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Die Musik hierfür hat der weltweit gefeierte Filmkomponist höchstpersönlich transkribiert und für Geige arrangiert, sodass 11 neue Kompositionen entstanden sind. So beschreiben Williams und Mutter etwa das neue Arrangement von »Hedwig’s Theme« aus Harry Potter als »Harry Potter trifft Paganini« und eine »Carmen Fantasie für das 21. Jahrhundert«. Aufgenommen mit The Recording Arts Orchestra of Los Angeles in der berühmten Sony Scoring Stage mit Anne-Sophie Mutter als Solistin und John Williams als Dirigent enthält das Album Themen aus Star Wars (»Rey’s Theme« aus Das Erwachen der Macht, »Yoda’s Theme« aus Das Imperium schlägt zurück, »Across the Stars« aus Angriff der Klonkrieger, »Luke and Leia« aus Die Rückkehr der Jedi-Ritter), Die Geisha, Dracula, Sabrina, Die Abenteuer von Tim und Struppi sowie das zu Herzen gehende Thema aus Schindlers Liste.\u003c\/p\u003e\u003cp\u003eWie es zu diesem Album kam:\u003c\/p\u003e\u003cp\u003eMutter und Williams lernten sich vor fast zehn Jahren durch ihren gemeinsamen Freund André Previn kennen. Daraufhin komponierte der fünffachen Oscar und 24-fache Grammy-Preisträger John Williams ein erstes Stück für die herausragende Geigerin, dem auf ihren speziellen Wunsch als großer Star Wars Fan Neu-Arrangements seiner berühmtesten Filmklassiker für Violine und Orchester folgten. »Mit Anne-Sophie „Across the Stars“ aufzunehmen war ungeheuer inspirierend«, erklärt er. »Durch ihre Interpretation wirken diese vertrauten Themen plötzlich anders. Das war für mich als Komponisten natürlich wunderbar. Für einen großen Virtuosen zu komponieren, ist immer eine lohnende und reizvolle Aufgabe, weswegen ich mich mit Feuereifer an die Arbeit machte. Und ich muss sagen: Es war mir eine ganz besondere Freude. Anne-Sophie ist so vieles auf einmal: Eine großartige Musikerin, eine bemerkenswerte Frau, … Aber eines ist sie ganz gewiss nicht: Eine Frau, der man einen Wunsch abschlägt. Ich jedenfalls könnte – und würde – das niemals tun!« Anne-Sophie Mutter, vierfache Grammy-Preisträgerin und weltweit eine der besten Geigerinnen unserer Zeit, sagt, es sei eine ungeheure Ehre für sie, mit John Williams zu arbeiten. »Diese Melodien, die uns so tief berühren, sind unvergesslich«, erklärt sie. »Das ist das Wunderbare an Johns Musik – sie steht für sich, auch ohne den Film. 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Music can change lives and Piano Book tells this story. \u0026#34;I dedicate this album to my wonderful piano students and all my friends around the world who love the piano as much as I do.\u0026#34; Lang Lang. \u003c\/p\u003e\u003cp\u003eTracklist:\u003c\/p\u003e\u003cp\u003eA\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cstrong\u003eBach\u003c\/strong\u003e – Prelude in C major\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eBeethoven\u003c\/strong\u003e –\u0026#34;Für Elise\u0026#34;\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eRichter\u003c\/strong\u003e – The Departure\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMendelssohn\u003c\/strong\u003e – \u0026#34;Spinning Song\u0026#34;\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDebussy\u003c\/strong\u003e – Clair de lune\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDebussy\u003c\/strong\u003e – Doctor Gradus ad Parnassum\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eB\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cstrong\u003eChopin\u003c\/strong\u003e – “Raindrop” Prélude\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMozart\u003c\/strong\u003e – \u0026#34;Sonata facile\u0026#34;: Allegro\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eClementi\u003c\/strong\u003e – Sonatina in C major: Andante\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCzerny\u003c\/strong\u003e – The School of Velocity: Presto\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTiersen\u003c\/strong\u003e – La Valse d\u0026#039;Amélie\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDebussy\u003c\/strong\u003e – Rêverie\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eC\u003c\/p\u003e\u003col\u003e\u003cli\u003e\u003cstrong\u003eSchubert\u003c\/strong\u003e – Moment musical in F