Franz Schubert Franz Schubert - Trio Nr.1, B-Dur Op.99 Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Franz Schubert Franz Schubert - Trio Nr.1, B-Dur Op.99 Mp3, Flac, Wma Franz Schubert Franz Schubert - Trio Nr.1, B-dur op.99 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Franz Schubert - Trio Nr.1, B-dur op.99 Country: Germany Style: Romantic MP3 version RAR size: 1341 mb FLAC version RAR size: 1813 mb WMA version RAR size: 1276 mb Rating: 4.8 Votes: 146 Other Formats: AC3 VOX MIDI VOC MP2 MP1 AHX Tracklist A1 Allegro Moderato A2 Andante un poco mosso B1 Scherzo (Allegro) B2 Rondo (Allegro vivace) Barcode and Other Identifiers Matrix / Runout (on labels): 33 WSX 553 Other versions Category Artist Title (Format) Label Category Country Year Schubert* / SAXF Schubert* / TrioDavidOistrakh* - SAXF Columbia France Unknown 2281 TrioDavidOistrakh* Trio No. 1 In B Flat 2281 (LP, Album) Schubert* / David Schubert* / David Oistrakh* / Sviatoslav Oistrakh* / Sviatoslav Knushevitsky / Lev SAX 2281 Columbia SAX 2281 France 1960 Knushevitsky / Lev Oborin - Trio No. 1 In Oborin B Flat D. 898 (Op. 99) (LP, Album, RE) David Oistrakh Trio / David Oistrakh Trio / Schubert* - Schubert Angel 35713 35713 UK Unknown Schubert* Trio Op. 99 (LP, Records Album) Schubert* / David Schubert* / David Oistrakh* / Sviatoslav Oistrakh* / Sviatoslav SAX 2281 Knushevitsky / Lev Columbia SAX 2281 UK Unknown Knushevitsky / Lev Oborin - Trio No. 1 In Oborin B Flat (LP, Album) Franz Schubert, Franz Schubert, David STC 80 David Oistrakh*, Oistrakh*, Sviatoslav STC 80 Columbia, 543, C 80 Sviatoslav Knushevitzky*, Lev 543, C 80 Germany Unknown Columbia 543 Knushevitzky*, Lev Oborin - Klaviertrio B- 543 Oborin dur Op.99 (LP) Related Music albums to Franz Schubert - Trio Nr.1, B-dur op.99 by Franz Schubert Franz Schubert, The Busch-Serkin Trio - Trio No. 2, In E Flat Major (Opus 100) Cortot, Thibaud, Casals, Joseph Haydn / Franz Schubert - Trio G-Dur Hob. XV: 25 / Trio B-Dur D. 898 Franz Schubert - Beaux Arts Trio - Piano Trio Klaviertrio Nr. 2 D.929 / Trio D.28 "Sonate" Emil Gilels, Leonid Kogan, Mstsislav Rostropovitch, David Oistrach, Lev Oborin, Sviatoslav Knushevitsky - Chamber Music For Those Who Hate Chamber Music Schubert, Sir Colin Davis, Staatskapelle Dresden - Schubert • Symphonies Nos. 1 - 6, 8 & 9 Tal Trio - Ludwig van Beethoven / Franz Schubert - Premio Trio Di Trieste 2002 Franz Schubert, The Casals Trio - Trio No.1 in B Flat Schubert, Dvořák - The London Mozart Trio - Schubert: Piano Trio No.1/Dvořák: Piano Trio No.4 'Dumky'.
