38 Results for : rhythmically
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Sonoras Fragancias
Douze Cordes Guitar Duo at Strathmore Mansion, July 28th, 2005 (Washington Post Review) 'The most interesting and rhythmically exciting music-making came in the second half of the program in Turina's 'Rafaga' played as a solo by Whitehead, in two pieces by Bonfa that Bard played with considerable intensity, and in a flamboyant Flamenco dance by Baliardo delivered by the duo with compelling energy.' Joan Reinthaler, The Washington Post, July 30th, 2005. Dr. Corey Whitehead has performed on television, radio and in concert halls in North America, South America, Europe, Africa, and Asia to critical acclaim. He has has performed as a Cultural Ambassador for the U.S. Department of State on three occasions with his guitar duo Douze Cordes. They were the first Americans to perform in Kuwait after September 11th, 2001. He has given performances for the Kennedy Center Millennium Series (three times), Chitarra Imperia Italia (2001,2003), Casa Thomas Jefferson (Brasilia, Brazil), Club de Jazz de Santiago (Chile), Strathmore Hall (Bethesda, Maryland), The California Guitar Panorama (2003-2005), the Washington D.C. Guitar Society, The Columbus State Guitar Symposium, Virginia Commonwealth University, The Phillips Collection in Washington, D.C., and the Musee de la Musique in Paris, France just to name a few. His duo Douze Cordes have performed in the U.S.A. for fourteen U.S. Senators, and for Royalty and dignitaries in Kuwait, Jordan, Morocco, Saudi Arabia, Bahrain, and Yemen. Corey has been appointed to the Guitarist-Lecturer position at California State University, Fresno where has been teaching Flamenco, and Classical guitar performance during the sabbatical terms of one of the greatest guitarists of all time, the incomparable Maestro Juan Serrano, and has since assumed his duties at CSU, Fresno. He has studied Flamenco guitar privately with Juan Serrano and at the Curso Flamenco XIV with Gerardo Nuñez.- Shop: odax
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Brazilian Dances & Inventions for Bassoon Flute &
Brazilian Dances and Inventions is a meeting of popular and erudite musical forms, portraying the deeply melodic, rhythmically complex nature of Brazilian music through the voices of bassoon, clarinet and flute. Dances such as the polka, baião, forro, samba and waltz contrast with inventions that incorporate imitative counterpoint in a range of tonalities. Artists Bios Janet Grice, bassoon, has a Doctorate from Rutgers University and degrees from the New England Conservatory and New York University. A recipient of a Fulbright Fellowship in Brazil and grants from the National Endowment, Meet the Composer and Arts International, she performed internationally, recorded for Music Minus One and numerous jazz and classical artists, and produced three CDs of original and Brazilian jazz. She freelances in New York, performs regularly in Brazil, is a bassoon instructor, and teaches for the New York Dept. Of Education. Kevin Willois, flute, played on the R&B circuit in New York, then earned a Bachelors and Masters Degree from Rutgers University. He plays with the Sonora Winds, Actor's Net regional theater in Pennsylvania, and Chelsea Opera, and teaches flute and music theory at the Westminster Conservatory, Rutgers University, and the Peddie School. Sarah Bednarcik, clarinet, has a Bachelors degree from Northwestern University and a Masters from Rutgers University, and freelances in New Jersey ensembles. She is a public school music teacher and maintains a private clarinet studio. Vento Trio began performing together while graduate students at Rutgers University. The group performs 'Music of the Americas' programs in the New York City metropolitan area, and performed in Brazil and France.- Shop: odax
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Not Too Serious
