sábado, 21 de noviembre de 2020

Music is The Key Bazar

Dear Music Is The Key followers, in extension to this blog, 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 blog, 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!

jueves, 20 de septiembre de 2018

Silvia Márquez CHACONNERIE

Chaconnerie is a recording that deals with repetition. Chaconnerie illustrates that particular principle of Art that seeks to combine elements over and over again to achieve balance and unity. Chaconnerie encourages us to undertake a voyage in which sounds –through the centuries– build upon an insistently repeated, or imaginatively varied, scheme. Repetition has been a major element of humankind’s artistic manifestations and expressions ever since the time of the moais on Easter Island up to the drawings of Max C. Escher. Repetition is rhythm, pulse, and life, and life overflows in the chaconne, a dance whose origin Lope de Vega attributed to the American Indian (“from the Indies to Seville / it has come by post”) and whose character Miguel de Cervantes describes as lascivious and immoral. With its accent on the second beat and its variations on a harmonic scheme, this dancing base – together with sarabandes, folias, and passacaglias – was conducive to improvisation on chordal progressions, a novelty that had a crucial impact on Baroque music in Europe.

Toyohiko Satoh VIENNESE LUTE MUSIC

On this release, lutenist Toyohiko Satoh plays music from the court of Vienna from around the year 1700. A special discovery included on this album is the suite by Adam Franz Ginter, who was a famous castrato singer in that time, but also composed some pieces for the lute. This recording is a tribute to this largely forgotten musician who most probably had a short and rather sad life. The following suite by Saint-Luc contains a “tombeau for Francois Ginter” and was composed to lament the early death of this extraordinary singer, lutenist and composer. At Rikkyo University in Tokyo, Satoh studied music history with Tatsuo Minagawa and guitar with Kazuhito Ohosawa. He gave his first guitar recital in the Tokyo Bunka Kaikan concert hall in 1965. At Rikkyo, he also began his studies of the lute. Praised for his “intensity and sense of drama” and “electric tension and rhythmic spring,” he has performed and recorded both solo and with many chamber ensembles, and has been actively composing since 1981.

Christoph Denoth TANGUERO

The tango, which Piazzolla liberated from dance, is both extended and tamed by the classical guitar. That’s partly what the Swiss guitarist Christoph Denoth is getting at when he writes that ‘these present recordings aim to express today’s broader definition of tango and exploit the acoustic range of the guitar in order to integrate the tango and its untamed beauty into classical music’.
In all these miniatures – some arrangements, some written for the instrument – there are folkloristic echoes amplified by compelling rhythmic variations, extended harmonies and songlike melodies. Somewhere among this seductive sound world, Denoth finds room for his own style by finding pleasure in the play of opposites – especially the tension between European classicism and the folk traditions of South America.
Denoth’s recital opens with some of Piazzolla’s most widely arranged works, many of which have theatrical origins. The composer’s own favourite, Adios nonino, so full of subtle changes of mood, sits at the centre of a set which alternates between the urgency of pieces like Libertango and Verano porteño and those of a more reflective nature, such as Oblivion and the exquisite Milonga del ángel.
These contrasts are maintained throughout the rest of the programme, with works by other tango legends such as Gardel and those exploring different national styles, like Antonio Lauro with his Venezuelan take on the waltz, and Gismonti’s saudade-saturated Agua y vinho and Dyens’s cheeky ‘fake tango’ Tango en Skaï.
There is little here that hasn’t been recorded before by the likes of John Williams et al. What makes Denoth’s offering a must-have is a musical sensitivity exemplified as much by his curation as by his playing. (William Yeoman / Gramophone)

Vocal Concert Dresden / Cappella Sagittariana Dresden / Peter Kopp FLORILEGIUM PORTENSE

