sábado, 21 de noviembre de 2020

NEW STORE

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!

domingo, 4 de diciembre de 2016

Anna Netrebko / Konzertvereinigung Wiener Staatsopernchor / Münchner Rundfunkorchester / Marco Armiliato PUCCINI Manon Lescaut

It is rare for an artist to break through the boundaries of classical music stardom and achieve recognition in the wider world, but Anna Netrebko has achieved that and more. In a recording career stretching a mere dozen years she has not only seduced the classical scene with the beauty of her voice, her superb vocal control and supreme musicality, she has also become an interna­tional icon. More than an operatic diva, Anna Netrebko is an enormously charismatic individual whose vivacious style and dazzling stage presence are as celebrated as her musical artistry.
Her future plans include her latest return to the Met, this time as Manon Lescaut (November / December 2016), and appearances as Lady Macbeth at the Bayerische Staatsoper in Munich (December 2016). Before that, she will give three concert performances of Manon Lescaut at this summer’s Salzburg Festival, starring opposite her husband, tenor Yusif Eyvazov, with whom she will also give concerts in Hamburg and Cologne as a prelude to the 2 September launch of Verismo, her latest album for Deutsche Grammophon. 
A passionate advocate for children’s causes, Netrebko supports a number of charitable organisations, including SOS-Kinderdorf International and the Russian Children’s Welfare Society. She is a global ambassador for Chopard jewellery. Her many and varied interests all contribute to her artistry and provide insight into her ability to immerse herself so deeply in a role, whether tragic or comic. It is easy to see why Gramophone enthused as follows: “When I hear Anna Netrebko sing, live, I don’t want her to stop … Remember the days of rapturous standing ovations, when the sound of a singer’s voice would really drive people wild? That’s the kind of voice Netrebko has … She is also a stage animal … she is fuelled by sheer talent and instinct … I’d take Netrebko over anyone out there, any time.” 8/2016

sábado, 3 de diciembre de 2016

MEREDITH MONK On Behalf Of Nature

“I work in between the cracks,” says vocalist/composer/performance artist Meredith Monk, “where the voice starts dancing, the body starts singing, the theatre becomes cinema.” In a way, everything she does is about ecology – that interconnectedness; those wild vocal noises – and On Behalf of Nature is a treatise without text, an outcry without words. She wants the work: “to expand our awareness of what we are in danger of losing”, and she does that by making music that sounds as if it comes from the earth, feet planted in the mud, voices erupting and gusting and keening. As a live show its physical gestures were a bit stilted and obscure; for me it’s more articulate as music alone. And though Monk’s incredible technical range is going, the softer stuff is still enthrallingly playful and ritualistic. Sometimes it feels weird being a bystander to her music: this kind of elemental rite should involve us all. (

Simon Rattle / Berliner Philharmoniker THE SOUND OF SIMON RATTLE

The Musical intoxication of a great era: on 7 September, 2002, Sir Simon Rattle was appointed new Principal Conductor of the Berlin Philharmonic, marking the start of a new and memorable era for the world of music. Rattle has opened up new repertoire channels for the musicians, endowed the tradition-steeped ensemble with a youthful image and established the inimitable 'Rattle Sound'. Great moments – brought together here for the first time on 3 CDs.

viernes, 2 de diciembre de 2016

Gustavo Dudamel / Wiener Philharmoniker MODEST MUSSORGSKY Pictures at an Exhibition

Gustavo Dudamel and the Wiener Philharmoniker release their latest recording with Deutsche Grammophon, an all-Russian album out now.The album couples two selections by Mussorgsky – Pictures at an Exhibition, orchestrated by Ravel, and A Night on Bald Mountain – with Tchaikovsky's Waltz from Swan Lake
While making the album at Vienna's Musikverein in April 2016, Gustavo and members of the orchestra participated in workshops alongside young people from the El Sistema-inspired Superar. The program is based in one of Vienna's most ethnically and culturally diverse neighborhoods and offers music lessons to around 900 children between the ages of five and sixteen.
"For our current recording project, a wonderful program of Russian delights, the Wiener Philharmoniker and I have joined forces with children from Superar, offering young people of a range of backgrounds the opportunity to engage with themes from Mussorgsky's Pictures at an Exhibition," says Gustavo. "The sense of collective engagement through music – of individuals learning, listening and creating together – resonates in the living tradition of the Wiener Philharmoniker, inspires our artistic collaboration and fuels our desire to share music's transformative power with future generations."