The Viennese publisher, Anton Diabelli wasn't much of a composer, but he did compose a simple waltz theme as a publicity stunt to help promote his publishing business. He asked 50 composers to contribute one variation for a collection that he intended to publish. Even the 11 year old Liszt was included along with Schubert, Czerny, Moscheles, Hummel -just to name a few- and of course he asked the master Beethoven. Beethoven initially declined the offer because he dismissed Diabelli's simple dance theme with it's obvious harmonies as a 'mere cobbler's patch.' As the story goes, he happened to ask Diabelli how many composers had contributed thus far and when Diabelli answered 'thirty-two,' Beethoven replied, 'Alright then, I will write you thirty-three,' and the masterpiece was born! And what a masterpiece it is! It turns out that Diabelli had given Beethoven the perfect 32-measure theme to exploit. With Beethoven's genius for motivic technique, he uses all of it's elements and varies them melodically, rhythmically, harmonically, dynamically while preserving it's two-part structure. He also makes use of contrapuntal techniques- imitation, canon, fugato, and delivers a four-voice double part fugue in the next to last variation. Beethoven takes the listener on an inevitable journey. It's interesting that most of the variations remain in the key of C major (except for the variations leading up to the Eb major fugue) and preserve the triple rhythm most of the time - only 12 are written in duple meter. And what about Beethoven's gruff sense of humor! He can make us laugh out loud with his paraphrase of one of Mozart's comic arias, and his final joke is to end this fifty-one minute work with a tongue-in-cheek version of an eighteenth-century minuet! Contrast combined with a keen sense of humor, wit and charm, a wide emotional range and an imaginative color palette is key to bringing this work alive! This is definitely one of Beethoven's masterworks- divinely inspired! And so much fun! We follow Beethoven with the Rumanian Dances of Bartók- this is dance music inspired by Hungarian folk music. We can hear the cimbalom and the percussion, even the bagpipe drone, and can imagine the peasants in their colorful costumes having fun dancing to these ostinato rhythms. We can hear Liszt's pianism throughout these virtuosic pieces. Music by the Hungarian Franz Liszt is also heard in this recital- the 'Ricordanza' from his 12 Transcendental Etudes- a study inspired by memories and nostalgia, and Liszt had so much to remember- a bitter-sweet, sentimental compostion filled with wonderful pianism. We conclude this program with the music of Sergei Prokofiev, a composer known for his sharp sarcastic wit as well as his charm. The delightful Prelude in C major was originally composed for the harp. One of his girlfriends at Conservatory happened to be a harpist, but the piece can be played on both harp and piano. And we conclude with the March from Prokofiev's opera, 'The Love for Three Oranges,' full of sarcasm and wit. Hope you enjoy this fun program but remember- not TOO serious!! "Nissman gives me one of my favorite accounts of the Diabellis. I've never heard it played with greater penetration. She takes you on an intellectual and (I hate the word) 'spiritual' trip through a great composer's mind. This has to be one of my records of the year." "A landmark Diabelli Variations."- Shop: odax
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Level 7
The second release from The Robin Cox Ensemble. These tracks are a reflection of the ensemble's very unique instrumentation of percussion and strings as well as the provocative individuality of the contemporary classical influenced music the group regularly performs live in concert. The CD includes first recordings by Cox, Joseph Koykkar, Leslie Hogan, HyeKyung Lee, and a recording of Evan Ziporyn's What She Saw There in it's original instrumentation. Reviews: 'The Robin Cox Ensemble may very well be predisposed to monopolize the esoteric niche of string and percussion quartets, and judging from their new CD Level 7, why shouldn't they? Owing in part to a nicely taut performance by the ensemble, Joseph Koykkar's Music for Mallets and Strings showcases the surprisingly homogeneous qualities shared by the disparate instrumentation. In the case of Evan Ziporyn's What She Saw There, the solo cello often cuts against the ostinatos established by the marimbas, creating a congenial tension. The most unique handling of the group appears in Quickly Casual, a spunky piece full of odd motifs and evocative instrumental color. Pieces by the ensemble's founder and violinist-yes, Robin Cox-as well as Leslie Hogan complete this enjoyable collection.' ,-Randy Nordschow, NewMusicBox 'The Robin Cox Ensemble is a unique new music group that combines violin, cello, percussion, and live electronics to create vivid performances of new music. ...including on this--the group's second CD--the marvelous Evan Ziporyn.' ,-Sequenza 21 Magazine's 'Editor's Pick' TRACKS: (with notes from the composers) 1. Escher by Robin Cox  ,5:00 ...imagine Thelonious Monk walking around in one of the 'Relativity' series of artworks by MC Escher. 