Midori Gotō

Violin

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Bach, J S: Sonatas & Partitas for solo violin, BWV1001-1006

Bach, J S: Sonatas & Partitas for solo violin, BWV1001-1006


Midori (violin)

“The story goes that, when I was about two years old, my mother found me humming a Bach melody that she had been practicing a few days earlier. My own memories of Bach begin from the time when I started to practice my first solo Sonata in G minor, when I was about seven years old. The piece had been assigned to me, as all repertoire was at that age, and I had no idea what to do with it. Over the years, I have come to realize that, in studying Bach, one’s learning never stops. To my thinking – and I’m sure most other violinists would agree – these sonatas and partitas for solo violin are monuments of the literature, for many reasons. Their study opens up and trains the ear for more precise and ever-deeper listening. One learns to understand the relationship between the various notes, in addition to just hearing the notes themselves. Indeed, I find that I have learned more from studying these Bach compositions than from any other music. It is an almost miraculous feeling that envelops me when I am fully engaged with these musical masterworks.

These works are larger than life – they stretch the artistic and technical responses that one can have toward a piece of music. Bach’s music is always “right” for any circumstance. I have been able to present these pieces anywhere: to play for refugees in an outdoor setting, in the intensive care units at hospitals, in great concert halls, in places of worship, for celebratory occasions or remembrances and in any corner of any country in which I have ever performed. Bach travels well. The music does not require any special equipment or conditions. It must simply be played and heard, and invariably, with every committed performance, listeners young or old manage to be as transported as is any beguiled performer.” Taken from Midori’s booklet notes

“The Japanese violinist Midori offers a conservative performance avoiding anything which would be construed as controversial. Her tempos are moderate, her vibrato well controlled and her intonation secure…the D minor Partita, with its great Chaconne, and the C major Sonata stand out for the lightly articulated and playful character of their dance movements” BBC Music Magazine, February 2016 ***

“Thomas Sanderling’s unhurried, solicitous conducting pays handsome long-term dividends … The recording finds an effective balance between voices and instruments, and moments of stage-shifting noise and the occasional audible prompt are only minimally distracting.” Gramophone Magazine, February 2016

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Shostakovich, Janacek & Bloch: Violin Sonatas

Shostakovich, Janacek & Bloch: Violin Sonatas


Bloch, E:

Violin Sonata No. 2 ‘Poème mystique'

Janacek:

Violin Sonata

Shostakovich:

Violin Sonata, Op. 134


Midori (violin) & Ozgür Aydin (piano)

Midori makes her debut on ONYX with three 20th-century violin sonatas: Bloch’s seldom heard 2nd sonata ‘Poéme mystique’, Janácek’s sonata of 1914-21 and Shostakovich’s late G major sonata of 1968, a stark masterpiece composed for David Oistrakh and Sviatoslav Richter.

Midori made her debut at the age of 11 as a surprise guest soloist with the New York Philharmonic conducted by Zubin Mehta in 1982. She is recognised as an extraordinary performer, a devoted and gifted educator, and an innovative community engagement activist. In 2007, Ban Ki-moon, United Nations Secretary General named Midori a UN Messenger of Peace.

Writing about these works Midori says, "These are three works that interweave the anxieties or the modern world condition with much hope for the future. In the end, the music fills us with a great feeling or warmth and compassion while not shying away from what must be confronted".

