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Guitarra mia - Tango

Guitarra mia - Tango

Original compositions and transcriptions for guitar of music by Carlos Gardel and Astor Piazzólla


Gardel:

Por Una Cabeza

Cuando tú no estás

El dia que me quieras

Sus Ojos Se Cerraron

Mi Buenos Aires Querido

Volver

Criollita de mis amores

Piazzólla:

La Muerte del Angel

Primavera Porteña

Triunfal

Cinco Piezas para Guitarra


Franz Halasz (guitar)

The origins of the tango are debatable, but few would disagree in naming Carlos Gardel the first great figure of the genre. Beginning his career as a folk singer, Gardel is also generally regarded as the creator of sung tango, tango canción. In the course of some 25 years, he wrote a large number of songs, recorded numerous discs and acted in several films, achieving international stardom. All the Gardel songs heard here featured in films produced between 1932 and 1935. Lending its title to the present disc, Guitarra, guitarra mía was the last song Gardel recorded, shortly before he died in a plane crash in June 1935. Only months earlier, he had encountered a young boy who had a walk-on part in his last film – a striking coincidence, as the boy was Astor Piazzolla, alongside Gardel the most influential figure in the history of the tango. In contrast to Gardel, however, Piazzolla was for a long time the black sheep of traditional tango, eager to explore art music and jazz and to incorporate elements of both in his own music, which became known as nuevo tango. Written for the ensembles that he played and toured worldwide with, pieces such as La muerte del ángel and Vuelvo al sur became immortal. Himself a bandoneon player, Piazzolla often included guitar in his ensembles, but did not compose for solo guitar until in the 1980s, when he wrote the Cinco Piezas that close the disc. Along with numerous arrangements, these have entered the guitar repertoire and are here performed by the German guitarist Franz Halász, who on recent discs for BIS has impressed the critics to the point of winning a Latin Grammy Award in 2015 with a disc of chamber music by Radamés Gnattali.

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BIS - BIS2165

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Emil Jonason plays Lindberg & Golijov

Emil Jonason plays Lindberg & Golijov


Golijov:

The Dreams and Prayers of Isaac the Blind

Lindberg, C:

The Erratic Dreams of Mr Grönstedt


Emil Jonason (clarinet)

Vamlingbo Quartet and Norrköping SO, Christian Lindberg

Selected by ECHO (the European Concert Hall Organisation) as one of its ‘Rising Stars’ of the 2009/10 season, the Swedish clarinettist Emil Jonason has become increasingly visible on the international music scene. For his first disc on the BIS label he has chosen to record a concerto written for him by his compatriot Christian Lindberg, composer, conductor and legendary trombonist. As Lindberg remarks in his own note on the work, the soloist was involved at all stages of the compositional process. But the Erratic Dreams are the composer’s own – as is the figure of Mr Grönstedt, the main character of those dreams, and of the six movements that make up the colourful score.

In his teens, Emil Jonason was attracted by klezmer music, and played in various klezmer bands. It was therefore a natural choice to combine Lindberg’s concerto with the Argentinian composer Osvaldo Golijov’s work The Dreams and Prayers of Isaac the Blind. In contrast to Lindberg, Golijov found inspiration in a historic figure, the medieval rabbi Isaac the Blind, and his lifelong dedication to the ideas of the Kabbalah. Golijov describes the movements of his work being written in three of the different languages spoken by the Jewish people throughout its history: Aramaic, Yiddish (‘the rich and fragile language of a long exile’) and Hebrew. The work includes references to Jewish prayers as well as to klezmer tunes and the clarinettist is specifically requested by the composer to acquaint himself with the idiom of klezmer music.