2. What She Saw There by Evan Ziporyn , ,14:21 ...I wrote it in a bamboo hut in Bali on a miniature Casio keyboard. I was there on a Fulbright, and I was thinking quite a lot about cross-cultural influences, about this strange phenomenon of being able to listen to and enjoy music that one didn't necessarily understand. I was thinking story-songs in unknown languages, where one can feel the drama and the course of the narrative, even if one doesn't know what's going on. I also was interested in finding links between the musical languages I did understand, so the melodies straddle a line between jazz, Balinese music, classical rhetoric, etc. 3. For Mallets and Strings by Joseph Koykkar , ,3:32 ...an interplay between sections featuring unison tutti passages and those of a more contrapuntal nature. A rhythmically driving mode of performance is demanded of the players. The composition is structured on the movement I to IV in relation to the tonic and subdominant notes of the scale, not by utilizing any traditional type of functional harmony or key modulation, but by providing a focus for pitch direction akin to a type of 'new tonality' which I have been exploring in my music over the past twenty years. 4. Thirty-Five by Leslie Hogan , ,5:00 ...inspired by driving the stretch of Interstate 35 between Dallas and Austin, Texas, on a bright, hot, and windy July day in 1999. The drive was pretty much like watching paint dry, the composer started to think about music for cruising. 5. Quickly Casual by HyeKyung Lee , ,9:18 ...designed to get back to, or out of, the notes C and D flat, this was my attempt to arrive at a more oriental sound (using C, D flat and G, F sharp, instead of a pentatonic scale). This music reflects an interest in combining colors of both my western education and of my Korean heritage within a personal style and sound. 6. Volt by Robin Cox , ,5:00 ...in an ensemble consisting of two very different instruments types, it is easy to find one's writing engaged in the duality of long, sweeping string gestures against the quick attack and beat oriented nature of percussion. Volt is a conscious attempt to avoid that 'role-playing' by presenting violin and cello with distinctly percussive tasks. I have also engaged in my increasingly common practice of, both in harmony and rhythm, juxtapositions between the highly consonant and highly dissonant.- Shop: odax
- Price: 25.46 EUR excl. shipping
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Histoire de Babar Le Petit Elephant
OboeBass! The Vecchione/Erdahl Duo has created their own unique genre of 'chamber music of a different color' for oboe/English horn and double bass. 'Pages of Music with Rolf and Carrie,' they mix music and literature in educational programs for all ages. Minnesota Public Radio's Steve Staruch calls them"pioneers in the classical music business. Forging ahead with a new chamber music combination that has them performing recently commissioned works, putting together their own music series in Lakeville, and giving concerts in out of the way places. Who would have guessed that an Oboe/Bass duo combination would sound so....well, so right!" Carrie Vecchione teaches oboe at the MacPhail Center for Music, Minneapolis, and freelances in the Twin Cities area. She has soloed in the Carnegie Hall, has served as Principal Oboe for the Duluth Superior Symphony Orchestra and Indianapolis Chamber Orchestra, been a member of the Baton Rouge Symphony and Ft. Wayne Philharmonic, and taught at the Univ. Of WI, Eau Claire, St. Olaf College, Ball State Univ., the Sewanee Summer Music Center, and the International Peace Gardens Music Camp. Rolf Erdahl teaches bass at Gustavus Adolphus College. Previously he was Principal Bass of the Winnipeg Symphony and Manitoba Chamber Orchestra, and has been a member of the Honolulu Symphony, Breckenridge Music Festival, Fort Wayne Philharmonic, Bergen Philharmonic, and New World Symphony. He is an authority on the music of Edvard Grieg. William Eddins, piano, is also the Music Director of the Edmonton Symphony. He's in demand around the globe as a conductor and concert pianist. He is also a really good cook and is extremely fond of elephants. Steve Staruch, narrator, is well-known personality and producer at Classical Minnesota Public. He is the M-F afternoon host and storyteller and does the