minor\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eGrieg\u003c\/strong\u003e – To Spring\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSchumann\u003c\/strong\u003e – Wilder Reiter\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePoulenc\u003c\/strong\u003e – Villageoises: Staccato\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eHuang\u003c\/strong\u003e – The Merry Shepherd Boy\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSakamoto\u003c\/strong\u003e – Merry Christmas, Mr. Lawrence\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eBądarzewska-Baranowska\u003c\/strong\u003e – The Maiden\u0026#039;s Prayer\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eD\u003c\/p\u003e\u003col\u003e\u003cli\u003e– 13.\u003cstrong\u003e Mozart\u003c\/strong\u003e – 12 Piano Variations on “Ah, vous dirai-je Maman”\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eBach\u003c\/strong\u003e – Minuet in G Major\u003c\/li\u003e\u003c\/ol\u003e","brand":"Lang Lang","offers":[{"title":"OS","offer_id":46371442163955,"sku":"129105000","price":37.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Lang-Lang_Piano-Book-2LP_LP_s129105_o195732_a289409_v12066453.f8a5a9f0.png?v=1744556220"},{"product_id":"ludovico-einaudi-7-days-walking-day-1","title":"7 Days Walking - Day 1","description":"Material: Tonträger","brand":"Ludovico Einaudi","offers":[{"title":"OS","offer_id":46371443278067,"sku":"129158000","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Ludovico-Einaudi_7-Days-Walking-Day-1_CD_s129158_o10414_a4095_v11901710.44bf6307.jpg?v=1744691447"},{"product_id":"ludovico-einaudi-7-days-walking-day-4","title":"7 Days Walking - Day 1","description":"","brand":"Ludovico Einaudi","offers":[{"title":"OS","offer_id":46371445604595,"sku":"129159000","price":28.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Ludovico-Einaudi_7-Days-Walking-Day-1_LP_s129159_o195785_a354254_v6823204.a04f6196.jpg?v=1750793325"},{"product_id":"ludovico-einaudi-7-days-walking-day-6","title":"7 Days Walking - Day 6","description":"","brand":"Ludovico Einaudi","offers":[{"title":"OS","offer_id":46371447832819,"sku":"130524000","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Ludovico-Einaudi_7-Days-Walking-Day-6_CD_s130524_o197136_a291781_v11901695.e9499b15.jpg?v=1744692735"},{"product_id":"jan-lisiecki-academy-of-st-martin-in-the-fields-beethoven-complete-piano-concertos","title":"Beethoven: Complete Piano Concertos","description":"\u003cp\u003eDer kanadische Starpianist \u003cstrong\u003eJan Lisiecki\u003c\/strong\u003e wurde für sein erfolgreiches Album mit Felix Mendelssohns Klavierkonzerten 1 und 2 von der Presse hochgelobt: »\u003cem\u003ean impressive technique allied to a musical sensibility that is poetic, sensitive and even understated\u003c\/em\u003e« (Washington Post). 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Mitunter nahmen wir vormittags Teile der Missa und nachmittags Teile der Schöpfung auf. Das waren damals Aufnahmezeiten von 10 bis 14 Tagen, von denen man heute nur noch träumen kann. Die Missa solemnis war damals noch wenig etabliert, für viele war sie ein »böhmisches Dorf«. Selbst heutet fristet die Missa wohl ein wenig ein Schattendasein und ist trotz ihrer Bedeutung ein vergleichsweise unbekanntes Werk. Wenn jemand sagt, ich kenne und liebe die Missa, glaube ich das nur selten und denke bei mir: »Gehen Sie raus und kochen Sie Erdäpfel!« Meine erste Begegnung mit dem Werk war Anfang der 60er Jahre, als mir ein von der Missa begeisterter Freund Auszüge auf LP vorspielte; ich kannte es also zunächst nur in Bruchstücken und dachte instinktiv: »Das ist aber schwierig.« Als ich wusste, dass ich es mit Karajan aufnehmen würde, habe ich das neben meinen anderen Verpflichtungen etwa ein halbes Jahr lang mit einem Korrepetitor studiert. 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Er dirigierte diese großen Werke ja ohne Stab und er hat nur mit seinem Schlag, mit ganz kleinen Bewegungen und seiner Aura somnambulisch aus uns herausgelockt, was er hören wollte. Karajan war ein Genie. Nein, er war mehr als Genie: ein Mensch. Auf gewisse Weise war er auch ein scheuer und schüchterner Mensch, und durchaus großzügig und liebevoll mit den Leuten, mit denen er gearbeitet hat. Er war höflich. Ein Herr. Vor nicht allzu langer Zeit war ich bei Freunden auf einem Barockschloss in Niederösterreich eingeladen, Schloss Ebenthal. Wir hatten dort einen Geburtstag gefeiert. Das Schloss besitzt eine eigene Schlosskapelle, und dort habe ich zu den anderen gesagt: »Wäre es nicht schön, genau hier die Missa solemnis zu hören?