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1
Audiofile / Tveitt, Geirr
« on: January 11, 2011, 07:52:51 PM »
Tveitt, Geirr: Rapidshare, Blogspot, Megaupload
Geirr Tveitt
Geirr Tveitt - Piano Concerto No. 4 'Aurora Borealis' / Variations on a Folk Song
Gunilla Sussmann & Havard Gimse, piano
Bjarte Engeset conducts the Royal Scottish National Orchestra
Geirr Tveitt - Baldurs Draumar op. 81, Telemarkin (2003, Ruud, Stavanger SO)
Geirr Tveitt - Piano Concertos Nos. 1 op. 1 & 5 op. 156 (2001, Gimse, Engeset, RSNO)
Geirr Tveitt - Prillar op. 8, Solgud-symfonien (2001, Ruud, Stavanger SO)
Geirr Tveitt plays Geirr Tveitt
Piano Concerto No. 3 op. 126 (1947), Piano Sonata No. 29 op. 129 (1955), Eolsharpa op. 132 (1949), Morild WoO (1952)
Geirr Tveitt, piano
Albert Wolff conducts the Bergen Philharmonic Orchestra
Geirr Tveitt - Hundrad Hardingtonar (A Hundred Hardanger Tunes), op.151, Suites Nos. 1 & 4 (2000, Bjarte Engeset, Royal Scottish National Orchestra)
Geirr Tveitt - Hundrad Hardingtonar (A Hundred Hardanger Tunes), op.151, Suites Nos. 2 & 5 (2001, Bjarte Engeset, Royal Scottish National Orchestra)
Geirr Tveitt - Piano Concerto No. 4 'Aurora Borealis' / Variations on a Folk Song
Gunilla Sussmann & Havard Gimse, piano
Bjarte Engeset conducts the Royal Scottish National Orchestra
Geirr Tveitt
Geirr Tveitt - Piano Concerto No. 4 'Aurora Borealis' / Variations on a Folk Song
Gunilla Sussmann & Havard Gimse, piano
Bjarte Engeset conducts the Royal Scottish National Orchestra
Geirr Tveitt - Baldurs Draumar op. 81, Telemarkin (2003, Ruud, Stavanger SO)
Geirr Tveitt - Piano Concertos Nos. 1 op. 1 & 5 op. 156 (2001, Gimse, Engeset, RSNO)
Geirr Tveitt - Prillar op. 8, Solgud-symfonien (2001, Ruud, Stavanger SO)
Geirr Tveitt plays Geirr Tveitt
Piano Concerto No. 3 op. 126 (1947), Piano Sonata No. 29 op. 129 (1955), Eolsharpa op. 132 (1949), Morild WoO (1952)
Geirr Tveitt, piano
Albert Wolff conducts the Bergen Philharmonic Orchestra
Geirr Tveitt - Hundrad Hardingtonar (A Hundred Hardanger Tunes), op.151, Suites Nos. 1 & 4 (2000, Bjarte Engeset, Royal Scottish National Orchestra)
Geirr Tveitt - Hundrad Hardingtonar (A Hundred Hardanger Tunes), op.151, Suites Nos. 2 & 5 (2001, Bjarte Engeset, Royal Scottish National Orchestra)
Geirr Tveitt - Piano Concerto No. 4 'Aurora Borealis' / Variations on a Folk Song
Gunilla Sussmann & Havard Gimse, piano
Bjarte Engeset conducts the Royal Scottish National Orchestra
2
Audiofile / Auerbach, Lera
« on: June 07, 2010, 06:56:25 AM »
Auerbach, Lera: Rapidshare, Blogspot, Megaupload
Lera Auerbach
Contemporary Russian-born composer and poet.
Lera Auerbach Plays her Preludes and Dreams for piano
Lera Auerbach: Ballet for a Lonely Violinist; Violin Sonata No. 2 / Dmitri Shostakovich: Violin Sonata no. 1; Jazz Suite No. 1
Lera Auerbach - 24 Preludes for Violin and Piano
Vadim Gluzman,violin
Angela Yoffe,piano
Lera Auerbach
Contemporary Russian-born composer and poet.
