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!

lunes, 15 de octubre de 2018


2018 marks 333 years since the birth of Johann Sebastian Bach; music in Bach’s time went far beyond the superficial process of just placing pleasing harmonies on manuscript paper – it had religious significance and meaning built into its very structure. Of particular prominence in some of Bach’s music are references to the number three, reflecting the important doctrine of God’s Tri-unity which lies at the core of Bach’s Lutheran faith. So for Bach at least, 333 would have had real significance.
“Bach is regularly singled by composers across all traditions from jazz, pop, world and classical for his unique importance,” says Paul Moseley, Universal Music Group’s Director of Bach 333. “We have set out to do him, his life, his world, full justice, taking in current and past performance practice, fresh scholarship and the latest media, to produce something that will educate, entertain and deepen our relationship with probably the most influential composer of all time.”  
New Colours of Bach explores Bach's unique impact on the world of music, featuring today's artists, composers and remixers including Víkingur Ólafsson and Peter Gregson.

Tim Mead / Les Musiciens de Saint-Julien / François Lazarevitch PURCELL Songs & Dances

Les Musiciens de Saint-Julien, guided by François Lazarevitch’s virtuoso flute, have already led us along the roads of Ireland and Scotland, notably the High Road to Kilkenny (ALPHA 234), a great success in 2016. This time, they venture into England with an essentially secular programme devoted to Henry Purcell (1659-95), varying the mood by alternating between instrumental dances and songs performed by the English countertenor Tim Mead, including ‘O Solitude’ and ‘What power art thou’. While Les Musiciens de Saint-Julien have chosen these celebrated pieces for pleasure above all, with this English programme they also fill in a new piece in their jigsaw map of the United Kingdom. At the same time, they demonstrate the musical porosity of Ireland, Scotland and England – and the atypical colours of the small string ensemble complemented by two flutes, a harp and harpsichord/lute continuo further underline the fact. The common thread, dear to Les Musiciens de Saint-Julien, is that of folk music lying at the heart of art music, in a mixture of origins, practices and repertories. We can easily recognise ‘Scotch and Irish tunes’ that Purcell incorporates in his overtures, jigs, hornpipes and chaconnes. The countertenor Tim Mead punctuates the dances with songs composed for the operatic or dramatic stage or for chamber performance.

Violaine Cochard / Édouard Ferlet PLUCKED 'N DANCE

A journey through countries, periods and styles on the theme of dance. The themes and melodies are borrowed from Spanish, Turkish, Russian, Italian, English, Hungarian and French composers, inspired by folk music and dances.  
Édouard Ferlet has used this music to compose new pieces, arranged for harpsichord and piano.There are no direct quotations here, but a thread which is woven between these well-known melodies and a new musical vocabulary. 
In each piece Violaine Cochard and Edouard Ferlet improvise freely, each with their individual ‘temperament’ and sensibility. They work on sonority, texture, the exploration of sound palettes, spatialisation, phrasing, distillation. The two artists seek to develop sonic possibilities, articulations, playing techniques and interaction between their musical personalities. A special feature is their work on pulse and tempo, with compound metres linked with the rhythms of folksongs and dances, which are often in compound time. 
Each piece is underpinned by an individual dramaturgy; the melodies are immediately appealing because they remind us of something while surprising us with jazz and contemporary arrangements.

domingo, 14 de octubre de 2018

Dresdner Philharmonie / Dennis Russell Davies ALFRED SCHNITTKE Symphony No. 9

Composed shortly before his death in 1998, Schnittke’s ultimate symphony – actually his very last work – is a “Ninth” in a most unusual sense: Put down with a shaky left hand by an artist who had survived four strokes and was laterally debilitated, it is an impressive triumph of spiritual energy over physical constraints. The composer’s widow Irina treated the barely-legible manuscript as a testament and was long doubtful whom to entrust with the difficult task of deciphering and reconstructing the highly expressive three movements for large orchestra (some 38 minutes of music). She finally settled on Moscow-born Alexander Raskatov, who not only provided a thorough score but, convinced that Schnittke had intended to write a fourth movement, also developed the idea to add an independent epilogue, the “Nunc Dimitis” (“Lord, let thy servant now depart into thy promis'd rest”) for mezzo soprano, vocal quartett and orchestra. It is based on the famous text by orthodox monk Starets Siluan and on verses by Joseph Brodsky, Schnittke’s favourite poet. Both pieces were given their first performances in the Dresden Frauenkirche in summer 2007 by the musicians of this world première recording which feautures long-standing ECM protagonists the Hilliard Ensemble and conductor Dennis Russell Davies. (ECM Records)