« Erst haben sie mich verdutzt angeschaut, aber dann haben wir eine Anlage in die Kapelle gebracht und schließlich gemeinsam, aber jeder für sich auf einer Bank, die ganze Missa in der Karajan-Aufnahme angehört. Da ich sonst bei der Missa ja meistens singen musste, war das wohl eines der wenigen Male, wo ich die Missa komplett gehört habe. Am Ende haben alle geweint. Es ist wirklich eine Jahrhundertaufnahme, und der Himmel tut sich auf. (Aus einem Telefonat mit KS Gundula Janowitz, 6. August 2019)\u003c\/p\u003e\u003cp\u003eCD 1\u003c\/p\u003e\u003cp\u003eMass in D, Op.123 \u0026#34;Missa Solemnis\u0026#34;\u003c\/p\u003e\u003col\u003e\u003cli\u003eKyrie: Kyrie eleison\u003c\/li\u003e\u003cli\u003eKyrie: Christe eleison\u003c\/li\u003e\u003cli\u003eKyrie: Kyrie eleison\u003c\/li\u003e\u003cli\u003eGloria: Gloria in excelsis Deo\u003c\/li\u003e\u003cli\u003eGloria: Qui tollis peccata mundi\u003c\/li\u003e\u003cli\u003eGloria: Quoniam tu solus sanctus\u003c\/li\u003e\u003cli\u003eGloria: In gloria Dei Patris, Amen\u003c\/li\u003e\u003cli\u003eGloria: Amen - Quoniam tu solus sanctus\u003c\/li\u003e\u003cli\u003eCredo: Credo in unum Deum\u003c\/li\u003e\u003cli\u003eCredo: Et incarnatus est\u003c\/li\u003e\u003cli\u003eCredo: Et ascendit in coelum\u003c\/li\u003e\u003cli\u003eCredo: Et vitam venturi saeculi\u003c\/li\u003e\u003cli\u003eCredo: Amen\u003c\/li\u003e\u003cli\u003eSanctus: Sanctus Dominus Deus Sabaoth\u003c\/li\u003e\u003cli\u003eSanctus: Pleni sunt coeli\u003c\/li\u003e\u003cli\u003eSanctus: Praeludium\u003c\/li\u003e\u003cli\u003eSanctus: Benedictus\u003c\/li\u003e\u003cli\u003eAgnus Dei: Agnus Dei\u003c\/li\u003e\u003cli\u003eAgnus Dei: Dona nobis pacem\u003c\/li\u003e\u003cli\u003eAgnus Dei: Allegro assai - Presto\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eCD 2\u003c\/p\u003e\u003cp\u003eMass in D, Op.123 \u0026#34;Missa Solemnis\u0026#34;\u003c\/p\u003e\u003col\u003e\u003cli\u003eKyrie: Kyrie eleison\u003c\/li\u003e\u003cli\u003eKyrie: Christe eleison\u003c\/li\u003e\u003cli\u003eKyrie: Kyrie eleison\u003c\/li\u003e\u003cli\u003eGloria: Gloria in excelsis Deo\u003c\/li\u003e\u003cli\u003eGloria: Qui tollis peccata mundi\u003c\/li\u003e\u003cli\u003eGloria: Quoniam tu solus sanctus\u003c\/li\u003e\u003cli\u003eGloria: In gloria Dei Patris, Amen\u003c\/li\u003e\u003cli\u003eGloria: Amen - Quoniam tu solus sanctus\u003c\/li\u003e\u003cli\u003eCredo: Credo in unum Deum\u003c\/li\u003e\u003cli\u003eCredo: Et incarnatus est\u003c\/li\u003e\u003cli\u003eCredo: Et ascendit in coelum\u003c\/li\u003e\u003cli\u003eCredo: Et vitam venturi saeculi\u003c\/li\u003e\u003cli\u003eCredo: Amen\u003c\/li\u003e\u003cli\u003eSanctus: Sanctus Dominus Deus Sabaoth\u003c\/li\u003e\u003cli\u003eSanctus: Pleni sunt coeli\u003c\/li\u003e\u003cli\u003eSanctus: Praeludium\u003c\/li\u003e\u003cli\u003eSanctus: Benedictus\u003c\/li\u003e\u003cli\u003eAgnus Dei: Agnus Dei\u003c\/li\u003e\u003cli\u003eAgnus Dei: Dona nobis pacem\u003c\/li\u003e\u003cli\u003eAgnus Dei: Allegro assai - Presto\u003c\/li\u003e\u003c\/ol\u003e","brand":"Herbert von Karajan \u0026 Berliner Philharmoniker","offers":[{"title":"OS","offer_id":46371464478963,"sku":"132082000","price":18.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Herbert-von-Karajan-Berliner-Philharmoniker_Beethoven-Missa-Solemnis-CD-BluRay-Audio_CD_s132082_o198688_a294159_v12062549.88a3fb2f.jpg?v=1744693572"},{"product_id":"johann-johannsson-last-and-first-men-cd-bluray","title":"Last And First Men (CD + BluRay)","description":"\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD \u0026#43; 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Geburtstag eine gemeinsame Aufnahme des Tripelkonzertes und der Siebten Symphonie vor\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDas Album feiert zudem 20 Jahre West-Eastern Divan Orchestra und das Zusammenspiel von Anne-Sophie Mutter und Yo-Yo Ma nach 40 Jahren!