Moravian Philharmonic Orchestra

Orchestra

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Dvorak Complete Concertos

Dvorak Complete Concertos


Dvorak:

Violin Concerto in A minor, Op. 53

Cello Concerto in B minor, Op. 104

Waldesruhe (Silent woods) for cello and orchestra, Op. 68 No. 5

Rondo in G minor for cello & orchestra, Op. 94, B. 181

Piano Concerto in G minor, Op. 33


Jan Palenicek (cello), Jana Novakova (violin), Jitka Cechova (piano)

Moravian Philharmonic Orchestra, Olomouc, Stanislav Vavrinek

Cube Bohemia - CBCD2426

(CD - 2 discs)

$20.50

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Light and Shadow

Light and Shadow


Albert, A:

Boundaries

Moravian Philharmonic Orchestra, Vit Micka

Interiors

Moravian Philharmonic Orchestra, Vit Micka

Lombardi, R:

Tonisadie

Pilsen Philharmonic Orchestra, Vit Micka

Perttu:

Light and Shadow in the Yosemite Valley

Ohio State University Symphony Orchestra, Marshall Haddock

Russo, T:

Family Voices

Moravian Philharmonic Orchestra, Vit Micka

Worthington:

Tracing a Dream

Russian Philharmonic Orchestra, Ovidiu Marinescu


Released or re-released in last 6 months

Navona Records - NV5847D

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Triptych Revelation

Triptych Revelation


Ondřej Jurčeka (trumpet), Omar Chen Guey (violin), Rohan Gregory (violin), Peter Sulski (viola), Jacques Lee Wood (cello), Karolina Rojahn (piano), Sergio Cervetti (electronics)

Moravian Philharmonic Orchestra, Petr Vronský

Triptych Revelation, composer Sergio Cervetti's seventh album wtih Navona, presents works from across four decades of his extensive career. Though a fair bit of time separates these pieces, the album's three works all feature unique explorations of apocalyptic themes drawn from the New Testament, nineteenth century French literature, and Flemish art of the sixteenth century. Inspired by portentous images from the Book of Revelation, Concerto for Trumpet, Strings, and Timpani pays specific homage to the passage, "And the seventh angel sounded the trumpet". Cervetti created the work as a trumpet aria, with three sections that unfold in a faceted continuum. Opening with a foreboding and menacing trumpet solo, the piece launches into full swing with tumultuous interplay between the brass and timpani. The final section's viola and celli parts recall the Voices of Heaven, joined later by timpani and trumpet for an apocalyptic crescendo and finale. Written in memory of the composer's sister, Piano Quintet "Toward the Abyss" is molded from Charles Baudelaire's poem "Le Voyage" and contemplates mortality and the voyage toward the afterlife. The work's post-minimalist tendencies exhibit a mature dexterity, using salient aesthetic means such as scattered 12-tone rows, minimalism, glimmers o fmelody, and the synthesis of suspense in tone and material. A meditative sequence of ascending piano and string lines conjures imagery of a flame extinguished and fused with eternity, with the smoke fading into eternal resplendence in the last movement's quotation of J.S. Bach's chorale Before They Throne I Now Appear. The Hay Wain, an electroacoustic tone poem, was inspired by the medieval triptych of the same name by painter Hieronymus Bosch. Cervetti uses a virtual orchestra redolent of the painter's brush to create colorful, grotesque responses to Bosch's horrifying representations of the world and its ultimate fate. In traversing this narrative, the composer draws inspiration fo rfour movements from the painting, evoking imagery such as angels as insects falling to earth like confetti; a wagon laden with hay drawn by semi-human, semi-animal monsters; a tower of human pride constructed by sinners; and lovers sitting and playing the lute in bliss, oblivious of the abyss towards which they are being driven.

Released or re-released in last 6 months

Navona Records - NV6099

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Allen Brings: Music for Voices

Allen Brings: Music for Voices


Allen Brings (piano), Mara Bonde (soprano), Genevieve Chinn (piano)

Ars Brunensis Chorus, Moravian Philharmonic Orchestra, The Kent Singers, New York Virtuoso Singers, Toshiyuki Shimada, Marguerite Mullée, Harold Rosenbaum

