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, 22 de agosto de 2016

Daniel Röhn / Paul Rivinius THE KREISLER STORY

When talent is passed on from generation to generation, it often happens in an unpresuming way. Such is the case with Daniel Röhn – one of the most remarkable and talented violinists of the present day. What is so fascinating about him and his playing is his natural approach to great traditions and his clear perspective on them. Over a number of decades, both his grandfather and father were renowned concertmasters on the universally unique German orchestral scene; now the new generation has joined those ranks as a soloist and chamber musician, who will no doubt contribute significantly to the world of violin. His first two CD releases featuring Mendelssohn’s Violin Concerto and virtuoso 19th-century works for violin and piano earned him several international awards. When describing his playing, it is hardly sufficient to simply mention his seemingly effortless, brilliant virtuosity. Daniel Röhn’s heart-meltingly warm tone and his almost narrative gestures are what endear audiences to him – he has a way of expressing himself through music that we might almost have thought had been lost. (Berlin Classics)

sábado, 20 de agosto de 2016

Busch Trio DVORÁK Piano Trios Op. 65 & 90 "Dumky"

This young trio that takes its name from the legendary violinist Adolf Busch (1891-1952) has already made its name on the international scene as one of the most talented of the new generation, picking up on its travels enthusiastic reactions from public and press – as well as several prizes at the major competitions. ‘... what impressed most was the group’s effortless musicianship and unity of thought and attack. The threesome even seemed to be breathing in synch’, wrote The Times after one of their concerts at the Wigmore Hall.
Under the auspices of Alpha Classics and the Queen Elisabeth Music Chapel, the ensemble has set itself a challenge: to record the complete chamber music with piano of Antonín Dvořák. With the monumental Trios no.3 op.65 and no.4 op.90, these London based musicians get the saga off to a flying start, in deeply felt interpretations that penetrate to the heart of the great Czech composer’s poetic universe.


The majority of these performances will be very familiar to Heifetz collectors and so will the transfers. Discs one and two were remastered in 2006 whilst the bulk of the remaining pieces date to work carried out in 1992-93. The selection certainly meets with my approval ranging across the repertoire as it does and I particularly commend the selection of the smaller pieces which occupies discs five and six and the 1935 Bach recordings enshrined in disc four. The sole item from the 1920s is also here; the Menuet I and II from the Partita in E which was recorded on an early electric in 1925 in Camden, New Jersey.  
Heifetz had recorded the Sibelius with Stokowski at the end of 1934 but it remained unissued at the time and didn’t materialise until it was issued in the multi-volume set devoted to the ‘Philadelphia Orchestra Centennial Collection - Historic Broadcasts and Recordings 1917-1998.’ His first commercially issued recording was with Beecham and this justly famous traversal kicks off this set. I’d just note that its ethos is vividly at a remove from the performances of Anja Ignatius and Georg Kulenkampff to cite two near contemporaneous performances. The subtly sustained expressivity exemplified by Heifetz can be heard at full tilt here. For the Tchaikovsky and Glazunov Concertos he was partnered by Barbirolli, who had earlier recorded the Tchaikovsky with a very different Russian player, Mischa Elman. This represents probably Heifetz’s best playing in the Tchaikovsky – at thirty-six he was at his peak. The Glazunov is virile, taut, expressive, full of shading, very different from Milstein’s more aristocratic approach. On this evidence it’s a pity Barbirolli didn’t explore the Glazunov symphonies.
CD 1 - CD 2
CD 3 - CD 4
CD 5 - CD 6