\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eZur Eröffnung des Beethoven-Jahres 2020 erscheint bei Deutsche Grammophon ein in mehrfacher Hinsicht außergewöhnliches Album, das mit dem Tripelkonzert op. 56 und der Siebten Symphonie op. 92 zwei Schlüsselwerke des Jubilars präsentiert. Mit Anne-Sophie Mutter, Yo-Yo Ma und Daniel Barenboim sind zudem drei der renommiertesten Künstlerpersönlichkeiten und Beethoven-Interpreten unserer Zeit zu erleben, die die farbenreichen Stücke zusammen mit dem West-Eastern Divan Orchestra vielschichtig und spannungsvoll ausdeuten.\u003c\/p\u003e\u003cp\u003eEntstanden sind die Aufnahmen als Live-Mitschnitte von Konzerten im Juli bzw. Oktober 2019 in Buenos Aires bzw. Berlin anlässlich des 20-jährigen Jubiläums des West-Eastern Divan Orchestra.  Das Orchester ist längst zum Sinnbild eines völkerverständigenden Projekts geworden. 1999 von Daniel Barenboim mitgegründet, steht es für die mutige Verwirklichung eines Traums und ist ein faszinierender Mikrokosmos, der exemplarisch aufzeigt, wie Versöhnung bei der gemeinsamen Arbeit an einer Sache gelingen kann.\u003c\/p\u003e\u003cp\u003eFür Daniel Barenboim war Beethoven der wahrscheinlich erste wirklich unkonventionelle Komponist. »Er hat sich nicht darum gekümmert, was die Leute denken«, so Barenboim, und verlange vom Interpreten absolute physische Präsenz und Hingabe. »Als Musiker zwingt er dich, an den Rand, den Abgrund und noch weiter zu gehen. Das erfordert eine ungeheure Portion Mut.« In ihrer existenziellen Tiefe und grenzüberschreitenden Kraft hat die Musik des überzeugten Humanisten dabei bis heute eine zwingende Präsenz und Aktualität.\u003c\/p\u003e\u003cp\u003eAnne-Sophie Mutter sagt, Beethoven habe »wirklich erkannt, worum es im Leben geht: um das friedvolle Miteinander von uns Menschen, darum, dass wir füreinander da sind. Diese Idee, dass wir im Kern wie Brüder oder Schwestern miteinander leben sollen, ist für mich letztlich die Essenz seines Wirkens, die ihn zu einem Botschafter von der Vergangenheit in eine bessere Zukunft hinein werden lässt.«\u003c\/p\u003e\u003cp\u003eYo-Yo Ma erklärt: »Die überbordende Erfindungskraft ist so überraschend, und das Werk ist so lebensbejahend, so positiv. Der zweite Satz ist nobel und offen, aber die Ecksätze sind einfach voller Freude!« Die deutlich hervorgehobenen Parts der Solisten werden oft kammermusikalisch geführt und ziehen in der ausdrucksstarken Interpretation von Mutter, Barenboim und Ma unmittelbar in den Bann\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDas Album ist als CD, BLU-RAY DISC \u0026amp; 2 LP VINYL erhältlich.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBrilliantes Zusammenspiel\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e„Es ist faszinierend, zu erleben, wie brillant, konzentriert und gleichzeitig entspannt diese drei Weltstars miteinander musizieren und aufeinander hören. Anne-Sophie Mutter - wie immer in atemberaubend schöner, diesmal schwarzer schulterfreier Robe - lässt noch im leisesten Pianissimo die Töne strahlen. Yo-Yo Mas Celloton klingt unendlich warm und voll. Das Orchester mit dem Konzertmeister Michael Barenboim, dem Sohn des Dirigenten, ist in Höchstform. 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Die neue Gesamtaufnahme ist der Auftakt zum Beethoven-Jahr 2020!\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cem\u003eAndris Nelsons sagt:\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"Es  gab  in  der  Vergangenheit  schon  wunderbare  Interpretationen  von  Beethovens  Symphonien,  und  auch  in  Zukunft  wird  es  noch  viele  weitere geben. Was diese Musik einmalig macht –und großartige Aufnahmen von ihr so kostbar –, ist die Tatsache, dass sie zeitlos wirkt: Egal, wann und von  wem  sie  gespielt  wird,  sie  erzählt  immer  vom  Hier  und  Jetzt,  von  der  unmittelbaren  Gegenwart.  Nehmen  wir  zum  Beispiel  dieFünfte,  die sogenannte »Schicksalsymphonie« –sie hätte für jede Zeit geschrieben werden können. Schließlich klopft das Schicksal schon immer an unsere Tür und wird das auch morgen oder übermorgen noch tun.