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Thursday, January 17, 2013

Shostakovich: Piano Concertos Nos. 1 & 2,Opp.35,102 / Piano Quintet,Op.57

Shostakovich: Piano Concertos Nos. 1 & 2,Opp.35,102 / Piano Quintet,Op.57 Review


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Shostakovich: Piano Concertos Nos. 1 & 2,Opp.35,102 / Piano Quintet,Op.57 Specifications


This is a splendid recording, featuring three of Shostakovich's major works involving his own instrument, the piano. They display all the mercurial, contradictory aspects of his style, from dance-hall banality to sophisticated counterpoint and inspired melodic inventiveness, from mournful desolation and bleak hopelessness to the wild, obsessive, sardonic humor of desperation. The two piano concertos, though written over 20 years apart, show a certain similarity in their melancholy slow movements and frantically rollicking Finales, though the first, more popular one, opens with a highly dramatic movement, the second with a relatively peaceful one. The recording brings together a Russian-born virtuoso pianist with a special affinity for the composer's style, a great quartet steeped in 20th-century music, and a first-rate orchestra. The resulting performances are brilliant, moving, and exciting; Bronfman's virtuosity is stunning and the solo trumpeter in the first concerto is terrific. The string playing is wonderful--rich and colorful in sound, rhythmically incisive, deeply expressive; the first violinist's tone soars radiantly in the many stratospheric passages. --Edith Eisler

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Wednesday, January 16, 2013

Sergei Nakariakov / Haydn, Hoffmeister, Mendelssohn: Concertos for Trumpet

Sergei Nakariakov / Haydn, Hoffmeister, Mendelssohn: Concertos for Trumpet Review


Pity the poor trumpet player. Years of annoying the neighbors in the quest for a formidable technique, only to discover that he or she has been severely short-changed by the repertoire. Still, necessity is the mother of invention, and the trumpeter's lot has been greatly enhanced by what is politely referred to as transcription, or, more crudely, pinching that which rightfully belongs to others. This magpie tendency does have a down side--the need to adapt a string concerto (be it for violin, viola, or cello) for a wind instrument is the musical equivalent of kitting out a fish in a set of feathers; it needs tact and sensitivity to avoid sounding freakish, but here choices are well made. The Mendelssohn (the early D minor concerto rather than the more famous one in E minor) is the most surprising success, the trumpet chattering 19-to-the-dozen in the lip-crackingly fiendish finale, with a touching, lyrical extended slow movement. It becomes a much heartier piece with the brass implant, but it's none the worse for that. And the playing? It's beautifully mellifluous and brilliantly virtuosic. Trumpet fanciers will know that Nakariakov is right at the top of the pile. Others can rest assured that they won't hear the instrument played better than this. --Harriet Smith, Amazon.co.uk Read more...


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Sunday, January 13, 2013

Classical Christmas Music for Trumpet & Organ

Classical Christmas Music for Trumpet & Organ Review


Christmas Music for trumpet and organ. Ludwig Güttler's trumpet is accompanied by several organists at various locations. Read more...


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Wednesday, January 9, 2013

Putumayo Presents: New Orleans Christmas

Putumayo Presents: New Orleans Christmas Review


Deck the halls with boughs of blues, jazz and soul from the Big Easy! Soak up these soulful performances of God Rest Ye Merry Gentlemen Ellis Marsalis; Santa's Second Line New Birth Brass Band; Christmas in New Orleans James Andrews; Silver Bells Heritage Hall Jazz Band; 'Zat You, Santa Claus? Ingrid Lucia, and more. Read more...


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Wednesday, January 2, 2013

The Godfather Trilogy: I, II & III

The Godfather Trilogy: I, II & III Review


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The Godfather Trilogy: I, II & III Specifications


The Godfather saga may have its roots in pulp fiction, but the vision of director Francis Ford Coppola turned the story of Don Vito Corleone into an epic, multigenerational metaphor for modern American society and its place in the world. Coppola's musical choices were equally sage; aged Italian scoring legend Nino Rota's mournful solo trumpet theme ("Godfather Waltz") would become both a crucial, emotional link in all three films and an enduring modern icon on a par with the themes to Star Wars and Jaws.

This compendium gathers key themes from the Godfather trilogy in modern rerecordings, by conductor Paul Bateman and the Prague Philharmonic, that are sonically pristine and faithful to the originals. Utilizing the rich musical heritage of his native Italy (and occasionally evoking memories of his great collaborations with Fellini), Rota's Godfather music would ultimately net him his only Oscar®, for Godfather II. Carmine Coppola, the director's father, supplements Rota's work with music that's more distinctly ethnic, while the prelude from Italian classical composer Pietro Mascagani's masterful opera Cavalleria Rusticana becomes a crucial element in Godfather III, filling the void left by Rota's passing in 1979. --Jerry McCulley

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Saturday, December 29, 2012

O Perfect Love And Other Wedding Songs

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Thursday, December 27, 2012

Classic Pieces For Trumpet (Minus Trumpet)

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