“Midori’s playing in these three satisfyingly aligned 20th-century violin and piano sonatas is imbued not just with a keen beauty, but somehow with a thoughtfulness...Janacek’s fascinatingly inventive and searching four-movement sonata (1922) is the disc’s deeply rewarding centrepiece.” Sunday Times, 13th October 2013

“All are works of angst and emotion. Midori honours these three composers with playing of technical precision and eloquence.” The Observer, 27th October 2013 ***

“These are very fine performances by two players who not only have an affinity for this repertoire, but play with a shared purpose. They listen to each other and appear to be on the same wavelength, delivering performances which are compelling and captivating...this recording is marked with distinction.” MusicWeb International, 29th November 2013

“[Midori's] veiled tone and impeccable intonation lure us into Bloch's world...Throughout [the Janacek] she isn't afraid to dig hard into the strings, but she also knows when to mine the seam of lyricism below the music's surface.” BBC Music Magazine, January 2014 *****

“Midori brings her highly accomplished manner to three works very different in their demands...Midori is really at her best in Bloch's Second Violin Sonata, with its long, rhapsodic lines and gently reflective manner, gracefully phrased and expounded here.” Gramophone Magazine, January 2014

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Tchaikovsky & Shostakovich: Violin Concertos

Tchaikovsky & Shostakovich: Violin Concertos


Shostakovich:

Violin Concerto No. 1 in A minor, Op. 99

Tchaikovsky:

Violin Concerto in D major, Op. 35


Sony - SK68338

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Bach: Sonata for solo violin No. 2 & Bartók: Violin Sonata No. 1

Bach: Sonata for solo violin No. 2 & Bartók: Violin Sonata No. 1


Bach, J S:

Sonata for solo violin No. 2 in A minor, BWV1003

Bartók:

Violin Sonata No. 1, BB 84, Sz. 75


Midori (violin) & Robert McDonald (piano)

“what a phenomenal technique she has - some of the voicing and chordal declamation in the Bach Fuga is staggering.” BBC Music Magazine, April 2008 ***

“This young violinist is not only a formidable technician but also a musician who knows what she wants to say with every note” Financial Times

“Mildori's Bach is wonderfully suave and well ordered. With Bartók it's a very different story. There's the same beautifully polished technique, but also a wholehearted embracing of the music's emotional world, with its vivid contrasts of mood, tone and movement. Robert McDonald is a like-minded partner...” Gramophone Magazine, April 2008

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Mendelssohn & Bruch: Violin Concertos

Mendelssohn & Bruch: Violin Concertos


Bruch:

Violin Concerto No. 1 in G minor, Op. 26

Mendelssohn:

Violin Concerto in E minor, Op. 64


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Warp & Weft

Warp & Weft


Clarke, Rebecca:

Suite for Two Violins and Piano

Simon Callaghan (piano)

Jacob, G:

Four Bagatelles for Two Violins

World Première Recording

Moeran:

Sonata in A major for 2 violins

Patterson, P:

Allusions Trio for Two Violins and Piano

World Première Recording

Simon Callaghan (piano)

Rawsthorne:

Theme and Variations for Two Violins


Midori Komachi (violin), Sophie Rosa (violin)

Featuring works for two violins, Warp and Weft brings together a fascinating variety of works written for this instrumentation by 20th and 21st Century British composers. It is a unique exploration, in which the two violins interweave lines to make a web of sound. In addition to two world permière recordings by Gordon Jacob and Paul Patterson, the disc also includes some of the most inspiring yet rarely recorded works by Rebecca Clarke, E.J.Moeran and Alan Rawsthorne. Each expressing distinctive colours, the exploration of lyricism and virtuosity unfolds.

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Cantata Kaido-Tosei and the Works of Kiyoshi Nobutoki

Cantata Kaido-Tosei and the Works of Kiyoshi Nobutoki


Various Artist & Kiyoshi Nobutoki, Various Artist, Kazuki Yamada, Yokohama Sinfonietta, Kaido-tosei Kumamoto Festival Choir, Yasuto Kasuga, Kazuaki Osawa, Shoko Sawamura, Naomi Kanetake, Midori Minawa, Kumamoto Prefectural Office Choir, Mamoru Zoza, Chikako Isida

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Eötvös: DoReMi, Cello Concerto Grosso & Speaking Drums

Eötvös: DoReMi, Cello Concerto Grosso & Speaking Drums


Eötvös:

Cello Concerto Grosso

Jean-Guihen Queyras (cello)