In 2008, PARMA Recordings acquired Capstone Records, the highly respected New York-based classical label founded by composer Richard Brooks in 1986, with the intent of shepherding the company and its music into the digital era. This album was originally released on Capstone and is being re-released by PARMA Recording's Navona Records. On MUSIC FOR VOICES, composer and pianist Allen Brings presents a collection of pairings for vocals and instruments, often marrying the forces of chorus and orchestra. Brings’ compositions feature a wide range of performer credits, including the Ars Brunensis Chorus and the Moravian Philharmonic Orchestra, both from the Czech Republic; the New York Virtuoso Singers; the Kent Singers from Connecticut; conductors Toshiyuki Shimada, Marguerite Mullee, and Harold Rosenbaum; soprano Mara Bonde; and pianist Genevieve Chinn. Additionally, Brings plays piano on a handful of these works, including Three Songs of Blake & Donne for soprano & piano; The Lament of Rachel for chamber choir & piano, four-hands; and Encore: Mountain Song for soprano & piano. Both a composer and a pianist, Brings has twice served as chairman of the eastern region of the American Society of University Composers and currently serves as vice president of Connecticut Composers. He has received an ASCAP Award every year since 1975. Additionally, Brings has taught at a number of schools, and holds professor emeritus status at his alma mater, the Aaron Copland School of Music at Queens College of the City University of New York, where he was coordinator of the theory and ear training program. He is now a director of the Weston Music Center and School of the Performing Arts in Connecticut, where he teaches piano and theory.

Released or re-released in last 6 months

Navona Records - NV6103

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Passage: Contemporary Works for Orchestra

Passage: Contemporary Works for Orchestra


Ondřej Jurčeka (trumpet)

Moravian Philharmonic Orchestra, Slovak National Symphony Orchestra, Petr Vronský, Kirk Trevor, Stanislav Vavřínek

Released or re-released in last 6 months

Navona Records - NV6094

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Jan Vičar: Way To The Sun (Cesta K Slunci)

Jan Vičar: Way To The Sun (Cesta K Slunci)


Vičar:

Fanfares of the Palacký University

Music for Strings and Timpani

Vivat universitas!

The Goddess of Žítková

On Kate and with Kate

The Way to the


Barbora Polaskova (mezzo), Jiri Pribyl (bass)

Moravian Philharmonic Olomouc, Czech Children's Choir Jitro and soloists, Petr Vronský, Marek Štilec

Jan Vicar belongs to the authors who combine a songwriting career and teaching at the musical colleges specializing in musical aesthetics and theory. His profile album named after the composition ''Way to the Sun'' contains a very interesting cross-section of his work from the eighties to the present day. We will meet with compositions influenced by ''Polish schools'', synthesizing songs and very popular and humorous adaptations of Czech and Moravian folk songs. Recording of the project took place in Olomouc, a city where Jan Vicar grew up and where today the University operates.

Released or re-released in last 6 months

Arco Diva - UP0187

(CD)

$13.00

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Winter's Warmth

Winter's Warmth


Karel Martinek (organ), Peter Laul (piano)

Moravian Philharmonic Orchestra, St. Petersburg State Symphony Orchestra, Petr Vronský, Vladimir Lande

Released or re-released in last 6 months

Navona Records - NV6091

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Beth Mehocic: Piece by Piece

Beth Mehocic: Piece by Piece


Moravian Philharmonic Chamber Players, Stanislav Vavřínek

Ravello Records proudly presents the digital single PIECE BY PIECE, the PARMA debut of composer Beth Mehocic (ma•ho´•sick). Her work of the same name is scored for flute, bass clarinet, trumpet, bass trombone, violin, contrabass, and percussion and is performed by the Moravian Philharmonic Chamber Players. Piece by Piece was commissioned by the Erick Hawkins Dance Company of New York City in honor of their former director and composer-in-residence, Lucia Dlugoszewski. Dlugoszewski is known for her developments in avant-garde music technique and experimental music; thus, Mehocic includes a number of these techniques in the piece, including pitch bends, rapid glissandi, muting techniques, and extreme ranges. These effects are made all the more striking by Mehocic’s kaleidoscopic orchestration—brassy wails, brittle string snaps, and nasally trumpet pervade the piece. Piece by Piece also creates the illusion of free rhythm and meter in a completely metered setting, with an energy that is constantly shifting. The rhythmic and timbral play result in a spirited, kinetic work, with each instrument always interacting with another. Each sound dances around, or with, or against the next—a vibrantly patterned collage of musical color. HIGHLIGHTS Composer, poet, visual artist, filmmaker, and author Beth Mehocic is currently the Composer-in-Residence, Music Director, and Full Professor for the Department of Dance at the University of Nevada, Las Vegas. She received her M.M and Ph.D in Music Composition from Michigan State University Mehocic is deeply involved with the intersections between dance and music. Her music for choreography has been performed in Scotland, Australia, and Korea. Notably, her dance poem Shadows and video dance poem Hands were awarded a “Gold Medal in Innovation” for digital poetry, dance, and music at the 2005 International Taishan Congress of Cultures and the 19th World Congress of Poets in China. Her multimedia, multi-artistic pursuits were synthesized in her one-woman exhibit Poetic Visions in Las Vegas Mehocic is a founding member of the International Guild of Musicians in Dance, the first guild in western history devoted to the advancement of concert dance music and musical education of dancers. She was also the editor for the Guild's Journal for three years Piece by Piece was commissioned by the Erick Hawkins Dance Company of New York City in honor of their former director and composer-in-residence, Lucia Dlugoszewski Mehocic has been proclaimed “Distinguished Composer” of the City of Las Vegas, and has been awarded the First Performing Artist's Fellowship in Music Composition from the State of Nevada