Florilegium Portense - this is the title of a collection of sacred motets from Italy, Germany and the Franco-Flemish region, first printed in Leipzig in 1618. It contains motets by the most famous composers of the time in Europe, such as Hieronymus and Michael Praetorius, Hans Leo Hassler, Orlando di Lasso, and Andrea and Giovanni Gabrieli. It's dissemination was so successful that almost all church choirs, school choirs and court orchestras between Eisenach and Breslau came into contact with it. The motets were compiled by Sethus Calvisius, the cantor of Schulpforte and later Thomaskantor of Leipzig, and edited by Erhard Bodenschatz, his successor in Schulpforte. Exactly 400 years after going to press, the Vocal Concert Dresden and the Cappella Sagittariana under the direction of Peter Kopp honor this important cultural monument with a recording of selected motets and hymns, including several premiere recordings.

Ensemble Marguerite Louise / Gaétan Jarry MARC-ANTOINE CHARPENTIER Les Arts Florissans

At that time, the custom was to allow great exibility in matters of orchestration, which was linked to whatever vital forces were available and depended on when the performance of the works was programmed. Charpentier’s genius lies in the fact that that he had the ability to conceive his scores, even the most minimalist of them as works of a major stature. 
Les Arts Florissants and La Couronne de Fleurs are an unquestionable example of this: the two operas became known as much for their subtlety and their intimacy in their original form (small ensemble and chorus of soloists), as for their depth and their density in their augmented form (use of an orchestra and a full choir). 
We have therefore chosen to explore the “augmented form”, and thus allow the works to offer a more varied orchestration, to benefit from the full choir), and also offer various theatrical effects such as the use of percussion instruments. Expanded in this way, these miniatures rehabilitate a Charpentier who was denied during his time of the great financial means from which only Lully was able to benefit. 
The extracts chosen from the Couronne de Fleurs present the pastoral as a sort of logical epilogue to the Arts Florissans, necessarily joining the springtime of the Arts inspired by Louis to that of Nature. (Gaétan Jarry)

Colibrì Ensemble / Alexander Lonquich SCHUMANN - BURGMÜLLER

The lives of Robert Schumann and Norbert Burgmüller intersect in fascinating ways. Both were born in 1810, and both spent significant periods of their lives in Düsseldorf, which is how Schumann came to orchestrate the Scherzo of Burgmüller’s Symphony No. 2 in D major, Op. 11. Acclaimed pianist Alexander Lonquich has long been intrigued by the complex interrelationships between these two composers and their circle of influences. Lonquich brings his unique and scintillating insight to this performance of Schumann’s Piano Concerto in A minor, a work which began life as a Phantasie for the composer’s wife, pianist Clara Schumann, but was later augmented to become an irresistible full-length work.
The conversational principles of the concerto’s first movement are taken even further in the central Intermezzo, in which Schumann creates a sense of intimate dialogue enhanced by the delicate, almost chamber-like treatment of his orchestral forces. We then tumble effortlessly into the finale, which is full of subtle touches that reveal a composer at the peak of his powers: there are no perfunctory finale fireworks, but rather a movement of quirky good humour and perfectly-judged invention.
Burgmüller’s Second Symphony unfolds with charming ease, undulating between genial lyricism and stormier interjections reminiscent of Beethoven’s ‘Pastoral’ Symphony. The work culminates in the Scherzo, a tussle between a refined dance, perhaps representing the civilised aspects of humanity, and sudden torrents of sound reflecting the irrepressible forces of Nature.
Alexander Lonquich is joined on this disc by The Colibrì Ensemble, a chamber orchestra which performs regularly in Pescara, Italy, where it has its own concert season. Founded in 2013 by Andrea Gallo, this vibrant collection of musicians has already forged strong relationships with a host of outstanding artists, including a special connection with Alexander Lonquich, who is now a regular guest each season.