\u003c\/p\u003e\u003cp\u003eWie gelang es Beethoven, etwas so Zeitloses zu schaffen? Ich denke, sein Geheimnis ist, dass er nicht nur Klänge und Formen aneinanderreihte, sondern dass seine Musik von Ideen handelt, von seinen Vorstellungen von Leben und Liebe, Sieg und Widerstand. Wenn man diese unglaublichen Werke aufführt und aufnimmt, liegt für mich die Hauptaufgabe darin zu zeigen, wie relevant diese Ideen noch heute sind, für unsere Generation und für alle kommenden Generationen –und dass diese Musik keineswegs ins Museum gehört. Das ist natürlich keine leichte Aufgabe. Ich bin sehr dankbar, dass ich mich dieser gemeinsam mit den Wiener Philharmonikern stellen durfte. Wien spielte eine sehr große Rolle in Beethovens Entwicklung als Komponist und Musiker, und seine Symphonien wurden allesamt hier uraufgeführt. Außerdem zielt das Musizieren der Wiener Philharmoniker immer auf den Kern der Musik –was perfekt zu Beethoven passt.\u003c\/p\u003e\u003cp\u003eDiese Symphonien in der Stadt aufzunehmen, in der Beethoven den größten Teil seines Lebens als Erwachsener verbracht hat, mit einem Orchester, das eine so enge Beziehung zu seinen Werken hat, ist für mich ein großer Meilenstein.Fragt man nach meinem eigenen Beitrag zu diesem Projekt, so muss ich sagen, dass es hier überhaupt nicht um mich geht.\u003c\/p\u003e\u003cp\u003eEs geht ganz allein um Beethovens Musik, und das bedeutet, dass ich als Dirigent –zusammen mit dem Orchester –den besten Weg finden muss, um den Zuhörern seineIdeen  zu  vermitteln.  Ja,  ich  muss  eine  Vision  haben,  aber  ich  darf  nicht  vergessen,  dass  es  sich  dabei  nur  um  eine  subjektiveAuslegung  von Beethovens Weltsicht handelt. Meine Arbeit endet, wo Beethoven beginnt.\" Andris Nelsons.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 80:24 \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e S\u003c\/strong\u003eymphony No. 1 op. 21 in C major · C-Dur\u003cbr\u003e1. Adagio molto – Allegro con brio 9:45\u003cbr\u003e2. Andante cantabile con moto 8:46\u003cbr\u003e3. Menuetto. Allegro molto e vivace 3:24\u003cbr\u003e4. Adagio – Allegro molto e vivace 5:55\u003c\/p\u003e\u003cp\u003eSymphony No. 3 “Eroica” op. 55 in E flat major · Es-Dur\u003cbr\u003e1. Allegro con brio 17:40\u003cbr\u003e2. Marcia funebre. Adagio assai 16:34\u003cbr\u003e3. Scherzo. Allegro vivace 5:53\u003cbr\u003e4. Finale. Allegro molto 12:19\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eCD 2 68:52\u003c\/strong\u003e\u003cbr\u003e Symphony No. 2 op. 36 in D major · D-Dur\u003cbr\u003e1. Adagio – Allegro con brio 12:30\u003cbr\u003e2. Larghetto 12:04\u003cbr\u003e3. Scherzo. Allegro 3:34\u003cbr\u003e4. Allegro molto 6:18\u003cbr\u003e\u003cbr\u003e Symphony No. 4 op. 60 in B flat major · B-Dur\u003cbr\u003e1. Adagio – Allegro vivace 11:30\u003cbr\u003e2. Adagio 10:16\u003cbr\u003e3. Allegro vivace 5:38\u003cbr\u003e4. Allegro ma non troppo 6:54\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 3 75:42 \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eSymphony No. 5 op. 67 in C minor · c-Moll\u003cbr\u003e1. Allegro con brio 7:42\u003cbr\u003e2. Andante con moto 10:35\u003cbr\u003e3. Allegro 5:14\u003cbr\u003e4. Allegro 11:12\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e Symphony No. 6 “Pastoral” op. 68 in F major · F-Dur\u003cbr\u003e1. Angenehme, heitere Empfindungen, welche bei 9:45 der Ankunft auf dem Lande im Menschen erwachen. \u003cbr\u003e\u003cem\u003eAllegro ma non troppo. \u003c\/em\u003e\u003cem\u003e\"Pleasant, cheerful feelings which awaken in one  on arrival in the country\"  \u003cbr\u003e\u003c\/em\u003e2. Szene am Bach. 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Al tempo di Giga\u003c\/li\u003e\u003cli\u003eVariatio 8 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 9 Canone alla Terza. a 1 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 10 Fughetta. a 1 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 11 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 12 Canone alla Quarta. (a 1 Clav.)\u003c\/li\u003e\u003cli\u003eVariatio 13 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 14 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 15 Canone alla Quinta. a 1 Clav. Andante\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eCD2\u003c\/p\u003e\u003col\u003e\u003cli\u003eVariatio 16 Ouverture. a 1 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 17 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 18 Canone alla Sesta. a 1 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 19 a 1 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 20 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 21 Canone alla Settima. (a 1 Clav.)