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!

miércoles, 12 de diciembre de 2018

Anne Sofie von Otter / Bengt Forsberg A SIMPLE SONG

A brief glance at the list of contents is enough to reveal who the singer is – only Anne Sofie von Otter could have come up with a programme as varied and wide-ranging. And only von Otter could hold it together seamlessly by finding the resonances between these very different pieces, and bringing them out with a rare ability of embracing different singing styles and expressive registers: to paraphrase Bernstein in his A Simple Song, Anne Sofie von Otter never fails to ‘sing like she likes to sing’.
From Liszt to Pärt and from Mahler’s Resurrection Symphony to Richard Rodgers’ Sound of Music, von Otter is supported by her long-time accompanist Bengt Forsberg, here at the organ instead of his usual piano. At various points in the programme they are joined by a number of musical friends, in the organ loft of St James’s Church in central Stockholm – the very church where the young von Otter began her singing career as a chorister and, together with Forsberg, gave one of her very first public concerts.

Les Paladins / Jérôme Correas COUPERIN Leçons de Ténèbres

‘A few years ago, I was composing three Leçons de Ténèbres pour le Vendredy Saint, at the request of the Dames Religieuses de L[ongchamps], where they were sung successfully [...] even though the singing is noted in the key above, every other voice type would be able to sing them, especially since most of the people who accompa- ny nowadays know how to transpose...’.
This is what François Couperin says in the preface of the Leçons de Ténèbres du Mercredy Saint, giving us some very useful insights for better understanding a work that we must listen to here without the context of a religious ceremony or a church. (Jérôme Correas)

Sabrina-Vivian Höpcker / Fabio Bidini BRAHMS Hungarian Dances

Brahms probably heard most of these tunes as a child growing up in Hamburg, played by the Gypsy orchestras that were famous for their 'Hungarian' dance tunes. These passionate and high-spirited melodies fascinate with their abrupt changes of mood, fanciful reveries and extravagant embellishments. Brahms may even have written a few of the melodies himself! But his hand is evident in the lush harmonies and emotional depth. This version for violin and piano was arranged by Brahms' friend Joseph Joachim, the greatest violinist of his generation. The dances are played brilliantly by violinist Sabrina-Vivian Höpcker, who captures flawlessly the wild exuberance and deep sorrow of these alluring tunes. Fabio Bidini is the ideal collaborator, and together they have produced an album of uncommon beauty and appeal.

martes, 11 de diciembre de 2018

SIMON ANDREWS and that moment when the bird sings

Simon Andrews is an English composer who has lived and worked in the US for more than three decades. A winner of the 1985 Benjamin Britten Prize, Andrews’ music has been commissioned and performed to critical acclaim on both sides of the Atlantic. His multi-faceted career as a composer, conductor and teacher led him to undertake his own edition-completion of the Mozart Requiem, which has also been incredibly well-received. Andrews has also composed music for two documentaries, The Amish and Us and Saving Pennsylvania, for PBS.
Simon Andrews has earned a reputation as a creator of eloquent concert music that blends harmonic complexity and lyricism, introversion and broad gestures, and delicate timbres and bold statements. Here, on his recording debut, and that moment when the bird sings, he offers up 10 compositions performed in a variety of configurations, from duos to trios and quintets, all of which emphasize his proficiency in both vocal and instrumental music.

Lukas Geniušas PROKOFIEV Piano Sonata No.2, Op. 14 - Piano Sonata No. 5, Op. 38/135 - 10 Pieces for Piano, Op. 12

Known for his innate curiosity and extensive musical interests, Lukas explores a wide range of repertoire, from the baroque to works by contemporary composers. His repertoire spans from Beethoven Piano Concerti through to Hindemith’s Ludus Tonalis and John Adams, as well as a strong interest in Russian repertoire such as Tchaikovsky, Rachmaninov and, of course, Prokofiev. He is an avid chamber musician and an extremely inquisitive performer and enjoys working on new works by modern composers, as well as resurrecting rarely performed repertoire.
For his first album at Mirare, pianist Lukas Geniušas offers us a program dedicated to two Prokofiev youth monuments and the only sonata he wrote in the West. In the course of these works that four decades separate, a constant remains: the attachment of the composer for his beloved Russia.

