Wytwórnia P21, wydająca nagrania Cypriena Katsarisa, sięgnęła tym razem do archiwów muzycznych, pokazujących początki pianistyki tego artysty.
Wolumin drugi sonat fortepianowych włoskiego kompozytora epoki baroku Domenico Cimarosy w wykonaniu pianisty Victora Sangiorgio
THE MINIATURE IN THE CYCLE In just 40 minutes, the cosmos was created. To be sure, here we are talking solely about a pianistic cosmos: yet it is one that still, more than 170 years after its creation, remains breath-taking and arouses many diverse emotions, including unlimited admiration. The oeuvre in question is Frédéric Chopin’s Preludes, Op. 28. He wrote these 24 pianistic miniatures between 1836 and 1839, modelling them on the Preludes by Johann Sebastian Bach. However, he did not retain their “prologue-type” character: on the contrary, the variety of the works is more an indication of a secondary meaning of this term, i.e. fantasizing. Among the greatest composers of the 19th century, Chopin is probably the only one to write more or less exclusively for “his” instrument, the piano. During a period of some 20 years, he composed almost 200 solo works. Not a huge output, compared to other extremely prolific composers of the day (whose names and works have now justifiably been forgotten). Chopin polished away at his compositions, until each one was defined by its own unmistakable personality. In order to classify the special distinctive features of his sound, one should probably not only emphasize the international character of his particular piano style, but also – and especially – point out the various compositional stages through which he went in his diverse roles of improviser, pianist, piano teacher and composer. Together, these blended into a highly potent mixture. German musicologists have generally tended to categorize Chopin rashly as a “salon composer”, and thus make it impossible to view his music without prejudice. However, although Chopin most certainly encountered audiences for his music in the salon, the quality of his works undoubtedly soars far above that environment. Thus the “Chopineske” is the successful synthesis of a musical world view, which combines the operatic sweetness of Bellini, the calculated effect of Rossini, the contrapuntal gravity of Bach, as well as the harmony of Wagner in a jaunty, daring and calculating fashion. The Preludes Op. 28 are monothematic and the nuclei of their motifs frequently comprise only one bar (at times, in fact, of only part of a bar), from which the works are then developed. The order of the 24 Preludes was determined (at a later date) according to the quint circle and the related minor keys. This brings up the question, especially for interpreters, of whether or not this is a cycle. Many pianists consciously select individual pieces from the opus: however, they tend to overlook the fact that this entire opus of Don Quichote-type works is dominated by an all-encompassing sense of drama, thanks to its contrast and expression. The pieces alternate continuously between triumph and despair, brilliance and darkness, excitement and composure. The Prelude Op. 45, dating from 1841, is light years away from Op. 28 as regards style of composition. It is an “overcast” and poetic masterpiece, a bitter-sweet anticipation of the late Intermezzi by Brahms, interrupted by agonizing and tormenting transitions, a kaleidoscopic cadenza, and a coda of well-nigh operatic drama and declamation. Robert Schumann wrote his Papillons, Op. 2 between 1829 and 1832. The cycle consists of 12 concise fantasy images, based on notes from his study books, in which he jotted down his musical ideas. The aphoristic Schmetterlinge (= butterflies) received an additional cachet thanks to the literary association with Jean Paul’s Die Flegeljahren (= the years of adolescence). The two final chapters of the novel are entitled “Larven-Tanz” (= dance of the masks) and “Brief – Nachtwandler – Traum” (= letter – sleepwalker – dream). Here, Schumann demonstrates to the listener his “new approach to the variation form”: thus he presents the individual miniatures (dance, ballroom, masks) as strongly contrasting, yet derives both motif and theme from a common source. The thematic material of the waltz in No. 1 determines the course of the remainder of the work, in which Schumann varies all elements and levels of the music, and as such subjects the character and development of the moods to a permanent transformation.
Legendarne nagrania tenora wszech czasów z udziałem najsłynniejszych gwiazd muzyki pop! Utwory pochodzą z najlepszych nagrań studyjnych oraz niezapomnianych koncertów z serii Pavarotti & Friends! Wśród nich min.: "O sole mio” z Bryanem Adamsem, "Panis Angelicus” ze Stingiem czy "Miss Sarajewo” w duecie z Bono. Album dostępny w wersji CD i DVD oraz w Polskiej Cenie!
Pierwszy tom nowej serii Louisa Lortie poświęconej muzyce Gabriela Faure. Repertuar celowo złożony jest z dzieł z różnych okresów twórczych Faure, od lekkich utworów z młodości, takich jak Pavane oraz Melodie Apres Un Reve' aż po późny zbiór zaniedbanych preludiów, arcydzieło zaawansowanej harmonii.
