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!

martes, 20 de marzo de 2018

Tatiana Chernichka FRÉDÉRIC CHOPIN 24 Etudes

From an early age, the pianist Tatiana Chernichka was among the most promising talents of her generation. Born in Novosibirsk, Russia, she was awarded the First Prize in the International Chopin Competition in Göttingen, Germany when she was only 10 years old. Two years later, she gave her first solo recital and made her debut with the Novosibirsk Symphony Orchestra, performing the Piano Concerto No. 1 in Eb major by Franz Liszt.
Tatiana Chernichka has since been successful in numerous competitions. She was awarded the Third Prize in the 58th Ferruccio Busoni International Piano Competition in Bolzano, Italy, as well as in the 60th Maria Canals Competition in Barcelona. She was also a finalist in the renowned Concours Reine Elisabeth in Brussels. As a prize winner in the Busoni Competition, she was given the opportunity to participate in three master classes with the legendary Alfred Brendel, in Essen, Bolzano and Reykjavik.
The young pianist has since performed in Germany and abroad, throughout Europe and Russia. She has been a guest artist at such festivals as the “Armonie sotto la Rocca” in Italy, “Musikal Kremlin” in Moscow and the “Ruhr Piano Festival” in Essen. She also took part in the Tel-Hai Piano Master Classes in Israel.
Tatiana Chernichka has played with such orchestras as the Mozarteum Orchester Salzburg, the Israel Symphony Orchestra, the “Musica Viva” Orchestra, the Orchestra of the Gustav Mahler Academy and the Polish Chamber Orchestra “AUSKO.”

Matt Haimovitz / Christopher O'Riley BEETHOVEN Period

Cellist Matt Haimovitz prefaces his period-instrument Beethoven cycle with an absorbing essay, writing that ‘the consideration is no longer the modern-day “how can the cello cut through the multi-voiced powerhouse of a concert grand piano”, but “how can it make room for the nuances of the 19th-century fortepiano?”’ Good engineering also helps, and Pentatone’s vividly resonant production captures the music’s wide dynamic range with comparable clarity and heft to the two Bylsma editions, and surpasses the slightly dry and close-up Isserlis/Levin cycle.
More significantly, Haimovitz and pianist Christopher O’Riley play the living daylights out of these works. They lap up Beethoven’s combative style like hungry lions anticipating raw steak, relishing the composer’s frequent subito dynamics, unpredictable placement of accents and over-the-bar-line phrase groupings. Rarely has Op 5 No 1’s first-movement introduction come alive with such rhythmic character, while the rollicking yet relaxed repartee of Op 5 No 2’s Rondo underlines the music’s kinship to the Fourth Piano Concerto’s finale. Similar attention to detail adds intensity and colour to the off-beat accents in Op 69’s Scherzo, and the Allegro vivace’s playful demeanor (complete with scrupulously observed staccatos) makes for a brash contrast to the eloquence and nobility one normally encounters. If the duo pile into Op 102 No 1’s Allegro vivace too aggressively for certain pitches to register, the joyous, uplifting mood conveyed by their briskly paced Op 102 No 2 final fugue’s transparency and sophisticated phraseology is worth this release’s total price.
Terrific performances of the variation sets prove more than merely filler. If you want a HIP counterpart to the Maisky/Argerich cycle, look no further. (Jed Distler / Gramophone)

Matt Haimovitz ORBIT

Orbit maps my musical journey since the turn of the millenium, a path travelled with my partner in life and music, composer Luna Pearl Woolf. Initially released on Oxingale Records as five thematic albums – Anthem (2003), Goulash! (2005), After Reading Shakespeare (2007), Figment (2009), and Matteo (2011) – Orbit encompasses nearly all of the solo contemporary works on these albums, along with two newly recorded tracks: Philip Glass’ “Orbit” and a new arrangement by Luna of the Beatles’ “Helter Skelter.” All but these two tracks were produced by Luna, and all have now been remastered for SACD HD surround sound. More than twenty composers are represented in the set, fifteen of them still living. Ten works receive their world premiere recording here. 
With the solo cello as our pilot, we steer headlong into the great musical debates of the past half-century: maximalist vs. minimalist; folk-rooted vs. abstract, absolute vs. narrative, tonal vs. atonal. In many ways, we live in a golden age of music, with a perspective rich in history and reference. We can look back at the 20th century’s Tower of Babel. We can embrace its boldness, diversity, complexity, and its return to the natural order of harmony. Leonard Bernstein’s words from his Norton Lectures, The Unanswered Question, ruminating on Noam Chomsky’s linguistic theory of universality, the collective wiring that connects us across borders and between far-reaching lands, resonates more than ever. He writes, “I’m no longer quite sure what the question is, but I do know that the answer is Yes.” (Matt Haimovitz)