DoReMi (Violin Concerto No. 2)

Midori (violin)

Speaking Drums

Martin Grubinger (voice and percussion)


In November 2014, Radio France inaugurated its new auditorium with a programme giving carte blanche to one of the most eminent composers of our time, Peter Eötvös, who was then celebrating his seventieth birthday. On this occasion, three of his concertos were given their world premiere recordings under his direction with three soloists of the front rank. The violin concerto DoReMi, played here by its dedicatee Midori, is followed by Cello Concerto Grosso, a triangular dialogue between the solo cello, the cello section, and the full orchestra. The spectacular Speaking Drums concludes the programme on a highpoint: the orchestra (around forty musicians) prolongs the performance – theatrical as much as musical – of the percussionist, who declaims texts by the poets Sándor Weöres (in Hungarian) and Jayadeva (in Sanskrit) and moves from point to point on the platform, thus creating links with various instruments of the orchestra. The stunning Martin Grubinger lends his voice and his percussion playing to this piece, which ends in highly virtuosic polyrhythm.

“most effective in the violin work DoReMi, which seems perfectly tailored to the brilliance of Midori’s playing, and in the sheer theatricality and almost improvisatory quality of Talking Drums, in which Grubinger has to deliver fragments of poems by Sándor Weöres and a Sanskrit text by the Indian poet Jayadeva, as well as playing a wide range of tuned and untuned instruments.” The Guardian, 6th May 2016

“The first of these three concertos was not only written for Midori, but playfully takes the (adjusted) syllables of her name as a quasi-tone row from which to concoct a tripartite argument.” Sunday Times, 15th May 2016

“The OPRF musicians play with alacrity under Eötvös’s direction. Superbly recorded and decently annotated, this disc is recommended to admirers of and newcomers to a composer whose musical imagination knows few bounds” Gramophone Magazine, August 2016

“Jean-Guihen Queyras brings verve and eloquence to the dramatic soliloquy of the [Cello Concerto], and plays athlete and clown in a finale of irresistible with and imagination. DoReMi, a tribute to Midori, finds her on feisty form. It’s characterised by a spangling transparency…one cannot fault this lucid performance under Eötvös’s high-energy direction” BBC Music Magazine, September 2016 *****

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The 50 Absolute Essentials of Classical Music

The 50 Absolute Essentials of Classical Music


The Cleveland Orchestra, Abraham Kaplan (director), New York Philharmonic Orchestra, Yefim Bronfman (piano), The Philharmonia Orchestra, Vladimir Horowitz (piano), NBC Symphony Orchestra, Murray Perahia (piano), Symphonieorchester des Bayerischen Rundfunks, Evgeny Kissin (piano), Sviatoslav Richter (piano), Chicago Symphony Orchestra, Khatia Buniatishvili (piano), Orchestre de Paris, Israel Philharmonic Orchestra, Jascha Heifetz (violin), New Symphony Orchestra of London, Boston Symphony Orchestra, Yo-Yo Ma (cello), Isaac Stern (violin), The Philadelphia Orchestra, Midori (violin), Pinchas Zukerman (violin), Saint Louis Symphony Orchestra, Jacqueline du Pré (cello), Berlin Philharmonic Orchestra, The Philharmonia Chorus, Lynne Dawson (soprano), Chicago Symphony Chorus, Chor des Bayerischen Rundfunks, Giuliano Carmignola (violin), Venice Baroque Orchestra, Angelika Kirchschlager (mezzo-soprano), Håkan Hagegård (baritone), Barbara Bonney (soprano), Tanglewood Festival Chorus, The Mormon Tabernacle Choir, Camerata Singers, John Reardon (baritone), Judith Raskin (soprano), Bruce Prince-Joseph (harpsichord), Bernard Altmann (cello), Alexander Young (tenor), John Aler (tenor), Saint Louis Symphony Chorus, Sylvia McNair (soprano), James Chambers (french horn), Erna Spoorenberg, Gwenyth Annear, Gwyneth Jones, Donald McIntyre, Hans Vollenweider, Vladimir Ruzdjak, John Mitchinson, Anna Reynolds, Norma Procter, Anna Larsson (alto), Juliane Banse (soprano), Tonhalle Orchester Zürich, Schweizer Kammerchor, Bayerisches Staatsorchester, Eileen Farrell (soprano), Jane Eaglen (soprano), Orchestra Of The Royal Opera House, Covent Garden, Terry Cook (bass vocal), Metropolitan Opera Chorus, Metropolitan Opera Orchestra, Montserrat Caballé (soprano), Plácido Domingo (tenor), The London Philharmonic Orchestra, Orchestra del Teatro alla Scala, Maria Guleghina (soprano), Chor der Wiener Staatsoper, Vienna Philharmonic Orchestra, Ileana Cotrubas (soprano), Christian Boesch (baritone), Teresa Berganza (soprano), Ruggero Raimondi (bass vocal), Orchestra of The Theatre National de L'Opera Paris, Marie McLaughlin (soprano), Orchestra del Maggio Musicale Fiorentino, Karita Mattila (soprano), Tiziana Fabbricini (soprano), Roberto Alagna (tenor), Renata Scotto (soprano), John McCarthy (chorus master), National Philharmonic Orchestra, Ambrosian Opera Chorus

