Wednesday, March 21, 2012

The Complete Works of Johann Sebastian Bach - Bachakademie 10th Anniversary Special Collection

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Price : $213.75
Post Date : Mar 21, 2012 21:51:15
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The Complete Works of Johann Sebastian Bach - Bachakademie 10th Anniversary Special Collection

Globally recognized as the ONLY authoritative edition
of Bach's works NOW AVAILABLE at a NEW
competitive price - a celebration of a lifetime's work
- and sought-after throughout the World hänssler
CLASSIC's Complete Works of Bach, produced in
cooperation with the International Bach Academy.
172 CDs - recorded under the direction of Professor
Helmuth Rilling from 1975 to 2000!
Helmuth Rilling was awarded the Grand Prix du
Disque for his landmark recordings of cantatas and
they now enjoy benchmark status. They feature the
great names of the singing world: including Arleen
Augér, Julia Hamari, Aldo Baldin, Dietrich Fischer-
Dieskau, Wolfgang Schöne, Peter Schreier, Andreas
Schmidt accompanied by Gächinger Kantorei, Bach
Collegium Stuttgart, Helmuth Rilling and others.
172 CDs - over 175 hours
1 CD-ROM with 5000 page eBook
(includes all song texts, introductions,
and biographical notes)
2 books with BWV- (288 pages) and
CD- (144 pages) number listing and
additional information
includes the complete:
Chamber Music, Cantatas,
Orchestral Works,
Passions & Oratorios,
Chorales & more.

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Smith And Wesson 340pd Ideas

Friday, March 16, 2012

Complete Duo Recordings

!±8± Complete Duo Recordings

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| Price : $53.56
Post Date : Mar 16, 2012 16:16:19 | Not yet released

Complete Duo Recordings

Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.

Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."