Francesca Dego / Francesca Leonardi BEETHOVEN Violin Sonatas 6, 7, 10

Among the best Italian musicians of their generation, Francesca Dego and Francesca Leonardi have been performing together worldwide for the past ten years with repertoire ranging from Baroque to new music.
Francesca Dego (Lecco 1989) has established herself as one of the best young artists on the Italian musical scene. In 2008 she was the first Italian female violinist since 1961 to reach the final of the renowned “Paganini Competition” in Genoa and she won the “Enrico Costa” prize for having been the youngest finalist. Francesca plays a precious Francesco Ruggeri violin (Cremona 1697) and the ex-Ricci Guarneri delGesù (Cremona 1734) courtesy of Florian Leonhard Fine Violins.
Francesca Leonardi, From her earliest years she has earned distinction in many national and international competitions, winning 14 first prizes. Her three CDs with Francesca Dego (SiparioDischi 2005 and 2006 and WideClassique 2011) have been highly praised by critics and extracts from their second CD were used in the sound-track of the new film of prize-winning American director Steven Kroschel, “The Beautiful Truth”. She has performed in broadcasts on Radio Popolare, Radio Classica, the Italian Swiss Radio, RAI Radio 3, Vatican Radio and Tv2000. From a very early age she has showed enthusiasm and passion for teaching and now teaches piano at Trinity School in London.

Dana Zemtsov / Cathelijne Noorland ROMANTIC METAMORPHOSES

The term ‘Romantic’ has always been something of a mystery to me due to its many and often subtle definitions. On this CD I invite the listener to re-explore this phenomenon, so often evident in day-to-day life, from different perspectives. T he programme takes as its point of departure the nineteenth-century classical romanticism of the beautiful ‘Sonata’ by Henri Vieuxtemps. This is the lyrical, sensitive type of romanticism so typical of that period. In contrast to this is ‘Suite for viola and piano’, Ernest Bloch’s romantically fantasized adventure through savage nature and tribes under the sun in the jungle. Waxman’s ‘Carmen Fantasy’, which probably needs littleintroduction, is a strong depiction of Bizet’s dramatic opera.
For me personally, however, the most ‘romantic’ and personal piece on this CD is the ‘Melodie im alten Stil’ by Evgeni Zemtsov. The nostalgic style in which this modern piece is written, with its lyrical melody, ornamented in Baroque style, imposed on fresh, contrasting harmonies, is just one reason to admire it. A second one is the story behind it: during his studies in Moscow the composer fell in love with a beautiful girl. She played the viola, and he wrote this beautiful piece for her instrument as a declaration of love. One year later their first child – my father – was born. (Dana Zemtsov)

sábado, 13 de octubre de 2018

Dana Zemtsov / Estonian National Symphony Orchestra / Daniel Raiskin ESSENTIA

One of the biggest dilemmas of our generation is where are we from, who are we, what is our identity? Globalization has made the whole world closer, bringing our cultures more and more together. I myself am a product of this mix, being born in Mexico to Russian parents with a Jewish background, having studied at a French school in Norway and grown up in Holland. Consequently I have often thought about these questions: which culture is closest to me? What am I? I could feel at home and relate to all these cultures and yet I am not really part of any of them.
The music on this album explores the opposite perspective; each piece is very strong influenced by the composer’s culture. One can immediately smell the Hungarian landscape in Bartok’s Viola Concerto, Italian roots in the Carnevale di Venezia, the Jewish soul in Bloch’s Nigun and Russian Orthodox chants in Kugel’s Preghiera. However, there is a deeper meaning to the title of this album, as the programme also touches the spiritual and carnal nature of the human being. During the process of compiling this programme I suddenly realized the strong religious connection between the second movement of the Bartok concerto and the two prayers that follow. This is followed by the contrasting ‘danse macabre’ in the third movement, which for me is very much associated with the carnal ritual of a carnival, when one is allowed to release one’s most primitive instincts. I believe each of these pieces explores the deepest roots of humankind, that core that will be there, no matter where we go or what we do.
I am eternally grateful, primarily to Jared Sacks, for the opportunity of going through this unforgettable experience. I could not be happier to have done so with the Estonian National Symphony Orchestra and one of the best musicians I could have wished to collaborate with, the conductor Daniel Raiskin. (Dana Zemtsov)

