martes, 31 de diciembre de 2019

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!

miércoles, 20 de noviembre de 2019

Alfred Deller THE VOICE OF PURCELL

1979 saw the death of one of the leading players in the baroque revolution. Undoubtedly the most famous countertenor of the twentieth century, Alfred Deller's performances convinced audiences that, three centuries earlier, Purcell had somehow composed songs with him in mind. His inimitable timbre perfectly showcased repertory that had long been gathering dust in libraries. Now, 40 years after his death, harmonia mundi has meticulously remastered the original tapes, bringing the art of Alfred Deller's alive once more.

Thomas Zehetmair JOHANN SEBASTIAN BACH Sei Solo

Composed three centuries ago, Johann Sebastian Bach’s set of six works for solo violin stands as one of the holy grails of the instrument’s literature – perhaps the holiest. Now the great Austrian musician Thomas Zehetmair makes his own mark in the rich history of this music, revisiting the repertoire on period instruments.
Zehetmair is an extraordinary violinist and a consistently inquisitive and self-questioning artist. He has not only played the big concertos but has given close attention to chamber music and new repertory, and has also found an extra calling as a conductor, channeling this varied experience into his return to the formidable cornerstone of Bach’s solo masterpieces.
As a young man Zehetmair worked with Nikolaus Harnoncourt in his period ensemble, working with him to prepare for his first recording of the sonatas and partitas on a modern instrument.  For this new recording, he draws out exquisite colours from two violins from Bach’s lifetime, both of them by masters in the German tradition, but there is nothing antiquarian in his approach – old instruments, for him, are tools with which to express a modern sensibility: alert, edgy, multivalent. His performance engages, too, with the superb acoustic of the priory church of St Gerold, in Austria where so many legendary ECM recordings have been made.
Peter Gülke, in his accompanying essay, refers to the “floating spirituality” of this music, and to how Bach here offers one side of a conversation with the performer, whom he leaves free to determine matters of dynamic shading, phrasing and bowing. Zehetmair brings vividness and intelligence to the conversation on a recording that, deeply steeped in the music and true, is at the same time powerfully original.

martes, 19 de noviembre de 2019

Apartment House OLIVIER MESSIAEN Quatuor pour la fin du temps LINDA CATLIN SMITH Among the Tarnished Stars

The UK ensemble Apartment House performs two works: Olivier Messiaen's Quatuor pour la fin du Temps in six movements, and Linda Catlin Smith's Among the Tarnished Stars, taking a fresh modern approach to the Messiaen, drawing out its experimental character, and the sense of drama and intricate gradations of sonority in Smith's rich and mysterious work.

The Orlando Consort GUILLAUME DUFAY

This isn’t the first recording of Dufay’s chansons to appear since the Medieval Ensemble of London’s complete survey nearly 40 years ago (L’Oiseau-Lyre, 12/81), but it’s the most rounded and satisfying view of him to be had from a single anthology (in that Cantica Symphonia’s 2006 Glossa survey focused on the early songs). I was happy to be reacquainted with a few personal favourites (the early ballade Mon chier amy, the late virelai Malheureux cueur and rondeau Vostre bruit and the cheeky drinking-song Puisque vous estez campieur), but having listened several times through I’m struck by several that had not quite done so before, which now speak very eloquently: Pouray je avoir, Belle, que vous ay je mesfait? and the understatedly perfect Par le regard. Like so many of the individual songs, the recital grows in stature with repeated listening.
The reason is that the Orlandos are so experienced in this repertory that, nearly always, the choice of tempo and tone is spot-on (and tempo is perhaps the most important decision, given that absolute tempos are never indicated), which maximises the music’s communicative potential and more than compensates for the occasional vocal blemish (that this is fiendishly exposed singing cannot be overstated). The programme takes a while to get going: the choice of O tres piteulx as an opener is curiously muted and downbeat, and thereafter En triumphant de Cruel Dueil, which seems to me a touch slow given the voices involved. I imagine some may find the Orlandos’ overall approach corseted and overly cautious, as though hearing Dufay through the prism of their recent Machaut recordings. I can understand this, but in singing of such insight there is so much to learn. And as to the music – did I mention it earlier? – Dufay is simply astonishing. (Fabrice Fitch / Gramophone)

Imogen Cooper plays BEETHOVEN Diabelli Variations - Bagatelles, Op. 119 - Für Elise

Somehow it was a while since I had heard the Op 119 Bagatelles, and I’m grateful to Imogen Cooper for reminding me what treasures they have to offer, sometimes at moments towards the ends of pieces when you least expect them. It takes real artistry to apply such subtle variations of expressive pressure from phrase to phrase as Cooper delights in. Every detail here is patiently appreciated and gracefully addressed: neither self-regardingly spelt out nor diminishing pieces to the status of a mere appetiser.
Of course, the Diabelli Variations are still the main event, and here the demands are of a different order. The determined yet musically inflected Theme promises much. But the placing of its final cadence and the deliberate non-attacca into Variation 1 already seems to be making a point. Is Cooper deliberately going against the ‘normal’ modern way of dramatising the set, which stresses drive and continuity across groups of variations, in order to suggest a quasi-symphonic overall design? Is she suspicious of the tendency to cast the work in super-human terms? Certainly she is as responsive to Beethoven’s markings as she is in the Bagatelles, and as fleet-flooted as she needs to be in the presto variations (Nos 10, 15 and 19). But she does tend to shy away, it seems to me, from some of Beethoven’s wilder flights of fancy. Her tempo is unstable and her dotted rhythms curiously un-incisive in the eruptively comedic Var 13, for instance, while Var 15 is hardly sempre pp (by contrast, Var 16 is so much harsher than the designated single forte as to distort the tuning). And yet there are so many wonderful things in Cooper’s handling of the final variations that the abiding impression is of a high intelligence guiding the overall journey.
Not quite a top-drawer version, then, but only because that drawer is already so generously filled. Chandos’s recorded sound has a natural glow without ever compromising clarity. Authoritative booklet notes too (William Drabkin). (David Fanning / Gramophone)

