Tracklista: Side A1. Scherzo2. Night On Bald Mountain3. Je Crois Entendre Encore4. Double Cello Concerto In G Minor5. Adagio Side B1. Symphony No. 402. Swan Lake3. Madame Butterfly4. Pathétique5. Meditation6. Air On The G String
Tracklista:1. A Somerset Rhapsody, Op. 21/2 00:09:41 2. I. First Dance 00:06:17 3. II. Second Dance 00:03:58 4. III. Finale: In the Streets of the Ouled Nails 00:07:11 5. Invocation for Cello and Orchestra, Op. 19/2 00:10:14 6. Fugal Overture, Op. 40/1 00:05:09 7. Egdon Heath, Op. 47 00:12:49 8. Hammersmith, Op. 52 00:13:41
More so than the violin, the cello had to Wright to achieve its independence as a great soloist. Its timbre is said to be, of all instruments, the one that is the closest to the human voice. From the 16th century onwards, it was used to support the latter, and at the same time provide a solid bass foundation for whole of the violin family. Towards the end of the 17th century, however, Italian composers, concerned with developing instrumental music, discerned the capacities that were peculiar to the cello. One of them, Giovanni Battista Degli Antoni (about wham we know very little apart form the fact that , like his bother Pietro, he was born in Bologna round about 1660, and spent his life there as and organist), published, in 1687, a set of Ricercare sopra il violoncello o caviecemballo, which are among the first texts devoted expressly to the cello.
Tracklista: 1. Cello Concerto 2. Chamber Concerto for 13 instruments 3. Melodien for orchestra 4. Piano Concerto
Tracklista:1. Concerto for violin, cello & orchestra in A minor ("Double"), Op. 102: 1. Allegro 17:572. Minuet in A major, arrangement (after String Quintet in E major, Op.11/5 [aka Op. 13/5], G. 275) 4:123. Cello Concerto No. 1 in A minor, Op. 33 18:294. Variations on a Rococo Theme, for cello & orchestra (or cello & piano) in A major, Op. 33: Variazione VI: Andante 3:085. Variations on a Rococo Theme, for cello & orchestra (or cello & piano) in A major, Op. 33: Variazione VII e Coda: Allegro vivo 2:066. Cello Concerto in E minor, Op. 85: 1. Adagio - moderato - attacca: 7:467. Cello Concerto in E minor, Op. 85: 2. Allegro molto 4:128. Don Quixote, fantastic variations for cello & orchestra, Op. 35 (TrV 184): Variation 5. Sehr langsam 4:249. Cello Concerto No. 1 in E flat major, Op. 107: 1. Allegretto 6:1110. Cello Concerto in B minor, B. 191 (Op. 104): 3. Finale: Allegro moderato 11:4211. Suite for solo cello No. 1 in G major, BWV 1007: 1. Prélude 2:1212. Der Müller und der Bach ("Wo ein treues Herze"), song for voice & piano (Die schöne Müllerin), D. 795/19 (Op. 25/19) 4:2013. Liebestreu ("O versenk' versenk' dein Leid, mein Kind"), song for voice & piano, Op. 3/1 2:3814. Immer leiser wird mein Schlummer, song for voice & piano, Op. 105/2 5:0415. Song without Words for piano No. 25 in G major, Op. 62/1 2:4216. Let me live amid nature 3:4417. Vocalise-Étude en forme de Habanera, for voice & piano 3:3118. Song without Words for cello & piano in D major, Op. 109 5:1419. Auf Flügeln des Gesanges (On Wings of Song), song for voice & piano, Op. 34/2 3:1020. Sonata for cello & piano in D minor, Op. 40: 4. Allegro 4:0621. Suite for solo cello No. 5 in C minor, BWV 1011: 4. Sarabande 4:1522. Aprčs un ręve ("Dans un sommeil"), song for voice & piano, Op. 7/1 3:2023. Tango Pathetique 2:2124. Cançó del lladre, folk song 3:0925. Les chemins de l'amour ("Les chemins qui vont"), for voice & piano (or orchestra), FP 106 3:4026. Stücke im Volkston (5) for cello (or violin) & piano, Op. 102: 1. Mit Humor ("Vanitas, vanitatum") 3:0727. The Tale of the Stone Flower, ballet, Op. 118: Waltz 2:2828. Georgian Song ("Do not Sing, My Beauty"), for voice & piano, Op. 4/4 5:0029. How fair this spot, song for voice & piano, Op. 21/7 2:1130. Vocalise, instrumental arrangement, Op. 34/14 6:2831. Morceaux de fantaisie (5), for piano, Op. 3: 1. Elégie in E minor 6:20
