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See Terms & Conditions for p&p rates. | |  | Turina: Danzas fantásticas
This disc forms part of our ongoing Spanish Music series, performed by the BBC Philharmonic and its Chief Conductor, Juanjo Mena. Here the focus is on the orchestral works of the composer Joaquín Turina, one of the two leading Spanish composers of the twentieth century, the other being Manuel de Falla. Turina was a prolific composer, who in his sixty-seven years wrote more than one hundred works, in which he explored a wide range of classical genres, from symphonic music, solo piano pieces, and vocal works to ballet scores and chamber music. Most of these show the influences of traditional Andalusian music and folk tunes, often conveying feelings of rapture and immense exaltation, while also owing a debt to a range of French composers. Turina lived in Paris from 1905 to 1914, and during this time, while taking composition lessons from Vincent d’Indy and getting to know Maurice Ravel and Claude Debussy, he absorbed certain aspects of the French style. These influences are particularly evident in Danzas fantásticas and Sinfonia sevillana. While both these works are heavily inspired by the sights and sounds of Turina’s native Seville, they also display hints of French impressionism, inevitably calling Debussy to mind. Turina was as thrilled by the sound and style of Andalusian folk singers as he was by folksong itself, and in terms of his songs, Poema en forma de canciones (Poem in the form of songs), originally for voice and piano, is probably the best known work. Here, as in ‘Farruca’ from Triptico, the orchestra and conductor are joined by the Spanish mezzo soprano Clara Mouriz for truly idiomatic performances. Ritmos (Rhythms) was written originally as a ballet, which never reached the stage; nevertheless it proved brilliantly effective in the concert hall. The score itself does not relate to any specific scenario, but follows a progression, which Turina himself described as ‘a gradual journey from darkness into light’. The Saeta is the only work on this disc in which Turina completely steps away from the influences of folk tune-inspired Andalusian dance rhythms. This is a beautifully written devotional song ‘in the form of a Salutation to the Virgin of Hope’. “Juanjo Mena’s performances are perfectly judged, the rhythms sprung with ineffable lightness and the textures clear...As an introduction to an unfairly neglected composer, this disc couldn’t be bettered. It’s also very nicely recorded.” The Arts Desk, 9th March 2013 “The three vocal items here are novelties...They are sung with ravishing sweetness of tone by Clara Mouriz, who sounds born to sing them...Mena's accounts of the Danzas, Ritmos and Sinfonia stand up well against some strong competition. The orchestra's playing and Chandos's sumptuous sound place this new disc in the front rank.” Gramophone Magazine, April 2013 “Turina’s highly rhythmic and vivid coloration combined with his passionate approach invariably produce steamy evocations of baking Spanish sunshine. With infectious enjoyment Mena and the BBC Phil ideally capture the expressive mood of these joyous scores.” MusicWeb International, 2nd May 2013 | 
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| |  | Turina: Canto a Sevilla
Canto a Sevilla is a song cycle and is a major work by Turina in which he set poems by Sevillan poets to music. The other works on this CD are all World Premiere recordings of the orchestral versions. Lucia Duchoňová is the perfect exponent for this repertoire as she likes to sing popular music which lends itself well to Turina’s compositions. | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Spanish Love Songs
Spanish Love Songs takes a whirlwind tour of Iberian culture, from the mystically introspective to the opulently romantic. Decades before Spain had its own repertoire of classical songs, French and German musicians mined Spanish themes and folklore for their newly burgeoning canon of art songs. On Spanish Love Songs we hear the great masters Robert Schumann, Hugo Wolf and Maurice Ravel, fascinated by the beauty of Spanish culture, along side the music of Spain's greatest composers of song. “The Bridge CD is a live performance from the 2004 Caramoor Festival. Its star, without a doubt, is the great mezzo Lorraine Hunt Lieberson, who died less than two years later. ...Hunt Lieberson is utterly memorable.” BBC Music Magazine, March 2008 **** “Lieberson's continually finding that extra gear of emotion that makes a song a three-dimensional staging rather than a platform recital. Her partner, is the fresh, versatile tenor of Joseph Kaiser… Tight, well works accompaniments… complete a little gem of an issue.” Gramophone Magazine, March 2008 | | | Usually despatched in 2 - 3 working days. |
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| |  | Victoria de los AngelesSpanish Songs
