59 Results for : reprises
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Organ Sonatas
Scandali, Luca - Sonate Fuer Orgel C-dur1. Allegro2. Andantino3. PrestoScandali, Luca - Sonate Fuer Orgel C-durAllegro PienoScandali, Luca - Sonate Fuer Orgel C-durMinuettoScandali, Luca - Sonate Fuer Orgel G-dur1. Larghetto (With Original Varied Reprises)2. AndanteScandali, Luca - Sonate Fuer Orgel G-dur1. Andante2. Allegro3. AndanteScandali, Luca - Sonate Fuer Orgel G-mollAndanteScandali, Luca - Sonate Fuer Orgel D-moll1. Allegro2. Largo3. Allegro E SpiritosoScandali, Luca - Sonate Fuer Orgel D-moll1. Andantino2. PrestoScandali, Luca - Sonate Fuer Orgel B-durAllegroScandali, Luca - Sonate Fuer Orgel B-dur1. Andante2. AllegroPlyta 2.Scandali, Luca - Sonate Fuer Orgel C-durAllegroScandali, Luca - Sonate Fuer Orgel C-durAndantinoScandali, Luca - Sonate Fuer Orgel A-mollAllegroScandali, Luca - Sonate Fuer Orgel A-mollSicilianaScandali, Luca - Sonate Fuer Orgel D-durAllegro AssaiScandali, Luca - Sonate Fuer Orgel D-durScandali, Luca - Sonate Fuer Orgel D-dur1. Largo2. Allegro3. AllegroScandali, Luca - Sonate Fuer Orgel G-moll1. Largo - Allegro2. AndanteScandali, Luca - Sonate Fuer Orgel B-durAllegroScandali, Luca - Sonate Fuer Orgel G_durAndanteScandali, Luca - Sonate Fuer Orgel G-durAllegroScandali, Luca - Sonate Fuer Orgel C-moll1. Adagio2. Allegro- Shop: odax
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Monhegan Suite & Other Musical Journeys
This CD contains three different musical journeys through time. We hope that listeners will feel they have spent that day on Monhegan Island, experienced the brief but passionate relationship of the Apache lovers and traced the evolution of the Tango over the course of a century. Monhegan Suite by John Kusiak was commissioned by Jill Dreeben to depict the moods and tones of different places on Monhegan Island in the course of a summer day. The rest of this booklet will be devoted to the thoughts of the composer. Katherine Hoover described Canyon Echoes as the story of two young Apaches from a large canyon "where the streams ripple and the wind sings in the cottonwoods." In Dance they meet and have eyes only for each other. Serenade marks the growth in their friendship. She Mourns when her young lover leaves for the hunt. When He Returns he is stricken to learn she has fallen ill and died. In Histoire du Tango, Astor Piazzolla traces the evolution of the Tango from it's origins in Buenos Aires in Bordel 1900 to Cafe 1930 then to Club 1960. Prelude - 12 Nautical Miles - This movement opens with the guitar emulating the sound of distant bell buoys that gradually come closer. An introduction leads to a dreamy anticipation of the day, the main theme with it's Lydian mode character is stated by the flute. Excitement over returning to Monhegan builds as I imagine the Laura B ferry making the 12- mile trip from Port Clyde over open sea, a trip sometimes accompanied by harbor porpoises, whales, and seals. Sunrise at Burnt Head - The summer day begins with a sunrise that can be best experienced by rising a half-hour before dawn, walking a half mile across the island to the eastern cliffs (in this case, Burnt Head) and waiting for the sun to appear over the ocean. The dawn is shared with seagulls and scrub pine. The flute gradually climbs as the sun ascends and the mood is serene and reverent, finishing with a chorale-like section in Eb. Lobster Cove - Lobster Cove is on the southern tip of the island and is mostly flat and rocky. It sports a wreck of the D.T. Sheridan rusting peacefully by the surf. In the music, I have tried to create a feeling of the rolling waves with guitar arpeggios and odd meters. The flute melodies contain and develop some of the bird songs that I recorded while walking to the cove. Day Trippers - This is a fun movement for mid-day that illustrates the chaotic and sometimes humorous activity found on the dock, Main Street and the beaches when tourists converge on Monhegan for a few hours. The Trails to the Headlands - Monhegan is famous for it's trails. This movement evokes the haunting beauty of the forest. It is quiet and dark with shafts of light illuminating green moss. In foul weather, these trails can be treacherous, but in August they are magical. The trail ultimately leads to the Headlands, opening onto bright sunlight and dramatic cliffs. Waves