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Klassiek - Verschijnt op 1 november 2019 | Chandos

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CD€ 9,99

Klassiek - Verschijnt op 1 november 2019 | Chandos

Booklet
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Klassiek - Verschijnt op 1 november 2019 | Chandos

Booklet
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Klassiek - Verschenen op 27 september 2019 | Chandos

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The Bergen Philharmonic Orchestra under its Chief Conductor, Edward Gardner, embarks on a new Brahms cycle with this first instalment, containing the First and Third Symphonies. Recorded in Bergen’s Grieghallen – the orchestra’s home – in October 2018, these two symphonies show the orchestra at the very top of its game, offering rich, strong, and supple string playing matched by outstanding ensemble work across the orchestra. Gardner approaches Brahms from his knowledge and experience of the chamber music, and aware of Brahms’s ties to Schumann. Inspired by the joy and excitement live performances of the symphonies with the Bergen Philharmonic, he states that ‘the combination of the personality of the orchestra, the Chandos sound, and [Brahms’s] great music produces something special’. © Chandos
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Klassiek - Verschenen op 27 september 2019 | Chandos

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Eric Coates studied at the Royal Academy of Music under Frederick Corder (composition) and Lionel Tertis (viola), and played in string quartets and theatre pit bands before joining symphony orchestras conducted by Thomas Beecham and Henry Wood. His experience as a player added to the rigorous training which Coates had received at the academy and contributed to his skill as a composer. In 1919 he gave up the viola permanently and from then until his death made his living as a composer and occasional conductor. His prolific output includes the suite London (1932), of which the well-known march ‘Knightsbridge’ is the concluding movement, the waltz By the Sleepy Lagoon (1930), and The Dam Busters March (1954). The early compositions of Coates were influenced by the music of Arthur Sullivan and Edward German, but his style evolved in step with changes in musical taste, and his later works incorporate elements derived from jazz and dance-band music. His output consists almost wholly of orchestral music and songs. With the exception of one unsuccessful short ballet, he never wrote for the theatre, and only occasionally for the cinema. John Wilson has spent many years editing all the orchestral works of Coates, and will now be using these new editions for this cycle of recordings with the BBC Philharmonic. © Chandos
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Klassiek - Verschenen op 27 september 2019 | Chandos

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Kamermuziek - Verschenen op 27 september 2019 | Chandos

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For this their third album for Chandos, the Neave Trio chose to celebrate the work of three outstanding female musical pioneers. Louise Farrenc studied piano with Clementi and Hummel, and composition with Reicha. She was the first female Professor at the Paris Conservatoire, teaching piano there from 1842 until 1872, although it took her a decade to achieve equal pay with her male colleagues. Rebecca Clarke was a composer and viola player, and became the first female player in Henry Wood’s Queen’s Hall Orchestra, in 1912. Amy Beach was an American pianist and composer, and her Gaelic Symphony, premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman. These piano trios, so vividly contrasting in style, provide an excellent gateway into the soundworlds of three diverse, pioneering composers. © Chandos
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Klassiek - Verschenen op 30 augustus 2019 | Chandos

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The internationally renowned pianist Imogen Cooper is best known for her interpretations of composers of the classical and romantic eras, as reflected in her existing discography for Chandos, featuring works by Liszt, Wagner, Brahms, Chopin, Beethoven, and Robert and Clara Schumann. On her new album, she explores the links between more recent French and Spanish styles in a programme ranging from Albéniz to Mompou via Debussy, Ravel, and Falla. Informed by the pianist’s frequent visits to (and love for) Catalonia (homeland to Albéniz and Mompou) and the Basque region of southern France (birthplace of Ravel) these are performances filled with feeling and personality, as well (of course) as virtuosic playing of the highest order. © Chandos
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Klassiek - Verschenen op 30 augustus 2019 | Chandos

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This is the eagerly anticipated second volume of Rumon Gamba’s fascinating survey of lesser-known British musical gems. Two works (Cowen’s Rêverie and Hadley’s Kinder Scout) are world premiere recordings, and the entire repertoire is very rarely heard. Dating from 1903 to 1932, these works show the remarkable variety of compositional styles in Britain during that period. Owing to its strong rhythmic elements, Mêlée fantasque pre-echoes Bliss’s later ballet scores. Vaughan Williams’s Harnham Down, inspired by the Wiltshire countryside, is one of many works reflecting the British landscape (along with Goossens’s By the Tarn, Foulds’s April-England, and Hadley’s Kinder Scout). Not every composer’s inspiration was local or nationalistic though: Dorothy Howell’s Lamia, based on the eponymous poem by Keats, retelling Greek myth, caused such a sensation at its premiere at the Proms that it was repeated three days later! Eric Fogg’s Merok is based on a Norwegian folk tune, and named after a village at the head of the Geiranger Fjord. © Chandos
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Klassiek - Verschenen op 30 augustus 2019 | Chandos

