| | Bartók: The 6 String Quartets / Takács Quartet CD Bartok / Takacs Quartet CDS
Bartók: The 6 String Quartets / Takács Quartet Music | List Price | $33.97 (You save $9.18) | | Label | London / Decca | | All Time Sales Rank |  1700  | | CD Universe Part number | 1170440 | | Catalog number | 455297 | | Discs | 2 | | Release Date | Jan 13, 1998 | | Mono/Stereo | Stereo | | Recording Time | 2 32 |
Bartók: The 6 String Quartets / Takács Quartet Review
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Bartók: The 6 String Quartets / Takács Quartet Songs | 1. Quartet for Strings no 1 in A minor, Op. 7/Sz 40 (28:18) | | Common Name | Quartet For Strings | | Catalog No. | SZ 40 | | Composer | Béla Bartók (1881 - 1945) | | Performer | Edward Dusinberre (Violin)
Karoly Schranz (Violin)
Roger Tapping (Viola)
Andras Fejer [cello] (Cello) | | Genre | 20th Century Period / Quartet | | Date Written | 1908 | | Ensemble | Takacs String Quartet | | Period | 20th Century | | Country | Budapest, Hungary | | Recording | Studio | | Venue | Reitstadel, Neumarkt, Germany | | Recording Date | 1996 | | 2. Quartet for Strings no 2 in A minor, Op. 17 (25:47) | | Common Name | Quartet For Strings | | Composer | Béla Bartók (1881 - 1945) | | Performer | Andras Fejer [cello] (Violin)
Karoly Schranz (Violin)
Roger Tapping (Viola) | | Genre | 20th Century Period / Quartet | | Date Written | 1915-1917 | | Ensemble | Takacs String Quartet | | Period | 20th Century | | Country | Budapest, Hungary | | Recording | Studio | | Venue | Reitstadel, Neumarkt, Germany | | Recording Date | 1996 | | 3. Quartet for Strings no 3, Sz 85 (15:18) | | Common Name | Quartet For Strings | | Catalog No. | SZ 85 | | Composer | Béla Bartók (1881 - 1945) | | Performer | Edward Dusinberre (Violin)
Karoly Schranz (Violin)
Roger Tapping (Viola)
Andras Fejer [cello] (Cello) | | Genre | 20th Century Period / Quartet | | Date Written | 1927 | | Ensemble | Takacs String Quartet | | Period | 20th Century | | Country | Budapest, Hungary | | Recording | Studio | | Venue | Reitstadel, Neumarkt, Germany | | Recording Date | 1996 | | 4. Quartet for Strings no 4, Sz 91 (22:24) | | Common Name | Quartet For Strings | | Catalog No. | SZ 91 | | Composer | Béla Bartók (1881 - 1945) | | Performer | Edward Dusinberre (Violin)
Karoly Schranz (Violin)
Roger Tapping (Viola)
Andras Fejer [cello] (Cello) | | Genre | 20th Century Period / Quartet | | Date Written | 1928 | | Ensemble | Takacs String Quartet | | Period | 20th Century | | Country | Budapest, Hungary | | Recording | Studio | | Venue | Reitstadel, Neumarkt, Germany | | Recording Date | 1996 | | 5. Quartet for Strings no 5, Sz 102 (30:26) | | Common Name | Quartet For Strings | | Catalog No. | SZ 102 | | Composer | Béla Bartók (1881 - 1945) | | Performer | Edward Dusinberre (Violin)
Karoly Schranz (Violin)
Roger Tapping (Viola)
Andras Fejer [cello] (Cello) | | Genre | 20th Century Period / Quartet | | Date Written | 1934 | | Ensemble | Takacs String Quartet | | Period | 20th Century | | Country | Budapest, Hungary | | Recording | Studio | | Venue | Reitstadel, Neumarkt, Germany | | Recording Date | 1996 | | 6. Quartet for Strings no 6, Sz 114 (29:15) | | Common Name | Quartet For Strings | | Catalog No. | SZ 114 | | Composer | Béla Bartók (1881 - 1945) | | Performer | Edward Dusinberre (Violin)
Karoly Schranz (Violin)
Roger Tapping (Viola)
Andras Fejer [cello] (Cello) | | Genre | 20th Century Period / Quartet | | Date Written | 1939 | | Ensemble | Takacs String Quartet | | Period | 20th Century | | Country | Budapest, Hungary | | Recording | Studio | | Venue | Reitstadel, Neumarkt, Germany | | Recording Date | 1996 |
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Call Cobbs (piano); Bill Fowell, Henry Grimes, Alan Silva, Lewis Worrell (bass); Beaver Harris, Sunny Murray (drums).
