All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Wilhelm Backhaus: The Virtuoso (1908-1940)
Albéniz: | Triana (from Iberia, book 2) | Brahms: | Variations on an Original Theme in D major, Op. 21, No. 1 Variations on a theme by Paganini in A minor, Op. 35 | Chopin: | Piano Concerto No. 1 in E minor Op. 11: Romance Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu' Berceuse in D flat major, Op. 57 Waltz No. 6 in D flat major, Op. 64 No. 1 'Minute Waltz' | Delibes: | Naila: Waltz | Kreisler: | Liebesleid | Liszt: | La leggierezza - Étude de concert No. 2, S144 A Midsummer Night’s Dream: Wedding March & Dance of the Fairies (after Mendelssohn), S410 Liebestraum, S541 No. 3 (Nocturne in A flat major) Hungarian Rhapsody, S244 No. 2 in C sharp minor Waldesrauschen, S145 No. 1 | Mendelssohn: | A Midsummer Night's Dream: Scherzo | Moszkowski: | Caprice espagnole, Op. 37 | Mozart: | Piano Concerto No. 26 in D major, K537 'Coronation' Deh! vieni alla finestra (from Don Giovanni) | Pick-Mangiagalli: | La Danza di Olaf | Rachmaninov: | Prelude Op. 3 No. 2 in C sharp minor | Schubert: | Marche Militaire, D733 No. 1 | Strauss, R: | Ständchen, Op. 17 No. 2 | Weber: | Piano Concerto No. 1 in C major, J. 98, Op. 11: Rondo - moto perpetuo |
Wilhelm Backhaus (piano, piano-roll) Berlin Municipal Orchestra, Berlin Stadtischen Opera Orchestra, Fritz Zaun This CD showcases Backhaus’s great virtuosity. “revelatory: instead of the stern Beethovenian we are used to, the young pianist who emerges courtesy of piano-roll recordings from the 1920s is full of fire and flamboyance.” BBC Music Magazine, February 2013 ***** | 
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| |  | Sergei Nakariakov: Widmung
This new album by Sergei Nakariakov, recorded in the Jesus-Christus-Kirche in Dahlem, south-west Berlin, in August 2010 by the same team that made most of his Teldec recordings, is dedicated to his late mentor, the great Russian trumpeter, Timofei Dokshizer. Spectacular virtuoso trumpet works are featured alongside smoother works on the flugel horn. | | | In stock - usually despatched within 1 working day. |
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| |  | Homage to Fritz Kreisler
Albéniz: | Tango (No. 2 from Espana, Op. 165) Shlomo Mintz (violin) & Clifford Benson (piano) | Chaminade: | Sérénade espagnole, Op. 150 arr. Fritz Kreisler Christian Ferras (violin) & Jean-Claude Ambrosini (piano) | Dvorak: | Humoresque in G flat major, Op. 101 No. 7 Christian Ferras (violin) & Jean-Claude Ambrosini (piano) Slavonic Dance No. 10 in E minor, Op. 72 No. 2 arr. Fritz Kreisler Shlomo Mintz (violin) & Clifford Benson (piano) | Falla: | La vida breve: First Spanish Dance Christian Ferras (violin) & Jean-Claude Ambrosini (piano) | Glazunov: | Spanish Serenade, Op. 20 No. 2 Arr. Fritz Kreisler Shlomo Mintz (violin) & Clifford Benson (piano) | Gluck: | Orfeo ed Euridice (Orphée et Euridice): Dance of the Blessed Spirits arr. Kreisler Jascha Heifetz (violin) & Emanuel Bay (piano) | Granados: | Spanish Dance Arr. Fritz Kreisler Shlomo Mintz (violin) & Clifford Benson (piano) | Kreisler: | Praeludium and Allegro (in the style of Pugnani) first release on CD Ruggiero Ricci (violin) Sicilienne and Rigaudon (in the style of Francoeur) first release on CD Ruggiero Ricci (violin) Chanson Louis XIII and Pavane (In the style of Couperin) first release on CD Ruggiero Ricci (violin) Rondino on a Theme by Beethoven first release on CD Ruggiero Ricci (violin) Variations on a Theme by Corelli (in the style of Tartini) first release on CD Ruggiero Ricci (violin) Recitative & Scherzo Caprice, Op. 6 first release on CD Ruggiero Ricci (violin) Caprice Viennois, Op. 