Coro e Orchestra del Teatro alla Scala / Riccardo Chailly MESSA PER ROSSINI

                                                                                                        Sant’Agata, 17 November 1868
Dear Ricordi, 
To honour the memory of Rossini I would like the most distinguished Italian composers (starting with Mercadante, even if it’s only for a few bars) to compose a Requiem Mass to be performed on the anniversary of his death. 
I would like not only the composers, but all the performing artists to make a contribution towards the costs incurred, as well as giving their services free of charge. I do not want any foreigner, any hand alien to our art, no matter how powerful, to help us. In that case, I would withdraw at once from the association. 
The Mass should be performed in San Petronio, in the city of Bologna, which was Rossini’s true musical home.
This Mass should not be an object of curiosity or of speculation; as soon as it has been performed, it should be sealed and placed in the archives of the city’s Liceo musicale and never removed again. Exception could perhaps be made for Rossini’s anniversaries, if posterity should decide to celebrate them. 
If I were in the good graces of the Holy Father, I would beg him to allow women to take part in the performance of this music, at least this once, but since I am not, it would be best to nd someone more suitable than me to achieve this end.
It would be good to set up a committee of intelligent men to take charge of the arrangements for this performance, and above all to choose the composers, assign the pieces, and oversee the general format of the work. 
This composition (however good the individual numbers may be) will necessarily lack musical unity; but if it is wanting in this respect, it will nevertheless demonstrate how much all of us venerate the man whose loss the whole world mourns. 
Goodbye, and believe me, 

Marco Schiavo / Sergio Marchegiani JOHANNES BRAHMS Dances

Avoiding both flashy, ornamental virtuosity on the one hand, and vacuous, trivial music for the amateur market on the other, Brahms was known for “the unrelenting seriousness of his piano music” (Leon Botstein). Because Brahms also chose to write ‘absolute music’ (no tone poems, programmatic references or any attempt to tell a story), this further enhanced his serious and somewhat stodgy image. Didn’t he ever let down his hair and have some fun? Critic Thomas May writes that the answer was a resounding ‘Yes!’ “Fun was very much a part of his performing persona, in moments with friends when he wanted to relax...That’s the origin of the Hungarian Dances, which started out as party pieces he would trot out when the mood struck.” When Brahms played these 4-hand duets with Clara Schumann, he entertained her children as “his eyes flash[ed] fire all the while” (Brahms scholar George Bozarth). 
Brahms’s extensive association with the Hungarian professional violinists Edward Remenyi and Joseph Joachim resulted in a love of what he thought were actual Hungarian folksongs and dances. But ‘Hungarian’ in this instance “turned out to be the music played by traveling ‘Gypsy” (Roma) bands. Nonetheless Brahms’s first collection of 10 Hungarian Dances, which he published as 4-hand piano pieces in 1869, are simply a delight. Popular too; Brahms later arranged them for solo piano (1872), and wrote orchestral arrangements for numbers 1, 3 and 10. Later composers, including Dvorak, arranged all 21 dances for orchestra. 
He considered them arrangements, not original compositions, so Brahms published them without opus number. He was unduly modest, as he composed three of the 11 dance melodies in the second set (published in 1880) . Brahms set most of these dances in A B A form, though numbers 3, 4 and 8 extend beyond that format. He constantly varies the tempo from dance to dance, as well as the different sections within each dance. These dances sparkle; listen for the humor in the second strain of the main melody in Dance no. 6, where all the grace notes sound like mistakes the pianist is making. Every theme in dance number 3 features that beloved Hungarian penchant for three-bar phrasing. It crops up in other dances as well, along with the continual rhythmic turns of phrase.
Brahms became one the first composers supported solely by the royalties from his music (and concert income). The three sets of dances he worked on in the 1860s and 1870s – the 16 Waltzes Op. 39 and the first books of the Hungarian Dances and Liebeslieder Waltzes – continued to provide a significant portion of that income for the remainder of Brahms’s life. (Ed Wight)