miércoles, 30 de noviembre de 2016

Johannes Moser / Andrei Korobeinikov RACHMANINOV - PROKOFIEV Works for Cello and Piano

The achingly beautiful, haunting lyricism of early Rachmaninov and the soaring effusiveness of late Prokofiev are glowingly brought to life by the German-Canadian cellist Johannes Moser and the Russian pianist Andrei Korobeinikov in this new release from PENTATONE of richly expressive 20th century cello sonatas and other works.
Composed during troubled periods in the composers’ lives, the cello sonatas are life-affirming works. Rachmaninov’s arresting sonata which he wrote following a nervous breakdown is not unlike his perennially popular Second Piano Concerto: a journey from brooding melancholy to untrammelled joy, with a transcendentally beautiful slow movement. Prokofiev wrote his outstanding sonata while labouring under considerable hardship. It is by turns restrained and movingly lyrical, but the hair-raising final movement with its bravura passagework ends the work in a blaze of defiance. 
“Both Rachmaninov and Prokofiev are genius musical storytellers,” Moser said in a recent interview. “Both have their own very personal and individual language, but they are at the same time deeply rooted in the epic Russian tradition…When we recorded the album, we were very inspired by images of wide open nature, Russian folklore, as well as the longing and humour that both composers share.”
“The Rachmaninov sonata is a piece that I’ve been avoiding for many  years,” he added, “because I was waiting for the right partnership. And so to have a champion of Rachmaninov’s music like Andrei … it’s been very exciting for me to go on that journey with him.”
Described by Gramophone as “one of the finest among the astonishing gallery of young virtuoso cellists” and by the LA Times as a musician who “…connects with the audience in a way that only great artists do”, this is Johannes Moser’s second outing for PENTATONE. His first album of concertos by Dvořák and Lalo was widely praised for his “performance of enormous flair and effervescence” (BBC Music Magazine) and “his dazzling virtuosity, free, passionate phrasing and immense energy … that recalls Pablo Casals’ iconic 1937 recording” (Strings). And he electrified audiences at this year’s BBC Proms in a performance of Dutilleux’s ‘Tout un monde lointain ...’
About this recording, Moser said “When we were talking about repertoire with PENTATONE, I thought about doing a really core repertoire Russian disc with this amazing Russian pianist [Andrei Korobeinikov]…He is a true master and true champion of this music and I feel very honoured to have him as a partner on this disc.”
Johannes Moser plays on a cello by Andrea Guaneri, made in 1694, from a private collection.

Alexander Melnikov PAUL HINDEMITH Sonatas for...

If there is a Cinderella among Hindemith’s three dozen(ish) sonatas, it’s not that for double bass, tuba, or even the Canonic Sonatina for two flutes, but the Sonata for althorn (1943). A tenor instrument, known in the US as the alto horn, it is so rare that Hindemith accepted his sonata could be played on the horn or alto saxophone. It is a delightful work for a delightful instrument, beautifully rendered here. 
Melnikov’s role parallels that of Glenn Gould but his accounts are less wayward than the Canadian’s, his soloists generally stronger. Indeed, in most of the sonatas, the primary competition comes from one-off recordings (now that Ensemble Villa Musica’s almost-complete sonata set, with pianist Kalle Randalu, is unavailable). On BIS, Roland Pöntinen is accompanist for three rival accounts. In the 1935 Violin Sonata, Wallin may now have been overtaken by Zimmermann, Becker-Bender and now Isabelle Faust but choice will depend primarily on couplings since the margins between these contenders is so fine. 
So, too, with the others, though Wendy Warner remains peerless in the Cello Sonata despite a fine challenger here from Rudin. I would not want to be without Lindberg’s Trombone Sonata, though BIS’s sound is a tad over-resonant. Costes’s superb interpretation is the finest since Antonsen’s, accompanied by Sawallisch (EMI – sadly nla), and certainly a match for Laubin’s. I prefer Costes to Tine Thing Helseth’s driven account with Kathryn Stott, in a comparatively fierce recording. In short then, this is a magnificent disc, with leading or contending versions of all the works in terrific, beautifully balanced Harmonia Mundi sound. Let’s hope Melnikov & Co return to record some more. (Gramophone)