Recording identifier: rw2147484884 Label: Forlane CI Catalogue number: FC16797 Conductors: Producer: Ivan Pastor Engineer: Jean-Pierre Bonquet Recording date: 1999-01-01 Performance timing: 394 Ensemble: Leader: Recording location: Auditorium de Centre Culturel de Boulongne Billancourt
FC16797
FC16797
Carnaval, Op. 9, Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 (Moonlight), Piano Sonata No. 1, Op. 6
06:33
Recording identifier: rw2147484884 Label: Forlane CI Catalogue number: FC16797 Conductors: Producer: Ivan Pastor Engineer: Jean-Pierre Bonquet Recording date: 1999-01-01 Performance timing: 394 Ensemble: Leader: Recording location: Auditorium de Centre Culturel de Boulongne Billancourt
06:33
Recording identifier: rw2147484885 Label: Forlane CI Catalogue number: FC16797 Conductors: Producer: Ivan Pastor Engineer: Jean-Pierre Bonquet Recording date: 1999-01-01 Performance timing: 134 Ensemble: Leader: Recording location: Auditorium de Centre Culturel de Boulongne Billancourt
FC16797
FC16797
Carnaval, Op. 9, Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 (Moonlight), Piano Sonata No. 1, Op. 6
02:12
Recording identifier: rw2147484885 Label: Forlane CI Catalogue number: FC16797 Conductors: Producer: Ivan Pastor Engineer: Jean-Pierre Bonquet Recording date: 1999-01-01 Performance timing: 134 Ensemble: Leader: Recording location: Auditorium de Centre Culturel de Boulongne Billancourt
02:12
RPO099 The World At War, Far Pavilions, Pride & Prejudice
Recording identifier: rw2147485649 Label: Royal Philharmonic Orchestra Catalogue number: RPO099 Conductors: Carl Davis Producer: Engineer: Recording date: Performance timing: 227 Ensemble: Royal Philharmonic Orchestra Leader: Recording location: CTS Studio's
RPO099
RPO099
The World At War, Far Pavilions, Pride & Prejudice
03:45
Recording identifier: rw2147485649 Label: Royal Philharmonic Orchestra Catalogue number: RPO099 Conductors: Carl Davis Producer: Engineer: Recording date: Performance timing: 227 Ensemble: Royal Philharmonic Orchestra Leader: Recording location: CTS Studio's
03:45
05 I – Allegro non troppo
MP20200124 Rachmaninov, Shostakovich, Cello Sonatas
I – Allegro non troppo The sonata form first movement contrasts a broad first theme in the cello, accompanied by flowing piano arpeggios, developed by the piano towards an intense climax. As tension abates, a ray of light appears with the tender second theme, with unusual tonal shifts, announced by the piano and imitated by the cello. In the development a spiky rhythmic motif penetrates through the flowing textures of the first theme. The recapitulation appears with the second theme rather than the first. Shostakovich introduces an unusual pianissimo texture for the first theme where all moves in slow motion, with staccato chords in the piano and sustained notes in the cello. II – Allegro The second movement has a perpetual motion energy, its thrusting repeated ostinato pattern relentlessly shared while a pointed first theme – almost incongruous – is presented by the piano in widely spaced octaves, a sonority often used by Shostakovich. The cello’s more light-hearted theme is later imitated, Pierrot-like up in the piano’s brittle high register. Piquant wit abounds in familiar classical gestures set askew, sudden lurches into unrelated keys, until the initial driving ostinato resumes, leading to a sudden conclusion. III – Largo The bleak expanses of Russia are evoked in the soulful slow movement, the piano providing a dark backdrop for the cello’s rhapsodic, vocal theme. It is one of the earliest examples of a mood that was to feature in many of Shostakovich’s most powerful works, reflective introspection through icy dissonances that touch yet do not settle on warmer consonances, until the music eventually fades into the impressionistic twilight. IV – Allegro Caustic with colors is the brief yet ebullient finale, a rondo in which the main playful theme appears five times, imitated by both instruments, interspersed by episodes full of sparking scales. In the second of these, the piano is let loose in a cadenza of helter-skelter zest, ebulliently veering into unexpected tonal highways. The theme returns, to round the movement off in abrupt yet decisive brilliance.