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Ravello Records - RR7955

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The Music of Marty Regan, Vol. 1: Splash of Indigo

The Music of Marty Regan, Vol. 1: Splash of Indigo


Brendan Kinsella (piano), Chloé Trevor (violin), Julia Fox (soprano), Andrea Imhoff (piano)

Moravian Philharmonic Orchestra, Trio Xia, Apollo Chamber Players, Petr Vronský

American composer Marty Regan specializes in composing music for traditional Japanese instruments, a fascination he has developed since 2000. Regan describes his Japanese-style compositions as "hybrid musical soundscapes that reflect the age in which we live, an era based not necessarily on globalization, but of partnership based on global cultural interaction." + In contrast, Splash of Indigo features a complementary side of Regan's output, containing only works for Western orchestral instruments and voice. Despite the album's instrumentation, Regan's connection to Japan remains strong in Splash of Indigo. + Splash of Indigo proves Regan is more than capable of inventing and developing charming and complex networks of musical ideas. In it's varied collection of chamber and large ensemble works, Splash of Indigo shows Marty Regan is a composer of considerable breadth and skill beyond his dedicated efforts to build a bridge between American and Japanese musical culture.

Navona Records - NV6064

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Taylor: 3 Century Suite

Taylor: 3 Century Suite


2016 marks the 50th anniversary of composer Deems Taylor’s death (1885-1966), an opportune time to revisit his music by releasing his previously unrecorded piece Three Century Suite. This piece, in the form of a Baroque dance suite, is delightfully accessible, full of beautiful melodies, exquisite harmonies, and marvelous orchestration. Three Century Suite was performed once before, in Interlochen, Michigan, in 1961, conducted by A. Clyde Roller. In the 1920s and 30s Taylor's compositions were met with great enthusiasm. His orchestral pieces were widely played. Paul Whiteman commissioned pieces by both Taylor and George Gershwin for his 1925 concert “Second Experiment in Modern Music”. That same year, the Metropolitan Opera commissioned him to write an opera – the first American to be so honored. Based on the success of the resulting The King’s Henchman (with libretto by Edna St. Vincent Millay), the Met commissioned a second opera, Peter Ibbetson. This was also a big success, and the number of performances for The King’s Henchman and Peter Ibbetson is greater than any opera of any other American composer. Taylor was also an influential music critic and commentator. He reached more people through his radio commentaries than any other music critic in American history, before or since, and became nationally known as “The Dean of American Music”. Noted conductor Gerard Schwartz, of the Seattle Symphony, says of Taylor as a radio commentator, “Single-handedly, he probably did more for classical music in the first half of the twentieth century than anyone else in the United States.” As a critic, Taylor was open to the experiments of modernism, and wrote favorably of Alban Berg, Stravinsky, Gershwin, and others. As a composer, his music remains consistently within the romantic and impressionistic style, and displays the influences of Wagner, Tchaikovsky, and Debussy. A promoter of classical music throughout his life, Taylor is possibly best-known today as the narrator of Walt Disney’s 1940 film classic Fantasia. It was he who suggested Stravinsky’s Rite of Spring for the dinosaur sequence. Taylor's style is fundamentally melodic and tonal, with rich, expressive orchestration. His music maintains interest through constant variation and frequent modulation. Above all, he views music as the “language of emotion” and taught that the test of good music was “how it sounds”. His belief in these standards partially explains the fact that after World War II, when these criteria were violently rejected by the generation of Boulez, Stockhausen, and Cage, Taylor’s music receded from the spot light. Now – fifty years after his death – it seems appropriate to renew our appreciation of this composer’s work, because Deems Taylor is, indeed, a master - of orchestration, form, contrast, balance, texture, not to mention melody and harmony – and Three Century Suite is one of his masterpieces. Key Points: • One of the best-known musical figures of the first half of the twentieth century, Deems Taylor was a composer, radio commentator, music critic, and author. His fame as a composer is illustrated by his appearance on the cover of Time Magazine in 1931. • Three Century Suite was composed in the late 1940’s and completed in its current form in 1950. This is the premier recording, based on a handwritten score which is located in the Deems Taylor archives at the Yale Music Library. • Taylor was a prominent radio commentator. As the voice of the New York Philharmonic, Taylor was known as “the man who brought classical music to the American people” and “The Dean of American Music”. • Taylor was the fourth President of ASCAP, and is probably best known today as the narrator of the original version of Disney’s classic film Fantasia. • 2016 marks the 50th anniversary of Taylor’s death.

Navona Records - NV6066

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