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Best known as a composer of film music, Korngold was born in Brünn, Austria-Hungary (present-day Brno, Czech Republic) and – as both a pianist and composer – was a child prodigy. Mahler and Strauss were impressed by the young musician, and recommended he study with Zemlinsky rather than ‘waste his time’ attending music conservatory. Korngold emigrated with his family to the USA in 1934, where he went on to revolutionise the Hollywood soundtrack, composing scores for films such as The Sea Hawk, Captain Blood, and The Adventures of Robin Hood. Composed between 1947 and 1952, and dedicated to the memory of Franklin Delano Roosevelt, his (only) Symphony is a heartfelt response to the conflict of WWII. The premiere, in 1954 in Vienna, was under-rehearsed and not a success, and the work remained neglected until Rudolf Kempe came across a set of score and parts in Munich and resurrected it. The Theme and Variations and Straussiana were both commissioned by the Association of American School Orchestras, but Korngold makes no concessions to youth in his writing. Straussiana also reflects his lifelong love of the music of Johann Strauss II. This is the first recording with John Wilson and his new orchestra, the Sinfonia of London. The hand-picked players represent the cream of London’s orchestral musicians, and create an outstanding quality of sound that is evident throughout this exceptional recording. © Chandos
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Opera - Verschenen op 30 augustus 2019 | Chandos

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Following outstanding reviews for his interpretation of Duke Bluebeard around the world, notably at the Paris Opéra and then in Philadelphia and New York with Michelle DeYoung, John Relyea stars in this recording of Bartók’s psychological thriller. The two protagonists are joined by Edward Gardner and his Bergen Philharmonic Orchestra, and the Hungarian actor Pál Mácsai who delivers the Prologue, the work being sung in the original Hungarian. Bartók’s only opera, Bluebeard’s Castle was composed in 1911 and is based on a libretto by Béla Balázs (a room-mate of Kodály), which met Bartók’s desire for a subject that was modern, but drawn from traditional culture. © Chandos
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Kamermuziek - Verschenen op 30 augustus 2019 | Chandos

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Following her acclaimed recording of Mozart’s Flute Quartets with the Brodsky Quartet and her more recent disc of Fauré and Debussy, the flautist Lisa Friend continues her journey to explore another sound-world in this programme of works for flute and guitar(s). Spanning music from Brahms to Bellinati, the wide-ranging programme juxtaposes original compositions for these forces (Ibert’s Entr’acte, Piazzolla’s Histoire du Tango) with arrangements – some of instrumental works (Brahms, Poulenc, Shostakovich) and some of vocal pieces (Donizetti, Rachmaninoff). Works for flute and guitar quartet are interspersed with more intimate pieces, for flute and solo guitar, which adds further variety to the programme. No mere accompanists, Craig Ogden and the Aquarelle Guitar Quartet play a significant role throughout. The end result is a fascinating and rewarding programme of delightfully listenable music. © Chandos
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Klassiek - Verschenen op 2 augustus 2019 | Chandos

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Ivan Ilić came across these transcriptions, scarcely known at all, through the most unlikely and serendipitous sequence of events. Carl David Stegmann (1751 – 1826) was a tenor, keyboard player, conductor, and composer, who worked mostly in the field of opera. Employed by the Court Theatre in Mainz (where he sang in the first German-language production of Don Giovanni), he also gave a number of acclaimed performances in Frankfurt. Trained as an organist, he made transcriptions of string quintets by Mozart and Beethoven’s Trios, Op. 9 as well as keyboard transcriptions of twenty-five of Haydn’s symphonies. Ivan Ilić writes: ‘It is unclear to me whether these transcriptions were ever meant to be played as concert repertoire, in public. Nevertheless, the enthusiasm I have encountered wherever I have played them has persuaded me to make this recording, to allow more people to hear Stegmann’s idiomatic arrangements.’ © Chandos
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Klassiek - Verschenen op 2 augustus 2019 | Chandos

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Montreal-based since 1998, Airat Ichmouratov (born 1973) traces his musical roots back to the dominant culture in his native Tatarstan in Soviet times: ‘It was definitely the Russian school of composers’, he says, without rancour. ‘I’m influenced to this day by Shostakovich, Prokofiev, Mussorgsky, Rachmaninoff, and Tchaikovsky. My own musical style has evolved out of this rich heritage.’ There’s more. The Volga Tatar-born Russian-Canadian composer learned to play klezmer music while busking, together with his viola-playing wife, as new immigrants on the streets and Métro of Montreal. ‘I’ve been touring the world for twenty years as a clarinettist with the Montreal band Kleztory and find myself, a Muslim-born musician, playing klezmer. This, too, is now a distinctive part of my musical language.’ (From introductory notes by Keith Horner) © Chandos
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Klassiek - Verschenen op 2 augustus 2019 | Chandos

