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, 21 de junio de 2018



The Japanese harpsichordist, Yoshiki Ieki, studied harpsichord with Gustav Leonhardt at the Amsterdam Sweelinck Conservatory, where she graduated wirh a soloist diploma in 1981.

Gianluca Luisi J.S. BACH French Suites BWV 812 - 817

Critics from around the world (Postdate Nachrichten , Fanfare, New York at Carnegie Hall Concert reviews) consider Gianluca Luisi one of the most interesting Italian pianists of our time. His performances have received enthusiastic acclaim in many areas of the world.
In Italy, he graduated with honors from the Conservatory of Pesaro; studied at the Incontri col Maestro International Academy in Imola and with Aldo Ciccolini in Naples and Paris.
A winner of numerous competitions (TIM International Competition Bellini of Caltanissetta , Rendano Prize , Competition of Cesenatico, Italian Music Youth Auditions, International Competition of Sulmona) Gianluca received the first prize of the 4th International J.S. Bach competition in Saarbrucken - Würzburg, in March of 2001. He was selected among 54 pianists from 26 different countries while the critics heralded him as a new interpreter of J.S. Bach. On that occasion the Saarbrucken Zeitung declared: "The Italian won the first prize here. Well deserved […] because the young man is a great interpreter of Bach […] He produces music absolutely free . What more do you want?”

miércoles, 20 de junio de 2018

Kukuruz Quartet JULIUS EASTMAN Piano Interpretations

Kukuruz started 2014 their involvement with Julius Eastman and his musical works. In 2017, their performance at documenta 14 in the Megaro Mousikis concert hall in Athens earned a standing ovation. They performed works by Julius Eastman: 'Evil Nigger', 'Gay Guerrilla', 'Buddha' and 'Fugue No. 7'. The recording of these compositions followed in November 2017 on four Steinway D pianos in the main hall of the historic Radiostudio Zürich. Composer, trombonist and scholar George E. Lewis, who knew Eastman personally and played with him, writes in the liner notes: „This brilliant recording by the Kukuruz Quartet constitutes an important new contribution to the growing corpus of performances of music by the composer, pianist, and singer Julius Eastman (1940-1990), who came to prominence in the experimental music scene of the 1970s and 1980s ... On this recording, the Kukuruz Quartet renders Eastman’s spirit of adventure audible and sensuous, exemplifying a new, creolized formation of contemporary classical music that is able to embrace a multicultural, multi-ethnic usable past and thinkable future that can affirm our common humanity in the pursuit of new music.“ (Intakt Records)

martes, 19 de junio de 2018

Cuarteto Casals INVENTIONS Vol. I

Launching its complete cycle of Beethoven's string quartets, the Cuarteto Casals presents this first installment featuring initial examples of the genre from each of the three key periods in the composer's career: his formative years, the socalled 'heroic' middle period, and that of his artisticmaturity. The ingenious juxstaposition shows how much his superhuman quest for perfection enriched a compositional language of breathtaking originality in tandem with a depth of expression without precedent in this genre, of which Beethoven is the uncontested master.

sábado, 16 de junio de 2018

Valery Afanassiev ICH BIN MOZART

Today we are too fond of clear-cut solutions and exhaustive explanations. Writers and film directors are supposed to shed light even on those nooks and crannies which should remain dark for the sake of perspective. And readers as well as cinema goers should remain in the dark about this and that for the sake of the same perspective, the same space, the same labyrinth. Alas, there are no more dark ladies either in sonnets or in novels. We have forgotten the aroma of unanswerable questions. And yet every masterpiece is an unanswerable question. And so is every artist of genius. In Pushkin's short tragedy Mozart and Salieri there are many unanswerable questions. Actually it ends with such a question: 'Is an evil deed compatible with genius?' (Gesualdo, who was unquestionably a composer of genius, killed his wife. But does this murder answer the question?) In the opening monologue Salieri ruminates over his music-oriented life and asks a crucial question: 'Why would God choose an obscene child to be his instrument?' That is how Peter Shäffer formulates the same question in Amadeus. Was Mozart an obscene child? Why should God have chosen Salieri in preference to Mozart? Salieri was an honest, hardworking musician: neither Pushkin nor Shäffer deny him that. What is more, his musical erudition did not prevent him from relishing Mozart's masterpieces with every fibre of his being (with every fibre of his soul, as the Russians would say)—a rare, priceless gift. At the end of Pushkin's tragedy Mozart says that if everyone could feel harmony as Salieri does, the world might come to an end, no one caring about the base needs of life, everyone luxuriating in art. What a pity the world will never come to an end through art. As a matter of fact, to paraphrase T. S. Eliot, such an end might turn out to be a magnificent beginning. (From the essay “WOLFGANG AMADEUS MOZART” in the booklet)

Wiener Philharmoniker / Valery Gergiev / Anna Netrebko SOMMERNACHTSKONZERT 2018

The Summer Night Concert of The Vienna Philharmonic is the world's biggest annual classical open-air concert set in the magical Schönbrunn Palace Baroque park in Vienna. The concert will take place on 31 May 2018 and its theme for this year is 'An Italian Night'. The concert is broadcast on TV and radio in more than 60 countries, and thus reaches an audience of millions. The evening’s repertoire is an attractive combination of extremely popular works for orchestra including the William Tell Overture, the March from the opera Aida and the Intermezzo from Cavalleria Rusticana, as well as famous Soprano arias like Vissi d’arte, vissi d‘amore from the Opera Tosca. Valery Gergiev returns to conducts the Summer Night Concert and is joined by star Soprano Anna Netrebko in what promises to be one of the most popular concerts this year! (Presto Classical)

