Violoncello da spallaSergey Malov | Violine/Violoncello da spallaAndrea Marcon | DirigentJean-Baptiste Lully | Marche pour la cérémonie des TurcsWolfgang Amadeus Mozart | Violinkonzert A-Dur KV 219Luigi Boccherini | 7. Cellokonzert G-Dur G. 480Joseph Martin Kraus | Sinfonie c-Moll VB 142Es ist das Instrument, auf dem Johann Sebastian Bach vermutlich seine Cello-Suiten selbst gespielt hat: Das Violoncello da spalla, lange Zeit war es in Vergessenheit geraten. Der russische Barockgeiger Sergey Malov ist einer der ganz wenigen Meister dieses an der Schulter gespielten Miniatur-Cellos. Ein Mann der historischen Instrumente ist auch der Cembalist und Dirigent Andrea Marcon, doch arbeitet er immer wieder auch mit modernen Orchestern zusammen. Und so profitieren Lully, Mozart und Co. auch bei uns von Marcons Zugriff, der italienisches Temperament mit größtmöglicher Transparenz verbindet.___________It is the instrument on which Johann Sebastian Bach probably played his cello suites himself: The violoncello da spalla was long forgotten. The Russian Baroque violinist Sergey Malov is one of the very few masters of this miniature cello which is played on the shoulder. The harpsichordist and conductor Andrea Marcon is also a friend of historical instruments although he also repeatedly works with modern orchestras. Lully, Mozart and co. consequently also benefit from Marcon´s approach which combines Italian temperament with the greatest possible transparency.

Gran SestettoHaiou Zhang | KlavierFlorin Iliescu | ViolineCristian Braica | KontrabassHába Quartett: Sha Katsouris | Violine / Artur Podlesniy | ViolinePeter Zelienka | Viola / Arnold Ilg | VioloncelloMichail Glinka | Gran Sestetto Originale Es-Dur für zwei Violinen, Viola, Violoncello, Kontrabass und KlavierErnest Chausson | Konzert für Violine, Klavier und StreichquartettVom Einfluss des Opernkomponisten Bellini zeugt das Sextett des Vaters der russischen Musik Michail Glinka. Es ist ein Werk voll imaginärer Szenen und instrumentalem Belcanto. Das Konzert des Pariser Wagnerianers Ernest Chausson besticht mit klanglicher Opulenz ebenso wie mit seinen dezenten, zarten Momenten.___________The sextet by the father of Russian music Mikhail Glinka bears witness to the influence of opera composer Bellini. It is a work full of imaginary scenes and instrumental bel canto. The concerto by the Parisian Wagnerian Ernest Chausson captivates the audience both with tonal opulence as well as with its subtle, tender moments.

This is the first documentary about the Russian composer Rodion Shchedrin.DVD with a Concert from the Moscow Tchaikovsky Conservatory 2007 with works by him. “Dialogues with Shostakovich” – Symphonic etudes for orchestra“Parabola concertante” – per violoncello solo, orchestra d’archi e timpani“Anna Karenina” – Romantic music for symphony orchestra“Two Tangos by Albéniz” – For orchestra

High Quality Content by WIKIPEDIA articles! Nadia Boulanger (September 16, 1887 October 22, 1979) was an influential French composer, conductor, and music professor. An outstanding music educator at the highest level, she taught many of the most important composers and conductors of the 20th century.Nadia Boulanger was born to a highly musical family. Her grandmother was the singer Marie-Julie Boulanger. Her grandfather, Frédéric Boulanger won first prize in violoncello in his fifth year (1797) at the then recently founded Paris Conservatoire. Her father, Ernest Boulanger, later studied at the same conservatory (his teachers included Charles-Valentin Alkan), and won the Prix de Rome in 1835. He later taught there, where he met Nadia's mother, the Russian Princess, Raissa Myshetskaya, who was the first music teacher Nadia and her younger sister, the composer Lili Boulanger, ever had.

Magariello, Luca - Sonate Fuer Violoncello Nr. 1 D1. Adagio2. Allegro AppassionatoMagariello, Luca - Sonate Fuer Violoncello Nr. 2 A1. Allegro Moderato2. Andante Cantabile3. Allegro Con SpiritAlong with sonatas by Rachmaninov, Shostakovich and Prokofiev, the Second Sonata Op.81 is a repertoire work for cellists, Russian or otherwise, for its vein of melancholy Romanticism that is yet not so dark and introverted as most of the 27 symphonies for which Myaskovsky is best known. Meanwhile the First Sonata has been almost entirely neglected, even by performers so committed to the promotion of their musical heritage as Rostropovich, Gutman and Geringas. However, as this new recording reveals, it too belongs to the distinctively Russian tradition of soulful and affecting music for the cello; an early example (written in 1911, when Myaskovsky was 30 years of age and yet to graduate; he was a late developer as a composer) of the special empathy for the instrument that would also produce a wonderfully moody and atmospheric cello concerto: the Russian Elgar, perhaps. The Op.12 Sonata is unusually structured as two movements linked by a tempestuous recitative section. The perfect relationship between the simplicity of the themes and the intensity of the dialogue between soloist and accompaniment is such that the two instruments seem locked in a flurry of warmth and passion. In the finale there is a return to the opening material, culminating in a serene D major conclusion. Though this is an early work, it reveals on various occasions a remarkable degree of maturity. While the Sonata Op.12 emanates all the captivating freshness of an important work dating from the dawn of the composer's output, his second sonata is entirely different in mood. It was written between 1948 and 1949, when Myaskovsky was 69, and in the throes of the health problems that were to bring him to his grave the following year. This is Luca Magariello's second album for Brilliant Classics, after his participation in the album of complete piano trios by Hummel (BC94898). Nikolay Myaskovsky (1881-1950) was educated (after a failed schooling for Military Engineer, prompted by his father) at the famous St Petersburg Conservatoire under the tutelage of Rimsky-Korsakov, Lyadov and Glazunov. His musical style has absorbed the nationalistic Russian tradition of these masters, but Myaskovsky widened his horizon by his acquaintance with Richard Strauss and his compatriots Prokofiev and Stravinsky, the former becoming one of his closest friends. The two Cello Sonatas, presented on this new recording, fully exploit the expressive potential of the instruments, creating a warm, passionate atmosphere in which the flowing melodic lines of the cello are supported by the rich harmonies of the piano. Italian cellist Luca Magariello won First Prize in the prestigious Khatchaturian Cello Competition, which started his international career.