Recommended publications
  • Download Booklet
    95782 The cello concerto genre has a relatively short history. Before the 19th century, the only composers a few other works, including Monn’s fine, characterful Cello Concerto in G minor. Monn died of of stature who wrote such works were Vivaldi, C.P.E. Bach, Haydn and Boccherini. Considering the tuberculosis at the age of 33. problem inherent in the cello’s lower register, the potential difficulty of projecting its tone against Joseph Haydn (1732–1809) made phenomenal contributions to the history of the symphony, the weight of an orchestra, it is rather ironic that most of the great concertos for the instrument the string quartet, the piano sonata and the piano trio. He generally found concerto form less were composed later than the Baroque or Classical periods. The orchestra of these earlier periods stimulating to his creative imagination, but he did compose several fine examples. In 1961 the was smaller and lighter – a more accommodating accompaniment for the cello – whereas during unearthing of a set of parts for Haydn’s Cello Concerto in C major in Radenín Castle (now in the 19th century the symphony orchestra was significantly expanded, so that composers had to the Czech Republic) proved to be one of the most exciting discoveries in 20th-century musicology. take more care to avoid overwhelming the soloist. Probably dating from the early 1760s, the concerto is believed to have been composed for Joseph Antonio Vivaldi (1678–1741) composed several hundred concertos while employed as a violin Weigl, principal cellist of Haydn’s orchestra. This is the more rhythmically arresting of Haydn’s teacher (and, from 1716, as ‘maestro dei concerti’) at the Venetian girls’ orphanage known as authentic cello concertos.
    [Show full text]
  • RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia.
    [Show full text]
  • Sonatas for Cello and Piano BRUNO PHILIPPE JÉRÔME DUCROS FRANZ LISZT
    RACHMANINOV MYASKOVSKY Sonatas for cello and piano BRUNO PHILIPPE JÉRÔME DUCROS FRANZ LISZT NIKOLAÏ MIASKOVSKI (1881-1950) Sonate no 1, op. 12, pour violoncelle et piano Ré majeur / D major / D-Dur 1 | I. Adagio - Andante 7’10 2 | II. Allegro passionato 12’12 © Le Chant du Monde SERGEÏ RACHMANINOV (1873-1943) 2 Pièces pour violoncelle et piano, op. 2 3 | Prélude. Commodo (Fa majeur / F major / F-Dur) 3’39 4 | Danse orientale. Andante cantabile (la mineur / A minor / a-Moll) 5’26 Prélude pour piano seul Extrait des Morceaux de Fantaisie, op. 3, no2 5 | Lento (ut dièse mineur / C-sharp minor / cis-Moll) 4’38 Sonate pour violoncelle et piano, op. 19 sol mineur / G minor / g-Moll 6 | |. Lento - Allegro moderato 13’54 7 | II. Allegro scherzando 6’34 8 | III. Andante 5’54 9 | IV. Allegro mosso 11’19 © Boosey and Hawkes Bruno Philippe, violoncelle Tononi (Prêté par la Beare’s International Violin Society) Jérôme Ducros, piano Steinway existe des œuvres emblématiques dont les auteurs eux-mêmes ne faisaient pas nécessairement grand cas. Nikolaï Miaskovski (1881-1950), élève de Liadov et de Rimski-Korsakov au Conservatoire de Saint-Pétersbourg, Il C’est le cas du Prélude en ut dièse mineur, second des cinq Morceaux de fantaisie op. 3 composés par Serge puis professeur à Moscou, est l’auteur d’une production abondante où prédomine la musique instrumentale, Rachmaninov, âgé de dix-neuf ans, en automne 1892. Sa popularité fut immédiate et tout au long de sa vie, le avec notamment le gigantesque corpus de ses vingt-sept symphonies.
    [Show full text]
  • Season 2016/2017 Friday, 2 September and Saturday, 3
    Season 2016/2017 Friday, 2 September and Saturday, 3 September 2016 Ilija M. Kolarac Foundation, 8 PM PRE-MOSCOW NIGHTS Conductor: Daniel Raiskin Soloist: Nemanja Radulović, violin Nikolai Rimsky-Korsakov Fantasia on Serbian Themes, Op. 6 Duration: approx. 7 minutes Aram Khachaturian Concerto for violin and orchestra Allegro con fermezza Andante sostenuto Allegro vivace Duration: approx. 35 minutes --- Antonin Dvořák Symphony No. 9, Op. 95 in E minor (From the New World) Adagio. Allegro molto Largo Scherzo. Molto vivace Allegro con fuoco Duration: approx. 40 minutes Concertmasters: Tijana Milošević and Miroslav Pavlović At the proposal of the composer and member of the renowned Mighty Handful Mily Balakirev, the young artist Nikolai Rimsky-Korsakov (1844– 1908) wrote Fantasia on Serbian Themes in 1867. Balakirev wanted to include another piece to be performed at a pan-Slavic music concert in addition to his Overture on Czech Themes. For this purpose, he had collected several Serbian themes, which he handed over to Korsakov for further elaboration. The composer wrote the piece instantly, and later declared that it was not so much the feeling of pan-Slavism that had inspired him, but rather the beauty of the themes. The piece premiered on 24 May 1867, under the baton of Mily Balakirev, and achieved great success. A year later, in a concert review, Tchaikovsky commended the orchestration and structural inventiveness of the composition, which finally opened the door of the already influential Mighty Handful for young Korsakov. Twenty years alter, Rimsky-Korsakov revised the piece, which was subsequently published in the version still performed today.
