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Hiromi Okada (piano) Russian Philharmonic Orchestra, Dmitry Yablonsky | | | In stock - usually despatched within 1 working day. |
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Bournemouth Symphony Orchestra, Marin Alsop “Takemitsu’s music is essentially sensuous and evocative; one might almost count him a Japanese Debussy.” The Penguin Guide “A beguiling collection of early and late Takemitsu works.” BBC Music Magazine, August 2006 | | | In stock - usually despatched within 1 working day. |
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| |  | Ohzawa: | Piano Concerto No. 2 Ekaterina Saranceva (piano) Symphony No. 2 Scored for a large orchestra including triple winds, celesta and a variety of percussion, the Symphony No. 2 has the character of a Concerto for Orchestra. The highly original second movement is made up of four independent parts: two arias and two toccatas, played alternately, with each part requiring a soloist or soloists |
Russian Philharmonic Orchestra, Dmitry Yablonsky World Première Recordings | | | Usually despatched in 2 - 3 working days. |
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Kanagawa Philharmonic Orchestra, Kazuhiko Komatsu Isotaro Sugata’s compositions may be viewed as a synthesis of several different kinds of Western music, as well as incorporating elements of traditional Japanese imperial music. Inspired by Hindemith, the polyphonic Symphonic Overture is virtually a single-movement symphony. Calling for an orchestra with triple winds and Japanese traditional percussion, Peaceful Dance of Two Dragons is a free and powerful paraphrase of Nasori, a Gagaku dance. Dancing Girl in the Orient, taken from “Sketches of the Desert” is written in the manner of Rimsky-Korsakov and Ketelbey. The ballet music The Rhythm of Life is an idiosyncratic piece in a primitivistic style, where fragments from Stravinsky’s Le sacre du printemps are combined with Japanese melodies. | | | Usually despatched in 2 - 3 working days. |
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Aleksey Volkov (alto saxophone) Russian Philharmonic Orchestra, Dmitry Yablonsky Komei Abe was one of the finest pupils trained at the Tokyo Music School (now the Tokyo University of Fine Arts and Music) in the 1930’s. His musical language is characterized by crisp melodies, structural clarity and, in the composer’s own words, ‘rhythmic ostinato by the steam locomotive’. Written during his vintage years, the Symphony No. 1 and the Sinfonietta are scored for a large orchestra, including a wide variety of percussion. | | | Usually despatched in 2 - 3 working days. |
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| |  | Takemitsu - Piano Music
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Touon Tetsuo Miyata, Touon Toshimitsu Muraji, Touon Taro Yamaguchi, Touon Jun Ajimi, Touon Keizo Miyata (Nagauta vocalists), Touon Toru Ajimi, Touon Takehisa Takahashi, Touon Shiro Minoda, Touon Yutaka Miyata, Touon Gojiro Sakamoto (Shamisen), Sataro Mochizuki, Satatoshiro Mochizuki, Tatsuyuki Mochizuki, Roei Tosha, Toru Fukuhara (Hayashi) & Yumiko Mizoiri (Hichiriki) Tokyo Metropolitan Symphony Orchestra, Takuo Yuasa | | | Usually despatched in 2 - 3 working days. |
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Russian Philharmonic Orchestra, Dmitry Yablonsky "Yablonsky and his Russian orchestra seem to believe in Fukai’s music… they deliver playing that is clean, direct and bold” (American Record Guide) | | | Usually despatched in 2 - 3 working days. |
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New Zealand Symphony Orchestra, Takuo Yuasa “a delicate balance of surface and form.” Gramophone | | | Usually despatched in 2 - 3 working days. |
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Ekaterina Saranceva (piano) Russian Philharmonic Orchestra, Dmitry Yablonsky | | | Usually despatched in 2 - 3 working days. |
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