swirls with the bitterness from cocoa. This is what Italians' so called La Bella Vita. 5. Schwarzwald / ANDANTE FROM SONATA IN G MINOR - Sergei Rachmaninoff Traditional black forest cake represents the desert philosophy in German style. It is said that at early stage the black forest is composed of the paste with fresh cream and cherry liquor. Later, to make the mouth feel more delicated, it adds chocolate, which again also enriched with cherry liquor. There are two outstanding source of the origin of name, black forest. One is to description of the appearance garnished with chocolate chips and the other is exactly because of the specialized products in the black forest region. 6. Chocolate Lava Cake / VALSE SENTIMENTALE - Pytor Ilyich Tchaikovsky So profound, so passionate just as "Valse Sentimentale" by Pytor Ilyich Tchaikovsky. You must feel the sensation of the moment when chocolate lava cake releases rich and dark chocolate lava. The flow is so elegant and gently the chocolate stagnates on the China. As to the sentiment, it is the truly sentimental when the dessert plate is about to empty. 7. Edel-Bitter-Chocolade / WIE MELODIEN ZIEHT ES MIR - Johannes Brahms Dark-bitter chocolate. The dark orange chocolate is the favorites of many German musicians. Some chocolates are made to allow you literally peel off to indulge just like the real oranges. As to why many cellists infuse the dessert with "WIE MELODIEN ZIEHT ES MIR" by Johannes Brahms, I think it's because from the surface, Brahms's pieces is thick and steady, which comes from his sophisticated tradition. And yet deep down into the soul of the music, the music is as passionate as the sparks from the zestful oranges. Another way of having dark and bitter chocolate is to blend into mousse and goes with fresh oranges. It creates the remarkable yummy tastes inspiring by the bitterness of dark chocolate and the sweet sourness of oranges. 8. Green Tea Cake / LIED OHNE WORTE - Felix Mendelssohn Green tea cake carries the velvety sweetness. After highlighting with the flavor of Brandy, it brings the profound winery fragrance and embraces the full-bodied sweetness. The appearance is roasted in dark brown but the natural crack reveals the fresh greenness of macha. The tea powder is gently grounded and produces in the most dedicated way to remain the true color and aroma of tealeaves. The profile of cake is with the slightly dark green, which brings even better the essence of tea aroma compared with the romantic light green. The cake is enriched with the invigorated red beans, which copes the best with Mendelssohn to swing with the layers of joyful aroma and delightful music. 9. Sacher Torte / ÉLÉGIE - Jules Massenet Iit seems that Austrians knows how to enjoy desserts better than Germans from the sustaining dessert tradition from Austria-Hungary Empire. The imperial chef, Franz Sacher invented Sacher Torte in 1832. In between the dedicated spongy cake, it fills with a layer of sweet apricot sauce. So is on the out layer of the cake. Then it showers with one thick layer of chocolate sugar. Normally it serves with whipped cream on the side to go with the slice to balance the sweetness. It is wonderful to enjoy with a cup of Vienna coffee to interlace with the bitterness and sweetness and brings us back to the prime time of Austria-Hungary Empire. 10. Millefeuille / MÉDITATION - Jules Massenet Mille-feuille is translated from French. The layers of pastry are called feuillete, eg. leaves, which is what presents after baking. Statistics shows that according to the traditional recipe, there could be 729 pairs of double layers, which is close to a thousand. Further, if following the fresh gourmet, Adre Guillot, Millefeuille could pile up to 2048 layers, which are double thousand layers. The taste is naturally more crunchy and delightful. The puff pastry is warm and crispy but the filling is cool whipped cream and mashed pear, which brings the sweet and sour mouth feel. The gentle appearance is as angles. Surprisingly, after tasting the fillings, it's amazed to learn that it's the temptation from the devil and unforgettable. Millefeuille is the kind of dessert that fights against the time. Better indulge yourself with Millefeuille in the most intensive seduction. 11. Vienna Coffee /APRÈS UN RÊVE - Gabriel Fauré Feels like to have a cup of coffee after a dream? The Vienna coffee brings the consistent luxury of the palace style. From the edge of the cup, tenderly infusing the syrup into black coffee then topping with snowy white whipped cream. Before the whipped cream melts like iceberg, do rapidly sip the cool whipped cream. Then it comes with the aroma and bitterness of hot coffee and ends with the silky syrup. Reality and dream stagger but explicit between each other and it seems echoing "Après Un Rêve". 12. Mousse de chocolat blanc / LE CYGNE - Camille Saint-Saëns Mousse de chocolat blanc has a more appropriate name: summer passion. Beneath white chocolate mousse, the sourness from the fresh red raspberry jelly mingles perfectly with the sweetness of white chocolate. Of course, the puffy spongy cake is the best to greet the summer se