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Born in Ontario in August 1919, Tommy Reilly studied violin from the age of eight, and began playing harmonica at the age of eleven. Though he had played in England in 1935 – 37 and continental Europe in 1937 – 39, it was not until his arrest (while studying violin at the Leipzig Conservatory) and subsequent internment 1939 – 45 in prisoner-of-war camps that he developed his virtuosity on the harmonica, basing his ideas of phrasing and interpretation on the playing of Jascha Heifetz. Returning to London in 1945, Reilly began parallel careers as a concert soloist and recitalist, a popular BBC radio and television performer, and a studio musician-composer. He performed with most of the major European orchestras and toured all over the world as a concert soloist. Inspiring the composition of more than thirty works by other composers, Reilly also transcribed a great deal of repertoire for the instrument, in addition to composing his own works. In 1967 he designed a concert harmonica, later manufactured by Hohner and marketed as the Silver Concerto Chromonica. In 1992, he became the first harmonica player to be made a Member of the Order of the British Empire. His other awards included the Gold Medal of the Deutscher Harmonika-Verband, and a Golden Badge from the British Association of Composers, Authors and Songwriters. Sir Neville Marriner and Igor Stravinsky were among those who admired his playing. © Chandos
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Kamermuziek - Verschenen op 2 augustus 2019 | Chandos

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Gottfried Finger was a Moravian composer and virtuoso viol player. Born in Olomouc, in the modernday Czech Republic, and arriving in England in 1685, Finger worked for the court of James II before becoming a freelance composer. Hazel Brooks has spent a great deal of time researching the music for this recording, all of which may be found in the British Library manuscript Add. 31466, the single biggest source of violin sonatas by Finger. She writes: ‘Finger’s sonatas contain a quirky mix of styles. Bohemian features from his homeland, simpler Corellian traits, and the occasional nod to the English Purcellian school are fitted together like crazy paving. This is what gives them their unique charm. Many are made up of contrasting short sections rather than separate movements, sometimes linked by short passages for basso continuo alone, both features characteristic of the Biber school. Finger left a large number of sonatas for violin and basso continuo. We performed them all, immersing ourselves in the style, and this recording presents the finest selection from his output. Because he is known principally for his copious published recorder pieces, aimed at the amateur market, Finger has sometimes been dismissed as a composer of trivial, unadventurous music. I hope that this recording will help to change that mindset, so that Finger finally receives the recognition he deserves.’ © Chandos
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Klassiek - Verschenen op 5 juli 2019 | Chandos

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After leaving the boys’ choir of St Stephens Cathedral in Vienna, one of the ways the young Haydn found to support himself was as a harpsichord teacher. The three early sonatas featured on this recording were almost certainly intended for his students: short, light pieces with few technical demands. The two larger sonatas, both in the key of E-flat major, were written some twenty years later and are far more extensive. Both require significantly greater prowess from the performer, and represent Haydn’s ingenuity and skill to the full. The two additional works included here, whilst single-movement compositions, are substantial pieces. The Adagio ma non troppo would become the slow movement of Piano Trio No. 36, whilst the Variations on ‘Gott erhalte’ is based on the second movement of the ‘Emperor’ Quartet (Op. 76 No. 3), which is itself a set of variations on an anthem composed by Haydn at the request of an Austrian politician for the 29th birthday of the Emperor, and intended as a patriotic hymn comparable to ‘God Save the King’ in England – and a response against the "Marseillaise". © Chandos
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Klassiek - Verschenen op 5 juli 2019 | Chandos

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In this, the first of a series of three recordings of Schubert’s great song cycles for Chandos, Roderick Williams and Iain Burnside bring their formidable talents to bear on one of the pinnacles of classical lieder. In November 2015, Roderick Williams decided to immerse himself in an intensive three-year period of studying and performing the three song cycles by Schubert, following an invitation from the Wigmore Hall. The process has involved not just performances in concert around the globe, but open rehearsals, master-classes, workshops, and radio broadcasts. Roderick Williams has documented all of these experiences in great detail in his fascinating "Schubert Cycle Project" blog. He writes: ‘Somewhere along the way I came to a decision; that my eventual performances at the Wigmore would not be the ultimate goal of my study; rather, the study itself, the act of preparation would be my focus. It is possible that other singers might find the process interesting, even if only to share some of the grind that is most often done alone; it is also possible that others might be intrigued, especially audiences, perhaps even (fellow) students.’ © Chandos
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Klassiek - Verschenen op 5 juli 2019 | Chandos

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Born in 1924 in the then Dutch East Indies (now Indonesia), Gerard Schurmann grew up in England, and after serving in the Royal Air Force during the war, combined his career as a concert pianist with a diplomatic role as Cultural Attaché at the Netherlands Embassy. On the recommendation of Alan Rawsthorne, Ealing Studios commissioned Schurmann for the score for the Jack Hawkins police drama The Long Arm (released as The Third Key in the US). More commissions followed, initially from the burgeoning British 1950s horror scene (represented here by Konga and Horrors of the Black Museum and then from mainstream cinema. The Ceremony, directed by and starring Laurence Harvey, was followed by Dr Syn, alias The Scarecrow and the WWII action movie Attack on the Iron Coast, starring Lloyd Bridges. Rumon Gamba completes this overview with scores from Claretta, a lavish portrayal of the final days of Mussolini and his mistress Claretta Petacci; and finally the 1997 film The Gambler in which Sir Michael Gambon vividly portrayed the great Russian novelist Fyodor Dostoyevsky. © Chandos
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Klassiek - Verschenen op 28 juni 2019 | Chandos

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