classical request program Friday Favorites. Staruch is an active freelance singer and violist with leading ensembles in the Twin Cities. The music of Margi Griebling-Haigh has been characterized as haunting, charismatic, yearning, wistful, lyrical, colorful, and insoucient! She is concerned with conveying emotions and moods, but firmly believes in the powers of memorable melodies and rhythms and strong formal structure. While her music is sometimes technically challenging and rhythmically tricky, consideration for the comfort and enjoyment of performers and audience members alike is of great importance. Simply put, her music is effective and charming. Margi is also an oboist, married to a bassist, Scott Haigh, First Assistant Principal Bass of the Cleveland Orchestra. Her familiarity of the possibilities of both instruments makes her uniquely qualified as a composer of oboe/bass duos! Humor is also an important hallmark of her style.- Shop: odax
- Price: 13.92 EUR excl. shipping
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Complete Organ Music Vol.1
Stefano Molardi is shaping his recorded survey of Bach's complete organ music as self-sufficient and musically satisfying recitals which, disc by disc, explore the diverse styles at the composer's disposal, the flexible usage to which he, the ultimate 'compleat musician', puts 'his' instrument through its paces, and the different liturgical demands which he was required to meet during the course of his career as he moved from church to court and back again. Grand Weimar- and Leipzig-composed preludes and fugues rub shoulders with intricate trio sonatas which he had initially conceived as chamber music, and between them nestle intimate chorales from his Cöthen days.Accordingly, Molardi makes full use of the potential flexibility of his chosen Trost organ in the Stadtkirche 'Zur Gotteshilfe' in Waltershausen, deep in the provincial heart of Thuringia. This is Bach country, and although the organ has been periodically restored since it was finally inaugurated in 1755, almost 30 years after the work was begun, it retains the classic characteristics of its age and situation: a thorough restoration in 1998 returned the instrument to its original glory.Born in Cremona, Molardi has undertaken a Renaissance career as not only organist but harpsichordist, conductor and scholar, not only at home in the rarified confines of early music but a virtuoso who has performed the complete organ works of Liszt and Franck and made an extraordinary recording of Verdi arranged for organ. These Bach discs are, perhaps appropriately, less overtly spectacular but no less imaginative in their rhythmic and coloristic response.Other information:- A new recording (2013) of Bach's complete organ works is, even in these overfed and crisis-stricken days, an event of the first order. First of all because the music is of such overwhelming beauty and power, one of the greatest creations of humanity, and secondly because there is still so much to discover and illuminate in these works.- These recordings are based on the choice of instruments: organist Stefano Molardi chose German instruments from Bach's time, lending an authentic character to the project. This first set features the wonderful Trost Organ of the Stadtkirche Zur Gotteshilfe in Waltershausen, Thuringia, built in 1725 and gloriously restored in 1998.- Stefano Molardi is a "renaissance man", organist, harpsichordist, scholar, historian and writer. He recorded extensively for Divox, DGG and other labels. His playing is clear, crisp, free and rhythmically vibrant.- The CD's are programmed like concerto programmes, a fine diversity of genres and styles, to avoid monotony and uniformity.- All information on the organ, liner notes and artist biography are included in the booklet.- Shop: odax
- Price: 20.37 EUR excl. shipping
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A Voice Gone Silent Too Soon: The Music of Gerhard