2 first release on CD Ruggiero Ricci (violin) Tambourin Chinois, Op. 3 first release on CD Ruggiero Ricci (violin) Liebesfreud first release on CD Ruggiero Ricci (violin) Liebesleid first release on CD Ruggiero Ricci (violin) Schön Rosmarin first release on CD Ruggiero Ricci (violin) La Gitana first release on CD Ruggiero Ricci (violin) Alter Refrain first release on CD Ruggiero Ricci (violin) La Chasse (The Hunt) in the style of Jean-Baptiste Cartier first release on CD Ruggiero Ricci (violin) Liebesfreud New Remastering Fritz Kreisler (violin) & Haddon Squire (piano) Liebesleid New Remastering Fritz Kreisler (violin) & Haddon Squire (piano) Schön Rosmarin New Remastering Fritz Kreisler (violin) Tambourin Chinois, Op. 3 New Remastering Fritz Kreisler (violin) & Haddon Squire (piano) Andantino in the style of Martini New Remastering Fritz Kreisler (violin) Song without Words, Op. 2, No. 3 (arr. from Tchaikovsky) New Remastering Fritz Kreisler (violin) La Gitana David Oistrakh (violin) & Vladimir Yampolsky (piano) Zigeuner-Capriccio (Gipsy caprice) Shlomo Mintz (violin) & Clifford Benson (piano) La Précieuse (in the style of Louis Couperin) Shlomo Mintz (violin) & Clifford Benson (piano) Syncopation Gidon Kremer (violin) & Oleg Maisenberg (piano) Marche miniature viennoise Gidon Kremer (violin) & Oleg Maisenberg (piano) Schön Rosmarin Anne-Sophie Mutter (violin) & Lambert Orkis (piano) Caprice Viennois, Op. 2 Anne-Sophie Mutter (violin) & Lambert Orkis (piano) Liebesleid Anne-Sophie Mutter (violin) & Lambert Orkis (piano) Polichinelle, serenade Shlomo Mintz (violin) & Clifford Benson (piano) | Mendelssohn: | Song without Words, Op. 62 No. 6 in A major 'Spring Song' arr. Fritz Kreisler Anne-Sophie Mutter (violin) & André Previn (piano) | Rimsky Korsakov: | Hymn to the Sun arr. Kreisler Jascha Heifetz (violin) & Emanuel Bay (piano) Song of the Hindu Guest (from Sadko) arr. by Fritz Kreisler Christian Ferras (violin) & Jean-Claude Ambrosini (piano) | Weber: | Violin Sonata No. 1 in F major, Op. 10 No. 1: Larghetto arr. Fritz Kreisler Shlomo Mintz (violin) & Clifford Benson (piano) | Wieniawski: | Caprice in E flat major (Alla Saltarella) arr. Fritz Kreisler Shlomo Mintz (violin) & Clifford Benson (piano) |
Along with his friend Caruso, Fritz Kreisler (1875–1962) was one of the superstars of the early gramophone era. He was “the master musician among the violinists of the day” (New York Times); he died 50 years ago (29 January 1962). As a composer, he is famous for his Viennese-style melodies, such as Liebesfreud and Liebesleid, for his notorious pieces “in the style of” various 18th-century masters (which he passed off as their original works, claiming to have rediscovered them in old manuscripts), and for his arrangements of well-known works by other composers. We remember one of the world’s greatest violinists with an enticing 2CD set that includes a first time release on CD of a tribute LP from 1961, original Kreisler recordings, and an array of great modern violinists playing his works. | | | In stock - usually despatched within 1 working day. |
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| |  | Tasmin Little plays Violin Showpieces