crashing against the rocks below are suggested by cascading flute arpeggios and dramatic guitar strumming. Few who fall in on this side of the island have been rescued. The danger is real for the reckless and the unlucky. The Library/Jackie and Edward - Jackie Barstow and Edward Vaughan were two of the unlucky ones. In 1926, Edward was supervising Jackie's eleventh birthday party picnic on a flat rock at the base of Black Head when she was swept out to sea by a rogue wave. Edward jumped in to save her. Both were lost. The Monhegan Memorial Library was dedicated to them and provides a quiet place to read and reflect. Here the main theme is stated and developed by both instruments in turn, a simple meditation on the tragic loss of two innocents. Sunset at the Lighthouse - One of the great pleasures of Monhegan is viewing the sunset from lighthouse hill. This movement is related in tone and tempo to the Sunrise movement, building in intensity with the setting sun through quiet expectation, dramatic light and clouds, and vibrant colors. It reprises the reverent chorale of the Sunrise music as the sun descends into the horizon, ending with a promise of return through the use of unsettled seventh-chord harmony. Evening: Friends and Family - Here, the theme loses it's Lydian character as it is set to a simple accompaniment in B Major expressing the warmth of family, friends and laughter. Music that describes the boat journey to the island is recapitulated in portraying the journey back to the mainland. Epilogue -Dream: Winter on the Island - Back home on the mainland - "inshore" as year-rounders call it - the island is still with me in my imagination. Dreaming about what the island is like in winter is reflected musically in a new theme played by solo guitar. When the flute enters, hints of previous themes return in an extended quasi-improvised section. As the movement concludes, guitar themes from the prelude are repeated. The bell buoy sounds a positive chord as it fades away beneath undulating flute arpeggios. Jill Dreeben has performed in numerous solo flute and chamber music concerts throughout New England. She is a founding member of Solar Winds Woodwind Quintet and a member of Kaleidoscope Chamber Ensemble. She has played with the Lumen Contemporary Ensemble, Composers in Red Sneakers and has been a soloist with The Boston Secession. She premiered music written for her by composer John Kusiak and recorded some of his commercial works as well as works by local composers Pasquale Tassone, Armand Qualliotine, Betsy Schramm and James Ricci. Jill Dreeben plays with the New England Orchestra in Lowell and she has performed with Emmanuel Music of Boston. Ms. Dreeben studied with Craig Goodman, Louis Moyse and Lois Schaefer. She earned a BA in Music from Cornell University (1983) and an MM in Flute Performance from New England Conservatory (1987). Currently Ms. Dreeben teaches flute at Brandeis University and maintains a private studio in Arlington, MA. Peter Clemente has performed solo and chamber music throughout New England and has completed successful concert tours in California and in the southwestern United States. He has been featured live in concert/interview radio broadcasts on WGBH, Boston, and KPFK, Los Angeles, and in 1990 made his New York debut at Weil Hall with soprano Katherine Emory. A native of Massachusetts, Mr. Clemente studied the guitar with Richard Provost at the Hartt School of Music, where he is the only guitarist to have received the prestigious Applied Music Award for outstanding musical performance. Later training was with David Leisner at New England Conservatory and with Neil Anderson at the Boston Conservatory. He was the firstprize winner in both the Guitar Foundation of America's International Solo Competition in 1986 and the Ovation Classical Guitar Competition in 1981. He is currently a Lecturer in Music at Assumption College in Worcester, MA. John Kusiak composes music for film, television and live performance. He has scored hundreds of projects, including television documentaries (HBO, IFC, PBS and Sundance), large-screen exhibitions (Yellowstone National Park and the Smithsonian) and feature films (Tabloid, Secrecy, The Singing Revolution and additional music for the 2004 Academy Award winning documentary The Fog of War). His score for Errol Morris' "Tabloid" won the 2012 Cinema Eye Honors Award for Outstanding Achievement in Original Music.- Shop: odax