Album został wydany przez wytwórnię King's College (KGS 0032). Tracklista: CD 1 1. Te Deum 2-8. An English Mass 9. Magnificat CD 2 1-3. Cello Concerto 4. Paean 5. Master Tallis's Testament 6. Rhapsody No. 3 For Organ
Tracklista: 1. Time Has Told Me2. River Man3. Three Hours4. Way to Blue5. Day Is Done6. 'Cello Song7. The Thoughts of Mary Jane8. Man in a Shed9. Fruit Tree10. Saturday Sun
Hyperion is pleased to present a thirteenth volume of the Romantic Violin Concerto. Although frequently featuring virtuoso showpieces by the composer–violinists of the nineteenth century, this series also includes works of great musical interest which for one reason or another have not entered the repertoire. The performance history of all three pieces recorded here is indissolubly linked with the turmoil of Schumann’s last years. Schumann’s Violin Concerto in D minor had to wait till 1937 for its premiere and has never become a standard work, but in the hands of Anthony Marwood it sounds remarkable. The Phantasie, by contrast, was lauded at its premiere and performed a number of times by Joachim. The Violin Concerto in A minor was arranged by Schumann from his Cello Concerto of the same opus number and is an important work in its own right. Marwood’s great technique and thoughtful musicianship have made him increasingly an artist to notice, and he performs frequently in Australia and America as well as throughout Europe. Here he is accompanied by Hyperion’s ‘house band’, the BBC Scottish Symphony Orchestra, under the baton of Douglas Boyd.
Tracklista: 1. Oboe Concerto in B-Flat Major 2. Flute Concerto in D Major 3. Harpsichord Concerto in C Minor 4. Flute Concerto in D Major 5. Cello Concerto in E-Flat Major 6. Flute Concerto in G Major 7. Harpsichord Concerto in A Minor
Shostakovich wrote two cello concertos for his great friend Mstislav Rostropovich. Cello Concerto No. 1 was written in 1959, a difficult year for the composer. His second marriage was failing, and he was suffering from a debility in his right hand that hampered his ability to write, and to play the piano. His personal circumstances could not help but to colour this dark and uncompromising cello concerto. The angular motifs in the first movement grate against one another, and the slow movement touches depths of feeling unheard in Shostakovich’s works since the First Violin Concerto a decade earlier. Shostakovich’s inspiration for the concerto was Prokofiev’s Symphony-Concerto for cello and orchestra. He loved this work, and told Rostropovich that he had played the recording of it so many times that it eventually wore out completely and only emitted a kind of hiss when he put it on his gramophone player. Cello Concerto No. 2 was written seven years later, in 1966. It was premiered at the composer’s sixtieth birthday concert with Mstislav Rostropovich as soloist. Until the very last moment it was doubtful that Shostakovich himself would attend, as he had recently suffered a heart attack. In the end, he did make it to the concert, and both he and the new concerto were rapturously received. In the words of Rostropovich, this work is ‘less striking [than its predecessor]… but its profundity is second to none’. The works are here performed by the cellist Enrico Dindo, whom Rostropovich himself described as ‘a cellist of exceptional qualities, a complete artist and a formed musician, with an extraordinary sound which flows as a splendid Italian voice’. Dindo has performed with the BBC Philharmonic, Rotterdam Philharmonic, Orchestre national de France, Toronto Symphony Orchestra, and Chicago Symphony Orchestra, among others, under conductors such as Valery Gergiev and Rostropovich. On this recording he is accompanied by the Danish National Symphony Orchestra under Gianandrea Noseda, an exclusive Chandos artist.