Learn 10 of the most well known tunes and start playing in your local celtic music session.
Recorded on two dates in 1959, this full-length by Stuff Smith features a pair of rhythm sections. One contains the great Red Mitchell on bass, the other the magnificent Shirley Horn on piano. In 1959, Smith had been on the scene for over two decades. And while he was well-known by the public at large for his novelty persona and his singing – as evidenced by his 1936 smash hit "I'se A-Muggin'," this long-player aptly displays his stunning virtuosity as a jazz violinist, from standard jazz repertoire such as Duke Ellington's "Take the 'A' Train" and "They Can't Take That Away from Me" to "Strike Up the Band." His bowing is dizzying and the band pushed hard to keep up with him. On "Nice Work if You Can Get It," the tempo middles along but Smith swings hard in his tasty way…
It's probably unfair to compare Sergey Khachatryan's 2006 recording of Shostakovich's violin concertos accompanied by Kurt Masur leading the Orchestre National de France with David Oistrakh's classic recordings of the works: the 1956 Mitropoulos/New York Philharmonic First and the 1967 Kondrashin/ Moscow Philharmonic Second.
This performance takes the music seriously, and Fischer more than holds her own in the outer movements where the violin needs to be able to confront the orchestra fearlessly in their ongoing dialog. In the lengthy andante, once again Fischer projects passion and sincerity without excessive histrionics.
This sparkling suite for violin and piano came into being when the composer had to adapt his incidental score for a production of Shakespeare's play to the impending absence of the chamber orchestral. The result is a brilliant piece for violin and piano, which the composer quickly released in a four-movement version. There are other recordings of the chamber orchestra suite in five-movements that duplicate only three of the movements of this version. Violinist Gil Shaham and pianist André Previn are ideal partners in this brilliant performance. The four movements allow Shaham to show four sides of his violinist's personality: He skips and plays in carefree fashion in the opening movement, indulges in the grotesquery and parody of the second, gets to play the romantic in the garden scene of the third movement, and dazzles with virtuosity in the final hornpipe. Previn's part is more than mere accompaniment; the piano often has a large part of the mood of the music and his contribution is, to use a word already employed here, ideal.