\u003c\/li\u003e\u003cli\u003eVariatio 22 a 1 Clav. Alla breve\u003c\/li\u003e\u003cli\u003eVariatio 23 a 2 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 24 Canone all\u0026#039;Ottava. a 1 Clav.\u003c\/li\u003e\u003cli\u003eVariatio 25 a 2 Clav. 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Includes tracks from his many collaboration projects such as Taranta, Diaro Mali \u0026amp; Cloudland, solo albums Eden Roc, I Giorni \u0026amp; Una Mattina, live performances from Berlin \u0026amp; La Scala, Milan, a vocal version of his most popular track Nuvole Bianche, several tracks that have never had a full release and a previously unreleased track.\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e \u0026#34;Looking back at the music I have written over the past 25 years I notice that every album has its distinct and specific physiognomy. I also see each piece as the chapter of a novel, because I\u0026#039;ve always composed music that could be enjoyed as single songs but also as if they were part of a larger musical architecture.\u0026#34;\u003c\/p\u003e\u003cp class=\"quote\" style=\"text-align: center;\"\u003e\u0026#34;Every time I also notice that each of my albums contains one or more highlights that has captured the attention of the listeners more than others have. Sometimes, beyond my intentions, some pieces became all-time favourites and the only ones to be played on the radio. I have realized that this seems to be the destiny for most of the composers\u0026#039; repertoire, with any kind of genre. Beside those few hits, the rest more or less live in the shadows.\u0026#34;\u003c\/p\u003e\u003cp class=\"cite\" style=\"text-align: center;\"\u003e- Ludovico Einaudi -\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAll tracks Composed and Performed by Ludovico Einaudi\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCD1\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e1. FUORI DAL MONDO\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e2. OTHER NATURE – WHITETREE (\u003cem\u003eWritten and performed by Ludovico Einaudi, Robert \u0026amp; Ronald Lippok)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e3. DUE TRAMONTI\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e4. IN UN’ALTRA VITA – LIVE AT LA SCALA, MILAN, 2003\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e5. KOEPENIK – WHITETREE\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e6. MAIN THEME – FROM “THE THIRD MURDER” (\u003cem\u003eLudovico Einaudi Piano · Redi Hasa Cello)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e7. ELEGY FOR THE ARCTIC\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e8. GIORNI DISPARI\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e9. AL DI LÀ DEL VETRO – LIVE AT LA SCALA, MILAN, 2003\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e10. RESTA CON ME\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e11. LADY JANE – LIVE AT LA SCALA, MILAN, 2003 (\u003cem\u003eWritten by Mick Jagger \u0026amp; Keith Richards)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD2\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e1. LA NASCITA – LIVE FROM BERLIN\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e3. INIZIO\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e3. CHOROS\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e4. MALI SAJIO (\u003cem\u003eWritten by Ludovico Einaudi \u0026amp; Ballaké Sissoko) \u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e5. MERCURY SANDS – WHITETREE (\u003cem\u003eWritten and performed by Ludovico Einaudi, Robert \u0026amp; Ronald Lippok)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e6. TARANTA (\u003cem\u003eWritten by Ludovico Einaudi \u0026amp; Mauro Durante, lyrics by Mauro Durante)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e7. CIRCLES (BASED ON “EXPERIENCE”) (\u003cem\u003eGreta Svabo Bech Vocals Written by Ludovico Einaudi, lyrics by Greta Svabo Bech)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e8. NUVOLE BIANCHE \u003cem\u003eAlessia Tondo Vocals (\u003c\/em\u003e\u003cem\u003eWritten by Ludovico Einaudi, lyrics by Alessia Tondo)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e9. EXPERIENCE – STARKEY REMIX\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e","brand":"Ludovico Einaudi","offers":[{"title":"OS","offer_id":46371479322867,"sku":"134092000","price":18.