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130 classical records only CHAMBER CELLO VIOLIN PIANO in NM/NM- LP LPs solo bach $400.00 |
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CHAMBER BROTHERS Time Has Come CHINA Rare Northern Soul Import 1968 $399.00 |
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HEWITT CHAMBER ORCH mozart serenade in b LP DL 6020 $360.00 |
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23 CD Box *MAX REGER* COMPLETE CHAMBER MUSIC RECORDINGS $349.99 |
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Andante Special 2 1/2 Hr Collection Chamber Music Classics 2 LP TELDEC 16.35186 $329.99 |
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SHANGHAI OPERA *DREAM OF THE RED CHAMBER- 紅樓夢 *上海越劇 3 LP Complete with Booklet $299.99 |
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Schnittke: Chamber Music, Vol. 2, , Very Good $253.90 |
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STRAVINSKY CHAMBER WORKS 1911-1954, PICASSO-COLUMBIA 6E $200.00 |
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Rossini, Moscow Chamber Orchestr , Audio CD, Overtures: Il Bariere Di Siviglia / $188.08 |
The Holiday Julian Rachlin & Chums, Now In Its Eleventh Year, Has Presented Chamber Music Concerts From Late August And Will Continue Through Early September.
The city of Dubrovnik, located at the southernmost end of Croatia on the Adriatic coast, is aglow with the music of summer holidays. From July 10 to Aug. Twenty-five, the city hosted five weeks of music, theater and dance at its 62nd yearly Dubrovnik Summer Festival.
The Festival Julian Rachlin & Friends, now in its 11th year, has presented chamber music concerts from late Aug and will continue thru early Sep. It was set up by violinist Julian Rachlin, who selected the city as an ideal place to supply creative and vibrant projects with musicians of global repute.
Damaged in a war in the early 1990s, the Old City section of Dubrovnik has been totally and faithfully reconstructed to its fairytale personality of prior centuries. Many Renaissance-era buildings are used as venues for musical performances. For the Festival Rachlin & Friends, the fifteenth century Rector’s Palace is the main location for this year’s thirteen concerts, beginning with Zubin Mehta conducting the Belgrade Philharmonic Orchestra. In addition to performing standard classical repertoire, Rachlin commissions new works from composers. In the first 3 days of Sep, 3 new works by French-Swiss composer Richard Dubugnon were highlighted, each one painting a totally different and unique view of the cosmos.
Eloquent chamber music
On Sept. 1 the programme included two examples of Russian romantic stock : Anton Arensky’s Quartet No. 2 for violin, viola and two cellos ; Alexander Glazounov’s “Elegy” for viola and piano ; and Stravinsky’s 20th-century “Divertimento” for violin and piano. The centerpiece of the programme, though, was the world premiere of Dubugnon’s “Violiana,” written for Rachlin and pianist Itamar Golan. The piece saw Rachlin switching back and forth from violin to viola with split-second timing for 3 movements of diva playing. Exhibiting many moods and colors, most significantly the lovely muted impressionism of the slower 2nd movement, this piece is unusual for its electrified energy level through and was amplified by the kinetic performance by Rachlin and Golan. Dubugnon also dug satisfyingly deep into the velvety, varnished color of the viola, exploring its capacity for drama more than most do.
Sept. 2′s programme was devoted to the sufferers of the Fukushima nuclear catastrophe. One of Japan’s respected violin teachers, Tsugio Tokunaga, was a featured musician, as was his 18-year-old prizewinning student, Fumiaki Miura. Anchored to the evening’s theme was another commission from Dubugnon : “Variations on a Japanese Folk Tune” for 2 violins and piano. In it, the composer took “Red Dragonflies” by Aka Tombo and made a glistening, pretty seven-part theme with divergences. It was performed by Tokunaga and Rachlin, with Sophie Rachlin ( Julian’s mum ) on the piano. While the prior night’s composition utilised a less tonal and more rhythmically targeted language, this evening’s work was intensely tonal and unabashedly emotional, made so especially as it was predated by an original poem by Golan that used the imaginary symbol of a young girl’s doll to memorialise the Fukushima catastrophe.
Sept. Three was titled “Concert in White,” to which everyone was requested to wear white clothing ; effectively, the audience turned into a fun fashion show without the runway. The programme consisted of 3 highly emotional compositions whose characters appeared to reflect the steamy hot weather. Dubugnon’s “Three Pieces for Violin and Piano” ( exquisitely played by Boris Brovstyn and Golan ) is destined to become a hot item inside violin inventory. It is an incredibly tender duet, as if the piano and violin were in a lovers ‘ embrace. The 3 sections rambled from hallucinatory dreams to a moonlit reverie, then a delightful homage to the music of Maurice Ravel. A wispy glissando to the last, supernatural note was the final, evanescent breath of this wondrous masterwork.
The next two pieces, Brahms ‘ Piano Quartet in C minor and Arnold Schoenberg’s string sextet “Transfigured Night” continued to heighten the emotional temperature of the evening. The latter’s deep thought portrait of a spirit in the process of transformation from deathly gloom to a radiant, heavenly resolution took everyone’s breath away. Transfigured Night” was Schoenberg’s first major work, written in 1899, and predates the utilisation of the 12-tone language that outlined his later inheritance. Its troublesome, complex score was provoked by a poem of the same name and is one of the apex compositions for string chamber musicians. The performance by violinists Brovstyn and Sean Avram Chippie, violists Rachlin and David Aaron Chippie and cellists Torleif Theden and Boris Andrianov was a rapturous experience of roaring power.
Another amazing aspect to this concert was the last-minute substitution of a few violinists ( who learned their difficult parts in forty eight hours ) needed to replace the indisposed Janine Jansen. The heroes were Boris Brovstyn, Sean Avram Carpenter and the 18-year-old Miura. When I asked the teenager how he felt playing with such luminaries as Rachlin, Maisky and Golan, he announced, “When I sat across from the fantastic Maisky playing his massive solos, I felt rather like a little mouse!” Thanks to Rachlin’s organizational largesse, developing artists like Miura have the prerogative and valuable experience of sharing the stage with their mentors. Someday, Miura will be the older lion across from a young mouse.
From baroque to balalaika
The striking Baroque church of St. Ignatius was the setting for a Sun. morning concert of works by Vivaldi and Bach. Later that day, Russian balalaika virtuoso Alexey Arkhipovsky entertained with his mixing of styles from folk to funk, fugue to flamenco, making the silvery sound of only 3 strings look like a symphony. He is the modern Paganini of the balalaika, but with a Pat Metheny approach. The holiday will go on with equal quantities of chamber music and lighter-weight fare thru to Sept. 8 as reported tagza.com.
Ballake Sissoko & Vincent Segal – Chamber Music