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    51 Strings
    'It is a glorious and almost unfathomable truth that it only takes 51 strings (four on the violin and 47 on the harp) to produce immensely beautiful music. While violin soloists often have a piano or an entire orchestra to serve as accompanist, the lone harp in the Kent / Shulman Duo does a fantastic job of uplifting and supporting her counterpart in a more sonically unique fashion. Violinist Peter Kent and harpist Amy Shulman have played extensively apart and as a duo worldwide for a number of years. Both imbibe a true appreciation for the music they play and that sensitivity is evident in each piece. Throughout '51 Strings' the violin takes the lead melody with it's resonance and sustain qualities while the harp becomes the delicate percussive instrument keeping each piece flowing while hopefully getting a brief shining moment to run through a glissando. The opening number is Camille Saint-Saëns' "Fantaisie," which runs seamlessly through a series of different moods with each episode ebbing with the violin rubatto and then urged along by the harp. Both instruments have exquisite tone and sound most impressive in the higher registers at quiet dynamic levels. Kent and Shulman form an excellent musical team by intertwining their respective strings in a matched timbre. Continuing in the impressionist style with a more ethnomusicology flair, the duo performs Manuel de Falla's "Spanish Dance No. 1" from the opera La Vide Breve. After expertly plucking along the Latin countryside, the duo journey to the English moors with a masterful arrangement of Ralph Vaughan Williams' "The Lark Ascending." The succulent, passionate tune captures the air of rural life in the British Isles, similar to the composer's "Six Studies in English Folksong" for cello and piano, however the combination of violin and harp is sweeter. Jumping back to the European mainland is French composer Jules Massenet's sensual "Méditation" from the opera Thaïs displaying beautiful harmonics. In classical music there is no one more perfect than Johánn Sebastian Bach. These two stellar musicians perform the third and fourth movements from his Violin Sonata in E Major, the "Adagio" and "Allegro" respectively. The final selections on this wonderfully diverse album are from the 20th century Russian composer Dmitri Shostakovich. Two preludes are featured originally written for piano from his 24 Preludes, Op. 34. The first is a jumpy, humorous piece in A-flat Major with the harp carrying the left hand piano part adroitly as the violin jovially takes the melody. In the second, a musically inclined ear may pick up a snippet of the main theme from Gustav Mahler's Fifth Symphony in C-sharp minor. Lastly, rich in traditional Soviet drama and melancholy is "Romance" from the film The Gadfly. '51 Strings' not only demonstrates a more unique and aurally pleasing pairing of instruments but it also boasts a diverse assortment of musical styles sure to please any classical music lovers palette.' Review by: Kelly O'Neil Rating: 5 stars (out of 5) 'Peter Kent and Amy Shulman are each accomplished artists unto themselves. Harpist Amy Shulman, a graduate of Juilliard, has performed with numerous orchestral, chamber and contemporary music groups. She has also been heard in motion pictures, on television and on recordings by such greats as Frank Sinatra, Placido Domingo and Aretha Franklin. Violinist Peter Kent is a concertmaster in several orchestras in the Los Angeles area, and has performed on recordings by artists such as Michael Feinstein, Fiona Apple, Mariah Carey, Cracker and Shirley Horn. Beginning in 1982, the pair formed the Kent/Shulman duo, and has toured nationally to critical and popular praise. In 2012, the Kent/Shulman duo released their debut album 51 Strings. 51 Strings strikes it's first chord with Camille Saint-Saens' 'Fantaisie', a beautiful marriage of harp and violin that is subtly cast and sublime. Kent creates a beautiful framework from through which Kent's violin may dance. 