Antonio Salguero / Pedro Gavilán CLARINET SONATAS 20th CENTURY

A journey through the most important sonatas written in the 20th century with the clarinet as the protagonist, by five great composers. The Argentine composer Carlos Guastavino (1912-2000) proposes us in his Sonata for clarinet and piano a neoclassical atmosphere in the clear formal definition of his themes and in a certain harmonic freedom, yet he offers a more scholastic work, more solid and resounding that is already clearly evident from the beginning of the work: in the underlying sonata form of the first movement, Allegro deciso. This CD includes a final perspective of the neoclassical conceptual model, offered by the Austrian (later an English citizen) composer and conductor Joseph Horovitz (1926) in his Sonatina for clarinet and piano composed in 1981. Quiet, as if emerging from a dim light, Sonata en re by Nino Rota (1911-1979), composed in 1945, comes to us to finally offer us a musical image brimming with Mediterranean light. Kindness, beauty, simplicity and pleasant repose merge into a piece of scholastic organization in which solid formal structures guarantee the listening and understanding of a fundamentally melodic discourse, always well articulated. Sonata for clarinet and piano by Francis Poulenc (1899-1963), how much tenderness enclosed in the beautiful notes of this score! An irrepressible need to listen carefully, once again, the slow section of the first movement invades all of us who know the work, but its beauty is not only collected in that fantastic moment of 16 bars in which it seems to come together in the most delicate moments of Maurice Ravel’s String Quartet or of Pavane pour une infante défunte by the same author, the simple and naive way of these notes, full of grace, in the Renaissance sense of the word: “as if it was not difficult to write this passage “. A different world, despite the proximity in time, is what Edison Denissow (1929-1996) offers us in his Sonata for clarinet, composed in 1972. We have reserved for the end the comment of the penultimate work of this album this piece which is a very successful work that collects innumerable possibilities of expression of the clarinet, far from those exhibited in the rest of the chosen pieces. Glissandi, quarters of tone, frullati, trills, tremolos, etc.

Mark Padmore / Paul Lewis SCHUBERT Winterreise

Ah, this journey! How many have made it, sincerely and imaginatively, two setting out as nearly as possible as one! So many on records too, following the elusive track as with torchlight concentrated upon it. Yet, of all, I cannot think of one (not even Fischer-Dieskau in his 1965 recording with Jörg Demus) that leads more faithfully to the cold comfort of its end. And when we get there in this performance, what an end it is!
The journey begins with ever such a slight whine high in the voice, as with a calm acceptance of pain. The piano abstains from jabbing sforzandi to underline what the chords make plain enough, instead insisting calmly on its left-hand legato. The melting major-key modulation is all affection: no hint of bitterness in the sentiment that his passing footsteps should not disturb the faithless beloved’s sleep. But outside in the open, stillness and turbulence alternate like the moods of the weather-vane. And so throughout much of the trek the self-confiding of the loner holds in check the utterance of emotion as the icy surface of the river conceals the running water beneath. Even so the pain will out, as it does in the last phrase, “ihr Bild dahin”, of “Erstarrung”.
On we go, lulled and tormented by the magic music-box of “Frühlingstraum”, till the tragic chord before “so elend nicht” in “Einsamkeit” brings a dreadful reality into focus. The deceptive sweetness of “Die Krähe”, the giddy disorientation of “Letzte Hoffnung”, the subdued feverish excitements of “Täuschung” find an almost holy stability in “Das Wirtshaus”, but still the external world exists, felt as almost an intrusion in “Mut”. And soon we meet the organ-grinder. And his secrets must on no account be revealed by reviewer or arts-gossip. And the listener must wait, out of respect to this marvellous partnership of Mark Padmore and Paul Lewis, until time can be taken for it, alone and uninterrupted, to accompany them on the journey through to its unearthly end. (John Steane/ Gramophone)

