sábado, 21 de noviembre de 2020


Dear Music Is The Key followers, in extension to this and my other blogs, I have created an online store where you’ll be able to buy hard to find pre-owned music albums, books in spanish, movies, and much more. Delivery is worldwide, so if you find anything you like, go for it.

I have already added some items, but there are still a lot left to add, so be sure to visit it often to check out the latest merchandise.

Be sure to like the Facebook page to find out about recently added items:

And here is the direct link to the store:

Happy buying!

Estimados seguidores de Music Is The Key, como una extensión a este y mis otros blogs, he creado una tienda en línea en la que podrán comprar artículos usados difíciles de encontrar como discos de música, libros en español, películas y mucho más. Los envíos se hacen a todo el mundo, así que si encuentras algo que te guste, no dudes en comprarlo.

He agregado ya varios artículos, pero aún quedan muchos por agregar, así que asegúrate de revisar a menudo la tienda.

Asegúrate también de darle like a la página de Facebook para enterarte de los artículos agregados recientemente:

Y acá está el link directo a la tienda:

¡Feliz compra!

lunes, 20 de febrero de 2017

Natalie Clein BLOCH Suites for Solo Cello DALLAPICCOLA Ciaconna, Intermezzo e Adagio LIGETI Sonata for Solo Cello

Despite the appeal and popularity of Bloch’s Schelomo, his three solo cello suites have not been widely recorded. They were written late in the composer’s life, in 1956-57, after he had retired from teaching at the University of California, Berkeley, and were inspired by the Canadian cellist Zara Nelsova. Unfortunately, Nelsova, who worked closely with Bloch in the years after the end of the Second World War, left no recording of the pieces. The German cellist Peter Bruns recorded them in 1997, on a disc that also included key cello works from earlier in the composer’s career, including From Jewish Life and Baal Shem, when Bloch was self-consciously interested in discovering within himself what it meant to be a Jewish composer.
The late-in-life solo suites are very different in tone from those earlier works, more meditative and introspective, and while listeners will easily detect similar melodic contours to the music Bloch was writing in his Jewish Cycle works, these suites lack the long, ardent lines of Schelomo, though none of its expressive power. Cellist Natalie Clein keeps the expressive range within autumnal parameters: melancholy, lightly fretful, inward and dignified. Whereas Bruns is more forcefully rhetorical and demonstrative, Clein plays intimately, as if for herself alone. But there is nothing hermetic about her approach. Gently, insistently, quietly, she draws the listener into Bloch’s music and the results are thoroughly absorbing.
Rather than pair these relatively short works—made up of four or five movements each, most lasting only a few minutes—with other works by Bloch, Clein couples them with Dallapiccola’s 1945 Ciaccona, Intermezzo e Adagio, thorny but powerful, written at the same time as he was working on his tremendously bleak opera Il prigioniero, and Ligeti’s 1948-53 two-movement Sonata for solo cello. Clein is every bit as commanding in the formidably difficult Dallapiccola as she is retiring in the Bloch, and her performance of the Adagio theme in the Ligeti is four minutes of pure, concentrated beauty. This lovely disc reveals the cello as a kind of private sketch pad, or journal, capturing big emotions on a small scale, with a poetic concentration in sharp contrast to the larger, more furious musical gestures of the post-war moment. (Gramophone)

Myung-Whun Chung / Seoul Philharmonic Orchestra BEETHOVEN - SAINT-SAËNS - CHOI SUNGHWAN

The Lotte Concert Hall releases a live recording album Friday from its opening concert held Aug. 19, 2016. 
This is a first for a local concert hall to release a live album from an opening concert held in its halls. The release of the album signifies the concert hall's confidence in its carefully designed acoustics.
The album includes Beethoven's Leonore Overture No. 3, Op. 72a, Saint-Saens' Symphony No. 3 in c minor, Op. 78 "Organ" and Choi Sung-hwan's Arirang Fantasias performed by Seoul Philharmonic Orchestra under the baton of maestro Chung Myung-whun.
"Many performers and conductors who have participated or listened to performances at the hall lauded the concert hall’s acoustics. It is extremely meaningful that we are releasing our second album even before our one year anniversary of opening. We hope to establish our hall as the optimum recording venue for classical music,” said Han Kwang-gyu, president of Lotte Concert Hall.
Sound engineer Choi Jin, who directed the opening concert recording of Mahler’s Symphony No. 5 with Gyeonggi Philharmonic Orchestra released last December said, “Lotte Concert Hall's opening concert recording has a unique silky sound. The recording for this particular album used state of the art technology which produces a lively sound.”
Music critics commented, “Saint-Saens’ Symphony No.3 in c minor, Op. 78 ‘Organ’ is a piece that is particularly difficult to perform let alone produce great sound. The highlight of this album is the mystic ambience created by the organ's low tunes harmonizing with the string instruments." (Yun Suh-young)

Maria Perrotta FRANZ SCHUBERT Sonatas D784 & D960 - Grazer Fantasy D605A

The Italian pianist, Maria Perrotta, graduated with distinction from the Milan Conservatoire in 1996; then she studied at the École Normale de Musique in Paris, where she graduated in chamber music. In 2007, she graduated with distinction from the Accademia di Santa Cecilia in Rome under Sergio Perticaroli. She has won top prizes in several international piano competitions. In 2004, she won 3rd prize at the 5th J.S. Bach International Piano Competition of Saarbrücken (Germany) gaining critical acclaim: "The crystal-clear sound, the ever-audible structure and stimulating phrasal articulation made this an ideal interpretation." (Allgemeine Zeitung). Other awards include 1st prize at the 2005 S. Giovanni Teatino International Piano Competition; 2nd prize (first prize void), as well as the Schubert prize, at the 2006 Camillo Togni International Piano Competition; and 1st prize at the 2008 Shura Cherkassky International Piano Competition in Milan.
A prodigy, Maria Perrotta made her debut with a symphony orchestra at the age of 11 performing L.v. Beethoven's Piano Concerto No. 1 at the Rendano Theatre of Cosenza, her native city. Hailed as an exceptionally communicative interpreter, she has performed extensively across Italy and Europe. In 2013 she performed L.v. Beethoven's Piano Concerto No. 4 with the Filarmonica Arturo Toscanini conducted by Antoni Wit, as well as L.v. Beethoven's last three piano sonatas to critical acclaim: "Where Pollini is fast and formalistic, Perrotta is analytical and expressive, but, like Pollini, always maintains a sense of formal unity."

sábado, 18 de febrero de 2017

Gülru Ensari / Herbert Schuch GO EAST!