lunes, 10 de diciembre de 2018

Mayke Rademakers STAGIONI

Mayke Rademakers: "The e-cello is a relatively new instrument; it has not yet conquered its true place in the world of classical music. It presents an enormous spectrum of sound colors as well as the possibility of polyphony when played in conjunction with a loop and other effect pedals. It has inspired me significantly as a classical musician and I cannot now imagine undertaking my compositions and improvisations without it. Improvisation directly engages intuition and spontaneity which in turn enlarges perspective.
"Following the improvisations which I combined with the Bach suites and works by contemporary composers, I felt the need to work on a larger piece. This has resulted in ‘STAGIONI’. I could not nor have I wished to ignore Vivaldi and have woven several quotes from his masterpiece into my improvisations. Inspiration has also come from the medieval mystic and first recognized feminine composer, Hildegard von Bingen. Other primal sources which have fed me along the way include early polyphony, Sephardic folk music and Afro-American blues. This was not according to any plan, rather repertoire influences which are recognizable only in hindsight."

Eugénie Warnier / Marine Thoreau La Salle / Quatuor Les Heures du jour SOIR - BERCEUSES (MAIS PAS QUE...)

My singing debut was very abrupt, a matter of urgency. I was at the time an intern in gynaecology and obstetrics, and one evening, returning home from attending a performance of Rusalka at the Bastille Opera, I knew I had to sing. Starting to work your voice at the age of 25 is a difficult challenge, I ‘did’ everything as a matter of urgency. I use this word because despite my desire to learn to sing I had above all to do it very quickly, almost immediately on stage. I was able to enter the great temple through the door of early music. Little by little, by learning as I went, I was able to make progress, ‘carve out my space’, often with a certain form of violence, because I had to get ahead as fast as possible. The idea of this disc was born, I believe, a very long time ago and it has been shaped slowly, delicately. It was a journey towards peaceful reassurance, a gentle desire for songs that came from afar, for a melodious childhood, music-loving, melodic, for the love of the beautiful : a text, an air, easy to remember, soothing, reposeful. This ever present desire took form, became reality. With maturity came a self-confidence built up day after day until its first manifestation at Bordeaux Opera where I met an audience that was open-minded, moved, receptive and that had rejuvenated my desire to touch and move... the seed had been planted. (Eugénie Warnier)

Peter Moore / James Baillieu LIFE FORCE

Don’t judge this disc by its cover. The artwork is the usual moody monochrome of a young soloist in a vaguely industrial setting – so far, so contemporary. But the contents are something else entirely: music chosen by Peter Moore because, he says, it ‘feels special to me’ and which, taken together, portrays a young trombonist with a deeply romantic soul. There’s something disarmingly likeable about an artist who feels as warmly about, say, Thoughts of Love – a sugar-coated concert waltz by Arthur Pryor, formerly of Sousa’s band – as he does about Mahler’s ‘Urlicht’, and who plays both with such genuine sympathy.
Moore is helped at every stage of the way by his duet partner, James Baillieu – who supports him with the same sensitivity to mood and colour that he brings to Lieder. And this is a real partnership: the way Baillieu teases gently at the piano part of the slow movement from Rachmaninov’s Cello Sonata, or generates a hushed, pregnant space at the opening of Brahms’s Op 121 songs, very audibly gives Moore something to work with and helps shape the direction of his long, carefully phrased lines.
The Brahms, Bruch and Mahler transcriptions, with their prevailingly sombre atmosphere, perhaps convince more fully than Schumann’s more mercurial Fantasiestücke – though Moore and Baillieu find something distinctive to say in everything here. I hope Moore will take it as the compliment that’s intended when I say that his pianissimo tone in the Schumann is reminiscent of a horn. And that the two ‘lollipops’ – the Pryor and the amusingly jaunty Concerto by Friedebald Gräfe – have just as much character, providing enjoyable contrast in a predominantly serious (though always beautiful) recital. (Richard Bratby / Gramophone)