| | Tchaikovskiana Lenehan/Little with John Lenehan (piano) | Bloch, E: | Nigun (Baal Shem No. 2) with Piers Lane (piano) | Brahms: | Hungarian Dance No. 1 in G minor arr. Joachim with Piers Lane (piano) Hungarian Dance No. 2 in D minor arr. Joachim with John Lenehan (piano) Sonatensatz (Scherzo from the F.A.E. sonata), WoO 2 with John Lenehan (piano) | Debussy: | Beau Soir with Piers Lane (piano) | Delius: | Serenade from Hassan arr. Tertis with Piers Lane (piano) Legende with John Lenehan (piano) | Drigo: | Valse Bluette for Viola & Piano arr. Auer with Piers Lane (piano) | Elgar: | Salut d'amour, Op. 12 with John Lenehan (piano) | Falla: | Danse Espagnole (from La Vida Breve) arr. Kreisler with Piers Lane (piano) | Fibich: | Poème, Op. 41 No. 4 arr. Kubelik with Piers Lane (piano) | Heuberger: | Midnight Bells (from Der Opernball) arr. Kreisler with John Lenehan (piano) | Janacek: | Dumka for violin and piano with John Lenehan (piano) | Kreisler: | Praeludium and Allegro (in the style of Pugnani) with Piers Lane (piano) Caprice Viennois, Op. 2 with Piers Lane (piano) Liebesleid with John Lenehan (piano) Tambourin Chinois, Op. 3 with John Lenehan (piano) La Gitana with John Lenehan (piano) | Kroll: | Banjo and Fiddle with Piers Lane (piano) | Monti, V: | Csárdás arr. Little/Lenehan with John Lenehan (piano) | Ponce, M: | Estrellita arr. Heifetz with John Lenehan (piano) | Ravel: | Tzigane with Piers Lane (piano) Vocalise-étude en forme de habanera with John Lenehan (piano) | Rimsky Korsakov: | Flight of the Bumble Bee arr. Heifetz with Piers Lane (piano) | Sainsbury: | Cuban Dance No. 2 with John Lenehan (piano) | Sarasate: | Introduction and Tarantella, Op. 43 with Piers Lane (piano) | Schubert: | Ave Maria, D839 arr. Wilhelmj with Piers Lane (piano) | Shostakovich: | Romance (from The Gadfly) with Piers Lane (piano) | Wieniawski: | Légende in G minor, Op. 17 arr.Wilhelmj with Piers Lane (piano) |
Tasmin Little’s formidable technical ability and gift for interpretation are unmistakable in this collection of showpieces. Displaying her brilliant virtuosity and captivating lyricism, and including her own witty Tchaikovskiana, written in collaboration with John Lenehan, these works highlight Little’s breathtaking skill as a performer. | | | In stock - usually despatched within 1 working day. |
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| |  | Fröst & Friends: Encores
Bach, J S: | Presto from Sonata for solo violin in G minor | Brahms: | Wie Melodien zieht es mir, Op. 105 No. 1 | Chaplin, C: | Smile from 'Modern Times' | Chopin: | Nocturne No. 2 in E flat major, Op. 9 No. 2 | Fröst, G: | Brudvals för Karin och Martin | Fröst, M: | Improvisation (based on a theme by Malcolm Arnold) | Gounod: | Ave Maria | Henryson: | Off Pist eden ahbez Nature Boy | Hillborg: | The Peacock Moment | Kreisler: | Liebesleid | Messager: | Solo de concours | Monti, V: | Csárdás | Rachmaninov: | Vocalise, Op. 34 No. 14 | Rimsky Korsakov: | Flight of the Bumble Bee | Schumann: | Dein Angesicht, Op. 127 No. 2 | Scriabin: | Prelude, Op. 11 No. 16 in B flat minor | trad.: | Let’s Be Happy |
Martin Fröst (clarinet) with Roland Pöntinen (piano), Malena Ernman (mezzo-soprano), Torleif Thedéen (cello), Christian Svarfvar (violin), Åsa Thedéen (violin), Göran Fröst (viola), Svante Henryson (cello/double bass), Hermann Stefánsson (clarinet) & Sölve Kingstedt (clarinet) A calendar filled with orchestral concerts and chamber recitals in many of the world’s most prestigious venues has given the clarinettist Martin Fröst ample opportunity to develop a wide range of encores, for every occasion. Known for the imaginatively themed concert programmes he devises with various musician friends, he has also explored a number of musical genres. These aspects of his artistry are both demonstrated on this constantly engaging disc, which includes immortal gems such as Rachmaninov’s Vocalise and Kreisler’s Liebeslied as well as pieces rather less usual in a classical context: Charlie Chaplin’s Smile and the klezmer traditional Let’s Be Happy. Throughout the programme Fröst receives the expert support of the pianist Roland Pöntinen, a