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!

martes, 17 de julio de 2018

Rune Most / Odense Symphony Orchestra MOZART Complete Music for Flute & Orchestra

Bridge's new Complete Mozart Flute & Orchestra disc features the Odense Symphony Orchestra and their principal flautist, Rune Most, performing on a wooden flute.  The recording, made in the acoustically superb Carl Nielsen Hall, includes the two flute concertos, the rondo, and perennial Mozart favorite, the Concerto for Flute and Harp.

Anita Watson / Anna Starushkevych / Nicky Spence / James Platt / Navarra Quartet / Lada Valešová FATA MORGANA Song by PAVEL HAAS

It’s good to see commitment to Pavel Haas’ legacy from the rather unlikely environs of a British label and to see the name of, say, tenor Nicky Spence amongst the singers. But look a little closer and you’ll also see the name of the pianist and artistic director the project, Czech-born, London-resident Lada Valešová, whom I have praised here before for her idiomatic performances of her native country’s music where she played, inter alias, Haas’s Suite, Op.13 and the Allegro Moderato of 1938. She also provided the vital language coaching in this new disc.
None of these song cycles are so commonplace on disc that one can easily pass by this latest, focused disc. The Seven Songs in Folk Style are delightful miniature settings irradiated by the deft, often dappled piano writing, well brought out by Valešová. Both Anita Watson and the pianist prefer quite an expansive view of the songs, especially the slower ones. The baritone Petr Matuszek sang them with pianist Aleš Kaňka on Supraphon SU 3334-2 231 and they are altogether bluffer than the Resonus duo; more rustic, faster by far in almost all settings, and digging out the burlesque piano writing of the last setting with graphic wit. Even though he only sings two of the cycle Karel Průša’s old Bonton recording on a mixed recital disc adheres to the Czech tempo norms in this cycle. The Resonus team prefer a more melancholic, expansive view and are less tersely unsettled as a result.
Haas sets two lots of Chinese songs. His 1944 Four Songs on Chinese Poetry is the one that has been investigated more often than the much earlier Op.4 set of three songs. The wartime settings are again slower than the Czech pairing on Supraphon. Possibly this is a question of the naturalness of Matuszek’s singing of his native texts, but it’s also a question of conception. The Resonus team is more clement, preferring a lateral rather than a vertical response. It’s noticeable that the Czech team’s accents and articulation are that much more incisive, the word painting that much more involving – though neither James Platt nor Valešová is undramatic in any way. The difference in tempo in the third of the songs tells its own story: 6:16 for Resonance and 4:55 for Supraphon. To further contextualize this, baritone Christian Gerhaher and pianist Gerold Huber are similarly much faster in their recording on a marvellous DG disc [477 6546] that functions as a homage to composers incarcerated in Terezín.
The Op.4 set was composed in 1921 and is, as yet, not quite characteristic of his more natural settings of over two decades later, but does reveal subtlety in interpretation.
The big news is that we have here a world première recording in the shape of Fata Morgana, Op.6, a two-part, half-hour setting of Tagore composed in 1923. It’s written for voice, here Nicky Spence, string quartet and piano – which is to say the same combination as Vaughan Williams’ earlier On Wenlock Edge. This is a fascinating if somewhat over-extended work, saturated in eroticism – though not the erotic exoticism of Szymanowski, more the eroticism of a conflation between Debussian sensuous languor and Janáčekian urgency. The latter is hardly surprising, obviously, as Haas was one of Janáček’s best-known pupils and the little moments of quartet fluttering inevitably remind one of the Moravian master. This is a work that, despite its relative length, has a lot going for it – nocturnal wind motifs, the way each voice – the literal voice of the singer, as well as the piano and quartet - embody characteristics derived by Haas from Tagore’s hothouse poetry. Then there is tension through repetition, evanescent melancholy and echoes of The Diary of One Who Disappeared. Spence sings highly effectively and the Navarra Quartet really makes the most of its numerous opportunities for sensuality.
Questions of idiomatic textual declamation and tempo decisions aside this is a well selected disc, bringing to the table two of Haas’ most attractive cycles and that première recording. It sits splendidly in the current discography. (Jonathan Woolf)

Michael Barenboim / Daniel Barenboim / Wiener Philharmoniker / Pierre Boulez SCHOENBERG Violin & Piano Concerti