Magariello, Luca - Sonate Fuer Violoncello Nr. 1 D1. Adagio2. Allegro AppassionatoMagariello, Luca - Sonate Fuer Violoncello Nr. 2 A1. Allegro Moderato2. Andante Cantabile3. Allegro Con SpiritAlong with sonatas by Rachmaninov, Shostakovich and Prokofiev, the Second Sonata Op.81 is a repertoire work for cellists, Russian or otherwise, for its vein of melancholy Romanticism that is yet not so dark and introverted as most of the 27 symphonies for which Myaskovsky is best known. Meanwhile the First Sonata has been almost entirely neglected, even by performers so committed to the promotion of their musical heritage as Rostropovich, Gutman and Geringas. However, as this new recording reveals, it too belongs to the distinctively Russian tradition of soulful and affecting music for the cello; an early example (written in 1911, when Myaskovsky was 30 years of age and yet to graduate; he was a late developer as a composer) of the special empathy for the instrument that would also produce a wonderfully moody and atmospheric cello concerto: the Russian Elgar, perhaps. The Op.12 Sonata is unusually structured as two movements linked by a tempestuous recitative section. The perfect relationship between the simplicity of the themes and the intensity of the dialogue between soloist and accompaniment is such that the two instruments seem locked in a flurry of warmth and passion. In the finale there is a return to the opening material, culminating in a serene D major conclusion. Though this is an early work, it reveals on various occasions a remarkable degree of maturity. While the Sonata Op.12 emanates all the captivating freshness of an important work dating from the dawn of the composer's output, his second sonata is entirely different in mood. It was written between 1948 and 1949, when Myaskovsky was 69, and in the throes of the health problems that were to bring him to his grave the following year. This is Luca Magariello's second album for Brilliant Classics, after his participation in the album of complete piano trios by Hummel (BC94898). Nikolay Myaskovsky (1881-1950) was educated (after a failed schooling for Military Engineer, prompted by his father) at the famous St Petersburg Conservatoire under the tutelage of Rimsky-Korsakov, Lyadov and Glazunov. His musical style has absorbed the nationalistic Russian tradition of these masters, but Myaskovsky widened his horizon by his acquaintance with Richard Strauss and his compatriots Prokofiev and Stravinsky, the former becoming one of his closest friends. The two Cello Sonatas, presented on this new recording, fully exploit the expressive potential of the instruments, creating a warm, passionate atmosphere in which the flowing melodic lines of the cello are supported by the rich harmonies of the piano. Italian cellist Luca Magariello won First Prize in the prestigious Khatchaturian Cello Competition, which started his international career.

Empfohlen für Hörer von 0 bis 99 Jahren. Hailed by the press as “the definitive video production” of Tchaikovsky’s music, The Tchaikovsky Cycle features an exceptional concert series, recorded live at the Alte Oper Frankfurt. Fedoseyev’s perceptive reading of the works of his fellow countryman, the masterly playing of the Moscow Radio Symphony Orchestra and international guest soloists like the brilliant Japanese violinist Kyoko Takezawa, Brazilian cellist and Tchaikovsky Competition Gold Medallist Antonio Meneses, acclaimed Russian pianist Mikhail Pletnev, soprano Lydia Shernikh as well as the baritone Alexander Nenaovsky combine to produce performances which are revelatory in their execution and understanding of Tchaikovsky’s music and the Russian heritage. DVD 1 Symphony No. 1 in G minor op. 13 “Winter Daydreams” Francesca da Rimini op. 32 Variations on a Rococo Theme for violoncello and orchestra op. 33 Antonio Meneses, cello DVD 2 Symphony No. 2 in C minor op. 17 “Little Russian” Excerpts from the opera “Eugene Onegin” Lydia Shernikh (Tatyana) Alexander Nenadovsky (Onegin) DVD 3 Symphony No. 3 in D major op. 29 “Polish” Excerpts from “Swan Lake” Concert Fantasia for piano and orchestra in G major op. 56 Mikhail Pletnev, piano DVD 4 Symphony No. 4 in F minor op. 36 “The Year 1812”, Festival Overture in E-flat major op. 49 Violin Concerto in D major op. 35 Viktor Tretyakov, violin DVD 5 Symphony No. 5 in E minor op. 64 Overture in F major Piano Concerto No. 2 in G major op. 44 Mikhail Pletnev, piano DVD 6 Symphony No. 6 in B minor op. 74 “Pathétique” Serenade for String Orchestra in C major op. 48 Piano Concerto No. 1 in B-flat minor op. 23 Mikhail Pletnev, piano