lunes, 19 de marzo de 2018

Cathy Krier LEOS JANÁCEK The Piano

"Cathy Krier—born, trained, performing, and recording in Luxembourg—appears to be about 16 in the photos, but her playing reveals a mature, sophisticated artist. So do her interview comments: “… finely nuanced structures in miniature, punctuated by several distinct changes of mood within one piece. Those changes can be abrupt, occasionally giving rise to a certain form of brutality. Janácek’s scores are the only ones I know that contain the indication con durezza , ‘with harshness’.”  
Although Janácek was already a part of her repertoire, Krier spent three months researching his piano music. Then she waited a few weeks “to re-establish a healthy distance between Janácek and myself.” She had intended to record the complete piano works, but she rejected some “mere exercises or sketches” as not worthy of the composer. Her playing is more than just mature; it is phenomenal in both technique and musical understanding. Krier can create atmosphere in a brief span of three or four notes: ominous portent, gaiety, profundity, yearning. She breathes life into Janácek’s music: several of these pieces—the Allegro from the “Paralipomena, Korycanský troják” of the Moravian Dances , the Variations for Zdenka , the rough, awkward 1892 Ej, danaj! —come alive as never before. In her range of tonal color, Krier exceeds even such masters of Czech music as Radoslav Kvapil and Ivo Kahánek; she nearly matches the former’s intensity and the latter’s brilliance.  
Nor are the big “important” pieces immune to Krierization. She leans on the sustaining pedal in “Foreboding,” the first movement of the Sonata. Is it overkill? I don’t think so; this is not just a sonata, it is a recounting of a murder, and dramatic gestures are totally within the pale. Krier’s In the Mists is not as drenched in fog as Kvapil’s memorable account; her gentle sections are beautifully simple, her abrupt changes wild and spellbinding. In her hands, the final Presto is a four-minute summary of everything Janácek. But others have also made as much of these two great works; it is in the smaller pieces, so often played as if just to get through them, that Krier’s vision, imagination, and executive excellence shine most brightly. Disc two ends with the Moravian Folksongs , a piece somewhat removed from Janácek’s usual style; Krier’s daring, imaginative reading sounds odd at first, but she soon convinces us that what she has to say is very worthwhile. It seems thoroughly folk-like, although I am no expert on Moravian culture.  
We are not told what instrument is being played; it has a lovely, consistent tone. The recording was made in early 2013 at Philharmonie Luxembourg; the acoustic is warm and the recording first rate. Krier was 27 or 28 at the time. I find it somewhat distasteful (and certainly misleading) that she is being marketed as a sweet young thing; this is a master pianist at work. Her own website does portray her as an adult. This marvelous recital prompts the question: can Krier do as well with the music of other composers? Her debut recording, from 2007, includes music by Scarlatti, Haydn, Chopin, Alexander Müllenbach (a Luxembourg contemporary), and Dutilleux. Once again Krier’s playing displays extraordinary technical fluency and her written comments mature comprehension. Her Dutilleux Sonata is lucid and coherent; her Haydn F-Minor Variations has all the elements but does not quite jell. That disc would evoke a “promising young artist” conclusion. Everyone should have Janácek piano music in his or her library; Krier’s is the set to have." (FANFARE / James H. North)