Peral Music—Daniel Barenboim’s digital record label “for the thinking ear”—is proud to release the Vienna Philharmonic’s debut recordings of Arnold Schoenberg’s Violin Concerto and Piano Concerto, featuring the iconic composer and conductor Pierre Boulez, pianist and conductor Daniel Barenboim, and violinist Michael Barenboim. The new release captures the esteemed Vienna Philharmonic’s first performances of both works.
Dating from 2005 and 2012, these are the Vienna Philharmonic’s first recordings of two of Schoenberg’s works: the Piano Concerto with Daniel Barenboim under Pierre Boulez and the Violin Concerto with Michael Barenboim under the direction of his father.
The Vienna Philharmonic has enjoyed a close bond with Schoenberg’s music, since he himself conducted two performances of his Gurre-Lieder in 1920 and afterwards wrote a personal letter of thanks, expressing his gratitude to the musicians for their work together. Since then there have been more than 100 performances of his works, and the orchestra even played an important part in the foundation of the Arnold Schoenberg Center in Vienna in 1998.
It is all the harder to believe that the Vienna Philharmonic had never previously played either of these two works. For Daniel Barenboim the orchestra’s performances of Schoenberg’s music are full of “tenderness, good-natured informality and naturalness.” Their “playing is very much inspired by the venue.”
This makes it all the more inconceivable that these works by arguably the greatest composer of the 20th century, and a native of Vienna to boot, had been overlooked by the orchestra for so many years.
It was not until 2005 that Pierre Boulez conducted the Vienna Philharmonic’s first performance of Schoenberg’s Piano Concerto, when the soloist was Daniel Barenboim. Seven years later Barenboim returned with his son Michael and the two of them gave the first performance of Schoenberg’s Violin Concerto op. 36 with the orchestra. “Highly explosive music,” Michael Barenboim describes Schoenberg’s piece: “Every bar is aflame.” The work’s difficulties are plain. When it received its first performance in 1940, the composer’s daughter, Gertrud Greissle, remarked that “The difficulties are not purely intentional, but they are unavoidable.” Even today the virtuosity of Schoenberg’s Violin Concerto instils a sense of awe in many violinists. For a time Jascha Heifetz regarded the work as unplayable.
But for Barenboim, “Where other orchestras wrestle with the difficulties, the Viennese may do so as well, but they then discover themselves in the music, and this is really wonderful.”

Rautio Piano Trio MOZART Piano Trios KV 502, 542, 564

Mozart’s piano trios don’t come out to play as often as Haydn’s, despite being among his finest chamber works. (Similarly neglected are the string quintets, not counting the G minor, K516.) So a new recording of any or all of them is always to be welcomed. This disc adds interest by being performed on period instruments, making it something of a rarity in this repertoire.
The ear is immediately struck by the fortepiano, a 1987 Derek Adlam copy of an Anton Walter instrument from the mid-1790s, which formerly belonged to Christopher Hogwood. It’s beautifully set up, and remarkably little action-noise is captured in the Potton Hall recording. As delightful as it is to listen too, it is evidently a joy to play, and Jan Rautio leads performances notable for their buoyancy and vivacity.
I know from experience that piano trios are notoriously difficult to record and, much as the Rautio players extol the balance advantages of period instruments, this seems to be a problem that has not been entirely overcome. Cellist Adi Tal offers elegant support to the piano’s left-hand lines but Jane Gordon’s violin often dominates. (Neither string instrument is identified in the booklet.) Hers is a full-bodied sound, only occasionally warmed by vibrato, but can become oppressive as sustained notes reach the middle of the bow. Not only that, but Gordon fights shy of exploiting a true piano, meaning that quiet passages are rendered less tenderly than they might have been. The piano in many places is all but swamped by the string tone – which is a pity, as I liked the piano the best. (David Threasher / Gramophone)

