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, 25 de octubre de 2016

Sophie Karthäuser / Eugene Asti HUGO WOLF Kennst du das Land?

A lovely Handel and Mozart singer, Sophie Karthäuser here proves herself a natural in Lieder. In a discography dominated by tenors and (especially) baritones, her all-Wolf recital, centred on settings of Mörike and Goethe, is doubly welcome.
Karthäuser’s choice of songs, too, couldn’t be more apt. In her Mörike selection she mixes a handful of favourites with cherishable rarities such as the desolate ‘Agnes’, with its sadly tolling ostinato, and ‘Nixe Binsefuss’, a mischievous fairy scherzo that sounds like refracted Mendelssohn. With her fresh, limpid soprano and sharp feeling for character and nuance, she gives unfailing delight in the these settings, whether in her conspiratorial sense of fun in the children’s song ‘Mausfallensprüchlein’ and the two elfin vignettes ‘Nixe Binsefuss’ and ‘Elfenlied’ – the comedy of the latter deliciously timed – or her mingled simplicity and acuteness of observation in ‘Das verlassene Mägdelein’: the weary stressing of ‘muss’ near the opening, the new bleakness in the tone as she gazes into the fire (‘Ich schaue so darein’), the flare of accusation at ‘Plötzlich, da kommt es mir’. Karthäuser spins a seraphically floated line in the sublime ‘An eine Äolsharfe’, while at the other end of the spectrum the Hogarthian portrait of a loveless wedding, ‘Bei einer Trauung’, is sung with an unexaggerated sneer that the acerbic Wolf would surely have relished.
A measure of innocent simplicity is crucial in the Mignon songs, where Goethe’s waif becomes an etherealised Isolde; yet Karthäuser also musters deeper colourings and reserves of passion for ‘Nur wer die Sehnsucht kennt’ (its tempo fluctuations beautifully judged) and ‘Kennst du das Land’, with each successive climax finely graded. Elsewhere in the Goethe songs charm, lightness and grace prevail – not epithets normally associated with Wolf. The pair of sublimated folksongs, ‘Die Spröde’ and the valse triste ‘Die Bekehrte’, are specially delectable, the former blithely flirtatious from both singer and pianist, the latter deeply touching in its unforced pathos.
Throughout, Eugene Asti, recorded with proper prominence, is a model partner, commentator and animator (‘accompanist’ is an insult in Wolf): subtly fluid in rhythm, hyper-sensitive to the flux of Wolf’s liquescent harmonies and conjuring textures of gossamer delicacy in songs such as ‘Frühling über’s Jahr’, with its diaphonous bell chimes, and the two elfin sketches. The rare, early setting of Robert Reinick’s ‘Wiegenlied im Sommer’ – Wolf at his most Schumannesque – makes a beguiling envoi. In sum, a recital to delight all Wolf lovers, and an ideal entrée for those still to be converted to the peculiar richness and intensity of his art. (Richard Wigmore / Gramophone)

Philippe Bernold / Emmanuel Ceysson MOZART Flute & Harp Concerto

Philippe Bernold began his musical studies in Colmar, France, studying the flute and later composition and conducting under René Matter, himself a student of Charles and Fritz Münch.
He then attended the Paris Conservatory, where he earned the First prize in flute and the next year, at the age of 23, was appointed first flute of the National Opera Orchestra of Lyon.  In 1987 he won First Prize in the Jean-Pierre Rampal International Competition in Paris
This award allowed him to start a career as a soloist, performing with world famous artists and orchestras such as: M. Rostropovitch,  J. P. Rampal, M. Nordmann, with Paris Orchestra, F. Liszt Orchestra of Budapest, Manchester Hallé Orchestra, Tapiola Sinfonietta, National Orchestra of Lyon, Tokyo and Kyoto Symphony Orchestra…,  he has been directed by S. Bychkov, J. E. Gardiner, L. Maazel, K. Nagano, Sir Y. Menuhin, M. Inoué, T. Koopman, in concert halls such as the Royal Festival Hall in London, Pleyel Hall and Chatelet Theater in Paris, Cologne Philharmonie, Warsaw Philharmonic, , Bunka Kaikan in Tokyo, Seoul Art Center, Tchaïkovsky Conservatory in Moscow, as well as at the Festivals of Aix-en-Provence, Cannes, Evian, Strasbourg, Radio France…
Philippe Bernold returned to conducting in 1994, founding "Les Virtuoses de l’Opéra de Lyon" with the encouragement of conductors John Eliot Gardiner and Kent Nagano.  The ensemble quickly gained a reputation for its high level of artistry. 
Bernold was then appointed assistant conductor of “Orchestre de Bretagne”.  Since then, he has been invited to conduct concerts with such ensembles as Sinfonia Varsovia touring in Lisbon, Bilbao, Valence, Nantes and Warsaw, the National Opera Orchestra of Lyon, Baden Baden Philharmonie, “Ensemble Orchestral de Paris”, Philharmonic Orchestra of Marseille, Orchestra of the Opera house of Toulon, Kanazawa Ensemble (Japan), “Bucheon Philharmonic” (Seoul), San Remo Symphonic Orchestra, Geneva Chamber Orchestra, Janacek Philharmonic Orchestra, Cappella Istropolitana, with whom he is first gest conductor.  In Caracas, (Venezuela) Philippe conducts the famous “Simon Bolivar orchestra” (Musical director: Gustavo Dudamel).

