The Végh Quartet was not only one of the finest string quartets from mid-twentieth century Europe, but its style was never subjected to radical change over the years from personnel changes because the four original players remained members for 38 of the 40 years of the ensemble's existence. Its style evolved in subtle ways, of course, but its essential character endured until 1978: the quartet was Central European in its sound, with a bit more prominence given to the cello in order to build tonal qualities from the bottom upward. The Végh Quartet was best known for its cycles – two each – of the Beethoven and Bartók quartets. It also performed and recorded many of the Haydn quartets, as well as numerous other staples of the repertory by Mozart, Schumann, Brahms, and Debussy. For a group that disbanded in 1980, its recordings are still quite popular, with major efforts available in varied reissues from Music & Arts, Archipel, Naïve, and Orfeo.
Awe-inspiring musicianship, incredible musical interplay, fantastic dynamics, inspirational solos, climactic crescendos, and a great repertoire of amazing music from the brilliant mind of Frank Zappa….makes this band one of the best ever!…
Composer: Béla Bartók
Conductor: Iván Fischer
Orchestra/Ensemble: Budapest Festival Orchestra, Slovak Folk Ensemble Chorus, Hungarian Radio Chorus
Mozart is the most pervasively dramatic composer in history. The spirit of opera informs very nearly his every work. Themes are characters; characters interact; they change. András Schiff’s alertness to the dialogue in Mozart is reflected both in his acute sense of characterisation and his immensely sophisticated use of articulation. Every line breathes. Not only that, every tone tells. Just as the voice in conversation subtly reflects the speaker’s state of mind, so Schiff’s deployment of sonority derives from an acute perception of the notes’ psychological as well as their purely musical character. This recording from the historical and stunningly beautiful Teatro Olimpico affords us numerous insights into Schiff’s approach to music and music-making, and more besides. Schiff’s joy in performance is as evident to the eye as to the ear.
Compiled from recordings dating from 1965 to 1974, this EMI/Gemini double-disc of Bartók's string concertos and other works features Yehudi Menuhin at the peak of his powers, with support from two important Bartók specialists and their sympathetic orchestras. Menuhin is admirably backed in all the concertos by Antal Dorati and the New Philharmonia Orchestra, and Pierre Boulez and the BBC Symphony Orchestra provide meticulous accompaniment in the two Rhapsodies. The resilient Viola Concerto and the splendid Violin Concerto No. 2 are essential listening, both for their masterful writing and for the vigorous performances Menuhin and Dorati deliver.
Never-heard music from the mighty Keith Jarrett – performances recorded in the mid 80s, and featuring Jarrett working in a mix of jazz and classical styles that's pretty darn great! The first piece is Samuel Barber's "Piano Concerto Op 38", performed with the Rundfunk Sinfonieorchester, conducted by Dennis Russell Davies – but Jarrett's performance brings an edge and sense of air that recalls some of his own compositions for larger groups from the 70s, especially with Davie at the helm.
Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works – most notably, the symphonic poem Kossuth (1903) – Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ……..From Allmusic
Three transformative works by three Hungarian composers—Bartók’s String Quartet No. 4, Sz. 91; Ligeti’s String Quartet No. 1; and Kurtag’s 12 Microludes for string quartet, Op. 13—conspire to create a program steeped in the incessant sonics of the 20th century.
"Plays" is the debut album of Battista Lena Via Veneto Jazz, but is also and above all an album that marks a sort of "back to basics", ie to the essential dimension of the jazz trio. This work differs from previous recordings of the guitarist and composer, focusing on projects with extended and rich in organic contamination with other musical universes (remember the experience with the Plectrum Orchestra Senese and the Banda Sonora); "Plays" is configured as a return to the starting point in the musical journey of Lena (a decidedly elliptical path, which often included the composition of film scores), and as a re-taking possession of the instrument, after having concentrated years mainly on writing.