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!

jueves, 19 de enero de 2017

Angela Hewitt BEETHOVEN Piano Sonatas Op.14 No. 1 - Op. 49 Nos. 1 & 2 - Op. 31 No. 1 - Op. 81a

Angela Hewitt leaves few stones unturned in projecting the linear specificity of Beethoven’s style. In Op 31 No 1’s first movement, for example, you’ll rarely find the left-hand second subject and the sequential right-hand patterns so logically contoured. No doubt Hewitt’s authority in Bach informs her sophisticated articulation of the Adagio grazioso’s elaborate ornaments (note her fastidiously calibrated trills), achieved with minimum pedal and maximum finger control. For my taste, Hewitt’s Allegretto is a tad deliberate and fussy, whereas Jonathan Biss matches her intricate workmanship in faster, more humorous terms. Hewitt’s subtle timbral distinctions between detached and sustained passages throughout Op 14 No 1 bring Beethoven’s wonderful string quartet arrangement of this sonata to mind.
Hewitt lavishes similar care over the modest Op 49 sonatas. She brings a winsome lilt to No 1’s finale which makes up for its sedate tempo. If she holds back in No 2’s Allegro ma non troppo (here I prefer François-Frédéric Guy’s robust animation), her steadfast legato/détaché differentiation in the Menuetto is attractively deadpan.
One can hardly fault Hewitt’s suave execution or her meticulous voice-leading and dynamic shadings in Les adieux’s first movement, although I miss the forward impetus and outward joy conveyed by Ivan Moravec and Solomon. Many pianists put the slow movement in freeze-frame but Hewitt treats it like the classical Andante it is, making expressive points through touch and colour. After pouncing into the Rondo’s whirling introduction, she seemingly settles back when the movement’s main theme commences. Yet her biting accents, strong left-hand presence and shapely downward scales assiduously gather momentum and drive. In other words, Hewitt is a sleek cougar next to Artur Schnabel’s scruffy lion! As always, her annotations show her to be equally articulate and accessably erudite away from the keyboard. I look forward to her cycle’s 10 remaining sonatas. (Gramophone)

viernes, 13 de enero de 2017

Nina Kotova / Fabio Bidini RACHMANINOV - PROKOFIEV Cello Sonatas

The Russian-American cellist Nina Kotova, praised by Gramophone as a “strong and individual artist [whose] depth of feeling and technical control are never in doubt,” here partners with pianist Fabio Bidini in two landmark Russian sonatas from the 20th century, Rachmaninov’s in G minor and Prokofiev’s in C major, and in two smaller pieces by Tchaikovsky. For this recording her partner is the Italian-born pianist Fabio Bidini, whose connection with the United States dates back to 1993, when he was a finalist in the Van Cliburn Competition. In addition to commanding a repertoire of more than 80 concertos, he is an eminent chamber musician and teacher. 

miércoles, 11 de enero de 2017

Lucille Chung / Alessio Bax POULENC Works for Piano Solo and Duo

Since I was a little girl, the music of Francis Poulenc has always fascinated me; being born to devout Roman Catholic Korean parents in Montréal, I was raised within multiple backgrounds. I attended a French private school for girls and fully embraced the fact that I happened to be born in a francophone milieu. To add to the mix, my parents had met while studying in Germany and I spoke to my brother in English. Religion and secularity always coexisted in my world.
Although Poulenc clearly has no Korean connections, his music thrives in the dichotomy of the sacred and profane, spirituality and light-heartedness, often switching from one to the other quickly and seamlessly while at the same time retaining an unmistakably French idiom and a clarity that speaks directly to everyone’s heart.
The two sides of Poulenc’s music are startlingly obvious, yet they have to be taken as a whole, because together they make a stronger statement. His music, always identifiable yet original, is so beautifully crafted that it seems to flow naturally from the composer’s mind to our ears. Music writer Jessica Duchen beautifully pinpoints Poulenc as “a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation.”
Making this album was a dream come true. From the irresistible charm of the 15 Improvisations to the irrepressible bursts of energy in the Concerto for Two Pianos , the range of Poulenc’s music and beauty had a wonderfully infectious effect for everyone involved in this project! (Lucille Chung)