A Voice Gone SIlent Too Soon: The Music of Gerhard Schedl • Walden chamber players About the Music "Music is an addiction. The principal aim of my actions has always been, on the one hand, the attainment of an individual authenticity, as complete as possible, founded upon the rendering of experience of environment and society and the critical distance towards it. And on the other hand, the best possible mastery of material and form, the definition of which remains a compositional problem that needs to be always newly addressed in respect to it's musical-historical relevance." - Gerhard Schedl String Trio for Violin, Viola and Cello (1991) Schedl's search for an expressive and personal musical language is much evident in his String Trio. His use of a broad palette of instrumental effects serves to deepen the impact and distinct character of each movement. The trio consists of two short movements to open the piece, followed by a longer movement, which is divided into several sections of contrasting character. The trio was commissioned by the Cologne Philharmonic, and it received it's premiere in 1993 in a concert that also included several works by J.S. Bach - a composer with a lasting influence on Schedl's music. A Due for Violin and Cello (2000) Schedl's struggle between outward success and profound depression in the context of societal estrangement is movingly expressed in A Due, one of his last compositions. In four movements, the music contrasts passages of searing intensity with moments of great beauty and tranquility - an inner tranquility that he ultimately failed to attain for himself. After three private concerts, A Due was publicly premiered at the Festival "Klangspuren" in Schwaz, Tyrol (Austria) on September 16th, 2001, ten months after Schedl's death. A Tre, Variations for Clarinet, Violin and Piano (1984) A Tre was commissioned by the Frankfurter Klarinettentrio, a chamber music group, and it was premiered on December 9, 1987. The earliest work on this recording, the trio differs in construction and style from the CD's other compositions. It's five movements meld a rhythmically free and almost improvisational style into a continuous flow of music. The music is dominated by dense passages of repeated "mini-motives" and even single notes, and in the last movement these motives break apart until they dissolve in a final "sound of air". A Cinque for Clarinet, Violin, Viola, Cello and Piano (1996-1997) A Cinque was premiered on April 28, 1997, at the Mozarteum in Salzburg. The work consists of three movements, all derived from one basic musical "cell", giving the quintet a mono-thematic structure. Special effects, such as harmonics in the clarinet and col legno passages (using the wooden part of the bow) in the strings add to the wide palette of colors and the richness of the tonal language. Again we hear Schedl's struggle to find a level of spiritual balance. The quintet ends with a section marked "very calm and delicate", conveying the mood of a religious ceremony. Gerhard Schedl (1957-2000) was born in Vienna, Austria. As a young man he studied composition at the Vienna Academy of Music and Performing Arts and musicology at the University of Vienna. In the years 1979-1981 he was awarded the Theodor Ko¨rner Foundation Award, Composition grant from the City of Vienna, 3rd Prize of the Competition for composition of house music of the "Wiener Volksbil- dung", Prize of the "Week of Young Composers" in Hilchenbach, 3rd Prize of the Carl Maria von Weber Competition of the City of Dresden for children's opera and the "Wu¨rdigungspreis" (Appreciation Award) of the Ministry of Science and Research. His break-through as a composer came in 1981 at the age of 24 with the successful world premieres of his scenic oratorio "The Grand Inquisitor", his opera for children, The Swineherd", and the orchestral piece "Tango". In that same year he began a permanent collaboration with the publishing house Doblinger in Vienna and took the position of Lecturer at the Hoch Conservatory in Frankfurt. Subsequently Mr. Schedl's music was performed by such orchestras as the Berlin Philharmonic, the Radio Symphony Orchestra Berlin, the Vienna Symphony, Budapest Symphony Orchestra, Orchestre de Lyon and the Minnesota Orchestra, as well as many prominent chamber ensembles and soloists. In 1982 Mr. Schedl became a Lecturer at the University of Mainz, Germany and from 1990 on he served as Composer-in-Residence at the Salzburg Landestheater in Austria. Mr. Schedl was one of the stars the European modern music scene, his music was hailed by critics and performers alike but after suffering extended bouts of depression he tragically took his own life on November 30, 2000. He left behind his wife and two sons. Perhaps the best clues to the conflict between his outward success and his inner struggle lie in the desperate longing in his music for harmony and tonal unity. Further, one can trace a clear narrative posthumously through several of his compositions of a protagonist who eventually