MP20200124
05 I – Allegro non troppo
MP20200124
Rachmaninov, Shostakovich, Cello Sonatas
08:37
I – Allegro non troppo The sonata form first movement contrasts a broad first theme in the cello, accompanied by flowing piano arpeggios, developed by the piano towards an intense climax. As tension abates, a ray of light appears with the tender second theme, with unusual tonal shifts, announced by the piano and imitated by the cello. In the development a spiky rhythmic motif penetrates through the flowing textures of the first theme. The recapitulation appears with the second theme rather than the first. Shostakovich introduces an unusual pianissimo texture for the first theme where all moves in slow motion, with staccato chords in the piano and sustained notes in the cello. II – Allegro The second movement has a perpetual motion energy, its thrusting repeated ostinato pattern relentlessly shared while a pointed first theme – almost incongruous – is presented by the piano in widely spaced octaves, a sonority often used by Shostakovich. The cello’s more light-hearted theme is later imitated, Pierrot-like up in the piano’s brittle high register. Piquant wit abounds in familiar classical gestures set askew, sudden lurches into unrelated keys, until the initial driving ostinato resumes, leading to a sudden conclusion. III – Largo The bleak expanses of Russia are evoked in the soulful slow movement, the piano providing a dark backdrop for the cello’s rhapsodic, vocal theme. It is one of the earliest examples of a mood that was to feature in many of Shostakovich’s most powerful works, reflective introspection through icy dissonances that touch yet do not settle on warmer consonances, until the music eventually fades into the impressionistic twilight. IV – Allegro Caustic with colors is the brief yet ebullient finale, a rondo in which the main playful theme appears five times, imitated by both instruments, interspersed by episodes full of sparking scales. In the second of these, the piano is let loose in a cadenza of helter-skelter zest, ebulliently veering into unexpected tonal highways. The theme returns, to round the movement off in abrupt yet decisive brilliance.
08:37
To My Beloved Motherland
I composed this piece just after I heard about the travel ban for people of my country, Iran, and five other countries. I was going to invite my parents to the U.S., but after this order, I understood there is no way for them to come to the United States for visit. I felt upset and I started playing Santour while I was thinking and crying, and from those emotions, I composed the piece “To My Beloved Motherland”.
cwlTemp009
To My Beloved Motherland
cwlTemp009
The Sound of Peace
05:02
I composed this piece just after I heard about the travel ban for people of my country, Iran, and five other countries. I was going to invite my parents to the U.S., but after this order, I understood there is no way for them to come to the United States for visit. I felt upset and I started playing Santour while I was thinking and crying, and from those emotions, I composed the piece “To My Beloved Motherland”.
05:02
Overture
RPO062 Benvenuto Cellini, Op. 23, Les francs-juges, Op. 3, Le Corsaire, Op. 21
Recording identifier: rw2147485657 Label: Royal Philharmonic Orchestra Catalogue number: RPO062 Conductors: Sir Alexander Gibson Producer: Alan Peters Engineer: Dick Lewzey Recording date: Performance timing: 853 Ensemble: Royal Philharmonic Orchestra Leader: Michael Davis (Trombone) Recording location: CTS Studio's
RPO062
Overture
RPO062
Benvenuto Cellini, Op. 23, Les francs-juges, Op. 3, Le Corsaire, Op. 21
14:12
Recording identifier: rw2147485657 Label: Royal Philharmonic Orchestra Catalogue number: RPO062 Conductors: Sir Alexander Gibson Producer: Alan Peters Engineer: Dick Lewzey Recording date: Performance timing: 853 Ensemble: Royal Philharmonic Orchestra Leader: Michael Davis (Trombone) Recording location: CTS Studio's
14:12
V. Novak-Memories (II. Inquieto)
MP20191129 Veronika Jaklová: En Bohême
V. Novak-Memories (II. Inquieto)
Recording identifier: Label: Catalogue number: Conductors: Producer: Engineer: Recording date: 2018-12-04 Performance timing: Ensemble: Leader: Recording location: Studio HAMU (adress: Malostranské náměstí 258/13, 118 00 Praha 1 tel. +420 234 244 168 zvuk@hamu.cz), Prague, Czech Republic
MP20191129
V. Novak-Memories (II. Inquieto)
MP20191129
Veronika Jaklová: En Bohême
06:57
Recording identifier: Label: Catalogue number: Conductors: Producer: Engineer: Recording date: 2018-12-04 Performance timing: Ensemble: Leader: Recording location: Studio HAMU (adress: Malostranské náměstí 258/13, 118 00 Praha 1 tel. +420 234 244 168 zvuk@hamu.cz), Prague, Czech Republic
06:57
Tragic Overture
FI017 Symphony No. 2 in D, Op. 73, Tragic Overture in D minor, Op. 81
Recording identifier: rw2147484558 Label: Fioretti Catalogue number: FI017 Conductors: Leopold Hager Producer: Ivan Pastor Engineer: Recording date: Performance timing: 855 Ensemble: Luxembourg Radio Symphony Orchestra Leader: Recording location:
FI017
Tragic Overture
FI017
Symphony No. 2 in D, Op. 73, Tragic Overture in D minor, Op. 81
14:15
Recording identifier: rw2147484558 Label: Fioretti Catalogue number: FI017 Conductors: Leopold Hager Producer: Ivan Pastor Engineer: Recording date: Performance timing: 855 Ensemble: Luxembourg Radio Symphony Orchestra Leader: Recording location:
14:15