chamber music partner of long standing who has also been involved in devising many of the imaginative arrangements, for instance of Vittorio Monti’s Csárdás. Three other musical companions of Fröst’s make cameo appearances, with mezzo-soprano Malena Ernman joining the clarinet in the head-long flight of not one, but two bumble-bees. Torleif Thedéen’s cello sings a heartfelt Ave Maria while Svante Henryson, also a cellist, plays in his own duo piece Off Pist. “His virtuosity lies in his exceptional dexterity and agility…and in his daring control of the instrument’s dynamic and expressive extremes.” The Times “Obviously a must for clarinettists; but other performers, and listeners too, will enjoy this demonstration of what can be achieved with impeccable technique, a fertile imagination and a light touch.” BBC Music Magazine, November 2010 ***** “This disc not only presents the brilliant Swedish clarinettist Martin Fröst in a dazzling range of encore pieces but, with the help of his own explanatory notes, also provides a charming potted autobiography...altogether a wonderful showcase for a superb artist.” Gramophone Magazine, November 2010 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | Smile!!!Works for double bass & piano
Chaplin, C: | Smile from 'Modern Times' | Chopin: | Largo in E flat major, BI 109 | Dvorak: | Humoresque in G flat major, Op. 101 No. 7 | Elgar: | Salut d'amour, Op. 12 | Fauré: | Après un rêve, Op. 7 No. 1 | Fibich: | Poème | Gade, J: | Tango Jalousie | Grieg: | Lyric Pieces Op. 65: No. 5 - Ballad | Kosenko: | Scherzino | Kreisler: | Liebesleid | Monti, V: | Csárdás | Piazzólla: | Lento | Rachmaninov: | Vocalise, Op. 34 No. 14 | Raff: | Cavatina for violin & piano (or orchestra), Op. 85 No. 3 | Ravel: | Vocalise-étude en forme de habanera | Rimsky Korsakov: | Mazurka on Polish Folk Themes | Rubinstein: | Melody in F major, Op. 3 No. 1 | Schumann: | Kinderszenen, Op. 15: Traümerei | Strauss, J, II: | Romance No. 1 in G minor, Op. 243 Romance No. 2 in G minor, Op. 255 | Tchaikovsky: | Chanson triste, Op. 40 No. 2 | Tosti: | La serenata |
Mario Schott-Zierotin (double bass) & Georg Wagner (piano) Schott-Zierotin has recorded numerous CDs and is a publisher of chamber music and is a specialist in Strauss, Lanner and Fahrbach. Georg Wagner has a lively interest in all aspects of music and has been engaged in a variety of fields including publishing, composition, performing as a percussionist and soloist and accompanist on piano and harpsichord. | | | In stock - usually despatched within 1 working day. |
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| |  | Rachmaninoff plays Rachmaninoff
Sergei Rachmaninov (piano) Zenph re-performances of Rachmaninoff playing his own works in crystal-clear sound - the third release from Zenph Studios and Sony Masterworks. Rachmaninoff Plays Rachmaninoff follows upon the success of Zenph Studios’ productions of Glenn Gould’s 1955 recording of The Goldberg Variations (2007) and Art Tatum’s Piano Starts Here (2008). This new compilation of re-performances is made from original masters that the Russian composer and pianist recorded during his lifetime. The recording features Rachmaninoff playing five of his own compositions: the Prelude in C-sharp minor; the Etudes Tableaux in C major and E-flat major, Op. 33; “Daisies”; and Moment Musical in E-flat minor, Op. 16. It also includes Rachmaninoff’s renditions of Kreisler’s Liebesleid and Liebesfreud; Rimsky-Korsakov’s Flight of the Bumblebee; Mendelssohn’s scherzo from A Midsummer Night’s Dream and Tchaikovsky’s Lullaby. “there's little doubt Zenph's enhanced sound quality makes one appreciate the warmth and clarity of Rachmaninov's playing with its lightness of touch, sparing use of the pedal and avoidance of indulgent mannerisms.” BBC Music Magazine, April 2010 **** “It's unnervingly like raising Rachmaninov from the dead but it's undeniably fascinating to hear his own etudes and arrangements of works by Bach, Mendelssohn and Tchaikovsky in these 21st-century reincarnations.” The Observer, 6th December 2009 | | | In stock - usually despatched within 1 working day. |
