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!

sábado, 27 de mayo de 2017

Meret Lüthi / Les Passions de l’Ame SCHABERNACK - A Treasure Trove of Musical Jokes

Swiss violinist Meret Lüthi is artistic director and concertmaster of the baroque orchestra «Les Passions de l’Ame», which she co-founded in 2008. She was a guest musician with the Freiburger Barockorchester and has worked as a concertmaster in the Belgian ensemble «B’Rock». She has also taught at the Royal Conservatoire Antwerp. She has participated in CD recordings, opera productions, concert tours and radio and television broadcasts with René Jacobs, Ivor Bolton, Adam Fischer and Gary Cooper, among others. In addition, Meret Lüthi is deeply dedicated to chamber music: at the «Young Artists in Concert» festival in Davos, she was featured in a variety of programs; in 2010, she made her debut at the Lucerne Festival. 
Meret Lüthi completed her violin studies at the Bern University of the Arts with distinction, having been taught by Monika Urbaniak-Lisik and Eva Zurbrügg. She studied with Walter Levin as a member of the Amaryllis Quartet, before specializing in baroque violin under the tutelage of Anton Steck at the State Academy of Music in Trossingen, Germany. Her talent was recognized at master classes with Igor Ozim, Christian Altenburger, Thomas Brandis, Ingolf Turban and Gerhard Schulz. Meret Lüthi was awarded scholarships from the Kiefer Halblitzel Foundation and the Kiwanis Club of Bern; in 2007 she was a prizewinner in the German University Competition for Early Music. 
As a specialist in historically-informed performance practice, Meret Lüthi works as an orchestra coach and is regularly invited to share her expertise in radio broadcasts produced by Swiss Radio SRF 2 Kultur. She is a lecturer of baroque violin at the Bern University of the Arts. 

Lucie Horsch / Amsterdam Vivaldi Players VIVALDI

If you've followed the early music scene in the 2000s and 2010s, you may have noticed the emergence of a school of really formidable recorder virtuosi from the Netherlands. These players have collectively blown away the whiny recorder sounds from the early days of the Baroque revival. You might check out any of them; Erik Bosgraaf makes a good one to start with. Lucie Horsch may not yet be at the top of this heap, but she was just 16 years old when this album appeared in 2016, and that made her not only a novelty but a possible role model, not to mention a source of sales, for the countless young people who study the recorder at school in England, the Netherlands, other European countries, and even occasionally the U.S. Sample the first movement of the Recorder Concerto in C minor, RV 441 to assure yourself of Horsch's smoothness in rapid arpeggios, and then move on to the slow movements, where she really is above average, with innate musicality and a lovely singing tone. A couple of recorder arrangements of vocal pieces work well in this regard, and a bonus is a real rarity as an encore: Jean-Jacques Rousseau's arrangement of the tune from the Spring concerto from Vivaldi's Four Seasons, apparently done as a kind of example of what the natural style in music could sound like. An entirely satisfying debut. (James Manheim)

viernes, 26 de mayo de 2017

Szymanowski Quartet / Marina Baranova DAMIAN MARHULETS Ecartele

Damian Marhulets is a Germany based composer, artist and producer. Damian's musical education began at the age of 6, when he was accepted to prestigious Minsk College of Music. It was not long until Damian began performing as an oboe soloist with some of the most renowned orchestras in the country and abroad. Still in his early childhood, Damian became a prizewinner of major international music competitions. His music career took a new turn in 2000 when he relocated to Germany. Following his artistic inquisitiveness he soon immersed himself in underground experimental music scene. His musical education shifted from oboe performance to modern composition and electronic music, that he studied first at the Music Academy Hannover and later in Cologne.
ECARTELE is an imaginary soundtrack for a feature film dating from the 1970s about the meeting between two of the major thinkers of the 20th century – the Nobel Prize winning physicist Wolfgang Pauli and the psychoanalyst and creator of the theory of archetypes, Carl Gustav Jung. The album relates in musical terms the story of the unusual friendship between the two scientists and explores the mysterious grey area between physics and the psychology of the unconscious.
The title of the album (from the French ‘écarteler’) refers both to the medieval tradition of quartering execution victims and to the Jungian concept of ‘quaternio’ – the intersection of two pairs of concepts that are polar opposites. Thus, in the exchange between Jung and Pauli, two other people play an important role: one is the young English doctor Erna Rosenbaum, who belonged to C.G. Jung’s circle in the late 1920s, and the other is the mathematician, astronomer and theologian Johannes Kepler, whose work was a powerful source of inspiration for Pauli. The album tracks are short, episodic, minimalistic and narrative – a musical screenplay and soundtrack for a film that was never made...
In order to achieve a tonal range that is both modern and cinematographic, the composer Damian Marhulets uses electronic sounds as well as working with the four string players of the famous Szymanowski Quartet and Marina Baranova on prepared piano.