Lera Auerbach Plays her Preludes and Dreams for piano
Lera Auerbach: Ballet for a Lonely Violinist; Violin Sonata No. 2 / Dmitri Shostakovich: Violin Sonata no. 1; Jazz Suite No. 1
Lera Auerbach - 24 Preludes for Violin and Piano
Vadim Gluzman,violin
Angela Yoffe,piano
3
Audiofile / Telemann, Georg Phillipp
« on: June 04, 2010, 02:27:17 PM »
Telemann, Georg Phillipp: Rapidshare, Blogspot, Megaupload
Georg Phillipp Telemann
German Baroque composer.
Georg Phillipp Telemann - Double & Triple Concertos
The Academy of Ancient Music
Christopher Hogwood, conductor
Georg Phillipp Telemann
German Baroque composer.
Georg Phillipp Telemann - Double & Triple Concertos
The Academy of Ancient Music
Christopher Hogwood, conductor
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Audiofile / Morricone, Ennio
« on: May 21, 2010, 02:52:36 AM »
Morricone, Ennio: Rapidshare, Blogspot, Megaupload
Ennio Morricone
Ennio Morricone - Once Upon a Time in the West (1968, Megaupload)
Ennio Morricone
Ennio Morricone - Once Upon a Time in the West (1968, Megaupload)
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Audiofile / Salonen, Esa-Pekka
« on: September 14, 2009, 12:56:58 AM »
Salonen, Esa-Pekka: Rapidshare, Blogspot, Megaupload
Esa-Pekka Salonen
Contemporary Finnish composer and world-renowned conductor.
Esa-Pekka Salon - Wing on Wing (2005, Rapidshare)
Performed by the Finnish Radio Symphony Orchestra, conducted by the composer.
Esa-Pekka Salonen - Helix for Orchestra / Piano Concerto / Dichotomie for solo piano (Rapidshare)
Yefim Bronfman, piano
Esa-Pekka Salonen conducts the Los Angeles Philharmonic
Esa-Pekka Salonen
Contemporary Finnish composer and world-renowned conductor.
Esa-Pekka Salon - Wing on Wing (2005, Rapidshare)
Performed by the Finnish Radio Symphony Orchestra, conducted by the composer.
Esa-Pekka Salonen - Helix for Orchestra / Piano Concerto / Dichotomie for solo piano (Rapidshare)
Yefim Bronfman, piano
Esa-Pekka Salonen conducts the Los Angeles Philharmonic
6
Audiofile / Locatelli, Pietro
« on: August 26, 2009, 12:14:26 PM »
Locatelli, Pietro: Rapidshare, Blogspot, Megaupload
Pietro Locatelli
Baroque violinist and composer
Pietro Locatelli - Concerti grossi, Op. 1 (Harmonia Mundi, 2006)
Performers: Freiburg Baroque Orchestra
Conductor: Gottfried von der Goltz
Locatelli, Pietro - Art of the Violin Volume II
Performer: Susanne Lautenbacher
Orchestra: Mainz Chamber Orchestra
Conductor: Gunter Kehr
Audio CD (November 4, 1992)
Pietro Locatelli
Baroque violinist and composer
Pietro Locatelli - Concerti grossi, Op. 1 (Harmonia Mundi, 2006)
Performers: Freiburg Baroque Orchestra
Conductor: Gottfried von der Goltz
Locatelli, Pietro - Art of the Violin Volume II
Performer: Susanne Lautenbacher
Orchestra: Mainz Chamber Orchestra
Conductor: Gunter Kehr
Audio CD (November 4, 1992)
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Audiofile / Stravinsky, Igor
« on: October 06, 2007, 04:22:36 PM »
Stravinsky, Igor: Rapidshare, Blogspot, Mediafire
Igor Stravinsky
Igor Stravinsky - The Rite Of Spring
No info on conductor, orchestra, year, etc.
Igor Stravinsky - Le Sacre du Printemps (Cleveland Orchestra, Pierre Boulez, 1992, DivShare)
Igor Stravinsky - The Firebird (complete 1910) / Jeu de Cartes
Philharmonia Orchestra
Esa-Pekka Salonen, cond.
