| | Three Centuries Of Bagatelles CD Zilberquit, Julia CDS
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Our Price: $6.59  CDFor Sale Usually ships in 1-2 days
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| Category | Classical, Romantic Period, Oldies Collections, Chamber Music/Recitals, 20th Century Period, Classical Period, Baroque Period, Suite, Dance - Classical, Character Piece, Waltz, Bagatelle |
Three Centuries Of Bagatelles Music | List Price | $8.97 (You save $2.38) | | Label | Naxos (Distributor) | | Orig Year | 5/29/2007 | | All Time Sales Rank |  14069  | | CD Universe Part number | 7425703 | | Discs | 1 | | Release Date | May 29, 2007 | | Recording Time | 1 17 |
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Three Centuries Of Bagatelles Songs | 1. Les Bagatelles, for harpsichord (Pieces de clavecin, II, 10e ordre) (2:56) | | Composer | François Couperin (1668 - 1733) | | Performer | Julia Zilberquit (Piano) | | Genre | Baroque Period | | Period | Baroque | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 2. Bagatelle for piano in A minor ("Fur Elise"), WoO 59 (3:38) | | Common Name | Fur Elise Bagatelle, Bagatelle For Piano | | Catalog No. | WOO 59 | | Composer | Ludwig van Beethoven (1770 - 1827) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Romantic Period | | Date Written | 1810 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 3. Bagatelle for piano in F major, Op. 33/3 (2:12) | | Common Name | Bagatelle For Piano | | Composer | Ludwig van Beethoven (1770 - 1827) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Classical Period | | Date Written | 1802 | | Period | Classical | | Country | Germany | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 4. Bagatelle for piano in A major, Op. 33/4 (4:03) | | Common Name | Bagatelle For Piano | | Composer | Ludwig van Beethoven (1770 - 1827) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Classical Period | | Date Written | 1802 | | Period | Classical | | Country | Germany | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 5. Bagatelle for piano in A minor, Op. 119/9 (0:45) | | Common Name | Bagatelle For Piano | | Composer | Ludwig van Beethoven (1770 - 1827) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Classical Period | | Date Written | 1822 | | Period | Classical | | Country | Germany | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 6. Bagatelle for piano in A major, Op. 119/10 (0:17) | | Common Name | Bagatelle For Piano | | Composer | Ludwig van Beethoven (1770 - 1827) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Romantic Period | | Date Written | 1822 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 7. Bagatelle for piano in C minor, Op. 119/5 (1:03) | | Common Name | Bagatelle For Piano | | Composer | Ludwig van Beethoven (1770 - 1827) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Romantic Period | | Date Written | 1822 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 8. Bagatelles (6) for piano, Op. 3 (24:24) | | Common Name | Bagatelles For Piano | | Composer | Camille Saint-Saëns (1835 - 1921) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Romantic Period | | Date Written | 1855 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 9. Bagatelle for piano in D flat major No. 3, Op. 30 (2:27) | | Common Name | Bagatelle For Piano | | Composer | Anatol Lyadov (1855 - 1914) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Romantic Period | | Date Written | 1889 | | Period | Romantic | | Country | Russia | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 10. Bagatelle for piano in G sharp minor, Op. 53/1 (0:36) | | Common Name | Bagatelle For Piano | | Composer | Anatol Lyadov (1855 - 1914) | | Performer | Julia Zilberquit (Piano) | | Genre | Romantic Period | | Date Written | 1903 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 11. Bagatelle for piano in G major, Op. 53/2 (0:56) | | Common Name | Bagatelle For Piano | | Composer | Anatol Lyadov (1855 - 1914) | | Performer | Julia Zilberquit (Piano) | | Genre | Romantic Period | | Date Written | 1903 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 12. Bagatelle for piano in A flat major, Op. 53/3 (1:38) | | Common Name | Bagatelle For Piano | | Composer | Anatol Lyadov (1855 - 1914) | | Performer | Julia Zilberquit (Piano) | | Genre | Romantic Period | | Date Written | 1903 | | Period | Romantic | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 13. Bagatelles (11) for piano, Op. 5 (11:39) | | Common Name | Bagatelles For Piano | | Composer | Alexander Tcherepnin (1899 - 1977) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 14. Bagatelles (7) for piano, Op. 19 (10:14) | | Common Name | Bagatelles For Piano | | Composer | Edison Denisov (1929 - 1996) | | Performer | Julia Zilberquit (Piano) | | Date Written | 1960 | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 15. Bagatelle sans tonalite, for piano, S. 216a (LW A338) (3:37) | | Catalog No. | S 216A | | Composer | Franz Liszt (1811 - 1886) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Romantic Period | | Date Written | 1885 | | Period | Romantic | | Country | Hungary | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 | | 16. Valse: Ma mie qui danse (Presto), for piano (14 Bagatelles No. 14), Sz. 38/14, BB 50/14 (Op. 6/14) (2:27) | | Catalog No. | SZ 38 | | Composer | Béla Bartók (1881 - 1945) | | Performer | Julia Zilberquit (Piano) | | Genre | Bagatelle / Dance / Waltz | | Date Written | 1908 | | Country | Hungary | | Venue | The Great Hall of Moscow Conservatory | | Recording Date | 05/2001/09/2001 |