Daniel Behle / L'Orfeo Barockorchester SCHUBERT Arias & Overtures

Of all the great composers, Schubert left by far the largest number of uncompleted works: symphonies, piano and chamber music, songs, choral music and operas. Six of the latter are represented on this disc—the early 'Adrast' written around the age of twenty and 'Fierebras' written in 1823, five years before the sudden end of his short life. Schubert made many attempts to achieve success on the Viennese operatic stage but was singularly unlucky in doing so. Consequently none of his operatic music ever entered the repertoire and today it remains the most unknown aspect of his work. Therefore this disc is an assembly of some very rare music indeed, most of which has never before been recorded. Indeed, most of these operas and singspiels have never been professionally staged since they were written. For this recording, German tenor Daniel Behle travelled to Linz/Austria and worked together with the L’Orfeo Baroque Orchestra, conducted by Michi Gaigg. German tenor and composer Daniel Behle is without question one of the leading lyric German tenors of the moment. He made his Royal Opera debut in the 2016/17 Season as Ferrando (Così fan tutte) and was highly-celebrated. Behle is possibly best-known for his adaption of Schubert’s Winterreise for tenor and piano trio, performed in 2015 at the Wigmore Hall and recorded for Sony Classical with Behle and the Oliver Schnyder Trio. (Presto Classical)

Trio Wanderer BEETHOVEN Complete Piano Trios

This is the Trio Wanderer’s 25th-birthday present to itself, and within the slimline package lie riches indeed. We begin with Op 1, the point at which Beethoven announced his presence to the wider world in a genre carefully chosen so as to avoid immediate comparison with Haydn or Mozart (which would have been the case with the piano sonata, string quartet or symphony). It was also a canny financial move, for the amateur trio market was booming.
The Wanderer are particularly impressive in this opus, capturing the puppyish energy with which No 1 opens and imbuing its slow movement with an affection that is almost unassuming: pitched just right for early Beethoven. Time and again we’re reminded that this is an ensemble who have no need for point-making, either to their audience or to one another, trusting the music to make its own impact. And what an impact. We experience anew the ducking and diving ebullience of the finale of the First Trio, the sheer inventiveness of the Presto of No 2 – with its razor-sharp accentuation precise and the phrasing-off of the violin line startling – and the dizzying Prestissimo conclusion to No 3.
Beethoven has learnt from his erstwhile teacher, but the influence is confidently transformed into something all his own. And though the piano-writing in these trios is overtly virtuoso, it never threatens to overbalance the other two lines, thanks to the Wanderer’s finely attuned collective ear.
Equally compelling is their understanding of the depth of the writing: the extraordinarily profound slow movement of No 2 (which they judge better than the Beaux Arts, who are just too slow here) or the mysterious opening to the great C minor Trio, No 3, though the period-instrument Staier/Sepec/Queyras recording is even more dramatic.
Among the other early works, the Wanderer’s reading of the Allegretto, WoO39, doesn’t charm quite as much as the Florestan in their benchmark set. But in WoO38 they relish the Haydnesque Scherzo to the full. The Kakadu Variations are also fundamentally early, with Beethoven adding a slow introduction and coda much later. Although he was a master of transforming the musical graffiti of others into great art, here he contents himself with sending up Wenzel Müller’s theme, promising much in the deeply serious introduction, only for the theme itself to arrive as a huge anticlimax. Trio Wanderer convey Beethoven’s intentional bathos perfectly.
And as we travel with them, the plaudits just continue. The Wanderer revel in Op 11’s easeful qualities and delight in the inventiveness of the variations that close the trio. Delight is on show in the Op 44 Variations too, another opportunity for Beethoven to dabble in the commonplace.
Throughout the set, we’re in the surest of hands and the Wanderer are keen to point up the gentler side of Beethoven’s character as well as exploring his redoubtable dramatic genius. Occasionally I found myself hankering after a greater sense of mystery: in the Largo assai of the Ghost, the other-worldly aspect is arguably revealed more tellingly by the Florestan and the plangently timbred Staier/Sepec/Queyras trio, though the unfettered, almost unhinged energy of the finale is wonderfully caught by the Wanderer. And at the moment where the theme of the slow movement of the Archduke is revealed, they miss the last degree of rapture (though they avoid the pitfalls of too slow a tempo, a trap into which the Beaux Arts fall). To experience that intensity to the full, you need to go back in time: to Thibaud, Casals and Cortot or to Zukerman, du Pré and Barenboim. That said, the Wanderer are again wonderfully natural in the sprint to the finishing line in the Presto of the same work’s finale. And let’s not overlook Op 70 No 2, the Ghost’s convivial sibling, where the Wanderer relish the brilliantly wrought double-variation Allegretto, the insouciance of the major key set against a driving C minor, while the energy and concerto-ish spotlighting of the finale reminds us that here we have not only one of the finest trios around today but also three remarkable personalities in their own right. Harmonia Mundi complete the pleasure with perceptive notes and a recording that combines warmth and clarity. (Harriet Smith / Gramophone)

Saleem Ashkar BEETHOVEN Piano Sonatas Nos. 3, 5, 14 Moonlight & 30

Saleem Ashkar made his New York Carnegie Hall debut at the age of 22 and has since worked with many of the World’s leading orchestras including the Vienna Philharmonic, La Scala Philharmonic, Concertgebouw Amsterdam, London Symphony Orchestra, City of Birmingham Symphony Orchestra, Leipzig Gewandhaus, NDR Hamburg, DSO RSB and Konzerthaus orchestras in Berlin, Maggio Musicale Firenze, Santa Cecilia Rome, Mariinsky Orchestra St. Petersburg, and Danish Radio Orchestra among others.
He performs regularly with conductors such as Zubin Mehta, Daniel Barenboim, Riccardo Muti, Ricardo Chailly, Fabio Luisi, Lawrence Foster, Philip Jordan, Nikolaj Znaider, Pietari Inkinen and Jaakub Hrusa. Following a highly successful debut with Christoph Eschenbach and NDR Hamburg, Eschenbach invited Saleem to play the Schumann Concerto with the Dusseldorf Symphony Orchestra in the special Schumann Birthday Concert in June 2010. He toured extensively with Riccardo Chailly and the Leipzig Gewandhaus Orchestra performing Mendelssohn’s First Piano Concerto in appearances that included the Proms and Lucerne Festivals, in a tour celebrating the bicentennial anniversary of the composer’s birth. Chailly re-invited Saleem for concerts and to record with him the Mendelssohn Concerti for Decca.