{"title":"Speakers Corner","description":"","products":[{"product_id":"4260019714794","title":"Hank Garland: Jazz Winds from a New Direction (Vinyl LP)","description":"Hank Garland wasn't the first Country and Western guitarist to discover jazz as a new way of playing. Mundell Lowe (who knows him these days?) and Tal Farlow (whose Verve recordings have long become classics) are just two such musicians who are better known to jazz fans. Garland's shining example Charlie Christian was his inspiration when he was invited to participate in a super session, and the LP Jazz Winds from a New Direction became a smash hit. With Joe Morello, the drummer responsible for the tricky, odd meter and Joe Benjamin, who had been instructed by Gerry Mulligan and performs harmonic magic even without a piano, and then Gary Burton, a newcomer on the vibraphone.  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Feierlich und gemessen ohne zu schleppen, Symphony No. 1 in D major ('Titan'): 4. Stürmisch bewegt, Lieder eines fahrenden Gesellen song cycle for voice ; piano (or orchestra): 1. Wenn mein Schatz Hochzeit macht, Lieder eines fahrenden Gesellen song cycle for voice ; piano (or orchestra): 2. Ging heut Morgen übers Feld, Lieder eines fahrenden Gesellen song cycle for voice ; piano (or orchestra): 3. Ich hab' ein glühend Messer, Lieder eines fahrenden Gesellen song cycle for voice ; piano (or orchestra): 4. 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Works by Franz Liszt, Robert Schumann Manuel de Falla, David Guion, Sergei Prokofiev, Felix Mendelssohn, Frederic Chopin, Octavio Pinto Byron Janis (piano) It is an unwritten rule of concert life, signalised by the continuous applause of an enthusiastic audience, that no good soloist is allowed to leave the platform before he has given at least one encore. Whether the virtuoso pulls a contemplative, lyrical or thrilling piece out of his hat is entirely up to him or her to decide. But one thing is absolutely imperative: an encore must be short and popular. Twelve such little gems, all of them different in their own way, have been chosen by Byron Janis for this coupling. They are all well-loved from the technically demanding Sixth Rhapsody and the frisky Value oubliee by Liszt, to Schumann's seemingly weightless Romance in F sharp major and his energetic Novelette with it's cascades of chords. Byron Janis displays his deft finger technique in Prokofiev's furious Toccata while tender sentimentality pervades Mendelssohn's Lied ohne Worte. Pintos three sparkling Scenes from Childhood are played with humour and nicely round off this musical pot-pourri. Recording: June 1962 in Bolshoi Hall of the Tchaikovsky Conservatory, Moscow, Russia, by C.R. Fine and Robert Eberenz \/ Production: Wilma Cozart.  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Rather less concerto-like and unconventional is, however, the use of the piano as a percussion instrument, which after just a few bars on the winds, hammers out an unrelenting staccato against the harsh and dissonant orchestra. In the slow movement too the piano is predominantly employed as a percussion instrument that, like the pendulum of a clock, rhythmically bulldozes on against the cheerless, bleak winds. Wild emotion predominates in the Finale. Stormy, insistent figures in the piano are answered by the orchestra with animated blows, but the quick flashes of melodies cannot establish themselves and are slashed to pieces as if caught in a storm. This uncompromising severity presents an enormous challenge that is mastered with aplomb by Géza Anda and the RSO Berlin under Ferenc Fricsay. Béla Bartók-Concerto For Piano And Orchestra No.1, VINYL, 200 gr., 33 1\/3 rpm. Audiophil, Speakers Corner, 2015, Germany.  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However, he did subscribe a measure of academic value to his very first symphony, if only to show how one should not compose. In the following decades he wrote his so-called neo-classical symphonies, but these too found no mercy in the eyes and ears of avant-garde extremists, and are thus among the most underestimated orchestral compositions of the 20th century. The new aspiration to write with clarity and simplicity, and so turning away from late-romantic and impressionistic expression, is already found in the key of C major, which has no accidentals. But the compositional technique is tricky: sharp polytonal melodies grow out of tonal islands, which, however never result in pleasant-sounding cadences even after numerous attempts to do so.The Symphony in Three Movements, too, breaks with tradition as regards it's formal structure, which Stravinsky himself regarded as -naive®. 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Their judgment ranges from a colorful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.  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To round off the album, the band sings about Jody with constantly varying rhythms and fascinating harmonic twists, which genially and firmly find their way along the narrow path between sentiment and testosterone.  ","brand":"Speakers Corner","offers":[{"title":"Default Title","offer_id":39574820946070,"sku":"4260019714886","price":42.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2231\/7305\/products\/3045911.jpg?v=1704870336"},{"product_id":"4260019715029","title":"Edgar Winter: White Trash (Vinyl LP)","description":"Johnny's brother made his first splash with this 1971 White Trash debut. His keyboard work is just stellar as he tosses blues, gospel, funk and R\u0026amp;B into rockin' tunes like his hit Keep Playin' That Rock 'n' Roll plus Dying to Live; Save the Planet, and more. Produced by Rick Derringer who is also a guitarist and vocalist on the album.  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These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restraint; no trace of a sterile concert atmosphere is found in this recording.Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite it's recording date of 1960 - or maybe just for that reason? the recording is characterized by it's brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure..  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So it is no wonder that numerous solo pieces have been written for the instrument. In this recording, the cellist Mstislav Rostropovich, together with the great Benjamin Britten at the piano, have left the accustomed pathway to perform three less well-known - but nevertheless excellent - works from the 19th and 20th century.Robert Schumann's F-ünf St-ücke i'm Volkston allows the cellist to bring out the whole beauty of his instrument. Well-paced tempi, a crystal-clear tone, and an exquisitely precise piano part emphasize the unique character of this music - a work which points the way towards modern times.The mysterious tonal and harmonic world of the Impressionists is evoked by Debussy's Sonata for Piano and Cello. Written in the aftermath of the First World War, it reflects human tragedy and a feeling of oppression and anxiety.Britten's Cello Sonata was tailormade for Rostropovich and dedicated to the great cellist. 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On the one hand it offers one the opportunity to compare Beethoven's art of composition at various stages in his life. And on the other hand one can already recognize in the early Opus 5 how he breaks with the traditional sonata in which the solo instrument merely provides an accompaniment and treats the two instruments as equal partners in the creation of the movements. Richter and Rostropovich devote themselves to their task with verve and freshness. The two early works are marked by the rich and full sound of the cello and an elegantly performed piano part, while the two Russian musicians foster a contemplative, introverted style in the a major Sonata. This respectful approach also lends itself well to the C major Sonata where the free, fantasia-like character with wide-ranging shading is shown off to advantage. Beethoven's break with the traditional sonata-form layout is carried to extremes in the D major Sonata, where the cello ignores the powerful theme on the piano in the first movement. 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