Fans of either cellist Mstislav Rostropovich or pianist Sviatoslav Richter will have to hear the performances on this two-disc Doremi set. It contains the four pieces they performed in Moscow on March 1, 1950 Brahms' Sonata No. 1 and Beethoven's sonatas No. 3 and No. 4, plus the world premiere of Prokofiev's sonata and two of the pieces they played at the Aldeburgh Festival on June 20, 1964 Grieg's sonata as well as another Brahms' Sonata No. 1.
As well as Brahms’ 175th birthday in 2008 inspired these recordings in the “Kunsthaus” in Mürzzuschlag. Ronald Fuchs and Chanda VanderHart play, in addition to the two cello sonatas, six Brahms lieder transcriptions in their original keys. The lieder selected have a special connection to both the Streicher piano and with Mürzzuschlag itself. Brahms played severel of them, including “Wie Melodien zieht es mir” with Hermine Spies, and composed both “Sapphische Ode” and “Der Tod, das ist die kühle Nacht” during his time in Mürzzuschlag.
2008 four CD anthology that covers Ayers' musical career from 1969 to 1980; a period most fans and critics deem his best. Ayers remains one of Rock's oddest enigmas. He makes ordinary subjects extraordinary with his rich low vocals and inventive wordplay. He projects the image of a Prog-Rock beach bum writing about life's absurdities with a celebratory, relaxed detachment, yet he is also one of Prog- Rock's more important innovators, helping to launch the Soft Machine, and working with noted progressive musicians Mike Oldfield, Lol Coxhill, and Steve Hillage. Ayers' solo material reflected a Folksier, lazier, and gentler turn than Soft Machine. He was often compared to Syd Barrett, but without the madness and is never less than enjoyable and original, Discs One to Three contain 49 hits, album tracks and more while Disc Four was recorded at The Queen Elizabeth Hall, London on 25th May 1973.
A must-have for collectors of sublime historical recordings, this re-release of Fournier and Gulda's 1960 recording is equally appropriate for listeners seeking their first recording of Beethoven's works for cello and piano. Fournier's commitment to the exploration of the Beethoven sonatas and variations is clear; he made three complete recordings of the works over the course of his career – the first with Artur Schnabel in 1947, this one with Friedrich Gulda in 1960, and finally with pianist Wilhelm Kempff in 1965.
Firma Melodiya presents recordings of Brahms and Prokofiev concertos performed by Natalia Gutman and Oleg Kagan. One of the worlds best cellists, a Peoples Artist of the USSR, and an owner of the State Prize of Russia, Natalia Gutman received four competition prizes when she was a student.