Recorded live at The Village Gate, New York, New York, March 28, 1965; The Village Vanguard, New York, New York, December, 18, 1966; The Village Theatre, New York, New York, Feburary 26, 1967. Originally released as ALBERT AYLER IN GREENWICH VILLAGE on Impulse (9155) and ALBERT AYLER: THE VILLAGE CONCERTS on Impulse (9336). Includes original liner notes by Nat Hentoff and Robert Palmer.
Digitally remastered by Erick Labson using 20-bit technology at MCA Studios.
This set documents some of the most robust and influential fermentation that was taking place in '60s ...
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On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging ...
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Temirzhan Yerzhanov was born in Alma-Ata, Kazakhstan. His creative activity and development was closely associated with the Russian performing tradition. He studied at the Moscow Central Music School and then ...
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Dr. Hugo Goldenzweig has performed as a recitalist, soloist with orchestra, and chamber musician in over 1,000 concerts worldwide, including five major New York recitals. He has also given master classes for leading conservatories and universities in the U.S. and abroad. Peter Davis of The New York Times hailed his debut at Weill Recital in Carnegie Hall: "...A satisfying performance...a sharply profiled and warmly committed interpretation. Mr. Goldenzweig elucidated textures crisply and cleanly."His Wigmore Hall debut was a great success, and Keith Clarke (Review of London Recitals) wrote: "...stunning...a superb performance...bright tone, assured musicality, great rhythmic punch, Beethovenesque grandeur...(Sonata op. 109). Completely captured Ginastera's wayward and searching spirit in all its drama and passion (Sonata No. 1, op. 22)...Warmly lyrical playing, his melodies singing clearly, his passage work glistening, and the whole imbued with great spirit (Schumann, Sonata op. 22)."His recital programs often combine the classic repertoire with works by composers from his native Argentina and contemporary composers, and he has premiered several major works. His Lecture and Recital "Argentine Piano Music of the Last Fifty Years" was videotaped under a grant by the New School University. In 1993 he gave the world premiere of the Concerto No. 2 for Piano and Orchestra by Alcides Lanza in Buenos Aires, with the National Symphony Orchestra of Argentina under Peter Bellino. One of the highlights of his 1993 European tour was his recital at the Reina Sofia Center for Contemporary Music in Madrid, where he gave first performances of new works by Spanish composers Luis de Pablo and Cesar Camarero and the Argentine Alcides Lanza. Leopoldo Hontanon (Scherzo Magazine, Madrid) wrote: "...marvelous pianistic performances by Hugo Goldenzweig, who was not only infallible to the letter but also an artist who knew how to penetrate into the spirit of the new compositions...."In ...
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A Note from Kathy:Music has always been a part of my life. I always thought of it as a gift to be shared, a celebration to be felt. If I can take the stresses of life away for someone for only a moment, I’ve done my job. My teachers through college and graduate school certainly shaped and molded me, providing essential tools, training, and their own life experiences to help me along my way. I am a purist really, a traditionalist when it comes to some music. What sets a vocalist apart from an instrumentalist are the words. The power of words! I have provided the translation of the Latin works as well as the words to those in English because these songs are so powerful in their text, it cannot be missed to experience the depth and share the full meaning of the music. This project has certainly taught me a lot about the recording process and myself. There are things that I will do in my next project to facilitate the editing and mixing process, such as mic proximity and location, breathing and swallowing awareness, etc. All in all, most of these songs were provided in one take. Nick tells me that this is pretty rare, but for vocal and emotional continuity, I believe it’s necessary.I named the CD, Blessed Serenity, because I discovered through the more difficult of life’s many trials, and nearly a year away from singing in the church, that this is my balance in life. My serenity. I can have whatever job to pay the bills (which always seems to be challenging and pressure oriented jobs), as long as I have music; as long as I can share my music. I hope you enjoy it as much as I have enjoyed producing it. It is truly my pleasure, Kathleen McBurney• Graduate degree in Voice Performance, Illinois State University, 1986 — 1988• Undergraduate degree in Voice Performance, Florida Southern College, 1982 — 1986• Tampa Ballet, Stage Manager, 1988 - 1989• Philharmonic Center for the Arts, House Manager, 1989 — 1993• IT Consulting, Office Manager / Recruiter / Sales Executive, 1993 — 2002• Nativity Catholic Church, Canter / Children’s Choir Director / Associate Director, 2000 — 2005• First Advantage Corp, Implementation Manager / ...
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