Search Results for "The Daily Dweebs 1tamilblasters"
Showing results for daily dubs davies devices
‘And do you also play the violin?’
Foreword by Sir Yehudi Menuhin
Extant: 382
Composition: Demy octavo ~ Profusely illustrated with facsimiles and photographs ~ Index
Ludvig Irgens-Jensen: The Life and Music of a Norwegian Composer
Extent: 368 pages
Composition: Royal octavo ~ Illustrations ~ LoW ~ Irgens-Jensen as Poet ~ Bibliography ~ Discography ~ Index of Irgens-Jensen's Music ~ General Index ~ Sampler CD of Irgens-Jensen’s Music
Happy Collaborations — Samuel Adler: Music for Chamber Orchestra
Several years ago, through a mutual acquaintance, I met Dongmin Kim, the conductor of the New York Classical Players, and we immediately felt a kinship.…
Remembering Alice Herz-Sommer
News has come through of the death this morning, 23 February 2014, of Alice Herz-Sommer, at the age of 110. Alice had become an icon,…
Sviatoslav Richter: The Pianist and the Person
In the autumn of 1959 I was beginning my final year at Oxford. A friend called David Tempest, like me a piano nut, asked me…
Irmela Roelcke on Cloches et Carillons
My concert and recording project, Cloches et Carillons, impressed on me how much basic acoustic characteristics have influenced my most recent artistic interests and inclinations.…
Hans Gál In Conversation
This conversation, first published in the Journal of the British Music Society (Vol. 9, 1987, pp. 33–44), was recorded at Dr Gál’s Edinburgh home in…
Four Classical Duos for Viola and Cello
For the past two centuries or so, making music has largely been a public business, with paying audiences listening to professional musicians. But for most of western history, outside of formal and religious occasions and local festivities, music-making was largely a domestic affair, with individuals playing for their own pleasure. Most of the music written for the drawing room has long been lost from sight, and its composers forgotten, the two heard here – the Austrian Cajetan Wutky and German-English John Henry (né Justus Heinrich) Griesbach – being cases in point. Their Haydnesque string duos, only recently rescued from obscurity in modern publications, hint at the pleasure their first patrons would have found in performing them.
Jenny Joelson, viola
Luzi Dubs, cello
Ferdinand Thieriot: Chamber Music, Volume Three
The Hamburg-born Ferdinand Thieriot (1838–1919) not only shared a teacher – Eduard Marxsen – with Brahms; both composers use a very similar musical language, one which is richly melodic and effortlessly contrapuntal. The musicologist Wilhelm Altmann wrote that ‘Thieriot’s chamber music is without exception noble and pure. He writes with perfect command of form and expression’ – as the works on this third Toccata Classics volume prove, in their exquisite balance of depth and beauty.
Amadeus Chamber Musicians
Dmitriy Daniel Askerov, violin
Jenny Joelson, viola
Luzi Dubs, cello
Rebecca Ineichen, piano
Pärt Uusberg: Choral Music, Volume One
This album introduces both a new voice and a new choir to western audiences: the Estonian Pärt Uusberg (b. 1986) is well known at home as a film actor as well as a composer; and in 2017 Collegium Musicale carried the coveted Silver Rose Bowl of the EBU competition ‘Let the Peoples Sing’ home to Tallinn. Uusberg’s works use many of the devices that have made recent Baltic choral music so popular in the wider world: melodies that unfold calmly over long bass lines, sustained by suspensions and piqued by mild dissonance – reflecting an awareness of the immensity of nature in music that is both exquisitely beautiful and infinitely touching.
Collegium Musicale
Endrik Üksvärav
Franz Liszt: Songs for Bass Voice and Piano
Throughout Liszt’s long career, his songs – perhaps the most neglected part of his enormous output – took a radical approach to form, eschewing convention in search of a sincere musical response to each text. His free-spirited creativity meant that a single song would often call on a range of stylistic devices, among them bel canto vocal lines, unaccompanied recitative, orchestrally conceived piano textures and audacious harmonic procedures. This first recording of Liszt songs by a bass voice brings out both the power and poetry of his remarkable imagination.
Jared Schwartz, bass
Mary Dibbern, piano
Too Many Symphonies? – Part One: Rob Keeley
Sometime in the 1950s, when John Barbirolli famously said ‘there are too many symphonies this year, or any year’, he might have been weary after…
Mixing the Classical and the Popular
The urge to compose music arose after I joined a rock group in my teenage years. Although I was later classically trained, I continued to…
My Father and His Music: A Voyage of Discovery
As the Bulgarian-born Viktor Valkov picks up the baton of Leo Ornstein’s piano music from Arsentiy Kharitonov with a third volume from Toccata Classics, the…