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Music for Solo Cello
Cassado: Suite for solo cello I. Preludio - Fantasia II. Sardana (Danza) III. Intermezzo e danza finale Ysaye: Sonate Op. 28 for solo cello I. Lento e sempre sostenuto II. Poco allegretto e grazioso III. Adagio IV. Allegro Tempo fermo Ligeti: Sonate for solo cello I Dialogo II Capriccio Kodaly: Suite Op. 8 for solo cello I. Allegro maestoso ma appassionato II. Adagio III. Allegro molto vivace ---------------- When Johann Sebastian Bach composed his six cello suites around the year 1720, they were labeled "6 Suites a Violoncello Solo senza Basso." This curious title can be explained by the fact that it was a novelty at the time to write for cello alone, an example that would not be followed any time soon: not counting the various solo cello studies, capriccios, and other pieces composed by cellists for educational purposes, one needs to wait nearly two centuries before finding important repertoire in the medium. The famous Catalan cellist Pau Casals (1876-1973) was partially responsible for the rebirth of the solo cello repertoire: his "discovery" of Bach's cello suites at the beginning of his career and his subsequent efforts to propagate them helped convince the younger generation of composers to write for solo cello. The four works presented on this CD illustrate the rise of the modern solo cello repertoire. Common characteristics of this collection include a powerful rhetorical discourse, a rhapsodic character, and a complete technical mastery in writing for the instrument. That the four composers represented here had an excellent knowledge of the cello came from their own practical experience: Zoltán Kodály and György Ligeti had studied cello before becoming composers, the famous Belgian violinist Eugène Ysaÿe was competent enough to play the cello part in private chamber music evenings, and Gaspar Cassadó, Casals's student, was a celebrated cello virtuoso. Kodály's Sonata for Solo Cello, Op. 8 (1915) and Cassadó's Suite for Cello Solo (1925) are colored with regional flavor. As early as 1905, Zoltán Kodály (1882-1967) had traveled with Bartók to record the peasant and popular music of Central Europe. Reminiscences of these ethnomusicological travels are present in Kodály's sonata, not only in the imitation of traditional instruments (violin, percussion, cimbalom, etc.) and their modes of playing, but also in the poetic description of the landscapes in which the music was born. Perhaps in a more folkloric way but still with much panache and poetry, Gaspar Cassadó (1897-1966), in his Suite for Solo Cello, imitates flamenco singing and guitar playing. He also quotes the Catalan sardana dance with it's introduction for flabiol (Catalan piccolo recorder), it's grotesque cobla (traditional Catalan ensemble), and indispensable nostalgic solos played by the tible (Catalan shawm). Like Fritz Kreisler, Cassadó was accused of musicological crimes: he attributed some of his own compositions to famous composers of the past such as Frescobaldi, Couperin, Boccherini, and Schubert, calling them "transcriptions." A good example of Cassadó's skill in pastiche can be found in the second movement, Sardana, at the expression marking burlesco: here he literally forces the cellist to imitate the approximate intonation of a traditional village ensemble by writing a series of unisons in such wide fingering spans that no cellist can play them in tune. We should not forget to mention that the first theme of Cassadó's suite is an embellishment of the opening of Kodály's sonata, a nod to the older Hungarian composer. György Ligeti (1923-2006) wrote the two movements of his Sonata for Solo Cello at a five-year interval. The first part, composed in 1948 for a young cellist with whom he was secretly in love, consists of a musical dialogue between a woman and a man. The composer's gift was not reciprocated, however, and the work was left unperformed until Ligeti added a second movement in 1953 in response to a famous female cellist (with whom he was not in love, as the composer tells us), who commissioned a full sonata from him. During the communist period, the Hungarian Composer's Union refused to allow the work to be published or performed on the grounds that the second