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Our Price: $10.99  CDFor Sale Usually ships in 1-2 days
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2cds-Ferdinand Frantz/Wilhelm Furtwangler Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer Music | List Price | $13.98 (You save $2.99) | | Label | Opera D'Oro | | Orig Year | 5/19/1998 | | All Time Sales Rank |  50580  | | CD Universe Part number | 1030770 | | Catalog number | 1154 | | Discs | 2 | | Release Date | May 19, 1998 | | Recording Time | 2 28 |
Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer Review
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Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer Songs Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer Music Composers on Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer CD : Richard Wagner Conductors on Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer CD : Wilhelm Furtwangler Genres on Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer CD : Opera, Romantic Period Performers on Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer CD : Albert Emmerich, Alois Pernerstorfer, Angelo Mattiello, Elisabeth Hongen, Emil Markwort, Ferdinand Frantz, Gunther Treptow, Joachim Sattler, Ludwig Weber, Magda Gabory, Margherita Kenney, Margret Weth-Falke, Sieglinde Wagner Purchase Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer To buy, Click on price to add to cart | Bill Evans Intuition CD (1974)
Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer
 $8.69  
Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California.
The fullness of this duet album's sound suffers only slightly from the lack of a drummer, compensating with deeply satisfying intuitive interplay between pianist Evans and longtime collaborator Gomez. Evans experiments on INTUITION with the electric Fender-Rhodes piano for his original tunes, "Show-Type Tune" and "Are You All the Things," but he is at his most assertive and polished when playing acoustic piano. Particular standouts are the two songs by Bronislau Kaper, the romantic ballad "Invitation," and, with particular care and expression, the theme "Hi Lili, Hi Lo," from the musical "Lili." Gomez is a full participant, using the bass the way he did as a member of the Bill Evans Trio, making himself an indispensable part of the equation. INTUITION is a strongly empathetic album which memorializes a deep musical connection between two jazz greats.
Recorded at Fantasy Studios, Berkeley, California from November 7-10, 1974. Originally released on Fantasy (9475). Includes liner notes by George Cleve.
Composer: Claus Ogerman.
Personnel: Bill Evans (piano).
Liner Note Author: George Cleve.
Recording information: Fantasy Studios, Berkeley, CA (11/07/1974-11/10/1974).
Unknown Contributor Role: Bill Evans .
Personnel: Bill Evans (piano); Eddie Gomez (bass).
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$8.45  | | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
Wagner: Das Rheingold / Furtwängler, Frantz, Pernerstorfer
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.
Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the childish blues "Freddie Freeloader." Often credited to Davis, "Blue In Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Miles fascination with the earthy melodies and brooding metaphors of the Iberian peninsula...a harbinger of his next masterpiece, SKETCHES OF SPAIN. KIND OF BLUE remains M
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Live Recording
Recorded at Estudios Infinity, Madrid, Spain in March-May 1999.
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Vyacheslav Artyomov has dedicated his Requiem to "Martyrs of Long Suffering Russia" and, on a scale commensurate to the immensity of the tragedy, has created a gigantic sound epic, a majestic monument with meticulously elaborate details, fine treatment of each feature and all- immense. A grandiose painting, it provides a subject for a long, close "contemplation" - going into and taken by semantic meaning, then it amazes one with its majesty, the might of its artistic impression. The composer's choice of the Requiem was symbolic to him for the complicity of the Russian tragedy with tragedies of the world history and for its joining with eternal spiritual values, the eventual cognition of which takes place only on the borderline between life and death. With all this the composer interprets traditional text of the requiem in a different way, projecting it at the events of national history, comprehending it as an onlooker, an eyewitness. Canonical text becomes an impulse, a source of pictures, images - appearing in the creative mind of a composer. We perceive the continuity of Artyomov's "Requiem" with the best works of this genre in the world music, a deep, basic connection with the music of Bach. An illusion of a boundless sound space, of the cosmic scale of "action". It has a zone of associative analogies with Scriabin's cosmos. The radiant light of the "Sanctus" addresses the listener's memory to pages of "The Tale of the Invisible City of Kitezh" by Rimsky-Korsakov. And the very conception of the composition - the redemption, quiet forgiveness and rise of the spirit in the face of the eternity. It the healing conception of all great Russian art. One more thing should be mentioned - the integrity of the artistic language of the composition, the beauty as an original, ethical provision of all means, all devices of expression. No extreme devices are used to affect the audience, no pressure, no excesses - strictly classical conception of the art.
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This is a Super Audio CD playable only on Super Audio CD players.
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