Masaaki Suzuki was an organist before he was a conductor, and his recordings of Bach's organ works have made a delightful coda to his magisterial survey of Bach cantatas with his Bach Collegium Japan. This selection, the second in a series appearing on the BIS label, gives a good idea of the gems available. You get a good mix of pieces, including a pair of Bach's Vivaldi transcriptions. Fans of Suzuki's cantata series will be pleased to note the similarities in his style between his conducting and his organ playing: there's a certain precise yet deliberate and lush quality common to both. And he has a real co-star here: the organ of the Kobe Shoin Women's University Chapel, built in 1983 by French maker Marc Garnier. The realizations of Bach's transcriptions of Vivaldi concertos fare especially well here, with a panoply of subtle colors in the organ. Sample the first movement of the Concerto in D minor, BWV 596, with its mellow yet transcendently mysterious tones in the string ripieni. BIS backs Suzuki up with marvelously clear engineering in the small Japanese chapel, and all in all, this is a Bach organ recording that stands out from the crowd. Highly recommended.
A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more. Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).
Grand Funk Railroad, sometimes known as Grand Funk, is an American rock band that was very popular during the 1970s, they toured extensively and played to packed arenas worldwide. David Fricke of Rolling Stone magazine once said, "You cannot talk about rock in the 1970s without talking about Grand Funk Railroad!" Grand Funk Railroad has certainly had their fair share of compilations released over the years. This set takes the albums in the well named Trunk of Funk and releases them in two bite size chunks. For long time Grand Funk fans looking to replace their vinyl with remastered CDs, the two Trunk of Funks boxes are a good way to start. Included in the box one are the group's first four albums - their 1969 debut, On Time, and their 1970 trio of releases (something that is unheard of nowadays by modern rock bands), Grand Funk, Closer to Home, and Live Album - plus previously unreleased tracks.
The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
This third volume of the complete orchestral works by the great French composer Maurice Ravel features his music for the ballet Daphnis et Chloé, his longest work, written for Sergei Diaghalev’s Ballets Russes. The company gave the first performance in 1912. Ravel depicted the characters in the story with great musical delicacy, and the Stuttgart Orchestra reflects this through the attention it gives to the score’s finest nuances. Ravel secures scintillating effects from the large percussion section that he uses, a clear nod to ancient music. The Valses nobles et sentimentales were composed at the same time as the ballet, which makes it an appropriate coupling. The version for piano, clearly linked to Franz Schubert’s similarly named waltzes, was published in 1911, with the orchestral version following one year later. Again the Stuttgart Radio Symphony Orchestra gives a thrilling, first class interpretation.
It has long been known that William Youn has joined the ranks of the world's leading Mozart and Chopin interpreters. The complete recording of the Mozart piano sonatas, made for the Oehms label by the South Korean pianist based in Munich, is already setting new standards of excellence in their interpretation on the modern grand piano.
Auf der neuen Kuschelklassik sind wieder einige der schönsten und berührendsten Momente der klassischen Musik zu hören. Stars wie Sol Gabetta, Joshua Bell, Lang Lang, Adoro, Yo-Yo Ma, Il Divo, Martin Stadtfeld, die 2Cellos und viele andere interpretieren einige der gefühlvollsten Stücke von Wolfgang Amadeus Mozart, Frédéric Chopin, Johann Sebastian Bach, Maurice Ravel oder Antonio Vivaldi. Aber auch neue Komponisten wie Yiruma, Ludovico Einaudi und James Horner sind mit ihren träumerischen Werken auf diesem Doppelalbum vertreten.
Take one motivated and talented young British violinist, inspired by the solo violin music of JS Bach, and mix with some of the best British composing talent of today and the result is: Fenella Humpreys’ “Bach 2 the Future”. Fenella Humphreys came to performing Bach’s masterpieces in their complete form relatively recently, but was frustrated by a lack of solo works to perform alongside them.
Susanna Ogata, violin, and Ian Watson, fortepiano, join forces to record the complete Sonatas for Fortepiano and Violin of Ludwig van Beethoven in four instalments. The second CD in the series features Beethoven's tenth Sonata, Op. 96 in G major, as well as the exquisite ‘Spring’ Sonata, his fifth, Op. 24 in F major. Using period instruments for which the music was originally written, Watson and Ogata reveal not only the clarity of Beethoven’s extraordinary musical structure, but also the beauty and lyricism of these two particular sonatas. Ian Watson has been described by The Times as a keyboard performer with ‘virtuosic panache and brilliantly articulated playing’ and ‘a world-class soloist.’ He was appointed Resident Conductor of Boston’s Handel and Haydn Society in September 2014.