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Ludovico-Einaudi_Un-Discovered_CD_s134092_o200588_a296829_v11901661.c1499b8d.jpg?v=1744694320"},{"product_id":"john-williams-u-a-john-williams-in-vienna","title":"John Williams in Vienna","description":"\u003cp\u003eWhen the legendary American film composer John Williams conducted the Vienna Philharmonic for the first time, \u003cem\u003eDer Standard\u003c\/em\u003e headlined its report “A Visit from God” and continued: “He was hailed by a standing, cheering ovation like God himself received by earthly disciples.” \u003cem\u003eJohn Williams in Vienna\u003c\/em\u003e documents this historical performance – “a very special honour” in the life of the composer.\u003c\/p\u003e\u003cp\u003eSymphonic Hollywood sounds on the stage of the Vienna Musikverein: the world-famous orchestra plays iconic themes from \u003cem\u003eStar Wars\u003c\/em\u003e, \u003cem\u003eHarry Potter\u003c\/em\u003e, \u003cem\u003eIndiana Jones\u003c\/em\u003e, \u003cem\u003eJurassic Park\u003c\/em\u003e and other milestones in film history. Star guest Anne-Sophie Mutter performs violin arrangements made especially for her by Williams himself.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eStar Wars\u003c\/em\u003e, \u003cem\u003eHarry Potter\u003c\/em\u003e, \u003cem\u003eIndiana Jones\u003c\/em\u003e, \u003cem\u003eJurassic Park\u003c\/em\u003e: the soundtracks of John Williams, the master of cinematic magic, are among the most popular in the history of film and have received numerous prestigious awards, including five Oscars, five Emmys, four Golden Globes and twenty-five Grammys. Now the legendary American film composer has recorded the most famous, beautiful and touching of his cult themes for the first time with the Vienna Philharmonic. “Star moments of film music” was the headline of the \u003cem\u003eWiener Zeitung\u003c\/em\u003e: “Hollywood’s grandmaster and the Vienna Philharmonic thrilled audiences with excerpts from his life’s work.”\u003c\/p\u003e\u003cp\u003eWilliams’s two concerts at the Vienna Musikverein on 18 and 19 January 2020 were the first performances the composer had ever conducted in continental Europe. Working with the Vienna Philharmonic was, he said, “a very special honour” in his life. In addition to Williams and the orchestra, another exceptional artist was on stage in the first half of the concert: Anne-Sophie Mutter. Thus the conductor and the violinist continued the artistic partnership begun with their joint album \u003cem\u003eAcross the Stars\u003c\/em\u003e. The new album, \u003cem\u003eJohn Williams in Vienna\u003c\/em\u003e, presents cult themes from \u003cem\u003eE. T.\u003c\/em\u003e, \u003cem\u003eJaws\u003c\/em\u003e, \u003cem\u003eStar Wars\u003c\/em\u003e, \u003cem\u003eHarry Potter\u003c\/em\u003e, \u003cem\u003eJurassic Park\u003c\/em\u003e, \u003cem\u003eIndiana Jones\u003c\/em\u003e and other milestones in film history, plus a previously unreleased violin arrangement of the Devil’s Dance from \u003cem\u003eThe Witches of Eastwick\u003c\/em\u003e made by Williams for Mutter, who also played along with the first violins in the Raiders March from \u003cem\u003eIndiana Jones and the Raiders of the Lost Ark\u003c\/em\u003e. Of course, the world-famous Imperial March from \u003cem\u003eStar Wars\u003c\/em\u003e couldn’t be left out. “One of the best performances of this march that I have ever heard,” Williams noted.\u003c\/p\u003e\u003cp\u003e2 LP-set (180g pressing) comes in a high-quality gatefold with a classy “yellow foil” look on the cover.