Artykuły w czasopismach na temat „Trio Concertante for guitar”
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1
Ophee, Matanya. "Elsa Just’s Ständchen for Guitar Trio". Soundboard Scholar 8, nr 1 (2022): 1–7. http://dx.doi.org/10.56902/sbs.2022.8.17.
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This article reproduces a serenade from an early twentieth-century German guitar magazine. It is for guitar trio and of moderate difficulty. The introductory commentary attributes the piece to Elsa Just (1894–1919) and includes a translation of the entry on Just from Zuth's 1926 Handbuch der Laute und Gitarre. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
2
Conway, Paul. "John McCabe CD round-up". Tempo 58, nr 229 (lipiec 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.
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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
3
Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance". American String Teacher 36, nr 4 (listopad 1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.
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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.
4
Gurgul, Wojciech. "Adam Franciszek Epler (1902–1940): A Forgotten Musician of Interwar Lviv". Kwartalnik Młodych Muzykologów UJ, nr 45 (2) (2020): 23–58. http://dx.doi.org/10.4467/23537094kmmuj.20.029.13902.
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This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.
5
Zwally, Randall. "The Super Guitar Trio and Friends in Concert (review)". Notes 63, nr 1 (2006): 182–83. http://dx.doi.org/10.1353/not.2006.0131.
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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson". Journal of the Society for American Music 7, nr 1 (luty 2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.
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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
7
Ophee, Matanya. "Carlos Pedrell’s Al atardecer en los jardines de Arlaja". Soundboard Scholar 8, nr 1 (2022): 1–8. http://dx.doi.org/10.56902/sbs.2022.8.14.
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This article reproduces Al atardecer en los jardines de Arlaja by the Uruguayan composer Carlos Pedrell, preceded by a commentary. Together with Pedrell's other guitar works, this piece enriches our picture of Latin American guitar repertoire in the early twentieth century. In the case of Pedrell, we have a work written by a composer who studied in Paris and who wrote for three of the major guitarists of his time—Segovia, Pujol, and Llobet. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
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Yates, Stanley. "Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective". Soundboard Scholar 8, nr 1 (2022): 1–5. http://dx.doi.org/10.56902/sbs.2022.8.12.
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The guitar historian Matanya Ophee's writings in Soundboard span almost his entire career as a researcher. In this restrospective, Stanley Yates surveys Ophee's work in general before offering a bibliography and commentary on his contributions to Soundboard: articles, reviews, and columns. This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
9
Rickards, Guy. "Icarus Soaring: the music of John Pickard". Tempo, nr 201 (lipiec 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.
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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
10
Ophee, Matanya. "Rudolph Süss’s Lyrische Suite no. 2, op. 24". Soundboard Scholar 8, nr 1 (2022): 1–10. http://dx.doi.org/10.56902/sbs.2022.8.16.
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This article reproduces the Lyrische Suite no. 2, op. 24, by the Austrian composer Rudolph Süss, with a short introductory commentary. First published in Vienna around 1921, this suite is a fine example of the enthusiasm for the guitar in early twentieth-century Austria and Germany, which resulted in much music that has been overlooked, overshadowed as it was by the emerging Spanish repertoire. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
11
Ophee, Matanya. "Rudolph Süss’s Lyrische Suite no. 1, op. 23". Soundboard Scholar 8, nr 1 (2022): 1–7. http://dx.doi.org/10.56902/sbs.2022.8.19.
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This article reproduces the Lyrische Suite [no. 1], op. 23, by the Austrian composer Rudolph Süss, with a short introductory commentary. First published in Vienna around 1921, this suite is a fine example of the enthusiasm for the guitar in early twentieth-century Austria and Germany, which resulted in much music that has been overlooked, overshadowed as it was by the emerging Spanish repertoire. Note This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History(Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
12
Ophee, Matanya. "Athénaïs Paulian’s Airs and Variations, op. 1". Soundboard Scholar 8, nr 1 (2022): 1–12. http://dx.doi.org/10.56902/sbs.2022.8.18.
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This article reproduces Airs et Variations, op. 1, by Athénaïs Paulian (Bonn: Simrock, c. 1829), with a brief historical commentary and notes on performance. The commentary includes notes on Paulian's role in the Parisian guitar scene of Sor, Aguado, de Fossa, and others; the Italian soprano Angelia Catalani; and the popularity of the aria "Das klinget so herrlich," from Mozart's Singspiel Die Zauberflöte. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
13
Ophee, Matanya. "J.N. Bobrowicz’s Grand Polonaise, op. 24". Soundboard Scholar 8, nr 1 (2022): 1–10. http://dx.doi.org/10.56902/sbs.2022.8.15.