domingo, 23 de octubre de 2016

Tharaud plays RACHMANINOV

French pianist Alexandre Tharaud takes on the blockbuster 'Rach 2' concerto in a thrilling performance with the Royal Liverpool Philharmonic Orchestra and Russian maestro Alexander Vedernikov. It is coupled with more intimate Rachmaninov for piano six-hands (for which Alexandre is flanked by Alexander Melnikov and Aleksandar Madžar) and the icing on the cake: a sublime Vocalise in the original version for voice and piano, with pure-voiced French soprano Sabine Devieilhe. 
Alexandre Tharaud's recorded catalogue is large and eclectic, but this is the first time he has devoted an entire album to Russian repertoire – specifically to the music of Sergei Rachmaninov. 'I was still quite young when I first played this concerto' explains Tharaud. 'I adored it... Rachmaninov's virtuosity really appeals to young pianists. Today, of course I'm still enthralled by the concerto's virtuosity, but now I'm more interested in its dark shadows: the sense of despair, of staring into the abyss. My interpretation of Rachmaninov has changed a lot over the years.' (Warner Classics)

Patricia Kopatchinskaja / Saint Paul Chamber Orchestra SCHUBERT Death and the Maiden

"With the wonderful Saint Paul Chamber Orchestra we are presently exploring Schubert's quatuor ‘Death and the maiden’. Of course we have to include Schubert’s earlier song with the same title on the poem of Matthias Claudius. This song belongs to the medieval tradition of the dance of death. Therefore we also play "Toden Tanz" (with poor me dancing), an ancient death dance written up by the German organ player August Nörmiger (1560-1613). Schubert’s song and the slow movement of his quatuor use the solemn rhythm of a Pavan, so we also play one of Dowland’s Pavans from "Seaven Teares". Add to this "Moro lasso" a madrigal about death by the famous Renaissance composer (and murderer!) Gesualdo. In between we also refresh our ears with other unsettling works by modern composers like György Kurtag and Heinz Holliger." (Patricia Kopatchinskaja)

Reinoud Van Mechelen / A Nocte Temporis BACH Erbarme Dich

Since he completed his master studies in 2012 at the Conservatoire Royal in Brussels (class of Dina Grossberger), Reinoud Van Mechelen has established himself on the international stage. 
In 2007 he caught attention at the Académie Baroque Européenne in Ambronay under the baton of Hervé Niquet. In 2011 he was a member of the "Jardin des Voix" of William Christie and Paul Agnew and became soon a regular soloist of Les Arts florissants. With Les Arts florissants he has performed at the Festival d'Aix-en-Provence, the Edinburgh Festival, the Château de Versailles, the Bolchoï Theatre in Moscow, the Royal Albert Hall and the Barbican Centre in London, the Palais des Beaux-Arts in Brussels, the Philharmonie in Paris, the Opéra Comique and the Brooklyn Academy of Music in New York. 
At the same time he is a guest with international ensembles such as Collegium Vocale, Le Concert Spirituel, La Petite Bande, Les Talens Lyriques, Pygmalion, Le Poème Harmonique, Il Gardellino, Insula Orchestra, L’Arpeggiata, Ludus Modalis, B’Rock, Ricercar Consort, Capriccio Stravagante, Scherzi Musicali, European Union Baroque Orchestra. 
 In 2014 Reinoud Van Mechelen performed his first Evangelist in J.S. Bach's Johannes passion with the Royal Liverpool Philharmonic. The season after he made his debut in a title role in an opera by Rameau, Dardanus, at the Opéra national de Bordeaux. 
In 2016/17 he will be debuting at the Zürich Opera in Charpentier's Médée(Jason) under the baton of William Christie. He will go a significant way ahead in extending his repertoire performing in concert Belmonte (Die Entführung aus dem Serail) with the Orchestre de Chambre de Paris and Gérald (Lakmé) with the Orchestra of the Bavarian Radio.

sábado, 22 de octubre de 2016

Nemanja Radulović LES 5 SAISONS

Nemanja Radulović’s performance of The Four Seasons comes as much from the heart as it does from the printed page. He often toys with rhythms and tempos, dynamics are taken to such extremes that at times the music become just audible, and mood swings from pensiveness to mercurial vivacity happen in the twinkling of an eye.
You could hardly quibble at the technical brilliance he brings to the music, ‘Summer’ being an example of his left-hand alacrity as he drives tempos forwards at a breathless pace. Then, just when you expect rhythms to be highly stressed in the finale of ‘Autumn’, the performance becomes soft-grained. For my library I would always opt for safety with the excellent Andrew Manze and the Amsterdam Baroque Orchestra (Warner), but with the 15 members of Double Sens playing with admirable unity, Radulović certainly captures the attention.
Aleksandar Sedlar’s Spring in Japan portrays the great earthquake and tsunami in March 2011, and the work moves from the sounds of popular music to suggest the agony of the event. A smaller string group, The Devil’s Trills, ably conjures up the appropriate sounds. Up-front recorded balance gives suitable priority to Radulović. (David Denton)