He ignored every rule of traditional composition in order to achieve the effect his music should have; the number of voices changes arbitrarily, parallel octaves and fifths abound, all according to the vigorous, elemental force of his inspiration.
Chamber music has always formed the heart of Maria João Pires’s musicianship. Indeed, she has often commented that she is happier working with others than performing on her own. “Not sharing a stage is very difficult for me,” she once remarked (in an interview for ArtsJournal in 2012) “You are apart from the group, apart from community, apart from everything. You become different and special. And, if you become different and special, you’re alone.”
This collection of short choral pieces by Johannes Brahms is an unusual one in present times, partly because many of the choral parts are quite demanding. For a choral club in the 19th century, however, it wouldn't have been so novel, and there are great beauties on offer here. After the fetching Ave Maria, Op. 12, the rest of the program is dense, metaphysical, and, with the partial exception of the Alto Rhapsody, Op. 53, concerned with death. There are two funeral songs, and two more about fate, and this is not the warm, humanistic Brahms of the German Requiem, Op. 45. The performances are profound and dignified, and the overall effect uncanny. The Warsaw Philharmonic Choir under choirmaster Henryk Wojnarowski has a gorgeous rich tone that is undiminished by the long lines of the music, and the Alto Rhapsody achieves real grandeur in the hands of contralto Ewa Wolak. But the real credit goes to the Warsaw Philharmonic and conductor Antoni Wit, who keep a consistent level of tension and momentum in difficult, dark material like the somber Nänie, Op. 82 (Funeral Song), a rarely performed late Brahms masterwork.
Most of us come to the Saint John Passion knowing the Saint Matthew Passion first. The bigger and more elaborate Saint Matthew, which came along three, or possibly five years later (there is controversy about the date), has tended to cast a shadow in which the earlier work is swallowed up, and this has been so ever since Mendelssohn's Saint Matthew performance in 1829 marked the beginning of the public rediscovery of J.S. Bach. (The professionals had never forgotten.) But if the Saint John is smaller in scale than the Saint Matthew, it is hardly the lesser work in quality, though it would of course be silly to claim that the master of the Saint Matthew Passion had not learned from the experience of setting Saint John. But the most interesting differences between these two towering attestations of faith are differences in intention. Read Matthew 26-27, Mark 14-15, Luke 22-23, and John 18-19, and you get four tellings of the last days in the life of Jesus that differ in tone, emphasis, and detail…
Guidé pas à pas, l'amateur solitaire ou l'animateur trouvera une réponse aux problèmes de technique qu'une réflexion créative ne manque pas de susciter.
Cet ouvrage consacré à l'initiation aux techniques du dessin à la plume a été rédigé sous la forme d'un cours direct. Chaque leçon se déroule d'une façon active. La théorie est suivie d'exercices pratiques expliqués, détaillés, aux difficultés progressives. …
In this first complete survey of the Boccherini symphonies, Johannes Goritzki's achievement is remarkable. Himself a cellist, he shows a natural feeling for Boccherini's special combination of galant and classical styles, revealing the music's strengths rather than its weaknesses, making the most of its colour and revelling in its fecundity of invention and easy tunefulness. The playing - on modern instruments - of the German Chamber Academany Orchestra of Neuss is alert, polished and warmhearted, besides showing a nice feeling for Boccherini's delicate Andantinos, which are never sentimentalized. The recording is excellently balanced and has plenty of life and bloom (Penguin Guide To Compact Discs)