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This article presents an edited version of a Grand Polonaise by the Polish guitarist-composer Jan Nepomucen Bobrowicz (1805–81), preceded by a short commentary and notes for performance. The commentary includes a translation of the biographical entry for Bobrowicz in Sowiński’s Les musiciens polonais et slaves (Paris, 1857). Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
14
Ophee, Matanya. "A Rondo Allegro by François Molino". Soundboard Scholar 8, nr 1 (2022): 1–8. http://dx.doi.org/10.56902/sbs.2022.8.13.
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This article presents an edited version of a Rondo-Allegro from Molino's Grande méthode complette (Paris, c. 1833). The rondo theme bears some resemblance to the famous melody "Das klinget so herrlich" from Mozart's Singspiel Die Zauberflöte. Ophee discusses the many versions of this theme to be found in the guitar's nineteenth-century repertoire, by composers such as Sor, Giuliani, and Paulian, drawing attention to composers' use of both the sung melody and the instrumental introduction. Notes This article is one of a series of seven celebrating the work of Matanya Ophee (1932–2017) on the ninetieth anniversary of his birth. Written between 1982 and 1991, these articles first appeared in early issues of the GFA’s magazine Soundboard. The writings in this series are really columns—short introductions to scores, which are also reproduced here as they appeared in the original magazines. Ophee’s long-form research appears in various places, but an important anthology is his Essays on Guitar History (Columbus, OH: Orphee, 2016). An introduction to the present series, surveying Ophee’s contribution to Soundboard, is provided by Stanley Yates. Below are links to each article in the series: Introduction Matanya Ophee’s Contributions to Soundboard Magazine: A Retrospective, by Stanley Yates Articles A Rondo Allegro by François Molino Carlos Pedrell’s Al atardecer en los jardines de Arlaja Rudolph Süss’s Lyrische Suite no. 1, op. 23 J.N. Bobrowicz’s Grand Polonaise, op. 24 Rudolph Süss’s Lyrische Suite no. 2, op. 24 Elsa Just’s Ständchen for Guitar Trio Athénaïs Paulian’s Airs and Variations, op. 1
15
Patton, Alec. "Jazz and Music-Hall Transgressions in Theatre Workshop's Production of A Taste of Honey". New Theatre Quarterly 23, nr 4 (listopad 2007): 331–36. http://dx.doi.org/10.1017/s0266464x07000255.
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Shelagh Delaney's A Taste of Honey in the Theatre Workshop production of 1959 opened to the sound of a fast twelve-bar blues played on trumpet, saxophone, and guitar by musicians sitting in a box to the right of the stage. Though rarely mentioned by historians, the ‘Apex Jazz Trio’, as they were called, were a lively and unpredictable element in the production. Between the actors' open acknowledgement of the band, and Avis Bunnage's direct comments to the audience, the play shattered the ’realistic‘ conventions that still held sway in the West End, at the same time transgressing the distinction between ‘serious’ theatre and music hall (where the boundary of the proscenium was never respected obsequiously). Alec Patton, a PhD student at the University of Sheffield, draws on original interviews with actors from the cast, a member of the first-night audience, and the leader of the band that accompanied the show to offer a re-assessment of the role of music and music hall in the original production of A Taste of Honey.
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Danyliuk, M., i Ya Danyliuk. "Creative guidelines of folkinstrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries". Culture of Ukraine, nr 81 (21.09.2023): 69–76. http://dx.doi.org/10.31516/2410-5325.081.09.
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The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method.
The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as “Korobeinyky”, “Rozmai”, “Yarmarok”, “Stozhary”, “TsymBanDo”, “3+2”, “Hrotesk”, “Grey Folk”, “Vesela Banda”, “Koloryt”, duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio “Kupava” and “Zoredana”, Kharkiv Guitar Quartet.
The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives.
Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and synchrony, the bearer of the mission of raising folk-instrumental traditions and finding innovative ways of their embodiment.