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| |  | Martha Argerich & Gidon Kremer - Live in Berlin
EMI Classics is pleased to announce the release of a joint recital by the legendary pianist Martha Argerich and Gidon Kremer, one of today’s most original and compelling violinists. The concert was recorded live at Berlin’s Philharmonie in December 2006. The repertoire features Schumann’s Sonata for Violin and Piano No. 2 in D minor and Kinderszenen, as well as Bartók’s Sonata for Violin and Piano No. 1 and Sonata for Solo Violin. Two encores, Fritz Kreisler’s Liebesleid and Schön Rosmarin round out the release. “A summit of two musical giants,” wrote the Abendzeitung München, reviewing the concert. “They are chamber music’s dream couple […] The way they communicate musically cannot be surpassed by any other current duo” said the Münchner Merkur. The Neue Zürcher Zeitung summed up the concert with the words “chamber music is alive.” Interviewed in the film, Gidon Kremer muses about his decades-long partnership with Martha Argerich: “The paradox is that, even though we are not a couple in love, we speak an intimate language through our music of the kind that is usually only spoken between couples in love. It is even possible that, through our music, we can become even more closely entwined than a couple in love can be.” At first sight, Robert Schumann and Béla Bartók might not appear to have much in common. Schumann represented the German romantic tradition and favoured rich, full harmonies, while Bartók sought to escape from that sound world, his music tending toward “extremes of delicacy or sparseness, or of complexity or roughness, as his vision dictates.” Yet the two composers do have much in common: both were pianist-composers in whose output their own instrument retains a central place yet both had the ambition to reach out and embrace every musical genre; both Schumann and Bartok maintained a strong interest in music education and both promoted the status of music in the wider cultural sphere. Schumann’s second sonata, in D minor Op. 121, composed in 1851, was dedicated to Ferdinand David, the dedicatee of Mendelssohn’s E-minor Violin Concerto. After Schumann’s death, the sonata was often performed by Joseph Joachim with the composer’s wife, Clara, at the piano. Kinderszenen dates from 1838, a period in which Schumann concentrated on music for solo piano. Kremer comments, “I love listening to Martha from backstage. I love the way she masterfully recreates the fragility of Schumann’s Kinderszenen. It is simply a heart-stopping experience.” Bartók completed the first of his two violin and piano sonatas in December 1921 and the second the following year. He dedicated both to Jelly d’Arányi, a brilliant young violinist whose playing thrilled him and with whom he fell in love. In both sonatas Bartók treats the two instruments as independent but complementary – they do not share material, as the violin and piano would do in classical duo sonatas. In November of 1943, Bartók met Yehudi Menuhin when he came to play the First Sonata for him, prior to a performance. This meeting inspired the composer’s Sonata for Solo Violin, which Menuhin premiered at Carnegie Hall the