Sony 1989
Igor Stravinsky
Igor Stravinsky - The Rite Of Spring
No info on conductor, orchestra, year, etc.
Igor Stravinsky - Le Sacre du Printemps (Cleveland Orchestra, Pierre Boulez, 1992, DivShare)
Igor Stravinsky - The Firebird (complete 1910) / Jeu de Cartes
Philharmonia Orchestra
Esa-Pekka Salonen, cond.
Sony 1989
8
Audiofile / Ligeti, György
« on: October 01, 2007, 03:04:45 AM »
Ligeti, György: Rapidshare, Blogspot, Megaupload
Ligeti, György
Modern Hungarian composer
György Ligeti - Etudes for Piano
Toros Can, piano
György Ligeti - Atmospheres/Requiem
Salvaged from the blogosphere:
Collected here for you to study are two of Ligeti’s more well known pieces, “Atmosphères” and “Requiem.” Ambient enthusiasts will be interested in “Atmosphères,” because, as is written in everyone’s favorite online encyclopedia, Wikipedia:
Out of the four elements of music, melody, harmony, rhythm and timbre, the piece
almost completely abandons the first three, concentrating on the texture of the sound, a technique known as sound mass. It opens with what must be one of the largest cluster chords ever written - every note in the chromatic scale over a range of five octaves is played at once. Out of the fifty-six string players ushering in the first chord, not one plays the same note. The piece seems to grow out of this initial massive, but very quiet, chord, with the textures always changing.
Ligeti coined the term "micropolyphony" for the compositional technique used in Atmosphères, Apparitions and his other works of the time. He explained micropolyphony as follows: "The complex polyphony of the individual parts is embodied in a harmonic-musical flow, in which the harmonies do not change suddenly, but merge into one another; one clearly discernible interval combination is gradually blurred, and from this cloudiness it is possible to discern a new interval combination taking shape."
But, in my mind, “Requiem” is his masterwork. I’ll let AMG’s Jeremy Grimshaw take the stage here:
Ligeti's Requiem, which he began composing in 1963 and finished two years later,
in many ways bears the edgy, modernist characteristics general to his most prominent works. At the same time, as the title suggests, it also positions itself in relation to musical tradition, as if applying the composer's pioneering sonorities to the service of "expression," in a more visceral and subjective manner than modernism usually admits. Perhaps the most striking feature of the work, which is scored for two choirs, orchestra, and two soloists (soprano and mezzo-soprano) is its vibrant, quivering surface. The individual parts comprising his chromatic clusters are often too close to each other to be individually discerned, but their motion adds a distinctive, acoustical glimmer. Melody, then, is generally subsumed by the work's texture, but contributes crucially to its character. This technique also becomes a variant in and of itself, as the pace of the work and the character of the various liturgical sections or texts are often established by the register and relative opacity of the contrapuntal clusters. One startling effect, perhaps inspired by the creepy bass intonations of Varèse's Nocturnal from a few years before, is the use of two low men's voices in near unison, their pitches offset enough to create a hauntingly beating effect. Likewise, when one of the high female solo voices breaks through the thick chromatic pall of the orchestra and chorus, the lucidity of her line is cast in brighter relief. These contrasts, coupled with extremes of dynamics and articulation, reach their apex in the carefully disjointed Dies Irae. Thus, despite Ligeti's unique and complex musical language, the ultimate result of his work is not entirely different in principle from the large-scale requiems of previous centuries, which projected grandeur, intensity, and intimacy through the careful deployment of their vocal and instrumental forces.
Ligeti, György
Modern Hungarian composer
György Ligeti - Etudes for Piano
Toros Can, piano
György Ligeti - Atmospheres/Requiem
Salvaged from the blogosphere:
Collected here for you to study are two of Ligeti’s more well known pieces, “Atmosphères” and “Requiem.” Ambient enthusiasts will be interested in “Atmosphères,” because, as is written in everyone’s favorite online encyclopedia, Wikipedia:
Out of the four elements of music, melody, harmony, rhythm and timbre, the piece
almost completely abandons the first three, concentrating on the texture of the sound, a technique known as sound mass. It opens with what must be one of the largest cluster chords ever written - every note in the chromatic scale over a range of five octaves is played at once. Out of the fifty-six string players ushering in the first chord, not one plays the same note. The piece seems to grow out of this initial massive, but very quiet, chord, with the textures always changing.