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BIS - BIS2188

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A noble and melancholy instrument

A noble and melancholy instrument


Beethoven:

Horn Sonata in F major, Op. 17

Dukas:

Villanelle

Glazunov:

Reverie, Op. 24 for French horn

Rossini:

Prelude, Theme & Variations

Saint-Saëns:

Romance, Op. 67

Schumann:

Adagio and Allegro in A flat major, Op. 70

Strauss, F:

Nocturno, Op. 7


Alec Frank-Gemill (horn) & Alasdair Beatson (piano)

The 19th century saw huge developments in the design of many musical instruments. In some cases changes were adopted more or less universally: the fortepiano that Mozart knew, a five-octave instrument constructed entirely of wood, had by around 1900 grown into the modern grand piano with over seven octaves and a cast-iron frame. With other instruments, progress was less streamlined. As late as 1865, the natural, valveless horn of Beethoven's time remained the instrument of choice for Brahms when he wrote his famous Horn Trio, and when valves began to be introduced, makers and musicians in Germany, France and Vienna favoured different solutions, offering different results in terms of sound and requiring different playing techniques. The present disc is a unique combination of recital and history lesson, with a young British team performing music from between 1800 and 1942 on no less than eight different historic instruments: four horns and four pianos. This gives us the opportunity to hear the works on instruments that the different composers would have recognized, whether Beethoven's Sonata in F major (a natural horn from 1800 and a fortepiano from 1815) or the Villanelle by Paul Dukas from 1906 (an early 20th-century cor à pistons and a Bechstein from 1898). Both notable performers on modern instruments, Alec Frank-Gemmill and Alasdair Beatson here revel in the sonic possibilities offered by the historic instruments with results that are as delighting as they are enlightening.

“[the playing and musicians are of] a high calibre, virtuosic and technically flawless, but with real emotional depth. And such is the variety here, there is bound to be at least one piece that steals your melancholy heart.” The Herald (Glasgow), March 2017

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4 X Anders Eliasson

4 X Anders Eliasson


Eliasson:

Notturno (1981) for bass clarinet, cello and piano

Senza risposte (1983) for flute, violin, cello and piano

Fogliame

Trio (2010) for violin, vibraphone and piano


Norrbotten NEO

Born in a provincial Swedish town in 1947, Anders Eliasson started playing the trumpet at the age of 9 and soon after formed his own jazz band. In his teens he began to study classical music, however, and aged 19 he was accepted into the composition class at the Royal Academy of Music in Stockholm. Here modernism reigned supreme, and Eliasson felt out of touch with a style that he later described as petrified and intellectualized. His own idea of music was completely different, and he went so far as to say that he did not, in point of fact, compose music but merely assisted in its birth. Eliasson first came to wider notice during the second half of the 1970s, with his Disegno per quartetto d’archi and Canto del vagabondo for boy soprano, choir and orchestra. But as he himself acknowledged, it was in the early 80s that he truly began to find his own voice, for instance with chamber works such as Notturno and Senza risposte. During the rest of Eliasson’s career, it would be compositions for large forces that attracted the greatest attention, in Sweden and abroad: from Symphony No. 1 (1986), which received the Nordic Council Music Prize, to the great oratorio Dante Anarca and Symphony No. 4, premièred by the Bavarian Radio Symphony Orchestra in 2007. He continued writing chamber music throughout his life, however, and the Trio from 2010 was to become one of his last works. Specializing in contemporary music, the seven members of Norrbotten NEO have devised a programme that includes the first recordings on CD of Notturno and the Trio for violin, vibraphone and piano, and at the same time offers the possibility of following a unique voice in contemporary music over the course of four decades.

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BIS - BIS2270

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Brahms: String Quintets

Brahms: String Quintets


Brahms:

String Quintet No. 1 in F major, Op. 88

String Quintet No. 2 in G major, Op. 111


WDR Symphony Orchestra Cologne Chamber Players

Radiant, expansive, lyrical and utterly compelling, Brahms’s richly rewarding string quintets are exuberantly unleashed by the WDR Symphony Orchestra Cologne Chamber Players in this album.