Rolf Lislevand / Concerto Stella Matutina NUOVE INVENZIONI

Rolf Lislevand and Concerto Stella Matutina first worked on a project in 2011, which would result in a prosperous collaboration in concert series and now, the release of their first CD together. The album is a mix of baroque and jazz as well as improvised passages with music arranged for the 12 people orchestra by Andrea Falconieri, Giovanni Girolamo Kapsberger, Girolamo Frescobaldi, Johann Heinrich Schmelzer and Vincenzo Albrici. Bringing the elements of baroque and jazz together and developing a new kind of music by optimizing the instruments of Early Music and giving each instrument section its moment on the recording was the goal of this release. With this intimate and well mixed recording, the musicians did not aim to create crossover music or fit into any other genre but rather generate a sound that is a symbiosis of different musical elements.
Virtuoso of the lute and Baroque guitar Rolf Lislevand is one of the most charismatic figures in today’s early music scene. Lislevand, whose solo recordings have won numerous awards, has been professor of lute and historical performance at Trossingen Musikhochschule since 1993.
Since the establishment of the Baroque orchestra 2005 the number of engagements at home and abroad has been growing. Concerto Stella Matutina has its own concert series in Vorarlberg and has gained an ever growing core audience in a very short time. The musicians, next to the interpretation of familiar masterpieces, also pay special attention to forgotten works of the 17th and 18th centuries.

viernes, 15 de junio de 2018


Carlo Alfredo Piatti, born at Bergamo, Jan. 8, 1822, died at Crocette di Mozzo – about four miles from Bergamo – at the residence of his son-in-law, Count Carlo Lochis, on July 18, 1901.
His father, Antonio Piatti, born at Bergamo in 1801, was a violinist of some repute, who held the post of leader in the orchestra of his native town. Piatti began in his extreme youth to study the instrument which was destined to make him famous. Given the option – at the age of five – of choosing between the professions of violoncellist and cobbler, he decided in favour of the first, and was promptly sent to his great-uncle Zanetti to receive instruction. Though an old man at the time, Zanetti was an accomplished violoncellist, and a patient teacher. He mode it a rule to seat his diminutive pupil in a chair placed upon a table, and it was in this elevated position that the precocious child easily mastered those ordinary difficulties, which severely tax most students. After two years' study his great-uncle, considering his pupil sufficiently advanced, applied for, and obtained permission for him to play in the theatre orchestra. The only return he received for the serious physical effort of the engagement – which lasted three months – was a present of ten francs from the Impresario, half of which was retained by his great-uncle...


Although Elena Moşuc is first and foremost a bel canto specialist and performer of various Mozart heroines for dramatic coloratura soprano, it must be noted that Giuseppe Verdi’s stage works have always been an integral part of her repertoire and will play an even more prominent part of it in the future. Since Maria Callas these roles are sung with heavier and above all dramatic voices. Nowadays this is considered common property. However, one should always keep in mind that these roles – in terms of requirements and stylistics – can not be separated from the era of bel canto and even in Verdi’s times were sung or composed explicitly by leading bel canto primadonnas for these types of voices , Elena Moşuc began her brilliant international career at the Zurich Opera House. Guest appearances take place at the most important houses and festivals in the world (including the opera houses of Amsterdam, Barcelona, ​​Berlin, Hamburg, Milan, Munich, Vienna, Salzburg, Paris, London, Helsinki, Rome, Venice, Verona) as well as in the USA at the MET, in Japan, China and Korea.

Convergent Winds: Music of PAUL HINDEMITH

An accomplished performer on the viola, piano, and clarinet, Paul Hindemith used to brag that he could play any instrument in the orchestra with a little practice. Over the course of his prolific career, the German composer proved that he could write for any instrument as well, and that very notion became something of a mission for him- to ensure that each instrument had its share of solo repertoire. Convergent Winds, a new recording from Oberlin Music, showcases five sonatas Hindemith wrote for woodwinds. It features performances by a host of esteemed Oberlin Conservatory faculty: clarinetist Richard Hawkins, pianist James Howsmon, flutist Alexa Still, oboist and English hornist Robert Walters, and retired bassoonist George Skakeeny. The works were written between 1936- a time when Hindemith’s music was banned from performance in Nazi Germany- to 1942, by which time he has resettled in America. For Howsmon, a longtime professor of instrumental accompanying at Oberlin, the recording pays tribute to an exacting neoclassicist whose music has unfairly fallen out of fashion. “Rather than being a huge innovator, Hindemith took his inspiration from past eras, and yet he had a really wonderful approach to it,” Howsmon says. “He took old models and made them look new, and no matter how wild he gets, you can always find where his starting point was, and it was always 150 years before. He’s like a master furniture builder- a total craftsman. There have been others who have done that, of course, but to me he is the best of them.