Ligeti coined the term "micropolyphony" for the compositional technique used in Atmosphères, Apparitions and his other works of the time. He explained micropolyphony as follows: "The complex polyphony of the individual parts is embodied in a harmonic-musical flow, in which the harmonies do not change suddenly, but merge into one another; one clearly discernible interval combination is gradually blurred, and from this cloudiness it is possible to discern a new interval combination taking shape."
But, in my mind, “Requiem” is his masterwork. I’ll let AMG’s Jeremy Grimshaw take the stage here:
Ligeti's Requiem, which he began composing in 1963 and finished two years later,
in many ways bears the edgy, modernist characteristics general to his most prominent works. At the same time, as the title suggests, it also positions itself in relation to musical tradition, as if applying the composer's pioneering sonorities to the service of "expression," in a more visceral and subjective manner than modernism usually admits. Perhaps the most striking feature of the work, which is scored for two choirs, orchestra, and two soloists (soprano and mezzo-soprano) is its vibrant, quivering surface. The individual parts comprising his chromatic clusters are often too close to each other to be individually discerned, but their motion adds a distinctive, acoustical glimmer. Melody, then, is generally subsumed by the work's texture, but contributes crucially to its character. This technique also becomes a variant in and of itself, as the pace of the work and the character of the various liturgical sections or texts are often established by the register and relative opacity of the contrapuntal clusters. One startling effect, perhaps inspired by the creepy bass intonations of Varèse's Nocturnal from a few years before, is the use of two low men's voices in near unison, their pitches offset enough to create a hauntingly beating effect. Likewise, when one of the high female solo voices breaks through the thick chromatic pall of the orchestra and chorus, the lucidity of her line is cast in brighter relief. These contrasts, coupled with extremes of dynamics and articulation, reach their apex in the carefully disjointed Dies Irae. Thus, despite Ligeti's unique and complex musical language, the ultimate result of his work is not entirely different in principle from the large-scale requiems of previous centuries, which projected grandeur, intensity, and intimacy through the careful deployment of their vocal and instrumental forces.
9
Commerce / Loreena Mckennitt U.S. Fall Tourdates announced
« on: August 16, 2007, 10:32:49 PM »
http://www.quinlanroad.com/performances/performances.asp
Oct. 5th Paramount Theatre
Denver (CO)
Oct. 6th Pikes Peak Center
Colorado Springs (CO)
Oct. 8th Jesse H. Jones Hall for the Performing Arts
Houston (TX)
Oct. 9th Nokia Theatre
Grand Prairie (TX), Dallas Fort Worth area
Oct. 11th Fabulous Fox Theatre
Atlanta (GA)
Oct. 12th Tennessee Theater
Knoxville (TN)
Oct. 13th Palace Theater
Columbus (OH)
Oct. 14th Lakewood Civic Auditorium
Cleveland (OH)
Oct. 16th Fox Theatre
Detroit (MI)
Oct. 17th Shea's Performing Arts Center
Buffalo (NY)
Oct. 18th Patriots Theater at the War Memorial
Trenton (NJ)