lunes, 16 de julio de 2018

Andrè Schuen / Daniel Heide SCHUBERT Wanderer

This collection of Schubert Lieder is Andre Schuen's third album for CAvi. Together with accompanist Daniel Heide, Schuen has chosen songs on the theme of wandering.
Andrè Schuen: "This time, as a point of departure, we chose the idea of "wandering", of a "journey", a "path", and tried to come up with all possible variants. Three major themes emerged. On the one hand, we have Romantic "wandering" per se, which plays an important role in Schubert (as in Der Wanderer on a poem by Schlegel). Secondly, the path to the beloved as in Auf der Bruck as well as in Willkommen und Abschied. The third theme is the journey to the afterlife or to death, as in Totengräbers Heimwehand Im Abendrot. In my view, these three principle themes imbue our programme with a kind of ambivalence, reflecting a general ambivalence that is omnipresent in Schubert
Daniel Heide: The overwhelming quantity of songs that are often slow and address themes of sadness and yearning is actually one of the core issues in Romantic Lied repertoire ? indeed, why do they have to be so plodding, so sorrowful, so full of longing? Where is the cheerfulness? Is there any life-affirming element to be found? 
Baritone Andrè Schuen has been regularly invited to appear in Salzburg Festival productions since 2009, collaborating with conductors Ingo Metzmacher, Riccardo Muti, and Ivor Bolton ? most recently in the role of Morales in Carmen with Sir Simon Rattle as conductor. From 2010 to 2014 he was a member of the ensemble of soloists at Graz Opera, where he covered roles including Prince Yeletzky (Queen of Spades), Belcore (L'elisir d'amore), Ford (Falstaff), Papageno (Magic Flute), Heerrufer (Lohengrin), and Roi Alphonse (La favorite). At the Theater an der Wien (Vienna) he was invited to perform under the baton of Nikolaus Harnoncourt in the title roles of Don Giovanni and Nozze di Figaro, as well as in the role of Guglielmo in Cosi fan tutte; he has likewise sung Don Giovanni in Perm (Russia) with Teodor Currentzis conducting. The Theater an der Wien has invited him back for further role debuts including the title role in the world premiere of Anno Schreier's Hamlet and the Count in Richard Strauss's Capriccio; he also covered Marcello in La Boheme for the Grand Theatre de Geneve. In parallel, Andre Schuen pursues a widespread career on concert podiums, collaborating with conductors such as Daniel Harding, Philippe Herreweghe, Riccardo Muti, Jukka-Pekka Saraste, Paavo Jarvi, and Trevor Pinnock.

domingo, 15 de julio de 2018

Fidelio Trio RAVEL & SAINT-SAËNS Piano Trios

The unusual item here is Saint-Saëns’s Second Piano Trio of 1892, of which the Fidelio Trio give a performance of terrific impetus and refinement. It would be all too easy to fall into the trap of inflating the opening movement – by far the longest of the five – since the busy, red-blooded piano accompaniment to the strings’ main theme can threaten to take on a life of its own. In terms of texture, though not by any means of thematic substance, Tchaikovsky’s Piano Trio, completed in 1882, comes to mind as a score that in realms of instrumental balance requires similarly careful thought. The Fidelio have done their thinking for the Saint-Saëns and the result is superb: you certainly know that the piano is working hard with all those arpeggios and rapid, keyboard-crossing chords, but the performance is all of a piece, with the violin and cello speaking with just as much authority and élan.
The whimsy of the second movement’s lopsided 5/8 rhythm is nicely etched in; the cello’s languid theme in the central Andante is beautifully done and finds a perfect match when the violin joins in. The lighthearted Grazioso fourth movement forms an emotional breather before Saint-Saëns returns in the finale to the mood of the opening movement with all his seriousness of craftsmanship and propulsive energy.
The Fidelio’s interpretation possesses admirable clarity and definition, polish and brio, qualities they bring also to a very different world of sound in the Ravel Trio. In both works their interpretative touch is secure, their rapport instinctive. Together with their eloquence and passion, this all adds up to something special. (Geoffrey Norris / Gramophone)