'Spanish Dance No. 1' (Manuel de Falla) is a delightful turn, full of amazing energy and brilliant rhythmic counterpoints between Kent and Shulman. In contrast, the lyric beauty of Ralph Vaughan Williams' 'The Lark Ascending' is absolutely breathtaking, with Shulman providing subtle textures to highlight Kent's soaring melody lines. Johann Sebastian Bach gets fair time with "Adagio" and "Allegro". 'Adagio' mixes texture and lyricism, with each player carving out their own musical geography. There are moments of simple grace blending into sublime beauty here that captivate the listener's attention. Kent and Shulman build their resolutions slowly, leaving listeners on the very edges if their seats. 'Allegro' is a much more manic experience, with Kent bowing his way through undulating lines. 'Thais Meditation' (Jules Massenet) is contemplative and sweet, with a quiet vibrancy running underneath. The violin lines here are nothing short of gorgeous, most especially the high resolution with about 30 seconds to go. 'Berceuse' (Gabriel Fauré) finds Shulman as the perpetual 'yes, and' in a vibrant story told on four strings. It's a moment of beauty almost perfect in it's nature and mien. ?? Kent and Shulman close things out with three numbers from Dmitri Shostakovich. 'Prelude No. 1' plays off a vaguely Middle Eastern theme but quickly moves to a more classic Italian sound. The violin is vibrant here, while the harp is the glue that holds everything together. 'Prelude No. 2' is 93 seconds of quiet grace in song, with a subtle melody line that dances and lilts as if it were the air itself. Kent and Shulman close with 'Romance', with the harp marking off time as Kent tells a love story on violin. Peter Kent and Amy Shulman don't have much to prove at this point. As musicians they are acknowledged as some of the finest in their respective crafts. Yet on 51 Strings they find a way to move together beyond simple mastery into fine art. The ability to play notes with precision and a certain amount of grace is the mark of a master. The ability to breathe life through your instrument into a composition and bring it to life is the mark of an artisan. Both Kent and Shulman exhibit that ability in significant measure on 51 Strings. This is pure chamber music, much too expressive and full of life to ever be relegated to the background.' Review by: Wildy Haskell Rating: 4.5 Stars (Out of 5)? An excellent album this. Violinist Peter Kent and harpist Amy Shulman have put together a varied and colorful program that plays to the strengths of their unusual combination of instruments. Musical variety is achieved through subtle gradations of dynamics, and through a wide range of tone colors. Peter Kent is clearly a versatile violinist, and he knows exactly the tone to go for to complement the harp. Amy Shulman is also capable of varying her timbre as the music demands, through differing percussive levels in her attack, and by allowing the reverberation of the strings to overlap and mix into each other's harmonics. Most of the works on the program are arrangements, but the first piece, Saint-Saëns' Fantaisie, is a violin and harp original. And what a wonderful piece it is. The composer makes adventurous use of the harp, employing it as a full duo partner and never as mere accompaniment. His use of repeated note effects is particularly effective, as are his endlessly varied broken chords. And most importantly of all, he conjures some magical melodies, ideally suited to both instruments. In Manuel de Falla's Spanish Dance No. 1, the harp takes the role of the flamenco guitar, providing the ideal Iberian flavor and gentle propulsion throughout. The Lark Ascending is well-known in a wide range of settings and transcriptions, but the advantage of the harp here is that the violin does not have to compete to be heard. Even in it's original orchestral form, the piece presents a paradox: how can the soloist float on the breeze when the orchestral backing dem
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    Powell/Falkenstein: Complete Recordings
    Bach: Partita Nr.1 b-moll / Gluck: Minuetto, Melodie aus "Orphée et Eurydice" / Bériot: Violinkonzert Nr.7 G-dur / Sarasate: Zigeunerweisen / Elgar: Salut d'amour / Massenet: Méditation / Bruch: Kol Nidrei.
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    Décontraction/Méditation
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    • Price: 13.57 EUR excl. shipping

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