following year. Although its structure is traditional and it recalls the first Bach solo sonata, having a fugue as a second movement and a fast triple-time finale, its constant rhythmic inventiveness gives the work a sense of improvisatory freedom. “…for…the performances that make this Berlin concert absolutely indispensable are the two Bartók sonatas. The First Sonata… reaches fever pitch in the finale where Kremer swings in on a glissando and the two go hell for leather as one racy folk-style motif follows another. The first CD concludes with one of the finest ever recorded performances of Bartók's Solo Sonata, Kremer calling on his full repertoire of violinistic devices which include, in addition to the many called for in the score, a mastery of tonal colouring and a rhythmic grip that at times seem to transcend the limitations of the instrument.” Gramophone Magazine, June 2009 “…what the Bartók in particular offers over and above their fine previous version is a sense of music-making caught on the wing. …the playing here is spectacularly vivid and assured. …above all there is Argerich in Schumann's Kinderszenen. Since she has all but given up playing solo works in public, her admirers will want to seize the opportunity of hearing this performance shot through with characteristic spontaneity.” BBC Music Magazine, June 2009 **** “The electricity of a live occasion surges through this recital of Bartók and Schumann, which Gidon Kremer and Martha Argerich gave at Berlin’s Philharmonie in December 2006.” The Telegraph, 10th June 2009 ***** “One of the greatest recitals I ever reviewed for this paper was given by the duo of Gidon Kremer and Martha Argerich and here they are some two decades later in another live recital from Berlin that shows them still at the height of their astounding powers. The coupling of Schumann and Bartók may seem odd, but both are dense, complex composers. Each player offers a solo as well as duos: the highlights are Argerich's solo, Schumann's Kinderszenen, full of the most aching, subtle rubato; and the duo's Bartók Violin Sonata No 1, with its hair-raising, stop-start finale - it's earthy and exciting. As a sugary reward, there are two delectable Kreisler encores.” The Observer, 3rd May 2009 “The excitement is irresistible and their account of the first Bartók sonata is exceptional, too, balancing rhythmic drive against rhapsodic expressiveness. Each of them also has a work to themselves. Kremer gives a fabulously assured account of Bartók's solo-violin Sonata, while Argerich plays Schumann's Kinderszenen.” The Guardian, 24th April 2009 ***** “There are dazzling moments here, such as Kremer's bravura tackling of Bartók's Sonata for Solo Violin, where the astringent harmonies, bordering on dissonance, of the opening Tempa di ciaccona give way gradually to the dissipated state of the lyrical Melodia and then the animated Presto.” The Independent *** “Listening to Argerich, you pant for more from her: more concerts, more solo performances. But we handle endangered species with kid gloves. Except when we applaud — which the Berlin audience does, repeatedly.” The Times, 17th April 2009 **** | | | In stock - usually despatched within 1 working day. |
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| |  | CapriccioVirtuoso pieces for violin & piano
