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Pifferari di Santo Spirito: Pifferari Safari -
No.: PK 90793 The Pifferari di Santo Spirito are a very unusual trio with a sense of humour all their own.The selection of pieces on this CD (from jazz to classic) could be described as a musical anti-depressant. As its title suggests, is a selection from several concerts, presenting highlights of their large repertoire. The very first impression you may have when listening to this recording is that there are at least eight musicians playing, but there are, in fact only three, sometimes two and once or twice just one. This effect is created by the use of a whole range of well known, lesser known and exotic woodwind instruments played in quick succession using a Pifferari trick called the flying change. |
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Süddeutsches Streichoktett: Gade * Svendsen * Schostakowitsch - No: PK 10294 N W Gade (1817 - 1890): String Octet op. 17 F-Dur. In his time Gade was the main representative of a national conciousness in Danish music and has his origins in the early Romanticism of Spohr and Mendelssohn. J S Svendsen (1840 - 1911): String Octet op. 3 A-Dur. More than Gades work Svendsens String Octet reveals an unmistakeable national almost folk character. Svendsen may be counted among the most characteristic representatives of Norwegian Romanticism. Dimitri Schostakowitsch: Präludium and Scherzo op. 11 The Suddeutsches Streichoktett (now Ensemble OctOpus) is the only permanent Octet in Germany. your order |
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Andras Verpeleti / Christian Schmitt: Trumpet &
Organ - No.: PK 11794 Works of Handel (Concerto in D), J. Stanley, G.B. Fontana, Gabrieli, Merula, Telemann, Krebs, Hindemith, Hidas, Vivaldi. Andras Verpeleti (Trumpet) *1970 Budapest/Hungary . Won 1985 & 1987 the first prize on the National Trumpet Competition in Miskolc (Hungary), 1990 he was second in the European Trumpet Competition Malcolm Arnold in London. Christian Schmitt (Organ) *1967 in Ingelheim/Rhine. He won the following first prizes: 1992 at the 2 Concours Intern. d«Orgue in Carouge/Geneva, 1994 Organ Competion at the International Orgelwoche Nuernberg, 1996 Intern organ competition Gelsenkirchen. They play together since 1992, pieces from baroque to modern your order |
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Pifferari di Santo Spirito: Orpheus in His Underpants
and other curiosities - A Pifferari concert: ... as if you were sitting
in the audience ... - No: PK 12595 You will realise how the rich variety of sounds, as in the Orpheus ouverture, are created, using a Pifferari trick called the flying change. Add to this the spinet or the mighty church organ. By the way, the underpants are representative of the way the or-chestral score has been reduced to the basics without losing any of its richness or lustre. This third CD is a complete live concert. Not content with playing several instruments one after the other, the Pifferari use another trick whereby the two windplayers play and sing at the same time enabling them to play in four part harmony! Unless of course you happen to have a cold, in which case you can play two parts at once on the bamboo double recorder by Santi Occorso, as in the first verse of the Bach chorale. recitals |
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Petra Edelmann, Harfe: Marcel Tournier -Images
pour Harpe - No.: PK 14196 Marcel Tournier (* 1879 + 1951) Four suites for harp. In 1897 he exchanged his private lessons for the harp class with the master when he entered the conservatoire, and it was there that he realized still another musical talent and passion, composition. After only four years of study, in 1899 this amazing young musician won the Premier Prix in harp, eventually he won the second Grand Prix de Rome, the Prix Rossini, and recognition for his orchestral work by the Institut de France. All three of these accomplishments were achieved in the same year, 1909. These awards proved his capabilities, and in the glow of such success Tournier became a teacher of harmony and counterpoint at the conservatoire. Petra Edelmann won several competitions and had concerts directed by S. Celibidache, L. Maazel and D. Kitajenko. your order |
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Margot Hampel, flute - Andreas Paetzold, piano: Opera
fantasies for Solo flute and Piano - No: PK 15296 Co-Production with the Bayerischer Rundfunk. Excerpts from the operas: Freischütz, La Traviata, Carmen, La Molinara and Oberon. At the end of the 18th century there was a boom of arrangements for the most well known operas, which became known as Harmony Music. Many operas became popular as a result of these arrangements. The blossoming of instrumental virtuosity brought forth a special type of opera fantasy developed for instrumental soloists, who took the part of the prima donna, and pianists, who substituted for the orchestra. Travelling virtuosos brought these melodies all over the world. It was more of a challenge for the accomplished musician to perform not only the melodies, but to adorn them with improvisation which brought their technical brillance to light. your order |
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Pifferari di Santo Spirito: Kammermusik der kuriosen
Art- No: PK 17996
Maxi-CD of Chamber Musik, among other titles you will be guided through
the history of music by 14 Happy Birthday Variations.
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Eulenburg, Botho Sigwart Edition Vol. II,
Art- No: PK 18299 Stringquartett in H-Dur op. 13, Botho-Sigwart-Streichensemble Pianosonate in D-Dur op. 19, Martin Pillwein Botho Sigwart Count Eulenburg (1884 - 1915) was known as a talent
at his time, but he was nearly forgotten in the years to come.
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Duo Atlantis, Johannes Brahms: Love-Song
Waltzes / Hungarian Dances - No.: PK 18001
The record includes perhaps the two most popular Dance collections of Johannes Brahms (1833-1897), the specialty of which is that they were published in Vienna by the Simrock Publishing House simultaneously, in 1869. The 18-piece cycle of the Love-Song Waltzes (op. 52.) were written for four hands, supplemented by four voices. The first two volumes of the Hungarian Dances included 10 pieces (1869), which were followed by the Part 3-4 with a further 11 pieces in 1880. Brahms considered himseif not as the composer, but as a recorder of the dances. As they gained in popularity the compositions appeared in several settings following the first four-handed variation. They worked from various sources including settings of folk songs met with everywhere throughout Hungary, song transcriptions, and czardas improvisations of gipsy bands that were playing in cafes and restaurants. No other non-Hungarian composer used Hungarian music traditions with such a great intensity before. "We believed that it would be essential to present the complete series to be able to faithfully reflect the pride of this nation, the bitterness about its lost freedom, its inventiveness, humour, and emotional richness." your order |