    [Show full text]
  • JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone
    JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone KLAVIERU TRIO LATVIJAS ATSKAŅOTĀJMĀKSLĀ: VĒSTURISKĀ KOPAINA, ANSAMBĻI UN SPĒLES TRADĪCIJAS Promocijas darbs mākslas zinātņu doktora zinātniskā grāda (Dr. art.) iegūšanai mākslas zinātņu apakšnozares Muzikoloģija specializācijas jomā Vēsturiskā muzikoloģija Darba vadītāja asoc. prof. Dr. art. Baiba Jaunslaviete Rīga 2018 Promocijas darbs izstrādāts Jāzepa Vītola Latvijas Mūzikas akadēmijas Doktorantūras nodaļā laika posmā no 2011. līdz 2018. gadam. Promocijas darbs izstrādāts ar Eiropas Sociālā fonda atbalstu projekta nr. 2009/0169/1DP/1.1.2.1.2/09/IPIA/VIAA/001 Jāzepa Vītola Latvijas Mūzikas akadēmijas doktorantūras studiju programmas atbalsts darbības programmas Cilvēkresursi un nodarbinātība papildinājuma 1.1.2.1.2. apakšaktivitātes Atbalsts doktora studiju programmu īstenošanai ietvaros. 2 SATURS IEVADS 6 1. TRĪS SKATPUNKTI UZ ATSKAŅOTĀJMĀKSLU: IEROSMES TO SASAISTEI AR KLAVIERU TRIO PĒTNIECĪBU 13 1.1. Semiotikas skatpunkts 13 1.2. Vēsturiskais skatpunkts (saiknē ar atskaņotājmākslas semiotiku) 22 1.3. Ansambļa pētniecība: grupu psiholoģijas skatpunkts 26 2. LATVIJAS KLAVIERU TRIO ATSKAŅOTĀJMĀKSLA VĒSTURISKĀ SKATĪJUMĀ 31 2.1. Periodizācijas pamatprincipi 31 2.2. Klavieru trio atskaņotājmākslas pirmsākumi Rīgas vācbaltu vidē (1790–1889) 34 2.2.1. Repertuāra kopaina 36 2.2.2. Atskaņotājmākslinieku sniegums un tā rezonanse presē 40 2.3. Pirmie trio ar latviešu mūziķu līdzdalību 47 2.3.1. 19. gadsimta 60.–90. gadi. Kamermūzikas asni latviešu kultūrvidē – augsne klavieru trio spēles tradīciju attīstībai 48 2.3.2. 20. gadsimta sākums. Ludviga Bētiņa trio darbība kā pirmā kulminācija latviešu klavieru trio atskaņotājmākslas vēsturē 54 2.3.3. 1. pasaules kara priekšvakars un kara laiks. Jaunas tendences mūzikas dzīvē un to ietekme uz trio atskaņotājmākslu 60 2.4.