Debussy: | Clair de Lune (from Suite Bergamasque) trans. A. Roelens | Dinicu: | Hora Staccato arr. Jascha Heifetz | Dvorak: | Humoresque in G flat major, Op. 101 No. 7 Slavonic Dance No. 2 in E minor, Op. 46 No. 2 trans. Fritz Kreisler | Elgar: | La Capricieuse, Op. 17 | Gluck: | Orfeo ed Euridice (Orphée et Euridice): Dance of the Blessed Spirits | Korngold: | Garden scene | Kreisler: | Liebesleid | Mendelssohn: | Auf Flügeln des Gesanges, Op. 34 No. 2 | Poldini: | Poupée valsante trans. Fritz Kreisler | Prokofiev: | Masks from ‘Romeo and Juliet' arr. Jascha Heifetz | Schubert: | Ave Maria, D839 arr. Renaud Capuçon | Schubert of Dresden Jr.: | Die Biene, Op. 13 No. 9 arr. August Wilhelmj | Schumann: | Er, der Herrlichste von allem (No. 2 from Frauenliebe und Leben, Op. 42) Du Ring an meinem Finger (No. 4 from Frauenliebe und Leben, Op. 42) | Strauss, R: | Der Rosenkavalier: Waltzes arr. Vasa Prihoda Ein einsamer Quelle, Op. 9, No. 2 | Stravinsky: | Chanson Russe arr. Samuel Dushkin | Suk: | Un poco triste, Op. 17, No. 3 | Szymanowski: | Roxana's Song from the opera 'King Roger', for violin & piano trans. Pavel Kochanski | Tchaikovsky: | Valse sentimentale, Op. 51 No. 6 |
Renaud Capuçon (Guarneri del Gesù, 1737 violin) & Jérôme Ducros (piano) Renaud Capuçon is following in the footsteps of the great violinists of the past century, such as Heifetz, Kreisler and Menuhin, with this virtuoso programme of compositions, transcriptions and arrangements for the violin and piano, recorded in the Lugano Festival 2007. “It seems there is nothing Capuçon cannot do. He maintains the same level of tonal purity and lustrousness at all dynamic levels across all four strings… His phrasing and timing is immaculate, his intonation ear-ringingly true and - especially important in this repertoire - his exquisitely subtle use of portamento is such as to rival even Kreisler and Heifetz.” BBC Music Magazine, September 2008 ***** “Not since the emergence of Vengerov and Repin has such an exciting young violinist come our way.” International Record Review “Capuçon’s violin transcriptions rarely disappoint. If it’s not his fervour that amazes, it’s his delicacy. Elgar’s La Capricieuse is a melting wonder, Prokofiev’s Masks a bracing stomp. The programming sprinkles the firecrackers with pensive surprises (Roxana’s Song from Szymanowski), waltzing Strauss, and the finale is unusually reflective – two Schumann songs. A delight.” The Times, 18th April 2008 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Kreisler - Encores
Albéniz: | Malagueña, Op. 165, No. 3 | Corelli: | Sarabande And Allegretto | Dvorak: | Slavonic Dance No. 2 in E minor, Op. 46 No. 2 | Falla: | Danse Espagnole (from La Vida Breve) Suite populaire espagnole | Gärtner: | Viennese Melody 'Aus Wien' | Heuberger: | Midnight Bells (from Der Opernball) | Kreisler: | Romance, Op. 4 La Chasse (The Hunt) in the style of Jean-Baptiste Cartier Preghiera in the style of Martini Liebesleid Liebesfreud La Précieuse (in the style of Louis Couperin) Aubade Provençale Menuet (in the style of Porpora) Scherzo (In The Style Of Dittersdorf) Hungarian Dance In F Minor (After Brahms) Allegretto (in the style of Boccherini) La Gitana Chanson Louis XIII and Pavane (In the style of Couperin) Rondino on a Theme by Beethoven Praeludium and Allegro (in the style of Pugnani) | Mendelssohn: | Song without Words, Op. 62 No. 1 in G major 'May Breezes' | Mozart: | Serenade No. 7 in D major, K250 'Haffner' - Rondo | Paderewski: | Mélodie in G flat major, Op. 16 No. 2 | Paganini: | Moto perpetuo, Op. 11, MS 72 Caprice for solo violin, Op. 1 No. 20 in D major | Poldini: | Poupée valsante | Rachmaninov: | Daisies, Op. 38 No. 3 | Tartini: | Fugue In A Violin Sonata in G minor 'Devil's Trill' Variations on a Theme of Corelli | Tchaikovsky: | Andante Cantabile (from String Quartet No. 1 in D Op. 11) Chant sans paroles, Op. 40 No. 6 | trad.: | Londonderry Air | Wieniawski: | Étude-caprice, Op. 18 No. 4 in A minor |
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