These technically demanding works contain everything one could wish for from the mature Brahms: searching melodies woven into glowing, luxuriant textures, lyrical introspection with subdued sonorities, to youthful abandon in breathless, rhythmic passages.

“You have never before had such a beautiful work from me”, Brahms told his publisher about his Quintet No.1 in F major, Op. 88. This was no idle boast. The amiable and leisurely first movement with its warmly inviting opening melody is followed by a haunting second movement based on a sarabande with exquisite interplay between the instruments. In a nod to Beethoven, the energetic final movement is a masterly combination of fugue and sonata form but the result is pure Brahms.

The WDR Symphony Orchestra Cologne was formed in 1947. It has recorded extensively and is renowned for its interpretation of 20th century and contemporary music in addition to the standard classical repertoire. Its chief conductor is Jukka - Pekka Saraste. The WDR Symphony Orchestra Cologne Chamber Players are all members of the orchestra as well as pursuing their own international careers: Ye Wu (violin, Leader), Andreea Florescu (violin), Tomek Neugebauer (viola), Mischa Pfeiffer (viola) and Susanne Eychmüller (cello). The WDR Symphony Orchestra has, as part of the season, its own regular chamber music subscription series. The concerts take place in the WDR Radio Hall and all concerts are recorded and broadcast on the radio. This is their first recording for PENTATONE.

“They sidestep the pitfall of labouring the Brahmsian point, instead maintaining impetus and carefully considering textural balance while bringing abundant depth and warmth to this wonderful music.” Sunday Times, 16th August 2017

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Pentatone - PTC5186663

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Haydn: Symphonies Nos. 53, 64 & 96

Haydn: Symphonies Nos. 53, 64 & 96


Haydn:

Symphony No. 53 in D major 'The Imperial'

Symphony No. 64 in A major 'Tempora Mutantur'

Symphony No. 96 in D major 'Miracle'


The Oregon Symphony, Carlos Kalmar

This is Carlos Kalmar’s fourth album for PENTATONE with the Oregon Symphony. Their album ‘Music for a Time of War’, earned two Grammy nominations (Best Orchestral Performance and Best Engineered Album, Classical) and was widely praised by music critics. Gramophone said of their album This England “Kalmar’s Oregon performance certainly pulls no punches … a total success, gripping in mood and hot on specific instrumental detail,” adding, “sound - wise, you couldn’t ask for more; nor could anyone expect finer recording from PENTATONE.” And in 2016, their critically acclaimed album of 20th century American orchestral works The Spirit of the American Range earned a Grammy nomination for Best Orchestral Performance. Carlos Kalmar, a Uruguayan national, is in his fourteenth season as Music Director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago.

Whether it’s a confident swagger or a balletic grace, a beguiling folk - melody or a quicksilver rondo, there is always something new to discover in the endlessly inventive symphonies of Haydn, especially in these firm favourites played by the Oregon Symphony under Carlos Kalmar in this new release. While Haydn wrote only one “Surprise” symphony, there are surprises to be enjoyed aplenty here. From the bewildering Largo in Symphony No. 64 with its unexpected turns and derailments, to the ceremonial elegance and ear - tickling melodies of Symphony No. 53 or the mock - heroics and propulsive rhythms of Symphony No. 96, Haydn’s irrepressible and dazzling ingenuity constantly delights and astonishes. “There is no one who can do it all,” wrote Mozart, “to joke and to terrify, to evoke laughter and profound sentiment – and all equally well, except Joseph Haydn.”.

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Pentatone - PTC5186612

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AKOKA: Reframing Messiaen’s Quartet for the End of Time

AKOKA: Reframing Messiaen’s Quartet for the End of Time


Messiaen:

Quatuor pour la fin du temps


David Krakauer (clarinet), Matt Haimovitz (cello), Jonathan Crow (violin), Geoffrey Burleson (piano) & Socalled (electronics)

This release fits into the PENTATONE Oxingale series, which was established when PENTATONE and Oxingale Records joined forces in February 2015.

