Album został wydany przez wytwórnię Avie (AV 2411). Tracklista: Antonín Dvořák 1. Violin Concerto in A minor, Op. 53 Aram Khachaturian 2. Violin Concerto
Tracklista: CD 1 1. J.S. Bach - Concert for Violin & Oboe 2. J.S. Bach - Blute Nur 3. R. Strauss - Zueignung - Op. 10, No. 1 4. G. Rossini - Barber of Seville 5. A. Dvorák - New World Symphony 6. A. Dvorák - Song To The Moon 7. F. Lehár - Vilja Lied 8. Puccini - O Mio Babbino Caro 9. J. Offenbach - Cancan 10. Bernstein - I Feel Pretty 11. G. Rossini - William Tell Overture 12. Strauss - Mein Herr Marquis 13. W. Mozart - Eine Kleine Nachtmusik CD 2 1. F. Mercury - You Take My Breath Away 2. T. Turunen - The Reign 3. T. Turunen - Witch Hunt 4. Led Zeppelin Medley 5. T. Holopainen - Swanheart 6. F. Sinatra - Fly Me To The Moon 7. Tarja - Into The Sun 8. Tarja - I Walk Alone
7 płytowy zestaw nagrań dzieł kompozytorów czeskich: Antonina Dvoraka i Bedricha Smetany w wykonaniu The Cleveland Orchestra pod dyrekcją George Szella. To wybór wspaniałych kreacji tego mistrza batuty XX wieku wraz z jedną z najlepszych orkiestr świata, której był szefem artystycznym w latach 1946 – 1970. Tracklista: CD 1 Antonín Dvorák Symphony No. 9 in E Minor, Op. 95, B. 178 "From the New World" 1. I. Adagio - Allegro molto 2. II. Largo 3. III. Molto vivace 4. IV. Allegro con fuoco Bedrich Smetana Má Vlast, JB 1:112, II. Die Moldau 5. The Bartered Bride, JB 1:100 6. Act I, Scene 5: Polka 7. Act II, Scene 1: Furiant 8. Act III, Scene 2: Dance of the Comedians 9. Carnival Overture, Op. 92, B. 169 CD 2 Antonín Dvorák Symphony No. 7 in D Minor, Op. 70, B. 141 1. I. Allegro maestoso 2. II. Poco adagio 3. III. Scherzo. Vivace 4. IV. Finale. Allegro Symphony No. 8 in G Major, Op. 88, B. 163 5. I. Allegro con brio 6. II. Adagio 7. III. Allegretto grazioso - Molto vivace 8. IV. Allegro ma non troppo CD 3 Antonín Dvorák Slavonic Dances, Op. 46 (Remastered) 1. No. 1 in C Major. Presto 2. No. 2 in E Minor. Allegretto scherzando 3. No. 3 in A-Flat Major. Poco allegro 4. No. 4 in F Major. Tempo di Minuetto 5. No. 5 in A Major. Allegro vivace 6. No. 6 in D Major. Allegretto scherzando 7. No. 7 in C Minor. Allegro assai 8. No. 8 in G Minor. Presto Slavonic Dances, Op. 72 (Remastered) 1. No. 1 in B Major. Molto vivace 2. No. 2 in E Minor. Allegretto grazioso 3. No. 3 in F Major. Allegro 4. No. 4 in D-Flat Major. Allegretto grazioso 5. No. 5 in B-Flat Minor. Poco adagio 6. No. 6 in B-Flat Major. Moderato, quasi minuetto 7. No. 7 in C Major. Allegro vivace 8. No. 8 in A-Flat Major. Grazioso e lento, ma non troppo, quasi tempo di Valse CD 4 Antonín Dvorák Symphony No. 9 in E Minor, Op. 95 "From the New World" (Remastered) 1. I. Adagio - Allegro molto 2. II. Largo 3. III. Scherzo. Molto vivace 4. IV. Allegro con fuoco Bedrich Smetana 5. Má Vlast, JB 1:112: 2. Vltava (Remastered) CD 5 Antonín Dvorák Piano Concerto in G Minor, Op. 33 1. I. Allegro agitato 2. II. Andante sostenuto 3. III. Finale. Allegro con fuoco Bedrich Smetana The Bartered Bride, JB 1:100: Overture 4. From Bohemian Fields and Groves, JB 1:112/4 (Remastered) CD 6 Antonín Dvorák 1. Slavonic Dance No. 1 in C Major, Op. 46, No. 1 2. Slavonic Dance No. 2 in E Minor, Op. 46, No. 2 3. Slavonic Dance No. 3 in A-Flat Major, Op. 46, No. 3 4. Slavonic Dance No. 4 in F Major, Op. 46, No. 4 5. Slavonic Dance No. 5 in A Major, Op. 46, No. 5 6. Slavonic Dance No. 6 in D Major, Op. 46, No. 6 7. Slavonic Dance No. 7 in C Minor, Op. 46, No. 7 8. Slavonic Dance No. 8 in G Minor, Op. 46, No. 8 9. Slavonic Dance No. 1 in B Minor, Op. 72, No. 1 10. Slavonic Dance No. 2 in E Minor, Op. 72, No. 2 11. Slavonic Dance No. 3 in F Major, Op. 72, No. 3 12. Slavonic Dance No. 4 in D-Flat Major, Op. 72, No. 4 13. Slavonic Dance No. 5 in B-Flat Minor, Op. 72, No. 5 14. Slavonic Dance No. 6 in B-Flat Major, Op. 72, No. 6 15. Slavonic Dance No. 7 in C Major, Op. 72, No. 7 16. Slavonic Dance No. 8 in A-Flat Major, Op. 72, No. 8 CD 7 Antonín Dvorák 1. Slavonic Dance No. 1 in C Major, Op. 46, No. 1 (Remastered) 2. Slavonic Dance No. 3 in A-Flat Major, Op. 46, No. 3 (Remastered) 3. Slavonic Dance No. 8 in G Minor, Op. 46, No. 8 (Remastered) 4. Slavonic Dance No. 10 in E Minor, op. 72, No. 2 (Remastered) 5. Slavonic Dance No. 15 in C Major, Op. 72, No. 7 (Remastered) Bedrich Smetana String Quartet No. 1 in E Minor, JB 1:105 "From My Life" (Arr G. Szell for Orchestra) 6. I. Allegro vivo appassionato 7. II. Allegro moderato ŕ la polka 8. III. Largo sostenuto 9. IV. Vivace