Oct. 19th The Lyric Opera House
Baltimore (MD)
Oct. 20th Providence Performing Arts Center
Providence (RI)
Oct. 22nd Merrill Auditorium
Portland (ME)
Oct. 23rd Flynn Center
Burlington (VT)
Oct. 24th Harrisburg Forum
Harrisburg, (PA)
Oct. 25th Venue TBA
Pittsburgh (PA)
Oct. 5th Paramount Theatre
Denver (CO)
Oct. 6th Pikes Peak Center
Colorado Springs (CO)
Oct. 8th Jesse H. Jones Hall for the Performing Arts
Houston (TX)
Oct. 9th Nokia Theatre
Grand Prairie (TX), Dallas Fort Worth area
Oct. 11th Fabulous Fox Theatre
Atlanta (GA)
Oct. 12th Tennessee Theater
Knoxville (TN)
Oct. 13th Palace Theater
Columbus (OH)
Oct. 14th Lakewood Civic Auditorium
Cleveland (OH)
Oct. 16th Fox Theatre
Detroit (MI)
Oct. 17th Shea's Performing Arts Center
Buffalo (NY)
Oct. 18th Patriots Theater at the War Memorial
Trenton (NJ)
Oct. 19th The Lyric Opera House
Baltimore (MD)
Oct. 20th Providence Performing Arts Center
Providence (RI)
Oct. 22nd Merrill Auditorium
Portland (ME)
Oct. 23rd Flynn Center
Burlington (VT)
Oct. 24th Harrisburg Forum
Harrisburg, (PA)
Oct. 25th Venue TBA
Pittsburgh (PA)
10
Audiofile / Ravel, Maurice
« on: July 12, 2007, 09:44:05 AM »
Ravel, Maurice: Rapidshare, Blogspot, Megaupload
Maurice Ravel
French Impressionist composer
Maurice Ravel - Daphnis et Chloé
Berlin Philharmonic Orchestra
Pierre Boulez, conductor
Complete Works for Solo Piano
Disc 1, Disc 2
Walter Gieseking, piano; 1954
Piano Concerto in G minor
Martha Argerich, piano
Claudio Abbado, conductor
Berlin Philharmonic; 1967
Maurice Ravel - String Quartet in F major
Emerson String Quartet; 1984
Philip Setzer, David Finckel, Lawrence Dutton, Eugène Drucker
Maurice Ravel - The Gradual of Eleanor of Brittany
Maurice Ravel - Bolero, Rapsodie Espagnole, Pavane pour une Infante Défunte, Ma Mère l'Oye
London Symphony Orchestra
Claudio ABBADO, cond.
DG 1986
Maurice Ravel - Piano Concert in D major for the left hand, Gaspard de la Nuit, Jeux d'Eau
Werner HAAS, piano
Orchestre national de l'Opéra de Monte Carlo
Alceo GALLIERA, cond.
Philips 1969/1965
Maurice Ravel - Berceuse, Habañera, Tzigane
Augustin DUMAY, violin
Maria João PIRES, piano
DG 1995
Maurice Ravel
French Impressionist composer
Maurice Ravel - Daphnis et Chloé
Berlin Philharmonic Orchestra
Pierre Boulez, conductor
Complete Works for Solo Piano
Disc 1, Disc 2
Walter Gieseking, piano; 1954
Piano Concerto in G minor
Martha Argerich, piano
Claudio Abbado, conductor
Berlin Philharmonic; 1967
Maurice Ravel - String Quartet in F major
Emerson String Quartet; 1984
Philip Setzer, David Finckel, Lawrence Dutton, Eugène Drucker
Maurice Ravel - The Gradual of Eleanor of Brittany
Maurice Ravel - Bolero, Rapsodie Espagnole, Pavane pour une Infante Défunte, Ma Mère l'Oye
London Symphony Orchestra
Claudio ABBADO, cond.
DG 1986
Maurice Ravel - Piano Concert in D major for the left hand, Gaspard de la Nuit, Jeux d'Eau
Werner HAAS, piano
Orchestre national de l'Opéra de Monte Carlo
Alceo GALLIERA, cond.
Philips 1969/1965
Maurice Ravel - Berceuse, Habañera, Tzigane
Augustin DUMAY, violin
Maria João PIRES, piano
DG 1995
11
Audiofile / Handel, George Frideric
« on: July 11, 2007, 08:31:47 PM »
Handel, George Frideric: Rapidshare, Blogspot, Megaupload
Handel, George Frideric
German baroque composer.
"Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave" - L.v. Beethoven
Handel, George Frideric - An Ode for St. Cecilia's Day / Cecilia, Volgi un Sguardo
Robert King conducts The King's Consort
Handel, George Frideric - Arias from Theodora & Xerxes
Lorraine Hunt Lieberson, Mezzo-Soprano
Harry Bicket conducts the Orchestra of the Age of Enlightenment
Handel, George Frideric - Concerto Grosso "Alexander's Feast"; Oboe Concertos; Sonata a cinque
Trevor Pinnock conducts the English Consort
Handel, George Frideric - Messiah (The Scholars Baroque Ensemble)
Handel, George Frideric - Organ Concerto #2 in A major
Handel, George Frideric - Sonatas for Violin and Continuo
Rachel Barton, violin
Handel, George Frideric - Water Music/Music for the Royal Fireworks (Andrew Mogrelia, Prague Chamber Soloists)
Handel, George Frideric - Alcina, HWV 34
Les Arts Florissants conducted by William Christie
Renee Fleming as Alcina
Susan Graham as Ruggiero
Natalie Dessay as Morgana
Kathleen Kuhlmann as Bradamante
Erato Disques 3CD, 2000
A beautiful and inspired performance of one of Handel's most creative operas. The patience needed for the large file to download is trivial compared to the pleasure one will experience in listening to this in its entirety. Renee Fleming's voice is exquisite as always and Les Arts Florissants' period instrument performance together with Christie's detailed directions sets the standard for Handelian and baroque opera.
Handel, George Frideric
German baroque composer.
"Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave" - L.v. Beethoven
Handel, George Frideric - An Ode for St. Cecilia's Day / Cecilia, Volgi un Sguardo
Robert King conducts The King's Consort
Handel, George Frideric - Arias from Theodora & Xerxes
Lorraine Hunt Lieberson, Mezzo-Soprano
Harry Bicket conducts the Orchestra of the Age of Enlightenment
Handel, George Frideric - Concerto Grosso "Alexander's Feast"; Oboe Concertos; Sonata a cinque
Trevor Pinnock conducts the English Consort
Handel, George Frideric - Messiah (The Scholars Baroque Ensemble)
Handel, George Frideric - Organ Concerto #2 in A major
Handel, George Frideric - Sonatas for Violin and Continuo
Rachel Barton, violin
Handel, George Frideric - Water Music/Music for the Royal Fireworks (Andrew Mogrelia, Prague Chamber Soloists)
Handel, George Frideric - Alcina, HWV 34
Les Arts Florissants conducted by William Christie
Renee Fleming as Alcina
Susan Graham as Ruggiero
Natalie Dessay as Morgana
Kathleen Kuhlmann as Bradamante
Erato Disques 3CD, 2000
A beautiful and inspired performance of one of Handel's most creative operas. The patience needed for the large file to download is trivial compared to the pleasure one will experience in listening to this in its entirety. Renee Fleming's voice is exquisite as always and Les Arts Florissants' period instrument performance together with Christie's detailed directions sets the standard for Handelian and baroque opera.
12
Audiofile / Saariaho, Kaija
« on: July 09, 2007, 05:56:11 PM »
Saariaho, Kaija: Rapidshare, Blogspot, Megaupload
Saariaho, Kaija
Modernist Finnish composer
Kaija Saariaho - Du cristal...à la fumée ("From Crystal Into Smoke")
Los Angeles Philharmonic Orchestra
Esa-Pekka Salonen, conductor
Kaija Saariaho - Nymphea, for string quartet & electronics
Kronos Quartet
Kaija Saariaho - Sept Papillons, for solo cello
Anssi Karttunen, cello
Kaija Saariaho - Notes on Light / Orion / Mirage
Orchestre de Paris
Christoph Eschenbach, conductor
Saariaho, Kaija
Modernist Finnish composer
Kaija Saariaho - Du cristal...à la fumée ("From Crystal Into Smoke")
Los Angeles Philharmonic Orchestra
Esa-Pekka Salonen, conductor
Kaija Saariaho - Nymphea, for string quartet & electronics
Kronos Quartet
Kaija Saariaho - Sept Papillons, for solo cello
Anssi Karttunen, cello
Kaija Saariaho - Notes on Light / Orion / Mirage
Orchestre de Paris
Christoph Eschenbach, conductor
13
Audiofile / Buxtehude, Dietrich
« on: July 08, 2007, 06:52:15 PM »
Buxtehude, Dietrich: Rapidshare, Blogspot, Megaupload
Buxtehude, Dietrich
Danish-German baroque composer
Dietrich Buxtehude - Seven Trio Sonatas, Op. 2
John Holloway, Violin
Jaap ter Linden, Viola da gamba
Lars Ulrik Mortensen, Harpsichord
Buxtehude, Dietrich
Danish-German baroque composer
Dietrich Buxtehude - Seven Trio Sonatas, Op. 2
John Holloway, Violin
Jaap ter Linden, Viola da gamba
Lars Ulrik Mortensen, Harpsichord
Quote
Having been born half a century after Heinrich Schütz, the ‘father of German musicians’, and a little less than half a century before J. S. Bach, Dietrich Buxtehude was a living link between the founder of Protestant Baroque music and its greatest master. Buxtehude’s Seven Sonatas, Op. 2 possess a very personal stamp of unpredictability, virtuosity and expressive power. Of particular note are Buxtehude’s use of stylised dances in Sonata No. 1 and his quasi-improvisatory passages in the ‘fantastic style’ as used in Sonata No. 5.
