This sparkling suite for violin and piano came into being when the composer had to adapt his incidental score for a production of Shakespeare's play to the impending absence of the chamber orchestral. The result is a brilliant piece for violin and piano, which the composer quickly released in a four-movement version. There are other recordings of the chamber orchestra suite in five-movements that duplicate only three of the movements of this version. Violinist Gil Shaham and pianist André Previn are ideal partners in this brilliant performance. The four movements allow Shaham to show four sides of his violinist's personality: He skips and plays in carefree fashion in the opening movement, indulges in the grotesquery and parody of the second, gets to play the romantic in the garden scene of the third movement, and dazzles with virtuosity in the final hornpipe. Previn's part is more than mere accompaniment; the piano often has a large part of the mood of the music and his contribution is, to use a word already employed here, ideal.
En Allemagne où il a d'abord été publié, ce livre, sous le titre : Erinnerungen an die Zukunft (Souvenirs du futur), a connu et continue à connaître un immense succès (300000 exemplaires) suscitant des polémiques passionnées : toutes les idées reçues sur la préhistoire sont ici bousculées. Un jour ou l'autre, l'histoire officielle devra bien tenir compte des découvertes de ces esprits singuliers qui se nomment, en Allemagne, Erich von Däniken, et en France, Robert Charroux, Louis Charpentier et Jean Sendy. …
A mere 16 years after Erich Kunzel and the Cincinnati Pops recorded their now-classic Christmas with the Pops, Christmastime Is Here is their 2006 follow-up. It sticks to the same basic formula: a mix of orchestral, choral, and solo numbers performed by the Indiana University Singing Hoosiers (a Kunzel favorite, succeeding the original's May Festival Chorus), the School for Creative and Performing Arts Children's Choir (who sang on the original, though presumably with a different roster), and an entirely new crop of soloists. While the original relied on classic veterans such as Rosemary Clooney and Doc Severinsen, Christmastime Is Here makes use of hip jazz vocalists (and, not coincidentally, Telarc recording artists all) Ann Hampton Callaway ("I Wonder as I Wander"), Tierney Sutton ("I'll Be Home for Christmas"), Tony DeSare ("The Christmas Song"), and John Pizzarelli (""Silver Bells") as well as British sextet the King's Singers ("Silent Night").
»This recording is a true marvel!« ~Fanfare
The two films on this DVD combine some of the most demanding chamber works ever written. Recorded at the atmospheric Academy of Sciences in Budapest, the Keller Quartet plays a version of Bach’s unfinished masterpiece The Art of the Fugue for string quartet intertwined with works by renowned contemporary composer György Kurtág – a programme that the four Hungarians developed and have successfully performed on international stages. Anner Bylsma, Dutch master cellist and world-renowned as a distinguished interpreter of Bach’s cello music, plays the solo suites. The suites, on which he has also published an authoritative book, count among the most popular baroque chamber works. Anner Bylsma plays the famous Stradivarius “Servais” and the disc was recorded in the beautiful village church St Bartholomew of Dornheim in Thuringia.
…Kunzel's Ruslan and Ludmilla overture is suitably festive, even if it doesn't quite achieve the breathless intensity exhibited by Bernstein or Pletnev. But then, being "definitive" isn't the point of this album–enjoyable music-making is, and in that respect it's a triumph. Especially so as the Cincinnati Pops plays masterfully and with great enthusiasm throughout the program. (Listen to the bold trombones in Mussorgsky's Polonaise or to the singing strings in Spartacus.) Telarc captures it all in its signature vivid, high-impact sound. Yes, I know you already have a couple of Russian favorites discs in your collection, but this new Telarc release is special enough that you'll want to make room for it.
Detlef's extensive solo catalog contains one gem after another of beautiful melodies and surging sequential tracks. The mix of soaring symphonic arrangements and pulsing rhythms is absolutely intoxicating. He also tends to arrange the pieces so they segue-way into one another creating a striking conceptual flow that sweeps you up in its wave of sound.
Although Korngold’s ‘complete works for violin and piano’ make up a reasonably full disc, it is only fair to point out that the Violin Sonata is the single work that is not an arrangement from one of his other pieces. Yet this Sonata, written at the age of 15 for Carl Flesch and Artur Schnabel no less, is a fine example of his early style, with its echoes of Zemlinsky and early Schoenberg. The young Dutch violinist Sonja van Beek and German pianist Andreas Frölich negotiate its challenges with ease: as in Rachmaninoff’s Cello Sonata, the pianist has as tough a role as the melody instrument. Much Ado about Nothing is one of several arrangements of a suite of four movements derived from incidental music to Shakespeare’s play written in 1918, performed here with affection and a silken suavity. The remainder of the repertoire is made up of arrangements of Korngold lollipops, hit numbers from his operas, such as the unforgettable ‘Marietta’s Lied’ from Die tote Stadt, arranged by the composer as salon pieces and popularised by Kreisler and his ilk.