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!

miércoles, 28 de septiembre de 2016

Andreas Staier / Freiburger Barockorchester JOHANN SEBASTIAN BACH Harpsichord Concertos

J.S. Bach wrote, or rewrote, seven solo harpsichord concertos. Most of them began life as showpieces for other instruments – violin, oboe d’amore – and occasionally their potted history makes for an awkward conversation between harpsichord and the rest of the band. Not here. Andreas Staier’s grit, flair and expressive freedom, plus Freiburger Barockorchester’s athletic ensemble playing, makes these performances bounce and swing.
Staier embraces the chunky chordal textures gained over the single-line originals and gives them a thick, meaty attack that is great fun: try the last movement of BWV 1058 – better known as the A-minor violin concerto – to see what I mean. His harpsichord is a 10-year-old Parisian instrument modelled on a Hass of 1734, almost exactly the date of the concertos themselves. The sound is brawny and dark-hewn, with melodies that sing every bit as much as a bowed or blown instrument. (Kate Molleson / The Guardian)

Nowadays, J.S. Bach's seven harpsichord concertos are most often performed on a grand piano with modern orchestral accompaniment, largely for the sake of striking a proper balance of dynamics and instrumentation. In light of this preference, it has become a little difficult to find historically informed versions that sound close to what Bach would have heard. These period style performances by Andreas Staier and the Freiburger Barockorchester provide a welcome alternative to the standard modern releases, and listeners with a taste for authenticity can be assured that Staier's scholarship and interpretations are impeccable. Staier plays a replica of a 1734 harpsichord, and the small ensemble of recorders, strings, and continuo is appropriately scaled to the music's textures and the balance of soloist and orchestra. Harmonia Mundi's recording is elaborate, involving spot and omnidirectional microphones that capture the players with remarkable subtlety and presence, so all the nuances and details of these exciting performances can be heard clearly without sacrificing the full-bodied sound.

martes, 27 de septiembre de 2016


Following the stunning success of their best-selling debut, Suzi Digby’s crack vocal ensemble ORA presents their new album: ‘Refuge from the Flames’. Dedicated to the legacy of Girolamo Savonarola, 15th century Dominican and religious reformer, this new CD further showcases ORA's commitment to bringing together Renaissance choral masterpieces and commissioned reflections from contemporary composers. ORA bring a wealth of experience that gilds these pieces, both new and old, into the lustrous works of art they truly are.
“We begin and end this second ORA album with two contrasting settings of the Miserere mei (Psalm 50, Vulgate). Over the centuries this text has inspired reflections by many Christian writers, none more influential than those by Girolamo Savonarola, and we have devoted much of this album to his extraordinary legacy. Central to the recording is Savonarola’s meditation on the psalm, 'Infelix Ego', written shortly before his execution. We present it here in William Byrd’s justly famous setting, and in a newly commissioned masterpiece by the Latvian composer Eriks Ešenvalds.” (Suzi Digby OBE, artistic director & conductor)

Christiane Karg / Malcom Martineau SCHUMANN & BRAHMS

Bavarian soprano Christiane Karg made her Wigmore Hall debut in 2012 with a beautiful song recital which also became her first release on Wigmore Hall Live; four years on we are excited to present her second release. A regular guest at the world’s leading opera houses, singing roles from Musetta (La bohème) to Amor (Orfeo ed Euridice), she is also revered for her enchanting performances on the concert platform alongside conductors such as Nikolaus Harnoncourt and Yannick Nézet-Séguin. Christiane is joined by Malcolm Martineau celebrated as one of his generations greatest accompanists.
This recital explores the unique relationship between the Schumanns and Brahms. After Robert’s death Brahms’s passion for Clara grew but it was reciprocated only with a protective motherly care. They remained close friends but Brahms never truly recovered. This programme presents love in many different guises from the stirring ‘Widmung’, to the heartfelt ‘Liebst du um Schönheit’ and the love-drunk passion of ‘Meine Liebe ist grün’. (Wigmore Hall)

lunes, 26 de septiembre de 2016

Andreas Staier / Daniel Sepec / Roel Dieltiens FRANZ SCHUBERT Piano Trios Op. 99 & 100

"One glance at Schubert's trio, and the miserable hustle and bustle of human existence vanishes, the world takes on fresh lustre", wrote Robert Schumann in 1836 of Schubert's Piano Trio D898. He was equally admiring of the Viennese composer's other great trio, D929, notably its funeral march-like Andante con moto, later to achieve cinematic fame in Kubrick's 'Barry Lyndon'.
Here three peerless interpreters bring out every nuance of these endlessly fascinating works on their 'period instruments', including a splendid copy of an 1827 Viennese fortepiano.

domingo, 25 de septiembre de 2016

Le Concert de la Loge / Julien Chauvin / Sandrine Piau HAYDN La Reine

It was in 2015 that Julien Chauvin decided to bring back to life one of the most famous orchestras of the late 18th century, Le Concert de la Loge Olympique. Founded in 1783 and owing its lasting famous for having commissioned Joseph Haydn’s ‘Paris’ Symphonies, it gave its first concerts under the high patronage of Marie-Antoinette, hence the subtitle of the fourth ‘Paris’ Symphony: ‘La Reine’. 
Although the name has been slightly changed today, now called Le Concert de la Loge, this ensemble of a variable number of musicians perpetuates the same tradition of excellence as its illustrious namesake. On the programme, of course, the recording of the cycle of these ‘Paris’ Symphonies and, to get the series off to a start, the recording of this famous ‘Reine‘. Taking up the purest tradition of concerts of the ensemble at the time, for each programme, Julien Chauvin combines not only instrumental works by various composers but also vocal pieces (in general, opera arias). 
Thus the fabulous Sandrine Piau, a distinguished guest of this first recording, ideally portrays the gentle Sélène in the world premiere recording of an aria from Giuseppe Sarti’s Didone abbandonata (1762) and offers dazzling virtuosity in Diane’s spectacular aria from Johann Christian Bach’s serenade Endimione. The listener will also (re)discover a little gem by Henri-Joseph Rigel, violist in Le Concert de la Loge Olympique: the Symphony Op. 12 no.4 (1774). With this first release, Julien Chauvin already proves that his orchestra will quickly establish itself and regain its past glory. 
A stunningly beautiful disc, enhanced by the famous recording quality of the Aparté label and accompanied by a richly informed booklet. We’re already asking for more!

Fuyuko Nakamura MY FAVORITES

Fuyuko Nakamura graduated from Toyo Eiwa Jogakuin High School. She attended Ayaha Piano Performance Study and Piano Art Academy Attached to Showa Music University. In 2011, she earned full scholarship at Showa Music University Piano Course, where she studied for four years, graduating at the top of her class with Special Award, performing at the 85th annual Debutant Concert.
Currently, she is studying with Mi-Joo Lee at Berlin Art University.
She has studied with Fumiko Eguchi, Seiko Ohtomo, Tomoko Tami, and Kie Nara. She has taken master class by Seigei Drensky , John O’corner , Anri Valda, Andrzej Jasinski, Piotr Paleczny,Jacques Rouvier,Alexander Kobrin, and Paul Badura-Skoda.
She attended at New York Keyboard Festival and Kawai Russian Piano School, and performed at Belgium Musica Mundi Music Festival, Russia Kreml Music Festival, and Soeul Music Festival. She has performed with Japan Philharmonic Orchestra, Taiwan National Orchestra, Polish Kakau Orchestra and Silesia Philharmonic Orchestra as well as A. SKokocic, for which she has been highly acclaimed.