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CD41,99 €

Classica - Uscito il 20 maggio 2016 | Decca Music Group Ltd.

Libretto Riconoscimenti 5 de Diapason - Choc de Classica
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Classica - Uscito il 10 settembre 2021 | Decca Music Group Ltd.

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To celebrate his 60th birthday Decca Classics gave Jean-Yves Thibaudet "carte blanche" to choose a very personal selection of music he has never recorded before. Including Dario Marianelli commissioned Pride and Prejudice - Suite to build on 97m streams for Dawn, Thibaudet's own transcriptions of Disney's When You Wish Upon a Star and Barber's Adagio for Strings. © Decca Classics
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CD13,99 €

Colonne sonore - Uscito il 19 settembre 2005 | Decca (UMO)

One reason why it is better to be a music critic than a film critic is illustrated by this album. The poor film critic may be left to ponder why filmmakers have chosen to do so many screen adaptations of Jane Austen's 1813 novel Pride and Prejudice for both theatrical release and television broadcast, especially in recent years, and to weigh the competing talents of, say, Laurence Olivier, Colin Firth, and, now, Matthew MacFadyen in portraying the character of Mr. Darcy. But the music critic isn't really called upon to compare Herbert Stothart's score for the 1940 film with Carl Davis' music for the 1995 TV mini-series, and, now, Dario Marianelli's. They are entirely different entities and can be treated separately. As stated in a producers' note, the intention of the creators of the 2005 theatrical film Pride & Prejudice was to have Marianelli compose music that conceivably could have been heard at the time the story is set, in the late 18th century. Thus, he has come up with a couple of dance cues ("Meryton Townhall," "Another Dance") that actually recall the dance music of the period, as well as a march ("The Militia Marches In") that a military band actually might have been expected to play at the time. But the main scoring, calling upon Beethoven's sonatas for its inspiration, finds Marianelli providing music for pianist Jean-Yves Thibaudet, sometimes accompanied by the English Chamber Orchestra, that has a strong Romantic flavor to accompany the familiar romantic plot. No doubt Stothart and Davis (among others) also did their homework in preparing their scores, but they may not have been as concerned as Marianelli with essentially impersonating an 18th century composer. © TiVo
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CD55,99 €

Classica - Uscito il 01 gennaio 2003 | Decca Music Group Ltd.

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CD24,99 €

Classica - Uscito il 01 gennaio 1996 | Decca Music Group Ltd.

Classica - Uscito il 19 settembre 2005 | UMG Recordings, Inc.

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One reason why it is better to be a music critic than a film critic is illustrated by this album. The poor film critic may be left to ponder why filmmakers have chosen to do so many screen adaptations of Jane Austen's 1813 novel Pride and Prejudice for both theatrical release and television broadcast, especially in recent years, and to weigh the competing talents of, say, Laurence Olivier, Colin Firth, and, now, Matthew MacFadyen in portraying the character of Mr. Darcy. But the music critic isn't really called upon to compare Herbert Stothart's score for the 1940 film with Carl Davis' music for the 1995 TV mini-series, and, now, Dario Marianelli's. They are entirely different entities and can be treated separately. As stated in a producers' note, the intention of the creators of the 2005 theatrical film Pride & Prejudice was to have Marianelli compose music that conceivably could have been heard at the time the story is set, in the late 18th century. Thus, he has come up with a couple of dance cues ("Meryton Townhall," "Another Dance") that actually recall the dance music of the period, as well as a march ("The Militia Marches In") that a military band actually might have been expected to play at the time. But the main scoring, calling upon Beethoven's sonatas for its inspiration, finds Marianelli providing music for pianist Jean-Yves Thibaudet, sometimes accompanied by the English Chamber Orchestra, that has a strong Romantic flavor to accompany the familiar romantic plot. No doubt Stothart and Davis (among others) also did their homework in preparing their scores, but they may not have been as concerned as Marianelli with essentially impersonating an 18th century composer. © TiVo
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Classica - Uscito il 01 gennaio 2002 | Decca Music Group Ltd.

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CD24,99 €

Classica - Uscito il 01 gennaio 1992 | Decca Music Group Ltd.

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CD24,99 €

Classica - Uscito il 01 gennaio 2000 | Decca Music Group Ltd.

A partire da:
CD13,99 €

Classica - Uscito il 01 gennaio 1997 | Decca Music Group Ltd.

A partire da:
CD13,99 €

Classica - Uscito il 01 gennaio 2001 | Decca Music Group Ltd.

A partire da:
CD13,99 €

Classica - Uscito il 01 gennaio 2007 | Decca Music Group Ltd.

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CD21,99 €

Classica - Uscito il 01 gennaio 2012 | Decca Music Group Ltd.

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CD13,99 €

Classica - Uscito il 01 gennaio 2007 | Decca Music Group Ltd.

A partire da:
CD13,99 €

Classica - Uscito il 14 settembre 1993 | Decca Music Group Ltd.

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CD13,99 €

Classica - Uscito il 01 gennaio 1991 | Decca Music Group Ltd.

A partire da:
CD13,99 €

Classica - Uscito il 01 gennaio 2007 | Decca Music Group Ltd.

A partire da:
CD13,99 €

Classica - Uscito il 01 gennaio 1996 | Decca Music Group Ltd.

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CD13,99 €

Classica - Uscito il 10 maggio 2010 | Decca Music Group Ltd.

Libretto
The key word for this disappointing Gershwin album is "no." Jean-Yves Thibaudet, in spite of his bright tone, brilliant technique, and buoyant sense of rhythm, is no Gershwin player, and his performances of Rhapsody in Blue, "I Got Rhythm" Variations, and the Piano Concerto, while technically impeccable, are stiff, angular, and awkward. Marin Alsop, for all her abilities and her undeniable affinity with the Baltimore Symphony, is no Gershwin conductor, and her performances, though big, bright, and sassy, are essentially dead from the neck down when it comes to rhythm, tempo, and especially syncopations. The use of the original jazz band versions of the rhapsody and the concerto, as well as the original manuscript version of the variations, is essentially pointless since Decca's sound is so lacking in clarity and detail that the lighter, leaner scores come off as bloated as later, heavier scores. There are good things here, though; the solos by various members of the Baltimore Symphony are far more in touch with the music than anything Thibaudet or Alsop can manage, though Alsop's rushed entrances frequently cover some of the solos. © TiVo
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Classica - Uscito il 14 settembre 1993 | Decca Music Group Ltd.

Libretto