martes, 10 de enero de 2017

Bruce Brubaker INNER CITIES

Bruce Brubaker joined the New England Conservatory faculty as piano chair in 2005. In live performances from the Hollywood Bowl to New York’s Avery Fisher Hall, from Paris to Hong Kong, and in his continuing series of recordings for Arabesque—Bruce Brubaker is a visionary virtuoso. Named “Young Musician of the Year” by Musical America, Bruce Brubaker performs Mozart with the Los Angeles Philharmonic, and Philip Glass on the BBC. Profiled on NBC’s "Today" show, Brubaker’s playing, writing, and collaborations continue to show a shining, and sometimes surprising future for pianists and piano playing. His blog “PianoMorphosis” appears at ArtsJournal.com.
Pulitzer Prize–winning Washington Post critic Tim Page has said: “I wouldn't trade Pollini, Argerich, Richard Goode, Peter Serkin or Bruce Brubaker (to mention a terrific younger artist) for any handful of Horowitzes!” Brubaker was presented by Carnegie Hall at Zankel Hall in New York, at Trifolion in Echternach, at Michigan’s Gilmore Festival, and at Boston’s Institute of Contemporary Art, as the opening-night performer in the museum’s acclaimed new Diller Scofidio + Renfro-designed building. He is a frequent performer at New York City’s Le Poisson Rouge.
Bruce Brubaker’s CDs for Arabesque include Time Curve (music by Philip Glass and William Duckworth), Hope Street Tunnel Blues (music by Glass and Alvin Curran, featuring Brubaker’s transcription of a portion of Glass’s opera Einstein on the Beach), Inner Cities (including a live recording of John Adams’s Phrygian Gates and Brubaker’s transcription of part of Adams’s opera Nixon in China), and the first CD in the series, glass cage, named one of the best releases of the year by The New Yorker magazine. (New England Conservatory)

lunes, 9 de enero de 2017

Gustavo Dudamel / Vienna Philharmonic NEW YEAR'S CONCERT 2017

The 2017 New Year's Concert took place on January 1, 2017, under the baton of Gustavo Dudamel in the Vienna Musikverein. Gustavo Dudamel, who was born in Barquisimeto, Venezuela in 1981, became the youngest conductor in the 75 year history of the New Year's Concert. In 2007, Gustavo Dudamel conducted the Vienna Philharmonic for the first time at the Lucerne Festival and made his debut at the Vienna Philharmonic Subscription Concerts in 2011. Dudamel conducted the Summer Night Concert Schönbrunn in 2012 and led the orchestra on its traditional Vienna Philharmonic Week in Japan in 2014.
The 2017 New Year's Concert was broadcast in over 90 countries and followed by up to 50 million television viewers around the world.

domingo, 8 de enero de 2017

Liana Gourdjia / Katia Skanavi STRAVINSKY

Since I remember myself, there were sounds of violin and piano. I must have been present during hundreds of hours of scrupulous work, when my grandmother was teaching my sister the violin, long before being aware of what it all really meant. Music was all around me. My mother played the piano. Often the violin students of The Moscow Conservatory came to rehearse chez nous, and that is how I became familiar with every microscopic detail of most violin pieces she had accompanied. My mother loved accompanying, she made everyone feel confident, even in most treacherous passages. We knew she would always wait, or, in any case, do just the right thing in order to support a player. Masterful accompanists are hard to come by; they must be cherished.
It was Spring of 1986 when I was taken to my sister’s violin lesson. At that time The Soviet Union was still in the “high achievement” phase in the arts. The promising talents were screened in rigorous exams and were selected or rejected for The Central Music School or The Gnessin School in Moscow, to study with the best and the toughest and, later, win International Competitions. The school’s vestibule is often in y thoughts, where the often-not-so-friendly-mothers were waiting for their little musicians to take them home. I was “chosen” at my sister’s lesson as someone gifted as I sang themes from the Mendelssohn Concerto she was playing, and was told that I shall be a violinist.