14
Audiofile / Dutilleux, Henri
« on: July 02, 2007, 09:30:40 AM »
Dutilleux, Henri: Rapidshare, Blogspot, Megaupload
Dutilleux, Henri
French modernist composer
Henri Dutilleux - Symphony no. 2 "Le Double" / Métaboles / The Shadows of Time
Bordeaux Aquitaine National Orchestra
Hans Graf, conductor
Dutilleux, Henri
French modernist composer
Henri Dutilleux - Symphony no. 2 "Le Double" / Métaboles / The Shadows of Time
Bordeaux Aquitaine National Orchestra
Hans Graf, conductor
15
Audiofile / Barton, Rachel
« on: April 10, 2007, 01:38:53 PM »
Barton, Rachel: Rapidshare, Blogspot, Megaupload
Rachel Barton, classical violinist
Rachel Barton - Instrument of the Devil
Featuring the music of Stravinsky, Paganini, Berlioz and more
original liner notes
Rachel Barton Stringendo - Storming the Citadel
Rachel Barton - Homage to Sarasate
performing the music of 19th century virtuoso Pablo de Sarasate, including the famous fantasy on Bizet's Carmen. Barton's debut recording.
Joseph Joachim - Violin Concerto no. 2 'In the Hungarian Style'
Rachel Barton, violin
Carlos Kalmer leads the Chicago Symphony Orchestra
a favorite of Brahms, which in turn inspired his own concerto for the instrument. Has been referred to as "the Holy Grail of Romantic violin concertos."
Trio Settecento - An Italian Sojourn
Rachel Barton Pine,violin; John Mark Rozendaal, cello; David Schrader, harpsichord
A beautiful collection of italian music from the baroque era, with sonatas by Locatelli, Corelli, Tartini, Handel, Veracini, Castello, Stradella, & Marini.
Rachel Barton Pine - Solo Baroque
Rachel Barton, classical violinist
Rachel Barton - Instrument of the Devil
Featuring the music of Stravinsky, Paganini, Berlioz and more
original liner notes
Rachel Barton Stringendo - Storming the Citadel
Rachel Barton - Homage to Sarasate
performing the music of 19th century virtuoso Pablo de Sarasate, including the famous fantasy on Bizet's Carmen. Barton's debut recording.
Joseph Joachim - Violin Concerto no. 2 'In the Hungarian Style'
Rachel Barton, violin
Carlos Kalmer leads the Chicago Symphony Orchestra
a favorite of Brahms, which in turn inspired his own concerto for the instrument. Has been referred to as "the Holy Grail of Romantic violin concertos."
Trio Settecento - An Italian Sojourn
Rachel Barton Pine,violin; John Mark Rozendaal, cello; David Schrader, harpsichord
A beautiful collection of italian music from the baroque era, with sonatas by Locatelli, Corelli, Tartini, Handel, Veracini, Castello, Stradella, & Marini.
Rachel Barton Pine - Solo Baroque
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