Na płytach znajdziemy:1. Lyrische Stücke Op. 38 Nr....2. Nr. 2: Volksweise3. Lyrische Stücke Op. 47 Nr....4. Stücke Für Klavier Op. 1 Nr. 1 - 45. Sonate Für Klavier E - Moll Op. 76. Nr. 8: Grisen7. Nr. 22: Kulokk
Pochodzący z Rosji kompozytor Siergiej Wasiljewicz Rachmaninow urodzony w 1873 roku w Siemionowie, zmarł w 1943 roku w Beverly Hills. Artysta trudnił się również w dyrygenturze i grze na pianinie. Jego muzyka inspirowana jest twórczością takich artystów jak Piotr Czajkowski i Modest Musorgski. Rachmaninow studiował w konserwatoriach w Petersburgu i Moskwie. W 1917 roku przeniósł się do Stanów Zjednoczonych. Pochodzący z Rosji wybitny kompozytor Siergiej Siergiejewicz Prokofjew urodzony w 1891 w Soncowce, zmarł w 1953 roku w Moskwie. Artysta był również wybitnym dyrygentem oraz wirtuozem pianina. Prekursor neoklasycyzmu w muzyce. Kompozytor znany jest z rozpowszechnienia awangardy XX wieku między innymi takie nurty modernizmu jak: futuryzm, ekspresjonizm, prymitywizm i neoklasycyzm. Album został wydany przez wytwórnię Alto (ALC 1373).
Album z ariami Mozarta, Shcuberta, Beethovena i Wagnera w wykonaniu jednego z najlepszych współczesnych tenorów Jonasa Kaufmanna. Artyście towarzyszy znakomita Mahler Chamber Orchestra pod dyrekcją Claudio Abbado
Mieczysław KarłowiczSerenada G-dur na orkiestrę smyczkową op. 2 1 I. March. Allegro moderato 5:56 2 II. Romance. Andante con moto 6:02 3 III. Waltz. Allegro moderato 5:48 4 IV. Finale. Allegretto non troppo 3:34 Leó WeinerDivertimento nr 2 op. 24 5 I. Wedding Dance. Tempo di Csárdás 3:46 6 II. Joking. Allegretto scherzando 4:49 7 III. Plaintive Song. Andante sostenuto 2:21 8 IV. Swineherd’s Song. Allegro 4:23 Grażyna BacewiczDivertimento na orkiestrę smyczkową 9 I. Allegro 2:39 10 II. Adagio 2:30 11 III. Giocoso 2:22 György OrbánFeuilles d’Album a conte de Rasumoffsky 12 I. Entrée. Allegro tempestoso 0:59 13 II. Aveu. Animato, assai romantico 3:16 14 III. Elle-meme. Allegretto, fragile, delicato 1:40 15 IV. Scherzo. Allegro molto, scherzando 3:00 16 V. Derniere Valse oubliée. Tempo di valsetto 2:16 17 VI. Reproche. Senza vigore 2:20 18 VII. A la Tzigane. Allegro molto 1:51
Tracklista: Saint-Saens Camille1. IV. Marche Militaire Francaise2. III. Reverie Du Soir A Blidah Indy Vincent D'3. Tableaux De Voyage, Op. 33: IV. Lac Vert4. Poeme Des Montagnes, Op. 15: II. Danses Rythmiques Chaminade Cecile5. La Lisonjera (The Flatterer), Op. 50 Grieg Edvard6. 3 Pictures From Life In The Country, Op. 19: No. 2. Bridal Procession7. Lyric Pieces, Book 5, Op. 54: No. 2. Gangar (Peasant's March)Granados Enrique8. 12 Danzas Españolas, Op. 37, DLR I:2: No. 10. Danza Triste9. Improvisation On El Pelele, Goyesca10. Piano Sonata No. 9 In G Minor, DLR VI:1.9 (Arr. Of Scarlatti Keyboard Sonata, K.190/L.250/P.256) Brahms Johannes11. 16 Waltzes, Op. 39: No. 2 In E Major - No. 15 In A - Flat Major12. 6 Piano Pieces, Op. 118: No. 3. Ballade In G Minor (Abridged) Strauss II Johann13. Fruhlingsstimmen (Voices Of Spring), Op. 410 (Arr. A. Grunfeld) Grunfeld Alfred14. Soiree De Vienne - Concert Paraphrase From Strauss' Waltzes From Die Fledermaus And Others, Op. 56 Mozart Wolfgang Amadeus15. Symphony No. 39 In E - Flat Major, K. 543: III. Menuetto (Arr. J. Schulhoff For Piano) Schumann Robert16. Studien Fur Den Pedal - Flugel (Studies For Pedal Piano), Op. 56: No. 4 In A - Flat Major Chopin Fryderyk17. Fugue In A Minor18. Waltz No. 7 In C - Sharp Minor, Op. 64, No. 219. Polonaise No. 6 In A - Flat Major, Op. 53, "Heroic" Tchaikovsky Pyotr Il'yich20. 2 Morceaux, Op. 10: No. 2. Humoresque In E Minor Blow John / Bull John / Byrd William21. Lord Salisbury's Pavane - Fugue In C Major - The King's Hunting Jygge Grieg Edvard22. Lyric Pieces, Book 10, Op. 71: No. 3. Puck Liszt Franz23. 2 Concert Etudes, S145/R6: No. 2. Gnomenreigen24. 19 Hungarian Rhapsodies, S244/R106: No. 2 In C - Sharp Minor (Abridged)