movement was too modern. This might amuse us today, because the work - composed under the influence of Kodály and Bartók - is much more traditional than Ligeti's later compositions. Like Cassadó and Casals, the violinist Eugène Ysaÿe (1858-1931) was a great admirer of Bach's solo works and among the first to include them on his concert programs. Ysaÿe shows his devotion to Bach in his Violin Sonata No. 2 "Obsession," where he quotes the opening of the Partita for Solo Violin in E-major. Although there are no direct quotations from Bach's solo violin works in Ysaÿe's Sonata for Solo Cello, Op. 28 (1923), we sense nevertheless that the famous violinist was more familiar with Bach's writing for solo violin than solo cello. This can be heard in the many chords and detailed contrapuntal writing, in Bach's solo cello works, chords are less frequent and the polyphonic lines are distributed in a more arpeggiated fashion. Ysaÿe's cello sonata, not as well-known as his six sonatas for violin but sharing many of the same difficulties, includes the composer's own fingerings. The work was dedicated to the Belgian cellist Maurice Dambois, with whom - along with pianist Yves Nat - Ysaÿe had formed a trio. While Pau Casals played a crucial role in the development of the solo cello repertoire at the beginning of the twentieth century, cellists such as Siegfried Palm and Mstislav Rostropovich inspired the following generations of composers. One needs only to reflect on composers such as Dallapiccola, Zimmermann, Henze, Scelsi, Britten, Sessions, Penderecki, Xenakis, Dutilleux, Ginastera, and Berio to understand the richness and diversity of the modern solo cello repertoire, which we hope to present to you in future recordings. NICOLAS DELETAILLE - TRANSLATION THOMAS SVATOS Nicolas Deletaille After having received his musical education in Belgium and in the USA, Nicolas Deletaille has begun his professional life as a concert performer. In the same time, he has recorded the Bach six Cello Suites, the Beethoven five Cello Sonatas, major works from the solo repertoire (Kodály, Cassadó, Ysaÿe, Ligeti) as well as chamber music CDs (Schubert, Dvorák, Franck, Tchaikovsky,...) Nicolas Deletaille has also earned distinction as an arpeggione player by recording the Schubert arpeggione sonata in the rare original arpeggione version with the vienese maestro Paul Badura-Skoda on an original 1820 pianoforte. Nicolas Deletaille has collaborated extensively with composers of our time. He has given approximately 50 world premiere creations, most of which were pieces written for him by composers from Belgium, France, Taiwan, USA, Italy, England, Switzerland, Korea, Norway and Canada. Nicolas Deletaille is currently a faculty member of the Eastern Mediterranean University, TRNC. Français Quand Johann Sebastian Bach composa ses six suites pour violoncelle vers 1720, elles furent baptisées « 6 Suites a Violoncello Solo senza Basso ». Ce titre curieusement redondant s'explique par l'originalité d'écrire à cette époque pour violoncelle seul. Cet exemple ne sera d'ailleurs pas suivi de longtemps : mis à part d'innombrables études, caprices et autres exercices de virtuosité, écrits par les violoncellistes eux-mêmes dans un but purement pédagogique, il faudra attendre que le célèbre violoncelliste catalan Pau Casals se fasse l'ambassadeur des Suites de Bach lors de ses tournées de concerts à l'aube du XXe siècle pour que des compositeurs se montrent peu à peu enclins à écrire des œuvres importantes pour violoncelle seul. Les quatre œuvres reprises sur ce CD, composées au cours de la première moitié du XXe siècle, s'inscrivent dans la cadre de ce développement du répertoire pour violoncelle seul. Elles ont en commun un discours rhétorique puissant, un c- Shop: odax
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Grantchester: The Complete Third Season (Masterpiece)
Masterpiece Mystery!: Grantchester Based on The Grantchester Mysteries by James Runcie, Grantchester stars James Norton (Happy Valley, War and Peace) as Sidney Chambers, the charismatic, charming, crime-fighting clergyman, and Robson Green (Strikeback, Wire In The Blood) as his partner in crime, Detective Inspector Geordie Keating. This MASTERPIECE MYSTERY! Series hearkens back to a simpler England, when WWII had just ended, Elizabeth II was the new queen, the death penalty was still in force, homosexuality was illegal, and the local vicar was a pillar of the community. Tessa Peake-Jones plays Sidney's indomitable housekeeper Mrs Maguire, Morven Christie portrays Sidney's glamorous friend Amanda, Kacey Ainsworth returns as Geordie's wife Cathy, and Al Weaver reprises his role as curate Leonard Finch.- Shop: odax