Tracklista: 1. Allegro con spirito 2. Rubato. Lamentoso 3. Allegro grazioso 4. Presto ruvido 5. Adagio. Mesto 6. Molto vivace. Capriccioso Carl Nielsen - Kvintet Op.43 7. Allegro ben moderato 8. Menuet 9. Praeludium - Tema con variazioni Anton Dvořák - Quatuor à cordes n°12 op.96 Transcription pour quintette à vents de David Walter (Éditions Billaudot) 10. Allegro ma non troppo 11. Lento 12. Molto vivace 13. Finale : vivace ma non troppo
Drugi album Davida Aarona Carpentera w Warner Classics, "gwiazdy altówki" – mówiąc słowami Los Angeles Timesa – i jednego z najbardziej charyzmatycznych artystów swojej generacji. Płyta prezentuje koncerty Dvořáka, Bartóka i Waltona, a także cykl tańców Alexeya Shora. Artysta widzi w tych kompozycjach podobną tęsknotę za utraconą ojczyzną, odwołania do rodzimej dla każdego z twórców muzyki ludowej. Towarzyszy mu znakomita London Philharmonic Orchestra pod batutą wybitnych dyrygentów: Kazushi Ono, Vladimira Jurowskiego i Davida Parry’ego. Muzycy: Viola: David Aaron Carpenter Orchestra: London Philharmonic Orchestra Conductors: Kazushi Ono – Dvořák Vladimir Jurowski – Bartók & Walton David Parry – Shor: Seascapes & Well-Tempered Chanson Tracklista: CD 1 Antonin Dvořák (1841-1904) Concerto for Cello and Orchestra Op.104 (arranged for viola) 1. Allegro 2. Adagio, ma non troppo 3. Finale. Allegro moderato Béla Bartók (1881-1945) Concerto for Viola and Orchestra (completed by Serly) 4. Moderato 5. Adagio religioso 6. Allegro vivace Alexey Shor Seascapes for Viola and Orchestra 7. Abandoned Lighthouse 8. Lonely Sail 9. Calm Before a Storm 10. Summer Hail CD 2 William Walton (1902-1983) Concerto for Viola and Orchestra (1962 version) 1. Andante comodo 2. Vivo, e molto preciso 3. Allegro moderato Alexey Shor The Well Tempered Chanson 4. Murka Metamorphoses 5. Trans-Siberian Waltz 6. Samba 7. Baroken Love 8. Last Penny (solo ‘cello, Kristina Blaumane) 9. Odessa Walk 10. Buenos Aires Bonbons 11. Chicken Tarantella 12. Nostalgic Waltz 13. Buggy Bossa Nova 14. Semi-Cannonical Great Feud (solo violin, Sean Carpenter) 15. Lament 16. Murka Variations Alexey Shor 17. Lullaby for Mark 18. Natalie’s Waltz
Tracklista:1. Face A L'instant I2. Face A L'instant II3. Face A L'instant III4. Face A L'instant IV5. Déja, Hier...6. Super Pastiche Fantastique/New Sun I7. Super Pastiche Fantastique/New Sun II8. Super Pastiche Fantastique/New Sun III9. Super Pastiche Fantastique/New Sun IV10. A Partir De Dorénavant
W skład boxu wchodzą: CD 1 Henry Purcell: Opera Suites CD 2 William Boyce: 8 Symphonies CD 3 Felix Mendelssohn Bartholdy: Overtures CD 4 Adolphe Charles Adam: Giselle CD 5 Jules Massenet: Ballet Suites CD 6 Edward Elgar: Enigma Variations; The Wand Of Youth Suites Nos. 1 & 2 CD 7–8 Antonín Dvořák: Symphonies Nos. 7, 8 & 9 "From The New World"; Carnival Overture; Othello Overture CD 9–14 Pyotr Ilyich Tchaikovsky: Symphonies Nos. 1-6; Manfred Symphony; Capriccio Italien; Overture "1812"; Francesca da Rimini
Dvorák's music for violin and piano comes from many periods in his career. An early Sonata in A minor of 1873 is lost. Of the works which do survive, several, including the Notturno and Four Romantic Pieces, are skilful arrangements of earlier works (the Notturno is a reworking of the central section of the E minor String Quartet, while the Four Pieces were originally written for viola and piano).There are two extensive compositions exclusively for violin and piano: the Sonata in F major, interestingly designated by the composer as being for 'piano and violin', and the popular Sonatina in G major, composed during his stay in America. Both are models of perfection in this most relaxed of chamber-music genres.