despairs and breaks in the face of an inhumane and callous society. The Walden Chamber Players has been an enthusiastic advocate of Schedl's music ever since they first encountered it eight years ago. Since then, the ensemble has performed many of his works in all parts of the USA to resounding audience response. Few other composers' music has moved them as profoundly as that of Schedl, it is, they believe, music of tremendous beauty, sophistication and intensity. - Program notes excerpted from the original notes by Christian Heindl, Reinhard Kager and Hartmut Krones, translated into English by Christof Huebner with further edits by Willard Hertz. Walden Chamber Players Founded in 1997, the Boston-based Walden Chamber Players has garnered a reputation for being one of the most exciting and versatile chamber groups performing today. Critics have hailed it's performances of everything from Bach to Schoenberg, and Chamber Music America Magazine raves: "A season spent with the Walden Chamber Players is a time for discovery." The success of it's performances, recordings and educational curricula has earned it a place as one of the most sought-after chamber ensembles in the United States. Walden Chamber Players is comprised of twelve dynamic artists in various combinations of string, piano, and wind ensembles. The wide variety of instrumental groupings possible with this ensemble allows for great versatility and eclectic programming, a hallmark of the Walden Chamber Players. Members of the ensemble are versatile chamber artists and soloists who often perform at leading festivals throughout the United States and abroad. They are also sought- after teachers and lecturers and serve on the faculty of some of the country's premier musical teaching institutions, such as the New England Conservatory of Music, University of Michigan, Boston University, Longy School of Music and the Boston Conservatory.- Shop: odax
- Price: 21.05 EUR excl. shipping
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Complete String Quartets
Given their infrequent appearances on concert programmes, Dvorák's string quartets have done rather well in the recorded catalogues. There are several recordings of the complete cycle of 16 works, which span the composer's career. A couple have been made by native ensembles from the composer's Czech homeland but also a couple more by central-European ensembles such as the Stamitz Quartet, who since their foundation in 1985 have been known as leading interpreters of Czech repertoire. The approach of the Stamitz Quartet is quite different from either the Panocha or Prague ensembles, noted David Hurwitz in Classics Today: 'more relaxed, less rhythmically charged, and gracious in an old-world sort of way... The group also gives unusual stature to the somewhat formally scattered early works, particularly the monstrous Third Quartet, which at 72 minutes has to be just about the all-time longest string quartet that ostensibly observes the rules of classical form.' Taken as a whole, the quartets chart the evolution of Dvorák's style, from his interest in Wagnerian music in the years prior to 1870 - in the String Quartet in D major - to the folk-infused works of his later life, such as the String Quartet in G major Op.106, and show the influence of his time in the United States, with the String Quartet in F Op.96 'American'. If the only Dvorák quartet that you're familiar with is the 'American', then this set will provide an embarkation point for what should prove an immensely fruitful musical journey. The late quartets in particular are shaped by the oscillations between varied weather and song that sit at the heart of the three late symphonies. According to the Taipei Times, this set is 'a feast for a lifetime. They're gorgeously warm and evocative recordings, and no one could possibly go wrong in choosing them...this remains an astonishing bargain.' This reissue includes full programme notes on each work. Reissue of a successful Brilliant Classics box set. Includes the complete string quartets (of course featuring the ever popular American Quartet) as well as the shorter works for string quartet, music which speaks of the beauty of Bohemia, the woods, the streams, the flowers and the rich folklore. Played by the Czech Stamitz Quartet, who have the idiom for this music in their blood. Highly rated in the press: "9/9, warmth and richness, highly rewarding" (Classicstoday.com).- Shop: odax
- Price: 40.71 EUR excl. shipping