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Lincoln & Booth
THE LINCOLN HERALD Vol. 101, No. 4 PUBLICATION/PLAYBACK REVIEW Edited by Steven K. Rogstad, Review Editor LINCOLN & BOOTH: A Historical Musical Written and composed by Richard J. Chiarappa Over the years the Lincoln assassination has been the subject of books and broadsides, poetry and painting. To this rich legacy may now be added something new and unusual: a musical play titled: 'Lincoln and Booth.' The videotape of this production was recorded live at the Roberts Theater of the Kingswood Oxford School in West Hartford, Connecticut, on September 19-21,1997. The compact disc is the original Hartford cast recording. 'Lincoln and Booth' retells the assassination story in an original two-act musical. History's whole gang is assembled for this event. There's Lincoln, Booth, Mrs. Surratt, Dr. Mudd, Atzerodt, Spangler, Nellie Starr, Stanton, Harry Clay Ford, Lt. Doherty, even Peanuts John. Fearing the worst, most historians grimace when the curtain parts on movies or stage productions about these characters. But there's nothing too amiss here. Richard Chiarappa, who wrote the book, music, and lyrics, has been fair to the facts. He wisely sought historical assistance from James 0. Hall, Laurie Verge, and Joan Chaconas, and viewers may rest assured the historical elements of the play are satisfactory. Although the set is simple, there is nothing diminutive about the production. The play is professionally done, it is well-cast, well-acted, and well-performed. Frank Sweeney gives us an energetic and credible Booth, Chris Hand Parliman (Mary Todd Lincoln) is also a standout, using a fine voice to good advantage. And what about Laura Diekmann! Bottle and sell her lovely Laura Keene! These and other performers are treated well by imaginative camerawork of the video and will look even better when additional lighting work is done. One of the musical numbers, 'Honor to Our Soldiers' by William Withers and H. B. Phillips, is the only non-original piece in the play. This seems quite appropriate, and Chiarappa is clever to include it. The song was to have been performed on April 14, 1865. 'Good-bye,' a trio sung by Booth, Nellie Star, and Lucy (Hale), is a haunting favorite among the new music. It had this reviewer hitting the rewind button several times for reprises. Terry Alford Northern Virginia Community College.- Shop: odax
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Red Dragon
Anthony Hopkins reprises his Oscar-wining role as the infamous Dr. Hannibal Lecter in the thrilling prequel critics are hailing as "A Suspenseful Masterpiece!" (Fox-TV). After capturing Dr. Lecter, FBI agent Will Graham (Edward Norton) retires - only to be called back to active duty to hunt down an elusive killer, "The Tooth Fairy" (Ralph Fiennes). Red Dragon is the electrifying, critically acclaimed movie that "returns the series to the Silence of the Lambs form" (Jack Mathews, New York Daily News).- Shop: odax
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To Sir, With Love II
Sidney Poitier reprises his role as Mark Thackeray in "To Sir, With Love II," the sequel to the original 1967 classic film "To Sir, With Love." It is the eve of Thackeray's retirement from the working class London school where he has taught for the last 30 years. During his speech to the faculty and friends who have gathered to send him off with good wishes, he announces that he has taken a teaching position on Chicago's South Side. But Mark has another reason for wanting to go to the States - to find his first love, a woman he met over thirty years ago when he was a young man in Guyana. The answer to the question of whether and how Thackeray will succeed with his new unruly students will not be a surprise for fans of the 60's classic, but the pleasure is in revisiting the characters and actors from the original film (including Lulu and Judy Geeson, who reprise their roles). Newly remasterd.- Shop: odax
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