James Gilchrist / Philip Dukes / Anna Tilbrook VAUGHAN WILLIAMS Songs of Travel

In his absorbing booklet essay, Stephen Connock draws attention to Vaughan Williams’s very special and deeply personal identification with the viola, justly mentioning in particular Flos campi, Suite for viola and small orchestra, and the slow movement from A London Symphony. (For my own part, I’d also cite the principal viola’s devastatingly intimate ‘alleluia’ towards the end of the Fifth Symphony’s Romanza slow movement.) Viola player Philip Dukes and pianist Anna Tilbrook make a lovely thing of the Six Studies in English Folksong (originally for cello and piano, and given in May Mukle’s 1927 transcription), and they generate a comparably stylish, keenly communicative rapport in the ravishing Romance found among the composer’s papers after his death (most likely intended for the great Lionel Tertis). The delights continue as the tenor James Gilchrist joins his colleagues for urgently expressive renderings of both the wondrous Four Hymns (1912 14) that RVW inscribed to Steuart Wilson (a performance that all but matches the lofty eloquence of Ian Partridge’s classic version with David Parkhouse and Christopher Wellington from the Music Group of London) and Richard Morrison’s fetching 2016 arrangement of ‘Rhosymedre’ (the second of the Three Preludes founded on Welsh Hymn-tunes for organ).
Elsewhere, Gilchrist and Tilbrook draw upon the reserves of experience that come with two decades of performing together to lend delectably wise advocacy to the Songs of Travel (1901 04). These nine inspired settings of Robert Louis Stevenson never seem to pall and here really do come up as fresh as the day they were conceived; this splendid partnership’s tenderly unaffected delivery of ‘Whither must I wander?’ stops me in my tracks every time – and did RVW ever write a sweeter melody? That just leaves a sequence of four songs composed between 1902 and 1908, with ‘The Sky above the Roof’ and ‘Silent Noon’ enjoying especially idiomatic treatment.
Chandos’s Potton Hall sound is agreeably airy but just occasionally not ideally focused. Don’t let that tiny niggle deter you, though; this is a strongly recommendable issue. (Andrew Achenbach / Gramophone)


Bernstein's most popular and best-loved melodies from West Side Story, Candide & On the Town. Featuring the composer as conductor in West Side Story, one of the greatest musicals of all time, and in Candide, a visionary work with a dazzling score. Bernstein protégé Michael Tilson Thomas conducts On the Town. Featuring all-star casts, with artists including José Carreras, Kiri Te Kanawa, Marilyn Horne, Thomas Hampson, Christa Ludwig, Frederica von Stade, June Anderson, and Jerry Hadley. 

Leonard Bernstein (1918-1990) was a man of many roles – composer, conductor, pianist, musical educator – a man hailed by pianist Arthur Rubinstein as a “universal genius”. A charismatic communicator, he had few equals when it came to enthusing others about music. Whether at festivals such as Tanglewood in the US or Schleswig-Holstein in northern Germany, in a TV studio or in a university lecture hall, Bernstein’s presence, passion and unquestioned commitment to his art were palpable.
That same intensity also characterised his work as a performer. A number of his recordings still have reference status – his Mahler cycle, for instance, or Gershwin’s Rhapsody in Blue with Bernstein himself at the piano. The son of a Ukrainian immigrant, he knew no musical boundaries: he played jazz, engaged with Jewish folk traditions, and was as at home on Broadway as he was in Europe’s venerable opera houses. In his own music seriousness stands cheek by jowl with satire, musical with Mass, the modern with the traditional. His reinterpretation of Beethoven’s Ninth as an “Ode to Freedom” in Berlin, shortly after the fall of the Berlin Wall, was simply unforgettable. Less than a year later, he died of cancer. 

viernes, 16 de marzo de 2018

Ophélie Gaillard RICHARD STRAUSS Don Quixote & Cello Works

From Romance to tone poem, the cellist Ophélie Gaillard invites to an imaginary journey, both heroic and delicate, in the post-Romantic world of Richard Strauss.
Heart of the disc, the symphonic poem Don Quixote transforms the instruments into characters who play the epic adventures of Cervantes’ hero. Thus, Don Quixote, played by the cello, talks with Sancho Panza (the viola) or Dulcinea (the violin) in a luxuriant orchestral fresco, tender and sensual, where Strauss’ genius for melody unfolds with a touch of humour. 
His exquisite expressiveness shines through the most intimate pieces that complete this program. Ophélie Gaillard’s warm lyricism agrees with the piano in the Romance and the Sonata in F major, or with the voice in the smooth accents of Morgen. As an ideal companion, the cellist’s enchanting bow leads to an irresistible music.