"W życiu, w muzyce, komunikacja jest esencją wszystkiego…dzielisz się wszystkim" (Gautier Capuçon) "Intuition" to urzekający album zawierający krótkie utwory na wiolonczelę z towarzyszeniem fortepianu lub orkiestry. Interpretacje Gautier Capuçona układają się w niezwykle osobistą historię jego życia, są świadectwem przemian, które przyczyniły się do jego emocjonalnego rozwoju. Wielu melomanów z pewnością ucieszy obecność na płycie kompozycji takich twórców jak np.: Saint-Saëns, Fauré, Massenet, Czajkowski, Rachmaninov i Elgar czy Astor Piazzolla, włoski wiolonczelista Giovanni Sollima oraz pianista Jérôme Ducros, który zarazem w tym albumie występuje. Piękna, romantyczna muzyka, świadectwo siły, jaka wiąże się z artystyczną intuicją. Tracklista: 1. Massenet Méditation de Thaïs (from Thaïs) 2. Ducros Encore 3. Saint-Saëns Le Cygne (from Le Carnaval des animaux) 4. Sollima Violoncelles, vibrez ! 5. Dvořák Lasst mich Allein Op. 82 No. 1 6. Elgar Salut d'amour . Liebesgruss Op. 12 7. Popper Elfentanz. Dance of the Elves Op. 39 8. Anon. El cant dels ocells . Song of the birds 9. Paganini Variations on one string 10. Tchaïkovski Andante Cantabile Op. 11 11. Rachmaninov Vocalise Op. 34 No. 14 12. Joplin Original rags 13. Dvořák Waldesruhe 14. Fauré Après un rêve 15. Piazzolla Le grand tango
The music of Josef Suk, pupil of Dvorak and married to the elder composer’s daughter, is only now beginning to be recognized for its true worth. Presented here are three relatively early works, brimming with youthful enthusiasm but already showing considerable individuality, a highly developed approach to structure, and, occasionally, a touch of the melancholy introspection which was to inform many of the composer’s later works. A talented violinist, Suk lends to his chamber compositions a true understanding of the genre, while his thoroughly ‘Czech’ musical upbringing ensures strong representation for the folk and dance influences to be found in the music of many of his contemporaries.As our understanding of the tradition of Czech music expands both forward and backward from the national revival of the nineteenth century, it is informed by a great diversity of riches. Janácek and Martinu are now well established in the international repertoire, while the Czech composers of the eighteenth century are seen as an important part of the context in which Haydn, Mozart and Beethoven worked. In all of this, the presence of Josef Suk has not loomed large, but is now beginning to come much more to the fore.The facts of Suk’s life are well known. Like many contemporary Czech musicians, he was initially tutored by his family in a musically literate setting; compositional success arrived at an early stage during studies at the Prague Conservatory. A favourite pupil of Czech music’s greatest luminary, Antonín Dvorák, he joined that august composer’s family when he married Dvorák’s daughter Otilie in 1898. A talented violinist, he became a founder-member of one of Europe’s most important string quartets, the Czech Quartet, and over the years was seen as a senior figure in Czech music and a mentor for many, including Martinu.Although Suk, given his similar educational background and sensibility as both string player and performer, might seem the ideal successor to Dvorák, there are many differences between the two. Unlike Dvorák, Suk did not compose operas and despite a tendency among commentators to see his music in a line of descent from the older composer, their musical languages were quite different; one of the great qualities of Dvorák’s teaching is that he ensured his pupils were no mere imitators. Even in Suk’s early works there is considerable individuality and a highly developed approach to structure. There is also a tendency towards expressive melancholy perceptible well before the dual tragedies of Dvorák’s death and that of Otilie, in 1904 and 1905 respectively. This watershed experience turned introspection into an eloquence found in the symphony Asrael (1905–6) and subsequent orchestral works that, once discovered, speak to an audience with a force comparable to that of Mahler.Many of these qualities are already evident in the Piano Quintet in G minor Op 8; although it was published in 1915 it was, in fact, composed in 1893, relatively early in Suk’s career. Another strand is also apparent in the Quintet: it is dedicated to Brahms, an old friend of Dvorák, who had already given