“Recorded near the start of her career, the Spanish soprano here sings art songs and folk songs in her own language, with impeccable technique, style and expressive power. Her piano accompanist is the marvellous Gerald Moore.” BBC Music Magazine, March 2008 ***** | | | Usually despatched in 4 - 5 working days. |
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| |  | Teresa Berganza: Spanish Songs
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| |  | Canciones y Danzas Vol. 2
Morera: | Melangía, for cello ensemble Canciones negras, for voice & piano (or orchestra), Nos. 1-5, complete | Nin: | Granadina (from Cantos populares españoles) Tonada de la niñ perdida (from Villancicos Españolas) El paño murciano (from Cantos populares españoles) Asturiana (from Cantos populares españoles) Canto andaluz (from Cantos populares españoles) Saeta (from Cantos populares españoles) El Vito (from Cantos populares españoles) | Turina: | Poema en forma de canciones (5), Op. 19 Sevillana, Op. 29: No. III: Rima Saeta en forme de Salve a la Virgen de la Esperanza, Op. 60 Farruca (from Triptico, Op. 45) El Fantasma, Op. 37 No. 5 (from Canto a Sevilla) La Giralda, Op. 37 No. 6 (from Canto a Sevilla) |
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| |  | A Spanish Song Recital
Granados: | Tonadillas: No. 1, Amor y odio Tonadillas: No. 2, Callejeo Tonadillas: No. 3, La maja dolorosa Tonadillas: No. 4, El majo discreto Tonadillas: No. 6, El majo timido Tonadillas: No. 7, La maja de Goya Tonadillas: No. 8, El mirar de la maja Tonadillas: No. 11, El tra la la y el punteado Tonadillas: No. 12, Elegia Eterna | Guridi Bidaola: | Llámale con el pañuelo - ¡Como quieres que adivine! | Montsalvatge: | Canciones negras (5) | Obradors: | La mi sola, Laureola - ¿Corazón por qué pasáis...? - Con amores, la mi madre - Del cabello más sutil - El Vito | Rodrigo: | Pastorcito santo - ¿Con qué la lavaré? - Vos me matasteis | Turina: | Farruca (from Triptico, Op. 45) Saeta en forme de Salve a la Virgen de la Esperanza, Op. 60 |
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| |  | Victoria de los Angeles: The Early Recordings 1942-1953
Brahms: | Von ewiger Liebe, Op. 43 No. 1 | Falla: | El pano moruna (No. 1 from Siete canciones populares españolas) Seguidilla murciana (No. 2 from Siete canciones populares españolas) Jota (No. 4 from Siete canciones populares españolas) | Fuste: | Háblame de amores | Granados: | Tonadillas: No. 3, La maja dolorosa Tonadillas: No. 4, El majo discreto Tonadillas: No. 8, El mirar de la maja | Guridi Bidaola: | Jota (from Six canciones castellanas) No quiero tus avellanas (from Six canciones castellanas) | Handel: | Joshua: Oh! had I Jubal's lyre | Nin: | El paño murciano (from Cantos populares españoles) El Vito (from Cantos populares españoles) | Respighi: | Stornellatrice E se un giorno tornasse, P. 96 | Schumann: | Widmung, Op. 25 No. 1 Der Nussbaum, Op. 25 No. 3 Ich grolle nicht (No. 7 from Dichterliebe, Op. 48) | Toldrá: | Madre, unos ojuelos ví | trad.: | Hungarian folksongs & Csárdás | Turina: | Farruca (from Triptico, Op. 45) Saeta en forme de Salve a la Virgen de la Esperanza, Op. 60 Poema en forma de canciones, Op. 19: No. 3, 'Cantares' | Valverde: | Clavelitos | Vives: | El retrato de Isabela El amor y los ojos |
“The two Respighi songs are magical performances – Stornellatrice, with the golden voice at its richest and E se un giorno tornasse, a study in subtle shading of tone, a dialogue between a mother and her dying, jilted daughter. For those two brief items alone, superbly transferred, this collection is an essential for all admirers of this singer, but there's much more. Handel's 'O had I Jubal's lyre' in German rather than English may be odd, but the performance sparkles and among the Lieder it's good to have not just 'Der Nussbaum' – the Schumann song which was always special to her – but two previously unpublished, 'Widmung' from the Myrthe songs and 'Ich grolle nicht' from Dichterliebe.
Through the whole collection the superb transfers capture the full–throated glory of los Angeles's voice at the beginning of her career.
The 1942 recordings of two Hungarian folk– songs, previously unpublished, may be rough and limited – made when the singer was only 18 – but they amply demonstrate that already the voice was fully developed in its beauty. No fewer than 18 of the 27 items are of Spanish songs, and though in one or two instances los Angeles was destined to make even more idiomatic readings later with a Spanish accompanist, these ones with Gerald Moore as her partner have a freshness and brilliance that has rarely been matched in this repertory. In particular it's good to have her first recording of the encore number which she made her own, Clavelitos.” Gramophone Classical Music Guide, 2010 | | | Usually despatched in 4 - 5 working days. |
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