New York Philharmonic Orchestra, Leeds Festival Chorus, London Symphony Chorus, London Symphony Orchestra, Finchley Children's Music Group, Highgate School Boys Choir, Orpington Junior Singers, George Szell, Leonard Bernstein, Esa-Pekka Salonen, Arturo Toscanini, Sir Colin Davis, James Levine, Erich Leinsdorf, Paavo Järvi, Zubin Mehta, Sir Malcolm Sargent, Charles Munch, Claudio Abbado, Eugene Ormandy, Leonard Slatkin, Daniel Barenboim, Lorin Ma

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Hindemith: Violinkonzert, Symphonic Metamorphosis & Konzertmusik, Op. 50

Hindemith: Violinkonzert, Symphonic Metamorphosis & Konzertmusik, Op. 50


Hindemith:

Violin Concerto

Midori Goto (violin)

Symphonic Metamorphoses on Themes by Carl Maria von Weber

Konzertmusik, Op. 50 for strings & brass


To commemorate the death of Hindemith 50 years ago, Ondine presents a stunning new release featuring Midori, the NDR Symphony Orchestra and Christoph Eschenbach.

The Violin Concerto clearly demonstrates Hindemith’s experience as an orchestral musician and soloist – he proves to be a connoisseur of the tonal possibilities of the instrument and pushes the soloist to extraordinary lengths.

Coupled with the violin concerto are two of Hindemith’s most successful orchestral works.

Midori is recognized as an extraordinary artistic personality, making her first debut performance at the age of 11 with the New York Philharmonic under Zubin Mehta.

The NDR Symphony Orchestra has had an impressive run of previous conductors including Christoph Eschenbach, who recently completed a sell-out tour with the Vienna Philharmonic.

“Midori taps into the msuic's vein of anxiety, delivering taut sinewy playing in the outer movements and bringing lyrical eloquence to the more reflective passages...Eschenbach is absolutely inspired in the Konzertmusik, the NDR's strings and brass relishing the music's ebullience and dynamic power.” BBC Music Magazine, Christmas Issue 2013 *****

“The NDR players audibly relish [the Metamorphosis'] challenges and elan...theirs is a highly engaging version…” Gramophone Magazine, November 2013

“Midori and Eschenbach approach the work in the spirit of refinement and purity of tone...Midori’s approach is one of concentration of tonal projection - a ringing, tight, silvery sound that opens up principally in the slow section of the finale where she widens her vibrato appreciably.” MusicWeb International, 11th December 2013

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