Mark Padmore / Kristian Bezuidenhout SCHUBERT Winterreise

Only a few months after Florian Boesch’s second recording of Schubert’s great wintry song-cycle (Hyperion, A/17), here’s a second bite at the bitter cherry from another singer, albeit a very different one. With Mark Padmore at least there’s been a longer intervening period: it’s nine years since the release of his previous Winterreise, a 2010 Gramophone Award-winner, also on Harmonia Mundi. And there’s a major difference here, too, in that not only is Paul Lewis replaced by Kristian Bezuidenhout but a modern concert grand is switched for a Graf fortepiano.
As with the earlier recording, there’s a wealth of interest to be found at the keyboard. Here the instrument itself is beautifully mellow, with an especially tender con sordini sound as well as some brightness in the tone when required – not often, admittedly, in this most subdued of cycles. I love the hazy twang Bezuidenhout produces at the start of ‘Der Lindenbaum’, the wild clanging of the ‘Wetterfahne’ and the real sense he gives in ‘Die Krähe’ of the bird swirling ominously about. The melody of ‘Frühlingstraum’ is imbued with so much hope, that of ‘Der Leiermann’ with so little, its opening drone, played much as Lewis plays it, resembling less notes than just a pained, numb sound.
Bezuidenhout spreads his chords occasionally and offers a light sprinkling of ornaments, as does Padmore. And in the later stages of the cycle, in particular, the tenor offers singing of remarkable patience, control and concentration (listen to how he builds up ‘Das Wirtshaus’). The final songs are moving, and Padmore’s intelligence and seriousness are never in doubt, his interpretation always probing.
One notices, however, that the voice has lost some juice: he struggles to offer warmth to counter the blanched tone he employs elsewhere, while the lower register is underpowered. His German, too, is strangely affected, with vowels self-consciously opened up and consonants over-deliberate. The earlier recording, five minutes slower, features many of the same interpretative touches and characteristics, but they are more worrying here, less convincing. Matters are not helped, either, by engineering that places the voice in a strange quasi-ecclesiastical halo.
Padmore’s fans will no doubt snap his new recording up, but I’d otherwise recommend sticking with the earlier one, featuring Lewis’s warm, deeply human contribution at the keyboard. And if fortepiano’s what you need, head to Christoph Prégardien and Andreas Staier for something altogether more grounded, satisfying and idiomatic. (Hugo Shirley / Gramophone)

miércoles, 19 de septiembre de 2018

Mark Padmore / Britten Sinfonia / Jacqueline Shave BENJAMIN BRITTEN Serenade for Tenor, Horn & Strings - Nocturne GERALD FINZI Dies Natalis

Tenor Mark Padmore has an ideal voice for these two Britten song cycles written for Peter Pears. He has the kind of musical sensitivity and attentiveness to textual subtleties that characterized Pears' singing. His voice is essentially light in the way that Pears' was, but his is infinitely more attractive. Its tone is clear and pure, with none of Pears' nasal quality, and can be sweet without sounding precious. Padmore's technique seems absolutely secure and while his instrument is not large, he can produce an impressive range of dynamics. He and horn player Stephen Bell deliver a terrific performance of the Serenade for tenor, horn, and strings, and Jacqueline Shave's leadership of the Britten Sinfonietta is energetic and nuanced. Padmore's phrasing is shapely and expressive and he can spin out the seamless legato most of these songs require. In "Hymn," he and Bell sing and play with nimble fleetness that seems thrillingly close to the edge of spinning out of control but that ultimately lands safely. The performance of "Dirge" is charged with darker-than-usual sinister energy; the running string figures that follow the canon seem here more like a demonic dance than a dirge, to wonderful, scary effect. There is no lack of topnotch recordings of the Serenade, but this is a version that anyone who loves the piece will want to hear. In Nocturne, Padmore again excels in bringing intelligent and sensitive, sometimes soaring musicality to the songs. Finzi's cycle Dies Natalis is something of a novelty, but it fits well with the Britten. His harmonic language is eloquently post-Romantic, solidly in the English pastoral tradition, and his text setting relatively conventional, but the cycle is a lovely, lyrical, entirely successful exemplar of that tradition. Serenade, written about five years after Dies Natalis, demonstrates by contrast the daring individuality of Britten's handling of texts and the rich originality of his melodic gift. The sound of Harmonia Mundi's SACD is immaculate and detailed, with a gripping sense of presence. (Stephen Eddins)