lunes, 15 de agosto de 2016

Barenboim / Staatskapelle Berlin ELGAR Symphony No. 2

This is a superb, in fact I feel justified in calling it unequivocally a great, Elgar Two. It's difficult to know where to start in listing its excellences -- the playing of the Berlin Staatskapelle, without one ounce of unnecessary emotion yet performing as if they've had the music in their blood all their lives? The warmth and yet crystal clarity of the recording, in which every counterpoint, every subsidiary voice in Elgar's hugely complex score is perfectly audible and ideally balanced? But one must start and finish with Barenboim's interpretation, his first in this work for 40 years, with which he burnishes his already impressive and long-established credentials as an Elgarian . . . this is a marvellously full-blooded reading of the Symphony, full of drama and passion and rich-hued colour . . . [Barenboim] also understands perfectly Elgar's inwardness, the moment where the dynamic drops to "ppp" and he seems almost to lose himself in the hush of his own thought. Barenboim certainly makes the most of the haunted quality of the first movement's development section. The celebrated oboe counter-melody in the "Larghetto" has seldom sounded so plangent, while Barenboim's "scherzo" is demonic in its remorseless forward drive, preparing for a complex and exciting finale in which those slashing off-beat chords at the return of the theme have all the necessary impulsiveness and confidence. This must be one of the finest performances currently on offer, and a wonderful follow-up to Barenboim's Elgar Cello Concerto with Alisa Weilerstein, winner of this year's BBC Music Magazine Recording of the Year.

András Schiff ROBERT SCHUMANN Geistervariationen

“Pianist András Schiff has made a specialty of the music of Schumann for years, and his readings continue to get richer and more incisive. What's remarkable about Schiff's playing is his mastery of touch and texture, the way he carves out sculptures in sound that are at once delicate and sharply defined. Just as in his performances of Bach on the modern piano, Schiff gives Schumann's music a crystalline textural clarity that still allows for a range of highly expressive moods and tonal colours.” - Joshua Kosman, San Francisco Chronicle 

András Schiff, one of the great pianists of our era, traces the development of Schumann’s piano music, from the youthful “Papillons”, to the C Major Fantasy op. 17 – in which the composer sought new routes for the sonata after Beethoven – , and onwards to the final (and seldom-performed) “Geistervariationen”, the “Ghost variations”. By this time, Schumann’s genius was in thrall to escalating illness, and he believed the variations to the original theme were dictated to him by angels.
Work on the “Thema mit Variationen” was disrupted by a suicide attempt on February 27, 1854; the following day, however, Schumann finished it, his last completed piano work.
Amongst the other highlights in the programme here are the thirteen “Kinderszenen”, the pieces which helped establish Schumann’s reputation as a composer of unique insights. In the liner notes Wolf-Dieter Seiffert writes that with this “first significant work in the history of music to put the child at centre stage, the composer set off a genuine spring tide of romanticised children’s music. The pieces only seem to be easy to play: they demand strongly differentiated nuances of attack.” The spirit of high romanticism is extended in the “Waldszenen” (“Forest scenes”) op. 82, which “draws us into the highly intense emotions of the traveller in the woods, for in addition to their sounds of idyll and longing, the secret darkness of the forest and of the soul makes its effect in every piece.” (ECM Records)

sábado, 13 de agosto de 2016

Rolf Lislevand DIMINUITO

This recording is all about the Italian renaissance, how it understood itself, how we understand it today and how we would have understood it if we had been contemporary with it, because no other period in European music’s history was as contemporary with itself as was the renaissance. During the 16th century, humanistic inspiration had led to the most equilibristic levels in all arts and had stretched the human mind to the highest achievements and skills flourishing in a landscape of youth, spring and rebirth of all of mother earth’s beings.
Diminutions, divisions, or glosas were one of the renaissance’s unique inventions. Technically it means embellishing a melody into a much more flavored and elaborated melody in faster movement and shorter rhythmical values, presuming that the simple melody still remains in the listener’s mind. This supreme discipline of ornamentation became a new work of art in itself.
The original composition on the other hand was reduced to a humble servant of this invention – an object of abuse for an instrumental protagonist without further empathies neither consideration of its origin.
It is like the game of drawing lines through numbered points on the last page of newspapers: creating shapes and figures making lines from a number to another. Melodies are like these shapes and contours of a drawing, and each numbered point is the plucked sound, drawing lines from one attacked sound to another one, believing that a figure eventually occurs in our imagination!
The art of diminution almost completely denaturalized the plucked instruments in the same way it has done to the electric plucked instruments in our own days. The distorted sound of an electric guitar made it a bowed string instrument and changed all its musical logic. The diminutions allowed the plucked string instrument to regain some of the qualities of the human voice, the phrasing, coloring and dynamics. By means of fast and small melodic figures which make bridges and reinforce the shape of the simple melody, the lute suddenly appears as protagonist, soloist and conductor, wowing a patchwork of colors, shadows and lights and in a unique way adding value to the simple and beloved, but all to well known melody. (ECM Records)