    [Show full text]
  • Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details
    Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete works in MP3-Format Details P. I. Tchaikovsky (1840 – 1893) - Sämtliche Werke als MP3 / Complete works - Gesamtspielzeit / Time total 61:20:48 Titel/Title Zeit/Time Titel/Title Zeit/Time 1.Ballett /Ballet 6:13:12 op.20 Schwanensee / Swan Lake 2:26:50 Act 1 0:51:19 1 Scene 0:05:49 6 Pas d'action 0:02:24 2 Valse 0:07:33 7 Sujet 0:02:37 3 Scene 0:03:54 8 Danse des coupes 0:04:12 4 Pas de trois 0:10:24 9 Finale 0:03:31 5 Pas de deux 0:10:55 Act 2 0:33:13 10 Scene 0:03:23 13 Danses des cygnes 0:17:19 11 Scene 0:05:51 14 Scene. Moderato 0:03:11 12 Scene 0:03:29 Act 3 0:44:59 15 Danses de fantailles 0:02:46 20 Danse hongroise. Czardas 0:02:32 16 Danses du corps de ballet et des nains 0:02:24 21 Danse espagnole 0:02:25 17 Scene. Sortie des invites et valse 0:07:54 21a Danse russe 0:04:33 18 Scene 0:01:39 22 Danse napolitaine 0:01:55 19 Pas de six 0:05:46 23 Mazurka 0:04:12 19a Pas de six 0:05:17 24 Scene 0:03:36 Act 4 0:17:19 25 Entr'acte 0:01:53 29 Scene finale 0:09:13 26 Scene. Danses des petits cygnes 0:06:13 Montreal Symphony Orchestra - Charles Dutoit, 1990 op.66 Dornröschen / The Sleeping Beauty 2:18:22 Act 1 1:01:25 1.Introduction 0:02:58 3.
    [Show full text]
  • Journal of the American Viola Society Volume 32 No. 1, Spring 2016
    Features: Bartolomeo Campagnoli and His 41 Capricci An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I Volume 32 Number 1 Number 32 Volume Journal of the American ViolaSociety American the of Journal Viola V32 N1.indd 301 3/16/16 6:20 PM Viola V32 N1.indd 302 3/16/16 6:20 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2016: Volume 32, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements Feature Articles p. 9 Bartolomeo Campagnoli and His 41 Capricci: The Ever-Changing Role of the Virtuosic Viola and Its Technique: Dalton Competition prize-winner Alicia Marie Valoti explores a history of the Campagnoli 41 Capricci and its impact on the progression of the viola’s reputation as a virtuosic instrument. p. 19 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I: A Trio for Signora Dinimininimi, Nàtschibinìtschibi, and Pùnkitititi: Edward Klorman gives readers an interesting look into background on the Mozart “Kegelstatt” Trio. Departments p. 29 New Music: Michael Hall presents a number of exciting new works for viola. p. 35 Outreach: Janet Anthony and Carolyn Desroisers give an account of the positive impact that BLUME is having on music education in Haiti. p. 39 Retrospective: JAVS Associate Editor David M. Bynog writes about the earliest established viola ensemble in the United States. p. 45 Student Life: Zhangyi Chen describes how one of his choral compositions became the basis of a new viola concerto. p.
    [Show full text]
  • Beethoven, Chopin, Liszt & Tchaikovsky
    SSIANPIANOTR THE ITIONTHERUSS IGUMNOV SCHOOL USIANPIANOTR ADITIONTHERU SSIANPIANOTRLev ADITIONTHERUOborin ERUSSIANPIANBEETHOVEN OTRADITIONTHEcossaises ERUSSIANPIANSonata in A, Op 2 No 2 CHOPIN IANPIANOTRADÉtudes, Op 25 Nos 2, 3 & 5 ITIONTHERUSSMazurka, Op 50 No 1 IANPIANOTRADSonata No 3, Op 58 LISZT OTRADITIONTHHungarian Rhapsody No 2 ERUSSIANPIANTCHAIKOVSKY RADITIONTHEU 3 pieces from ‘The Months’, Op 37b SSIANPIANOTR ADITIONTHERU SSIANPIANOTR Lev Nikolayevich Oborin (11 November 190 7– 5 January 1974) EV OBORIN was born in Moscow and Polish contestants. Overnight, Oborin became entered that city’s Gnesin Music School in the foremost Soviet pianist of his generation. L1914 where he studied composition with On his triumphant return to Moscow he became Alexander Gretchaninov and piano with Yelena Igumnov’s assistant at the Conservatoire, Gnesina. A pupil of Ferruccio Busoni, Gnesina simul taneously teaching chamber music, a was known for her ‘progressive’ methods, in genre to which he was much drawn – as would particular her emphasis upon musicianship become abundantly evident in his future part - as opposed to repetitive exercises, which she ner ships with the violinists Dmitri Tziganov pursued by insisting pupils should frequently and, from 1935, David Oistrakh. (In 1941 perform concerts and recitals from memory. In Oistrakh and Oborin formed an internationally 1921, the fourteen-year-old Oborin moved on to respected trio with the cellist Sviatoslav the Moscow Conservatoire, joining the piano Knushevitsky which ceased only with the death class of the celebrated pedagogue Konstantin of the latter in 1963.) When Igumnov died in Igumnov and furthering his compositional 1948, Oborin was his natural successor having studies with Georgi Catoire, Georgi Conus by then acquired a reputation as a sympathetic and Nikolai Myaskovsky.