In their “brilliantly inventive” (The New York Times) live recording, clarinetist David Krakauer and cellist Matt Haimovitz’s AKOKA lift Messiaen's transcendent 1940 - 41 work Quartet for the End of Time out of the polite context of a chamber music performance, placing it in a dramatic 21st century setting that drives home its gravity and impact.

AKOKA was inspired by the wartime experience of Jewish clarinetist Henri Akoka, who premiered the Quartet for the End of Time with Messiaen himself at the German prisoner - of - war camp in which they were both interred. Henri Akoka's vibrant personality and the story of his survival, with all its twists and turns, is the inspiration for this recording, which brings out the human aspect of this composition, seen through the eyes of one individual caught up in terrifying events beyond his control.

Messiaen’s Quartet for the End of Time is bookended by Akoka, Krakauer’s highly improvisational, Sephardic - tinged piece, and meanwhile are - mix by hip - hop/klezmer artist Socalled, who joins the ensemble on electronics. As the forces of fundamentalism, intolerance and violence intensify in today's world, this mounting of Messiaen’s great work is all the more timely.

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Pentatone Oxingale Series - PTC5186560

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Heinrich Baermann: Clarinet Quintets

Heinrich Baermann: Clarinet Quintets


Baermann, H:

Clarinet Quintet No. 3 in E flat major, Op. 23

Clarinet Quintet, Op. 22 in F Minor

Clarinet Quintet, Op. 19 In E Flat Major


Rita Karin Meier (clarinet)

Belenus Quartet

Heinrich Baermann is quite well known today as Carl Maria von Weber’s source of inspiration. The famous virtuoso, for whom Weber personally created his clarinet concertos, repeatedly took up the pen on his own – and did so with great success.

Several dozen works by Baermann have been transmitted to MDG and on this recording Rita Karin Meier and the Belenus Quartet turn to his three quintets for clarinet and strings and with them bring back to life his much acclaimed cantabile playing as well as his legendary virtuosic capabilities.

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MDG Scene - MDG9031988

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$14.50

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Di Ritis: Pop Concerto

Di Ritis: Pop Concerto


Eliot Fisk (guitar) & Patrick De Ritis (bassoon)

Duo X88 & Boston Modern Orchestra Project, Gil Rose

Sophisticated groove, expressive sound palette from an unusual and hip artist.

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Boston Modern Orchestra Project (BMOP) - BMOP1051

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Johann Kaspar Mertz: The Last Viennese Virtuoso

Johann Kaspar Mertz: The Last Viennese Virtuoso

Guitar Works


Mertz:

Gebeth (from Bardenklänge, Op. 13)

Orgelfuge

6 Schubertian Songs for solo guitar

Morceaux (3), Op. 65

Opern-Revue Op. 8. No. 8: Ernani

Bardenklange, Op. 13: An die Entfernte


Frank Bungarten (contra guitar)

For his new recording featuring compositions by the guitarist Johann Kaspar Mertz, distribguished performer Frank Bungarten has selected a very special instrument: a contraguitar designed on the basis of an exemplary historical model by Johann Gottfried Scherzer with a series of additional bass strings on a second neck.

As a result, we now can experience the opulent sonority of Mertz’s works just as they were originally heard – now for the first time since the death of the “last Viennese virtuoso” in 1856.

For the posthumously published Fantasies op. 65 and the Harmonie du soir Mertz very evidently reckoned with additional volume in the bass. It is only on the ten-string contraguitar that these works can be played exactly as they are notated.

Mertz composed a total of thirty-four opera paraphrases for his instrument. His orchestral source material calls for the full sound of the contraguitar, and in Frank Bungarten Verdi’s Ernani too finds an interpreter who makes the difficult technique of the arrangement seem easy.

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MDG Gold - MDG9051954

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$14.50

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