Vilde Frang, Lawrence Power, Nicolas Altstaedt, Barnabás Kelemen, Katalin Kokas, Alexander Lonquich VERESS String Trio BARTÓK Piano Quintet

The Lockenhaus International Chamber Music Festival is regarded as one of Austria’s most prestigious festivals: it was created by the violinist Gidon Kremer to offer a new vision of chamber music and the opportunity to create musical exchanges in an intimate setting. The cellist Nicolas Altstaedt succeeded Gidon Kremer in 2012 and now continues the spirit of the festival. For this first recording in partnership with Lockenhaus, he is joined by experienced partners, including the Norwegian violinist Vilde Frang, the Hungarian violinist Barnabás Kelemen, the German pianist Alexander Lonquich – whose Schubert double album was recently released on Alpha (Alpha 433) – and the British violist Lawrence Power. Together they have selected two works, the Piano Quintet of Béla Bartók, a demanding composition, rarely performed even though it is considered an intensely personal work, and the String Trio of Sándor Veress, a former student of Bartók. Nicolas Altstaedt has joined Alpha for several recording projects that will illustrate the full range of his talents, in a highly eclectic range of music.

"What makes this CD unmissable is the Veress Trio, a masterpiece and a performance to match. I’ve already pencilled it in as a potential contender for next year’s Gramophone Awards."  Gramophone

Lang Lang PIANO BOOK Encore Edition

Global superstar pianist Lang Lang has announced a new deluxe digital version of his chart-topping album Piano Book – the best-selling classical album worldwide released this year. Piano Book – Encore Edition, released on 15 November 2019, features six new additional tracks. Accompanying the release will be three performance videos and six short films in which Lang Lang talks about the pieces. 
Piano Book – Encore Edition is a collection of 47 tracks including brand-new recordings of ‘Sweet Dreams’ from Tchaikovsky’s Children’s Album, ‘Ivan Sings’ from Khachaturian’s Adventures Of Ivan, Christian Petzold’s ‘Minuet In G Minor’ from J.S. Bach’s Notebook For Anna Magdalena Bach and the three movements of Friedrich Kuhlau’s ‘Piano Sonatina In C Major, Op.20 No.1’. These are featured alongside favourites from the original album including Beethoven’s ‘Für Elise’, Chopin’s ‘Raindrop Prélude’ and Bach’s ‘Prelude In C Major’ from The Well-Tempered Clavier. 
Lang Lang’s Piano Book has enjoyed huge success around the world since its release in March. It has topped the classical charts in the US, the UK, Germany, France, China and Japan and entered the pop charts in Austria, France, Germany, Spain, Switzerland and the UK. His recording of Beethoven’s ‘Für Elise’ reached No.4 in the official Chinese pop single charts.

Wiener Philharmoniker / Franz Welser-Möst THE PEACE CONCERT VERSAILLES

A setlist like no other, a never-heard-before compilation of deeply moving musical pieces highlighting numerous aspects of war and peace. This is how the Wiener Philharmoniker, led by Franz Welser-Möst and supported by an all-star line-up, among them singular pianist Yuja Wang, tackled the highly anticipated concert in commemoration of the end of the 1st world war. 100 years after the first of the devastating humane catastrophes of the 20th century officially ended at Versailles, a group of inspired musicians gathered at the historic site for a concert that will live on in the memory of those who have seen or heard it.

lunes, 18 de noviembre de 2019

GARETH MALONE Music for Healing

“After many years conducting choirs under extraordinary circumstances, I felt that I had neglected my first love: writing music. So I bought a new piano in 2016, began to
practice in earnest and to compose. Around that time I worked on the INVICTUS games choir, an incredible experience but an emotional one. I moved from that to work with
friends of the victims of the Grenfell Tower fire: another life changing and life affirming project.
Before beginning my next challenge I took some time out. My wife had our third child and I was able to be at home, play the piano and write music for myself and my family
as she recuperated. This has been a very important and healing time.
The music is a personal journey through the year and is inspired by my own feelings about each month: birthdays of loved ones, marriages, funerals are all in this music.
I wanted to include the sound of a beautiful piano in a natural acoustic with the warmth of a choir and the energy of a string quartet. This music helped me to heal.”

domingo, 17 de noviembre de 2019

Angela Gheorghiu / Alexandra Dariescu PLAISIR D'AMOUR

Angela Gheorghiu returns to Decca to celebrate the 25th anniversary of her legendary La Traviata with Sir Georg Solti.
This is a 23-track album featuring rare and classic songs never before recorded by Gheorghiu. She is the winner of five Gramophone Awards, twice recipient of Female Artist of the Year from the Classic Brits and in 2018 she received the 'Victoire d'Honneur' award in France.
Accompanied by her compatriot Alexandra Dariescu, the recital opens with Romanian songs and includes such classics as Apres un reve, Tosti's ideale, Strauss' Morgen and the Chopin Tristesse.