Three Centuries Of Bagatelles Music Composers on Three Centuries Of Bagatelles CD : Alexander Tcherepnin, Anatol Lyadov, Bela Bartok, Ludwig van Beethoven, Francois Couperin, Edison Denisov, Franz Liszt, Camille Saint-Saens Genres on Three Centuries Of Bagatelles CD : Bagatelle, Baroque Period, Classical Period, Dance, Romantic Period, Waltz Performers on Three Centuries Of Bagatelles CD : Julia Zilberquit Purchase Three Centuries Of Bagatelles To buy, Click on price to add to cart | John Coltrane First Meditations CD (1965)
Three Centuries Of Bagatelles
 $10.65 
A studio precursor to the collective improvisations of MEDITATIONS, this suite, recorded a month before LIVE IN SEATTLE, represents the final shining examples of the interplay, sensitivity and excitement of the John Coltrane Quartet. On MEDITATIONS Trane would add drummer Rashied Ali and tenor saxophonist Pharaoh Sanders to the mix, creating a sonic vortex that represented powerful new directions. Soon after, both Tyner and Jones felt it was time to move on.
Unlike the cosmic explorations of SUN SHIP, FIRST MEDITATIONS displays the serene side of Coltrane's spiritual quest--the reflection and outreach of A LOVE SUPREME. The sweet trills of "Love" present Trane's tenor in an angelic light, as Garrison and Jones' shifting drone leads to a chanting Tyner epic. Likewise, "Compassion" proceeds from the gentle three against four rhythm of a Jones/Garrison stroll. Trane maintains his lyric focus throughout his dense repeated figures, before the sand-blasted overtones atop the curve of his phrase finally taunt Jones into visceral retorts. On "Serenity", over Garrison's arco bass and Jones' muted thunder, Trane essays one of his most heartbreakingly beautiful melodies, as Tyner's oceanic gyrations emphasize the oriental, prayer-like nature of the mood.
Yet "Consequences" proceeds with Old Testament fury. Jones' drum overture and Garrison's folk-like strums set the stage for Trane and Tyner's rhythmic abstracts, as the band surges into an almighty torrent of sound and fury. "Joy" begins with splintered figures over the moaning rolls and groans of drummer Jones, as Garrison and Tyner hint at a groove, and Trane's short phrases glower with intensity. Tyner levitates into billowing 3/4 polyrhythms with enormous, two-handed accents and tart celestial voicings. Then Trane returns, speaking in tongues, alternating ascents into the altissimo register with descents into the growling bottom of his horn.
Digitally remastered by Robert Stoughton.
Live Recording
Recorded at the Van
| | John Coltrane Sun Ship CD (1965) Reissue
Three Centuries Of Bagatelles
$12.49 
All tracks have been digitally remastered using 20-bit technology.
Following the release of A LOVE SUPREME, John Coltrane entered upon a year of furious creation, including such shamanistic works as ASCENSION and MEDITATIONS. While many of his old fans couldn't make the leap of faith required for a sojourn into Coltrane's emotive new sound, those who surrendered to the psychedelic interplay of his classic quartet bore witness to spiritual transformations of enduring grandeur.
Recorded August 26, 1965, SUN SHIP is one of Coltrane's most intense performances, and a testament to the maturity and resourcefulness of his rhythm section. With nearly four years of experience under their belt, McCoy Tyner, Jimmy Garrison and Elvin Jones had achieved a vital collective identity, yet each man was an innovator in his own right. When Coltrane evolved a metrically free style of rhythm and melody, the quartet's basic rhythmic pulse and style of collective interplay evolved accordingly. Bassist Garrison and drummer Jones are featured on "Ascent" and "Attaining," where they unveil bold new solutions for coming in and out of tempo and manipulating dynamics, while maintaining the amorphous ebb and flow of the pulse.
The opening track, "Sun Ship" begins auspiciously with a splintered chanting theme--a call to arms, as it were. Garrison and Jones regroup dramatically around the leader's clarion calls, then rhythmically abstract the jazz pulse, moving away from strict tempos and linear swing, towards a furious implied pulse, as Tyner crafts a monumental solo full of crashing modulations and heated single lines. Trane re-enters at full tilt, alternating throttled upper register cries with crunching bass declamations, as the levitating rhythm boils around him.
The gyrating, oceanic pulse of "Dearly Beloved" suggests earlier ballad explorations such as "Alabama," with Trane's keening tenor providing a taut melodic focus for the multi-layered, ritualistic rhythms surrounding him. Tyner's
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