    [Show full text]
  • Sniðmát Meistaraverkefnis HÍ
    Gull sótt í glatkistuna Skráning hljómplötusafns Íþöku í Gegni Arna Emilía Vigfúsdóttir Lokaverkefni til BA–gráðu í Bókasafns- og upplýsingafræði Félagsvísindasvið Gull sótt í glatkistuna Skráning hljómplötusafns Íþöku í Gegni Arna Emilía Vigfúsdóttir Lokaverkefni til BA–gráðu í Bókasafns- og upplýsingafræði Leiðbeinandi: Stefanía Júlíusdóttir Félags- og mannvísindadeild Félagsvísindasvið Háskóla Íslands Október 2013 Ritgerð þessi er lokaverkefni til BA–gráðu í Bókasafns- og upplýsingafræði og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Arna Emilía Vigfúsdóttir 2013 Reykjavík, Ísland 2013 Útdráttur Verkefni þetta er lokaverkefni til B.A. prófs í bókasafns- og upplýsingafræði við Félags- og mannvísindadeild Háskóla Íslands. Hér er hafist handa við skráningu á hljómplötusafni í eigu Menntaskólans í Reykjavík. Má segja að þetta marki aðeins upphaf að mun meiri vinnu því að safnið er nokkuð stórt, um það bil áttahundruð hljómplötur. Skráð er í Gegni og hafa því allir landsmenn aðgang að þessum skráningarupplýsingum. Tilgangur þessa verkefnis er tvíþættur; að gera safninu hærra undir höfði, því þar leynast perlur sem vert er að varðveita en einnig að gera upplýsingar um safnkostinn aðgengilegar fyrir notendur á rafrænu formi, ekki síst nemendur Menntaskólans í Reykjavík. 4 Formáli Vinna í verkefninu hófst í mars 2012 en þá fór ég á námskeið í skráningu hjá Landsker- fum bókasafna. Safnið sem um ræðir er hljómplötusafn staðsett í gluggalausri kompu í Bókhlöðunni Íþöku. Safnið er nálægt áttahundruð hljómplötur, aðallega frá sjöunda og áttunda áratug liðinnar aldar og er því allt of viðamikið verk að skrá það allt fyrir þetta verkefni. Ekki er um neina gjafaskrá eða aðrar upplýsingar að ræða um það hvernig saf- nið eignaðist þessar plötur né eru þetta sjálfstæðar einingar sem hægt er að afmarka sig við ( stórar gjafir frá einstaklingum eða söfn úr dánarbúum, um ekkert slíkt er að ræða), því miður.
    [Show full text]
  • Jiyeon Hwang Scholarly Essay.Pdf
    A COMPARISION OF PROKOFIEV’S USE OF CELLO TECHNIQUES IN HIS CELLO CONCERTO, OP. 58 (1938) AND SINFONIA CONCERTANTE, OP. 125 (1952) BY JIYEON HWANG SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Professor Emeritus Chester L. Alwes Associate Professor Dmitry Kouzov, Chair Professor Charlotte Mattax Moersch Professor Stephen Taylor, Director of Research ABSTRACT This document examines the artistic collaboration between Mstislav Rostropovich (1927– 2007) and Sergey Prokofiev (1891–1953) and provides a comparative study of Prokofiev's use of cello techniques in his Cello Concerto, Op. 58 (1938) and Sinfonia Concertante, Op. 125 (1952). It is interesting to see Prokofiev’s much better understanding of the possibilities of the cello in his Sinfonia Concertante, in comparison with his poor knowledge of the instrument in his Cello Concerto, where many passages are ineffective, difficult, or even unplayable. This document is intended to serve as a useful resource for cellists or anyone who are interested in the compositional background and process connected to Prokofiev’s Sinfonia Concertante. ii TABLE OF CONTENTS I. INTRODUCTION .....................................................................................................................1 Rostropovich’s Biography ...................................................................................................1
