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HAYDN, TORELLI, TELEMANN, English Chamber Orchestra, Anthony Halstead, Crispian Steele-Perkins

Six Trumpet Concertos

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Crispian Steele-Perkins - Six Trumpet Concertos Concerto for Trumpet and Orchestra in E flat major - I 01. I. Allegro (6:29) 02. - II. Andante (3:53) 03. - III. Allegro (4:48) Concerto for Trumpet and Strings in D major - 04. I. Allegro (2:05) 05. - II. Adagio-Presto-Adagio (2:28) 06. - III. Allegro (1:39) Concerto #2 in C major for Trumpet - 07. I. Adagio (4:45) 08. - II. Allegro molto (4:34) Concerto in D major for Trumpet, 2 Oboes and Strings - 09. I. Allegro (3:08) 10. - II. Grave-Aria-Grave (6:04) 11. - III. Vivace (2:36) Concerto in E flat major for Trumpet - 12. I. Allegro (5:33) 13. - II. Largo (5:13) 14. - III. Vivace (4:59) Concerto in D major for Trumpet - 15. I. Allegro (2:02) 16. - II. Adagio Staccato (0:42) 17. - III. Vivace (1:52)
  • English Chamber Orchestra - orchestra
  • Anthony Halstead - conductor
  • Crispian Steele-Perkins - trumpet
  • HAYDN
  • TORELLI
  • TELEMANN
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44.00 PLN

CD:

Nr kat.: RRC1053
Label  : Regis Records

Award winer Jazz of Japan Award, Jazz Disk Award of Swing Journal, 1974. Monterey Jazz Festival 1974 revisited tyhee88 5.0 out of 5 stars an unappreciated gem? April 3, 2013 I happened across this disk used recently and was astounded. I have other versions of most of these concertos (all but the Neruda and Humphries) but these performances, and the recorded sound, are top-notch even though this is a low-priced disk. Steele-Perkins is an outstanding player with an unusual purity of tone, who won the 2004 Monk award from the Historic Brass Society for lifelong contribution in performing historic brass works. The Haydn performance has become my favourite, ahead of, among others Andre, Marsalis, Schwarz and Wallace. This disc is a real joy. It has given me enormous pleasure and I played it to my sixth formers who were genuinely enthusiastic. If music and performances can do this it proves the power and the value of music and the fundamental goodness of the human spirit. The soloist is my type of performer. Everything is thought out and logical and what a super sound he has. Simply magnificent. I love the brightness of his playing and he also has a real sensitivity which makes the trumpet sound so beautiful. What a pity that this instrument has been somewhat debased by its misuse and abuse! The enthusiasm in the orchestral playing was a revelation as well. I adored the vigour and excitement. Why isn't all early music played like this? I do not want to limit this splendid recording to students alone but such performances are invaluable to students when all the lines are clearly defined and can be followed and analysed from the score. The slow movement of the Michael Haydn was so good that I thought I was in heaven. Really choice! Listen to the elegance of the Torelli and the simply wonderful slow sections of the central movement. It is almost too beautiful. I adore the way the open-air style is captured. The articulation of the finale is well-judged. It is all too short though, but then that is better than all the padding and repetition one associates with some later composers! The sound engineers have done a superlative job. I have always rated Telemann higher than most of my colleagues do. He was not trammelled by academic correctness. I adore the intimacy of this concerto here brilliantly brought to life! Listen to those high trumpet notes and just admire. That's all you can do! What secure intonation! What vibrancy! I need say no more! – David Wright, MusicWeb International *** This disc is a real joy. It has given me enormous pleasure and I played it to my sixth formers who were genuinely enthusiastic. If music and performances can do this it proves the power and the value of music and the fundamental goodness of the human spirit. The soloist is my type of performer. Everything is thought out and logical and what a super sound he has. Simply magnificent. I love the brightness of his playing and he also has a real sensitivity which makes the trumpet sound so beautiful. What a pity that this instrument has been somewhat debased by its misuse and abuse! The enthusiasm in the orchestral playing was a revelation as well. I adored the vigour and excitement. Why isn't all early music played like this? I do not want to limit this splendid recording to students alone but such performances are invaluable to students when all the lines are clearly defined and can be followed and analysed from the score. The slow movement of the Michael Haydn was so good that I thought I was in heaven. Really choice! Listen to the elegance of the Torelli and the simply wonderful slow sections of the central movement. It is almost too beautiful. I adore the way the open-air style is captured. The articulation of the finale is well-judged. It is all too short though, but then that is better than all the padding and repetition one associates with some later composers! The sound engineers have done a superlative job. I have always rated Telemann higher than most of my colleagues do. He was not trammelled by academic correctness. I adore the intimacy of this concerto here brilliantly brought to life! Listen to those high trumpet notes and just admire. That's all you can do! What secure intonation! What vibrancy! I need say no more! – David Wright, MusicWeb International

 

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