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Cappella Mediterranea / Leonardo García Alarcón DE VEZ EN CUANDO LA VIDA

‘The memories of my childhood in Argentina always bring me back to the singer-songwriter Joan Manuel Serrat, synonymous with shared family moments  . . . Serrat’s poetry and music around a barbecue in Argentina; “De vez en cuando la vida” made me cry as it has made millions of people cry in Latin America, Spain and elsewhere . . . Joan Manuel Serrat is part of our life, he is our Jacques Brel! . . . Or, if we project ourselves back to the sixteenth century, he is in a sense our little Camerata Fiorentina, that movement of Italian poets and musicians in Florence. Serrat has allowed the whole of Latin America and Spain to reappropriate the works of its poets . . . He has also been synonymous with freedom and the struggle against dictatorial regimes.
‘His song “Mediterraneo” is one of the emblematic pieces of his career. It is almost a hymn that has special resonance nowadays: “I was born in the Mediterranean”!
‘I asked my good friend Quito Gato to arrange these songs for our ensemble, Cappella Mediterranea. The orchestration retains typical seventeenth-century instruments: recorders, cornett, violins, viola da gamba, cellos, lutes, harp, harpsichord, organ, with some percussion and a double bass.
‘These period instruments allow us to travel back in time and compare Serrat’s romances with the Ensaladas of Mateo Flecha (1481-1553) – La Bomba – or a piece by Francesco Valls, a Catalan who is now forgotten yet was one of the greatest composers of seventeenth-century Spain, the polyphony of Guillaume Dufay, a composition by Juan Cabanilles that recalls a Bach Passion. The Xacaras, a satirical genre from the Spanish Golden Age (Francisco Gómez de Quevedo, Pedro Calderón de la Barca) dialogues with Serrat’s works. As does the Música callada of the Catalan composer Frederic Mompou, transcribed here for the harp.’ (Leonardo García Alarcón)

Daniil Trifonov, The Philadelphia Orchestra, Yannick Nézet-Séguin DESTINATION RACHMANINOV - DEPARTURE

Amid the excitement over a rediscovered rehearsal tape of the composer playing Symphonic Dances, there arrives a new account of two concertos with Rachmaninov’s favourite orchestra and the living pianist who most resembles him. Deutsche Grammophon has titled the album Destination Rachmaninov. Departure and furnished the cover with a portrait of the soloist, Daniil Trifonov, sitting in the kind of railway compartment that went out with shellac records. Do not be distracted by these marketing tricks.
Trifonov opens with C minor concerto with quiet authority, each chord darker than the one before, Rachmaninov at his most morose. If this concerto had a physical colour it would be brown, streaked with alabaster flashes of erotic fantasy. Trifonov paints brown deeper than any pianist of the present generation, or the last. He inhabits Rachmaninov’s peculiar mindset, rooted in Russia yet drawn to the West, deeply pessimistic yet abnormally energetic, introspective yet showman-like. The finale of the second concerto comes as close to the source as any recording I know.
The fourth concerto, always problematic, is propelled at speed by Yannick Nézet-Séguin and played by the Philadelphia Orchestra with something of the burnish that so captivated the composer. The Three Blind Mice central movement, often made to sound simplistic, acquires an edge of menace. The finale is pure helter-skelter. Between the two concertos, Trifonov plays Bach transcriptions, just as Rachmaninov might have done. This recording stands with the greats. (Norman Lebrecht)

Francesca Dego / Francesca Leonardi SUITE ITALIENNE

The Italian violin and piano duo Francesca Dego and Francesca Leonardi will release a new disc on Deutsche Grammophon this October, featuring Stravinsky’s Suite Italienne, Respighi’s Violin Sonata in B minor for violin and piano and the world premiere recording of three works by the Italian composer Mario Castelnuovo-Tedesco.
In addition to violin paraphrases of operas by Rossini and Verdi, the disc includes Castelnuovo-Tedesco’s “Ballade” Op. 107 for violin and piano, which was written for and premiered by Tossy Spivakovsky in 1940. It was left to gather dust until February 2018, when it was recovered by Dego with the assistance of the composer’s granddaughter, Diana Castelnuovo-Tedesco. It is now available internationally in print thanks to Edizioni Curci.