| | Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal CD Kuchar / Nat'L Symphony Orch Ukraine / Prokofiev CDS
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Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal Music | List Price | $8.99 (You save $1.10) | | Label | Naxos (Distributor) | | Orig Year | 2/4/1997 | | All Time Sales Rank |  18125  | | CD Universe Part number | 1043080 | | Catalog number | 8553053 | | Discs | 1 | | Release Date | Feb 04, 1997 | | Recording Time | 1 13 |
Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal Classical Review Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal Songs 1. Dreams, symphonic poem, Op. 6 (11:15)  Windows Media  Real Audio | | Composer | Sergey Prokofiev (1891 - 1953) | | Conductor | Theodore Kuchar | | Genre | Tone Poem | | Date Written | 1910 | | Period | Modern | | Venue | Concert Hall of the Ukrainian Radio, Kie | | Notes | Concert Hall of the Ukrainian Radio, Kiev, Russia (12/10/1995-12/14/1995)
Composition written: 1910.
Composition revised: Soviet Union. | | 2. Autumnal Sketch, for orchestra, Op. 8 (7:48) Windows Media Real Audio | | Composer | Sergey Prokofiev (1891 - 1953) | | Conductor | Theodore Kuchar | | Genre | Tone Poem | | Date Written | 1910 | | Period | Modern | | Country | Russia | | Venue | Concert Hall of the Ukrainian Radio, Kie | | Notes | Concert Hall of the Ukrainian Radio, Kiev, Russia (12/10/1995-12/14/1995) | | 3. Symphony No. 1 in D major ("Classical"), Op. 25: Allegro (15:01) Windows Media Real Audio | | Common Name | Classical Symphony, Symphony 1 | | Composer | Sergey Prokofiev (1891 - 1953) | | Conductor | Theodore Kuchar | | Genre | Symphony | | Date Written | 1916-1917 | | Period | Modern | | Country | Russia | | Venue | Concert Hall of the Ukrainian Radio, Kie | | Notes | Concert Hall of the Ukrainian Radio, Kiev, Russia (12/10/1995-12/14/1995) | | 4. Symphony No. 1 in D major ("Classical"), Op. 25: Larghetto (36:45) Windows Media Real Audio | | Common Name | Symphony 2 | | Composer | Sergey Prokofiev (1891 - 1953) | | Conductor | Theodore Kuchar | | Genre | Symphony | | Date Written | 1924-1925 | | Period | Modern | | Venue | Concert Hall of the Ukrainian Radio, Kie | | Notes | Concert Hall of the Ukrainian Radio, Kiev, Russia (12/10/1995-12/14/1995)
Composition written: 1924-25.
Composition revised: Soviet Union. |
Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal Music Composers on Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal CD : Sergei Prokofiev Conductors on Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal CD : Theodore Kuchar Genres on Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal CD : Symphony, Tone Poem Purchase Prokofiev: Symphonies No. 1 "Classical" And No. 2; Dreams, Op. 6; Autumnal To buy, Click on price to add to cart | Bruckner: Symphony No. 3 (1873 Original Version, Ed. Nowak) CD (2000)
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For Placido Domingo fans, THE YOUNG DOMINGO serves up more than enough satisfying fare. These two disks contain not only the entirety of three opera aria recordings made by Domingo from 1969 (the year following his triumphant debut at the Metropolitan Opera) to 1973. They also include two Ruggero Leoncavallo selections that were originally a part of Domingo's recording of 'I Pagliacci' and (most exciting) "Pourquoi me réveiller?" from Jules Massenet's 'Werther;' a recording that never made it to the original LP ...
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J. S. BachAdaptability is an important issue when transcribing Bach's violin music for guitar. On one hand, the technical difficulties are bound to be substantial due to the differences in instrumental technique. On the other, various aspects of the music that are merely implied in the original are accentuated through the polyphonic potential of the guitar. Bach created complex single-voice textures by means of large leaps in the melodic line which the ear interprets as polyphony. The sustaining capabilities of guitar allow for a higher level of clarity for the listener. However, sustaining notes in a monophonic context is a different situation in which the short-lived sound of plucked strings is obviously at a disadvantage. The performer/arranger counteracts this by adding voices, particularly in the bass register. This can make the piece sound more natural to the guitar although it can also contribute to cause technical complexity.The D minor partita is comprised of the four essential dances of the Baroque suite, enhanced by the famous Chaconne, a set of 64 variations on a seminal bass. The Chaconne, a dance related to the Sarabande, involves a similar metric emphasis on the second beat. In constructing this immense work, Bach exploits both the metric and harmonic features of the opening, varying texture, mode, and harmony. The resulting monumental achievement became a cornerstone in the art of composition.J.RodrigoWhen JoaquÃn Rodrigo was studying with Dukas in Paris, he met with Manuel de Falla who, like most important Spanish composers of the time, had developed his nationalist style in the French school. Falla had then encouraged Rodrigo in his studies and was probably a strong influence in the shaping of Rodrigo's nationalist style, as Rodrigo himself often admitted with gratitude and respect. The Invocation and Dance was Rodrigo's tribute to the old master and is one of the composer's greatest accomplishments. Like most of Rodrigo's music, the piece reveals deep;y traditional Spanish roots, especially flamenco. The Invocation develops with a languid pace, giving way to intense, pleading passages that contrast the mystical with the harmonical. De Falla's Noches en los Jardines de España is echoed and low tessitura themes begin to emerge. Elements of flamenco like rasqueos and arpeggioscrescendo to a violent climax which subsides into the more stable Danza. The latter is a polo, a lively Spanish dance which involves hemiola meter (2 against 3). Chordal passages are juxtaposed with tremolo sections in which themes from the Invocation are developed. and finally explode into heavy combinations of rasgueos and arpeggios before the apocryphal mood of the Invocation returns. De Falla's El Amor Brujo is quoted at the end as a final fading image of the great composer.A.GinasteraIn the preface of the edition of his Guitar Sonata Ginastera wrote: "The first movement, Esordio, is a solemn prelude, followed by a song which was inspired by Kecua music and which concludes with an abbreviated repetition of these two elements. The second movement, Scherzo, which must be played ...
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