Suk advice and encouragement. The influence of the German composer can be felt in the rhetoric of certain passages, notably in the first movement. But the Quintet is far from being a compendium of youthful enthusiasms for the work of more venerable composers; many aspects of the melodic style, in particular, are typical of Suk throughout his career.The Quintet’s first movement opens in robust fashion with vigorous motion in all parts and soaring lines for viola and cello. Throughout this bracing movement the impetus rarely flags, although there are moments of repose; the last of these is in an extended passage based around G major. This leads into a bouncy coda which, just before the major-key close, broadens out into a grand final peroration. The Adagio lives up to its secondary marking, Religioso, with an inspiring chant-like opening in which chords for the strings alternate with sweeping arpeggios for the piano. The cello leads the melodic material of a central section which results in a remarkably ardent climax.An airy pentatonic theme, a common feature in Czech music since the early days of Smetana and Dvorák, introduces an extended scherzo which, while embracing counterpoint and energetic development, provides an aspiring, almost bardic theme for the viola. Unsurprisingly, there is a passing homage to Dvorák’s great A major Piano Quintet in the trio, but Suk’s youthful adventurousness takes his attractively harmonized main theme in unexpected directions before the return of the scherzo. Dvorák’s Quintet seems to be a presence again in the a tempo introduction to the finale, perhaps also in the fugato passage in the development. But Suk’s individuality is evident at many stages, not least in some piquant harmony and the inventive transformation of the main theme of the first movement, which provides much of the finale’s material.The Four Pieces for violin and piano Op 17 were composed in the spring of 1900 and dedicated to Karel Hoffmann, a fellow violinist in the Czech Quartet. The structure of these movements is simple, but their wide-ranging rhetoric proclaims a clearly sophisticated compositional temperament. The first movement, beginning with near-Impressionist colouring, also embraces extravagant romantic gestures in its central section. There is a hint of the national accent in the emphatic cross-rhythms which characterize the outer sections of the Appassionato second movement; these frame a passage of rapt lyricism entirely typical of Suk’s early maturity. This tendency is echoed in the intense opening of the third movement, although once again Suk, somewhat in the manner of alternation favoured by Dvorák in his Dumka movements, mingles seriousness with a brisker style of writing owing something to the Polka. The finale adopts the manner of a perpetuum mobile, drawing in a pastiche of the Classical manner amid the instrumental pyrotechnics.Suk’s three-movement Piano Quartet in A minor is his Op 1 and was dedicated, appropriately enough, to his teacher Dvorák. Composed in the early 1890s, it is no surprise that it was taken up by the Prague publisher Urbánek, since it is brimming with character and confidence. The very opening idea of the first movement, which looks forward to that of the Piano Quintet, is both striking and original. Equally effective is the writing for the instruments, particularly in the lead-up to the movement’s secondary material. A wide-ranging and challenging development shows the young Suk to be completely in command of his ideas. Inevitably there are hints of his teacher’s style, but there is much that is entirely characteristic of Suk, including a tendency toward introspection, even in the outwardly confident opening Allegro appassionato. The slow movement, led off by the cello and piano, has a nocturne-like quality; an expressive central section, marked to be played a little quicker, has something of the ardent, fairy-tale atmosphere Suk later brought to his music for the play Radúz and Mahulena. The last movement combines the characteristics of scherzo and finale. A bold, march-like opening idea introduces a number of episodes, some gently yearning in manner, before an ebullient close.