Search Results for "holy father prime ml" – Page 2
John WORGAN: Complete Organ Music
The organist and harpsichordist John Worgan (1724–90) was one of the most highly respected musicians in the London of his day: Handel admired his playing, and Burney described him as ‘very masterly and learned’. Worgan was the organist of Vauxhall Gardens and of a number of London churches and naturally composed for his own instruments. Most of his music is lost, but his fifth son, James Worgan, also a musician, had fifteen of his father’s organ pieces published after his death. Here they are performed on the organ of St Botolph’s without Aldgate (perhaps England’s oldest surviving church organ), where Worgan himself was organist from 1753 until his demise – the perfect vehicle for this quirky but proud music.
Timothy Roberts, Organ
Mykola Lysenko: Piano Music, Volume One
Mykola Lysenko (1842-1912) is regarded as 'the father of Ukrainian classical music'. As did Bartók later in Hungary, he went out into the field, listened to what the people were singing and fashioned an individual musical language that brought together the styles of Chopin and Liszt and the essence of Ukrainian folksong. This first CD of his piano music reveals a voice, long forgotten, of extraordinary immediacy and appeal.
Arthur Greene, piano
L’ubomir Pipkov: Complete Piano Music, Volume Three
With this volume Dobromir Tsenov completes his survey of the solo-piano music of his compatriot Ľubomir Pipkov (1904–74), one of the leading members of the ‘second generation’ of Bulgarian composers who helped establish a national tradition of classical music, blending western forms with the rhythms of local folksong and folk-dances. The first complete recording of the piano music of his father, Panayot Pipkov (1871–1942), one of the ‘first generation’, sets it in context, in its mix of folk roots and Lisztian bravura.
Dobromir Tsenov, piano
Mykola Lysenko: Complete Music for Violin and Piano
Mykola Lysenko (1842-1912) is regarded as 'the father of Ukrainian classical music'. As did Bartók later in Hungary, he went out into the field, listened to what the people were singing and fashioned an individual musical language that brought together the styles of Chopin and Liszt and the essence of Ukrainian folksong. This CD presents his complete output of music for violin and piano, complemented by a new work for violin and piano commissioned to display the lyrical riches of Lysenko's songs.
Solomia Soroka, violin; Arthur Greene, piano;
Pēteris Plakidis: Music for String Orchestra
The music of Pēteris Plakidis (1947-2017) is rooted in the melodic character of Latvian folk-music, which imbues all his works with a remarkable strength and beauty. Renaissance and Baroque polyphony and forms, such as fugue, chaconne, canon and variation, provide the strong internal organisation that binds together a remarkable and moving synthesis of disparate elements. Although Plakidis shares some points of contact with the 'Holy Mystics’ among other Baltic composers, such as Arvo Pärt and Pēteris Vasks, his own music evokes the meditative power of nature and the distinct character of his Latvian roots. From these four works a unique voice emerges, a musical personality full of harmonic warmth, rhythmic excitement and dramatic lyricism.
Pēteris Plakidis, piano
Antra Bigača, mezzo soprano
Uldis Urbāns, oboe
Vilnis Pelnēns, oboe
Andris Pauls, violin
Dzintars Beitāns, violin
Riga Chamber Players, chamber orchestra
Normunds Šnē, conductor
Three Generations
This album explores music by three father-and-son generations of the Tcherepnin family of composers: Nikolai, Alexander and Ivan. Although each wrote a wide range of scores, from solo pieces to operas and ballets, this recording focuses on their chamber music, presenting pieces spanning 95 years. Nikolai’s works for violin and piano reveal a late-Romantic, post-Tchaikovskian sensibility, whereas those of Alexander have a more modern, twentieth-century touch, closer to the style of his friend Sergei Prokofiev (a student of Nikolai Tcherepnin). Ivan is represented by two works — early and late – for flute, clarinet and piano, which have an improvisatory and playful quality.
Quan Yuan, violin (Tracks 1–9)
Sue-Ellen Hershman-Tcherepnin, flute (Tracks 10, 11)
Ian Greitzer, clarinet (Track 11)
David Witten, piano (Tracks 1–10)
Donald Berman, piano (Track 11)
The Romantic Castrato
Giovanni Battista Velluti (1780–1861) was one of the last of the larger-than-life castrati who had dominated operatic life in the seventeenth and eighteenth centuries. Velluti, though, spent his career almost entirely in the Romantic era, singing the music of his day. His style of ornamentation attracted widespread admiration and set the standard for the prime donne who were emerging as the stars of their age in operas by such composers as Rossini, Bellini and Donizetti. Here the American male soprano Robert Crowe recreates Velluti’s extraordinary sound-world, in a recording that helps explain why such diverse luminaries as Stendhal, Mary Shelley and the Duke of Wellington admired Velluti as one of the most accomplished and inventive singers of his time.
Robert Crowe, male soprano
Iris Rath, flute (Track 21)
Joachim Enders, piano
ALL EXCEPT * FIRST RECORDINGS
The Komitas Legacy: Armenian Piano Trios
Soghomon Soghomonian (1869–1935) took the name Komitas (or Gomidas) when he was ordained a priest in 1894; a year later he became Komitas Vardapet (doctor of theology) – one of the two names by which he is known to history. The other is ‘father of Armenian music’, since he collected thousands of songs from his compatriots, his fieldwork preserving and identifying the accent which makes the works of Armenian composers readily identifiable – as these piano trios prove: one twentieth-century classic and three new works, one of which completes the circle by recasting six of Komitas’ own folksong arrangements.
Trio Aeternus
Alexander Stewart, violin
Varoujan Bartikian, cello
João Paulo Santos, piano
*First recordings
Gregory Rose: Choral Compositions and Arrangements
Gregory Rose (b. 1948) absorbed the English choral tradition from his father, the Oxford conductor and composer Bernard Rose, expanding that inheritance with the techniques of European and American modernism, acquired in part during his own conducting career. This conspectus of over four decades of choral music presents a vivid combination of original compositions and agreeable arrangements, sung here with exultant virtuosity by one of Europe’s leading choirs, conducted by Gregory Rose himself.
Latvian Radio Choir
Gregory Rose, conductor
Joel Engel: Chamber Music and Folksongs
Unofficially considered ‘the father of Jewish music’, Joel Engel (1868–1927) paved the way for a nationalist movement that used Yiddish and Hebrew folksongs as the basis of a serious art-form. Well before Kodály and Bartók in Hungary, Engel went out to the shtetls of eastern Europe, writing down the villagers’ songs and then composing music inspired by his excursions. This first-ever album of his music reveals the melodic immediacy of these songs and instrumental pieces, capturing the soul of a people and a centuries-old vanished culture.
My Father, Pál Hermann
Corrie Hermann offers some touching and affirmative thoughts as a postscript to the third and final recording of the complete surviving works of her father,…
Talking About Bruno Schulz With Marius Kociejowski
Bruno Schulz was a Polish-Jewish writer and artist who lived most of his life in Drohobych – then in Austrian Galicia, now in Ukraine. He…
A Symphony by Mischa Spoliansky
It may come as a surprise to many that Mischa Spoliansky, the composer of the sly and witty cabaret songs that helped to launch the…
All the Keys in Kent
One of the Toccata Classics releases later this summer will be a recording of a sequence of piano preludes commissioned from me in 2014 by…