Maria Milstein / Nathalia Milstein LA SONATE DE VINTEUIL

In search of la petite phrase: what Francophile wouldn’t be fascinated by a recital devoted to the various real-life works that might have been the model for the violin sonata by the fictional composer Vinteuil in Proust’s À la recherche du temps perdu? It’s an enchanting idea, and it’s only surprising that more duos haven’t taken advantage of it prior to this debut disc by the sisters Maria and Nathalia Milstein.
It doesn’t quite do what it says on the tin. Franck’s Sonata (a prime candidate) is missing, and Debussy’s late Sonata – a work with more tenuous Proustian connections – closes the disc. We do, however, get Gabriel Pierné’s much less familiar Sonata, Op 36, and it’s exquisite: very much in the tradition of Saint-Saëns’s First Sonata, the disc’s centrepiece, and played by the pair with gleaming panache coupled to an affecting inwardness.
These are appealing qualities, and they characterise the whole disc. Maria, on violin, can bring the requisite brilliance when required (the sweep up to the end of the first movement of the Pierné is magnificent), but her sound in quieter passages has a tremulous, almost vocal quality. And although Nathalia, on piano, has a luminous tone and gives a clearly defined character to her rhythms, there’s an intimacy – an instinctive ebb and flow – about the pair’s interplay that makes everything here feel like real chamber music.
They charge Debussy’s central Intermède with an intense theatricality, changing tone-colour by the phrase and almost by the note. But they handle the long lines of the Saint-Saëns with equal assurance, and play two Reynaldo Hahn song transcriptions with unaffected sweetness. A disc with which you might well fall in love. (Richard Bratby / Gramophone)

jueves, 15 de marzo de 2018

Nathalia Milstein PROKOFIEV / RAVEL

Figures of modernity in France and in Russia, Prokofiev and Ravel were both interested in older musical forms such as the suite of dances: through a reinvented Baroque language, their compositional research shed light on all the richness of their musical world. Written in times that were marked by the war and the historic upheavals of the early 20th century, Ravel's Le Tombeau de Couperin and Prokofiev's Fourth Sonata are linked to the memory of their dedicatees. Between memory and imagination, the works carry on a dialogue…

Born in 1995 to a family of musicians, Nathalia Milstein starts the piano at the age of 4 with her father Serguei Milstein and enters his class in the Geneva Conservatory of Music in 2009. In 2013, Nathalia enters the class of Nelson Goerner at the Geneva High School of Music, where she completes her Bachelor and Master's degrees with distinction. Since 2017, Nathalia Milstein is studying at the Barenboim-Said Akademie in Berlin with Nelson Goerner. 
In May 2015, Nathalia launches her international career by winning 1st Prize at the Dublin International Piano Competition and gets engagements all over Europe and North America in the most prestigious halls, such as the National Concert Hall in Dublin, the Zankel Hall in New York, the Wigmore Hall in London, the Gewandhaus in Leipzig. In 2016, she makes a brilliant debut with the Orchestre Philharmonique de Radio France conducted by Marcelo Lehninger.
Nathalia performs in France and abroad, giving solo recitals and chamber music concerts throughout Europe, appearing in major festivals such as La Roque d'Anthéron, Lille Piano Festival, New Ross Piano Festival, International Chamber Music Festival of Schiermonnikoog or Zaubersee Festival. For several years she has been playing in duo with her sister violinist Maria Milstein. In October 2017 is released their duo album "La Sonate de Vinteuil" on the French label Mirare. Nathalia's debut solo CD, featuring works of Prokofiev and Ravel, will be released in March 2018 on Mirare.

Taschenphilharmonie / Peter Stangel BEETHOVEN REVISITED - Symphonies 1- 9

It calls itself the smallest symphony orchestra in the world; founded 2005, the Pocket Philharmonic ("die taschenphilharmonie") is quickly making a name for itself not only in Munich’s busy classical music scene but in whole Germany. In 2005, Peter Stangel, a former "classical"opera and symphonic conductor, founded the Pocket Philharmonic. He wanted to create a unique kind of symphony orchestra that offered a fresh approach to enjoying classical music performances.
The Pocket Philharmonic is made up of just 12 to 19 highly professional musicians. Usually, the ensemble plays only one of each instrument (e.g. flute, oboe, clarinet, basoon, horn, harp, percussion and string quintet). This tiny group stands in stark contrast to a full symphony orchestra, which typically includes about 100 players. Astonishinly enough the "mighty dozen" is able to produce a volume and colours of much more than the real number of players suggests.

This is an extraordinary journey through the most preeminent of classical symphonies. With an ensemble of only 12-16 top-quality musicians, the Pocket Philharmonic Orchestra explores Beethoven's musical origins. All the great conductors and orchestras have shown where Beethoven led: how his ideas paved the way for later masters like Schumann, Bruckner and Mahler. What hasn't been shown yet is where Beethoven was: where his musical language came from, how he shifted standards and developed techniques in a completely new and revolutionary way. The Pocket Philharmonic has a new approach to this idea: instead of a full chamber or symphony orchestra, the ensemble performs as a chamber ensemble in a symphonic manner – symphonic chamber music, or chamber music symphonies, so to speak. "This is the most vivid performance of the Eroica you have ever heard" said the critics. “It makes the revolution in his music audible. "An outstanding listening experience." (Arkiv Music)