sábado, 14 de julio de 2018

Hartmut Rohde JOSEF TAL Works for Viola

When the Berlin Academy of the Arts asked if I would agree to participate in a recital along with Josef Tal and learn his two works for viola and piano under his guidance, I was thrilled. At the Berlin University of the Arts I knowingly and willingly place myself in the tradition of the most influential musicians of the 1920s: for me as a violist, Paul Hindemith, Tal’s teacher, is always present as one of our greatest composition teachers. In 1995 we organized a large-scale international Hindemith Festival, during which almost all of Hindemith’s compositions featuring the viola were performed.
This made me want to become better acquainted with works by Hindemith’s pupils and his entourage. Tal was one of Hindemith’s most well-known students, and one of those who most consistently took the master’s ideas a step further. He also became a committed, fascinating trailblazer in the field of electronic music (in which Hindemith had already started experimenting in the late 1920s at the Hochschule für Musik in Berlin, the forerunner of our University of the Arts). Josef Tal initiated the Centre for Electronic Music in Israel in 1961 at the Hebrew University in Jerusalem; at that time, he was one of the country’s leading, most well-known composers.
I met Josef Tal when he was 94 years old. Our encounter was like a journey into an unsettling past, marked by a great number of hardships and upheavals he had personally endured. It also offered a revealing glimpse into the outlook of composers in Israel, as well as previously in Germany – even into compositional approaches from many eras he did not live through himself.
Throughout our collaboration, Josef Tal proved to be a great thinker: not just an analyst, but also an interpreter who consistently sought to bring out the emotional aspect in music. He ascribed a decisive role to that which lies “between the notes”. I like to call such an approach Durchhören, i.e. “hearing through the music”. It can open many marvelous avenues for the performer, particularly in music which does not seem emotional or Romantic at first glance. (Hartmut Rohde)

Les Arts Florissants / William Christie LE JARDIN DE MONSIEUR RAMEAU

This ebullient release makes an ideal introduction to the French music of the middle 18th century, which is very easy to kill off with stodgy performances. The title Le Jardin de Monsieur Rameau has several connotations. It refers to the musical surroundings of the preeminent composer of the day, Jean-Philippe Rameau, and to Le Jardin des Voix, an ensemble of young singers connected with the French Baroque specialist ensemble Les Arts Florissants and its American-French director, William Christie. Yet again the title alludes to a garden where the present program was performed live, and which is the subject of a booklet-length prose piece, included, by French fiction writer Adrien Goetz. The live performance was partially staged, but it transfers quite well to the recorded medium, with its various sound effects intact and the enthusiasm of the young singers admirably putting the music across. Devotees of this music will be interested to hear the new generations of performers coming down the pike. Those with some familiarity will enjoy the presence of some little-known music by the likes of Antoine Dauvergne and Nicolas Racot de Grandval along with Rameau and Gluck. And nearly all listeners will enjoy the coherent scenes that allow the development of the characters, who are in several memorable cases comic ones. Hear Grandval's satirical portrayal of an overambitious performer (track 6). The live sound is unusually good, and the whole production testifies to the continuing creativity of one of the legendary Baroque historical-performance groups. Highly recommended. (

Les Arts Florissants / William Christie HANDEL Music for Queen Caroline

Queen Caroline was an emblematic female figure of the eighteenth century. The wife of King George II of England, Caroline of Ansbach was a woman of great beauty, a supporter of the arts and sciences, and also a friend and protector of Handel.
It was Handel who was commissioned to compose the ceremonial music that accompanied her reign—“The King Shall Rejoice” played at her and George’s coronation, the “Queen Caroline” Te Deum, written for her arrival in England, and also “The Ways of Zion do Mourn,” composed for her funeral.
In this recording which, for the first time, brings together these three works illustrating the very strong link between the queen and her chosen artist, the choir and orchestra of Les Arts Florissants, whose ranks were enlarged for the occasion, bring back to life music that is at once flamboyant and poignantly human.

Robert Smith / Paolo Pandolfo THE EXCELLENCY OF HAND

Following on from his critically acclaimed recording of solo English viola da gamba works (Tickle the Minikin), founder member of Fantasticus, Robert Smith, returns with this album of English works for viola da gamba duo. Smith is joined in this collaboration by the prolific and celebrated gambist Paolo Pandolfo.
Featuring a selection of seventeenth-century repertoire from Christopher Simpson, John Jenkins & Simon Ives, this album is packed with divisions for duo, which are often intensely virtuosic. Also featured are a selection of preludes from Christopher Simpson’s The Division Viol and an additional Prelude in A minor by gambist Robert Smith.

'[...] gamba demons Paolo Pandolfo and Robert Smith (early music's Butch Cassidy and the Sundance Kid) have concoted an intoxicating brew of pieces that would surely convert the most hardened sceptic [...] Smith and Pandolfo enjoy a terrific rapport sharing an acute sensitivity to balance, ensemble, phrasing and nuance' (BBC Music Magazine)