    [Show full text]
  • The Komitas Legacy: Armenian Piano Trios
    THE KOMITAS LEGACY: ARMENIAN PIANO TRIOS Arno Babajanian (Yerevan, 1921–Moscow, 1983) Piano Trio in F sharp minor (1952) 25:15 Dedicated to David Oistrakh and Sviatoslav Knushevitsky 1 I Largo 10:32 2 II Andante 7:11 3 III Allegro vivace 7:32 (Soghomon Soghomonian) Komitas (Kütahya, Turkey, 1869–Paris, 1935) Six Armenian Miniatures* 21:06 arranged (2016) for piano trio by Varoujan Bartikian 4 Shogher jan (‘Dear Shogher’) 3:56 5 Chinar es (‘You are as slender as a plane-tree’) 3:28 6 Hov arek (‘Give me a cool breeze’) 2:30 7 Krunk (‘The Crane’) 4:18 8 Dzayn tour, ov tsovak (‘Dear lake, answer me’) 4:10 9 Kele kele (‘Let’s walk’) 2:44 Nina Grigoryan (Derzhavinsk, Kazakhstan, 1976) Aeternus (2018)* 10:35 Dedicated to Trio Aeternus 10 I Andante maestoso 3:37 11 II Allegro con brio 2:25 12 III Andante spiritoso 4:33 2 Ardashes Agoshian (Istanbul, Turkey, 1977) Piano Trio, Homage to Komitas (2017)* 21:55 Dedicated to Trio Aeternus 13 I Broken Bells – 2:54 14 II Broken Dance – 1:15 15 III Possession (Shamanioso) – 0:58 16 IV Deus Internus – 6:53 17 V Broken Dance 2 – 2:43 18 VI Sitie (‘Thirst’) 7:12 Trio Aeternus TT 78:53 Alexander Stewart, violin Varoujan Bartikian, cello *FIRST RECORDINGS João Paulo Santos, piano 3 THE KOMITAS LEGACY: ARMENIAN PIANO TRIOS by William Melton Komitas (Gomidas) Vardapet bore the name Soghomon Soghomonian after his birth in the city of Kütahya in western Turkey on 8 October 1869. His father, Kevork, was a cobbler, but he and his wife, Takuhi, also cultivated poetry and music.
    [Show full text]
  • CHAN 10025 BOOK.Qxd 4/5/07 12:20 Pm Page 2
    CHAN 10025 Front.qxd 4/5/07 12:18 pm Page 1 CHAN 10025 CHANDOS CHAN 10025 BOOK.qxd 4/5/07 12:20 pm Page 2 Nikolay Yakovlevich Myaskovsky (1881–1950) Symphony No. 27, Op. 85 35:35 in C minor • in c-Moll • en ut mineur 1 I Adagio – Allegro animato 14:11 Lebrecht Collection Lebrecht 2 II Adagio 13:51 3 III Presto ma non troppo 7:33 Concerto for Cello and Orchestra, Op. 66* 31:37 in C minor • in c-Moll • en ut mineur 4 I Lento ma non troppo 12:10 5 II Allegro vivace 19:27 TT 67:23 Alexander Ivashkin cello* Russian State Symphony Orchestra under Valeri Polyansky Nikolay Yakovlevich Myaskovsky 3 CHAN 10025 BOOK.qxd 4/5/07 12:20 pm Page 4 were prominent among the crimes nineteenth-century tradition of Tchaikovsky, Myaskovsky: Symphony No. 27 and Cello Concerto anathematised by Zhdanov in his address to the Mighty Handful, and especially Glazunov the Composers’ Union. Few eminent Soviet and Rachmaninov (although as émigrés, the composers escaped censure and Myaskovsky, last two simply did not exist officially and no Nikolay Myaskovsky, often hailed as the father confrontational, and in this unimaginably Shostakovich, Prokofiev and Khachaturyan one in 1949 Soviet Russia would have dared of the Soviet symphony, composed no fewer fraught and jittery atmosphere he devoted all were all singled out. It was a heavy blow to to link Myaskovsky’s name with theirs). The than twenty-seven symphonies in a long and his energies to teaching and composing. In the Myaskovsky whose last years were dogged by language of the symphony may be stylistically distinguished career.
    [Show full text]