„Everything began with Paul Hindemith’s Waltzes, op. 6. One morning, before practicing, Gülru Ensari and Herbert Schuch sight-read those eight miniatures for four hands, and were astounded to find that they featured a number of similarities with the Brahms Waltzes. Why not intermingle the two cycles? The Turkish-German duo – who are partners in real life, not just at the piano – decided to record the Brahms and Hindemith cycles for this CD release, along with two Turkish dances by Özkan Manav and the four-hand version of Igor Stravinsky’s “Rite of Spring”.
........................ And then it turned out that the “Hungarian” element often gave us the chance to create smooth transitions between one composer and the other. It ends up sounding incredibly natural to us. The two composers are directing their gaze toward the same horizon: to the East......
Where did you get the idea of commissioning Özkan Manav to compose a work for your duo?
Composing in Vienna and Frankfurt respectively, Brahms and Hindemith found their inspiration in Hungarian folk tunes. Özkan Manav arranged an Armenian folk dance; in Paris, Stravinsky revisited the folk music of his Russian homeland to write ‘Sacre’. To what extent do those gazes towards the East and the variety of musical cultures represented on your CD bear autobiographical traits?
Ensari Each one of us emigrated from the “East” to Germany.................
Schuch ... Furthermore, Brahms was able to appropriate the Hungarian style until it became his own musical language, thereby revealing a more down-to-earth, uncomplicated side of his nature. It’s truly moving to see how someone can adopt a foreign element that ends up enriching his own personality. ......... And we didn’t choose the subject of dance by mere chance: we just love to dance.” (excerpts from the Booklet interview).

Roberta Invernizzi / Accademia Hermans / Fabio Ciofini QUEENS

A disc of Handel opera arias from Roberta Invernizzi is remarkable in its own right because it breaks new ground for the Milanese soprano. True, she has taken part in complete operas on disc as on stage, and has recorded plenty of arias by other composers of the time such as Vivaldi, Leo, Porpora, Feo or Mancini (Arias for Domenico Gizzi and I Viaggi di Faustina being two recent albums). This new release from Glossa, however, sees Invernizzi reflecting Handel’s special brand of emotional investigation and making her selection from the many regal characters which pepper Handel’s operas – Cleopatra, Berenice, Arianna and Alcina, among them – and their ardent, affecting, distraught and stately feelings. 
These are choppy waters through which Roberta Invernizzi sails with unquestionable skill: complete control of her native language and dominance of Handel’s stylistic demands in canto espressivo and canto d’agilità – all being allied to her lustrous vocal tones. She finds responsive and sympathetic accompaniment from Fabio Ciofini and his Accademia Hermans, which works extensively in the Perugian Teatro Cucinelli in Solomeo. 
Invernizzi’s majestic sweep of Handelian queens also takes us through a chequered period in the composer’s career, when he led the two Royal Academies of Music in the 1720s and 1730s. At this time, he was writing for magnificent and tempestuous divas such as Francesca Cuzzoni and Anna Maria Strada del Pò – a selection of their roles is to be heard on this recording. (Glossa Music)

jueves, 16 de febrero de 2017

Simon Ghraichy HERITAGES

Simon Ghraichy is a 30 year old, Paris-based, Lebanese-Mexican pianist.  He juxtaposes his Latino-American and oriental roots with a European sensibility and history of classical music tradition that he has learned alongside masters such as Michel Béroff and Daria Hovora at the Conservatoire National de Paris (CNSMDP), and Tuija Hakkila at the Sibelius Academy of Helsinki. He’s attracted to traditional classical and romantic European repertoire, as well as lesser-known repertory by Latin American composers such as Villa-Lobos, Ponce, Gottschalk, Guarnieri, Chaves; Finnish composer Sibelius; and Australian and Anglo-Saxon contemporary composers.
Simon Ghraichy’s career took flight in 2010 when critic Robert Hughes of The Wall Street Journal praised his interpretation of the Réminiscences de Don Juan of Franz Liszt. He has performed in recitals, chamber music concerts and as a soloist with orchestras on five continents including the Brazil Symphony Orchestra, State of Mexico Symphony Orchestra, Cairo Symphony Orchestra, Lebanese Philharmonic Orchestra, Cuba National Symphony Orchestra, UniSA international music festival in South Africa, the EXIT festival in Serbia, and the Isang Yun festival in South Korea.  Ghraichy has won numerous prizes and international distinctions at festivals including the BNDES (Banco do Brasil) International Piano Competition, the Manuel M. Ponce International Piano Competition in Mexico City, and the Torneo Internazionale di Musica in Rome. He is a laureate of the Gyorgy Cziffra Foundation with whom he collaborates yearly in Senlis (France) and different partner festivals.   In 2015, Simon Ghraichy debuts at the Festival International d’Art Lyrique d’Aix-en-Provence at the Theatre du Jeu de Paume, and the Bard Music Festival and Carnegie Hall in New York.