The practical significance of the article is outlined by the heuristic application of its results in pedagogical-methodical, theoretical-practical and performance activities.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)". Tempo 59, nr 232 (kwiecień 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Conway, Paul. "Hans Gál et al. - HANS GÁL: Symphony No. 4 (Sinfonia concertante), op. 105. SCHUMANN: Symphony No. 2 in C, op.61. Orchestra of the Swan, c. Kenneth Woods. Avie AV2231. - GÁL: Cello Concerto, op. 67. ELGAR: Cello Concerto in E minor, op. 85. Antonio Meneses (vlc), Northern Sinfonia, c. Claudio Cruz. Avie AV2237. - GÁL: Serenade in D, op. 41; Trio in F sharp minor, op. 104. HANS KRÁSA: Tanec (Dance); Passacaglia and Fuga. Ensemble Epomeo. Avie AV2259. - GÁL: Music for Solo Cello – Sonata for Violoncello Solo, op. 109a; Suite for Violoncello Solo, op. 109b; Sonata for Violoncello and Pianoforte, op. 89. Alfia Nakipbekova (vlc), Jakob Fichert (pno). Toccata Classics TOCC 0043." Tempo 67, nr 265 (lipiec 2013): 101–5. http://dx.doi.org/10.1017/s004029821300065x.
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Rickards, Guy. "Rodolfo Halffter et al. - RODOLFO HALFFTER: Chamber Music, Volume 2. Giga, op. 31; Tres piezas breves, op. 13a2; Dos sonatas de El Escorial, op. 23; Homenaje a Antonio Machado, op. 133; Divertimento, op. 7a4-13; Laberinto, op. 343; Capricho, op. 409; Epinicio, op. 423,4; Secuencia, op. 393. 1Miguel Ángel Jimenez (gtr), 2Beatriz Millán (hp), 3Francisco José Segonia (pno), 4Cinta Vrea (fl), 5Vicente Fernández (ob), 6Nerea Meyer (cl), 7Francisco Mas (bn), 8César Asensi (tpt), 9Victor Arriola (vln), 10Paulo Vieira (vln), 11Alexander Trotchinsky (vla), 12Rafael Domínguez (vlc), c. 13Manuel Coves. Naxos 8.572419 - RODOLFO HALFFTER: Chamber Music, Volume 3. String Quartet, op. 241; Cello Sonata, op. 262. Tres Movimientos, op. 281; Ochos tientos, op. 351. 1Bretón String Quartet, 2John Stokes (vlc), Francisco José Segonia (pno). Naxos 8.572420 - NORDIN: Undercurrents1,2; Surfaces Scintillantes2; Cri du Berger1; The Aisle2; Pendants I-III2. 1Benjamin Carat (vlc). 2Gageego!/Pierre-Andre Valade. Phono Suecia PSCD 192 - SUNLEIF RASMUSSEN: Dancing Raindrops; Suite for guitar and effect processor; Andalag #2; Like the Golden Sun; Mozaik/Miniature. Aldubarán. Dacapo 8.226567. - WEINBERG: Sonatas for violin and piano Nos. 1, op. 12; 4, op. 39; Sonata for violin solo No. 1, op. 82. Sonatina for violin and piano, op. 46. Yuri Kalnits (vln), Michael Csányi-Wills (pno). Toccata Classics TOCC 0007. - ‘Dedicated to Trio’. SVEN-DAVID SANDSTRÖM: 5 Pieces. ÖSTERLING: Lundi1. MONNAKGOTLA: 5 Pieces. HEDELIN: Akt. TALLY: Winter Island. 1Dan Laurin (rec), Trio Zilliacusperssonraitinen (ZPR). Phono Suecia PSCD 189. - HENZE: ‘Hommages’. Sonata for 6 players; Margareten-Walzer; Ländler; La mano sinistra; Epitaph; Toccata mistica; String Trio; Ode al dodicesimo apostolo; An Brenton; Klavierstück für Reinhold; Serenade; Adagio, adagio. Ensemble Recherche. Wergo WER 6727 2. - ‘Silver Tunes’. VON KOCH: Silver Tunes. LANGLAIS: 5 Pieces. AUGUSTA READ THOMAS: Angel Tears and Earth Prayers. DEBUSSY: Syrinx. LIEBERMANN: Air, op. 106. LÖFBERG Sonata-I Choral (plus works by ROMAN, GLUCK, HILDEGARD VON BINGEN). Elivi Varga (fl), Ole Långström (org). Sterling CDA 1676-2." Tempo 67, nr 265 (lipiec 2013): 112–17. http://dx.doi.org/10.1017/s0040298213000739.
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Trépanier, Louis. "Danzas : Guitare Espagnole / Spanish Guitar – Montréal Guitare Trio (CD Review)". CAML Review / Revue de l'ACBM 45, nr 1 (11.06.2017). http://dx.doi.org/10.25071/1708-6701.40287.
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