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTracklisting\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003eLP 1 – Side A\u003c\/p\u003e\u003cp\u003e1 THE FLIGHT TO NEVERLAND (aus \u0026#34;Hook\u0026#34;)\u003c\/p\u003e\u003cp\u003e2 EXCERPTS (aus \u0026#34;Unheimliche Begegnung der Dritten Art\u0026#34;)\u003c\/p\u003e\u003cp\u003e3 DEVIL’S DANCE (aus \u0026#34;Die Hexen von Eastwick\u0026#34;) – (mit Anne-Sophie Mutter)\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSide B\u003c\/p\u003e\u003cp\u003e4 ADVENTURES ON EARTH (aus \u0026#34;E.T. – Der Ausserirdische\u0026#34;)\u003c\/p\u003e\u003cp\u003e5 THEME (aus \u0026#34;Jurassic Park\u0026#34;)\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eLP 2 – Side A\u003c\/p\u003e\u003cp\u003e1 MAIN TITLE (aus \u0026#34;Star Wars: Eine Neue Hoffnung\u0026#34;)\u003c\/p\u003e\u003cp\u003e2 THE REBELLION IS REBORN (aus \u0026#34;Star Wars: Die Letzten Jedi\u0026#34;)\u003c\/p\u003e\u003cp\u003e3 LUKE \u0026amp; LEIA (aus \u0026#34;Star Wars: Die Rückkehr der Jedi-Ritter“)\u003c\/p\u003e\u003cp\u003e4 THE IMPERIAL MARCH (aus \u0026#34;Star Wars: Das Imperium schlägt zurück\u0026#34;)\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSide B\u003c\/p\u003e\u003cp\u003e5 DARTMOOR, 1912 (aus \u0026#34;Gefährten\u0026#34;)\u003c\/p\u003e\u003cp\u003e6 OUT TO SEA \u0026amp; THE SHARK CAGE FUGUE (aus \u0026#34;Der Weisse Hai\u0026#34;)\u003c\/p\u003e\u003cp\u003e7 MARION’S THEME (aus \u0026#34;Indiana Jones: Jäger des Verlorenen Schatzes\u0026#34;)\u003c\/p\u003e\u003cp\u003e8 RAIDER’S MARCH (aus \u0026#34;Indiana Jones: Jäger des Verlorenen Schatzes\u0026#34;) – (mit Anne-Sophie Mutter)\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"John Williams","offers":[{"title":"OS","offer_id":46371480731891,"sku":"134299000","price":37.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/John-Williams_John-Williams-in-Vienna_2LP_s134299_o200789_a297103_v12056822.dc258cb3.jpg?v=1750767942"},{"product_id":"ludovico-einaudi-undiscovered-1","title":"(Un)Discovered","description":"\u003cp\u003eA new collection of songs, \u003cstrong\u003epersonally selected\u003c\/strong\u003e by the world’s biggest streaming “classical artist” - \u003cstrong\u003eLudovico Einaudi\u003c\/strong\u003e, from across more than 25 years of music making.\u003c\/p\u003e\u003cp\u003eThis remastered double album explores music from across Einaudi’s catalogue, unearthing hidden gems from across 9 albums. Includes tracks from his many collaboration projects such as Taranta, Diaro Mali \u0026amp; Cloudland, solo albums Eden Roc, I Giorni \u0026amp; Una Mattina, live performances from Berlin \u0026amp; La Scala, Milan, a vocal version of his most popular track Nuvole Bianche, several tracks that have never had a full release and a previously unreleased track.\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e \u0026#34;Looking back at the music I have written over the past 25 years I notice that every album has its distinct and specific physiognomy. I also see each piece as the chapter of a novel, because I\u0026#039;ve always composed music that could be enjoyed as single songs but also as if they were part of a larger musical architecture.\u0026#34;\u003c\/p\u003e\u003cp class=\"quote\" style=\"text-align: center;\"\u003e\u0026#34;Every time I also notice that each of my albums contains one or more highlights that has captured the attention of the listeners more than others have. Sometimes, beyond my intentions, some pieces became all-time favourites and the only ones to be played on the radio. I have realized that this seems to be the destiny for most of the composers\u0026#039; repertoire, with any kind of genre. Beside those few hits, the rest more or less live in the shadows.\u0026#34;\u003c\/p\u003e\u003cp class=\"cite\" style=\"text-align: center;\"\u003e- Ludovico Einaudi -\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTRACKLIST \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAll tracks Composed and Performed by Ludovico Einaudi\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eLP1\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e1. FUORI DAL MONDO\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e2. OTHER NATURE – WHITETREE (\u003cem\u003eWritten and performed by Ludovico Einaudi, Robert \u0026amp; Ronald Lippok)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e3. DUE TRAMONTI\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e4. IN UN’ALTRA VITA – LIVE AT LA SCALA, MILAN, 2003\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e5. KOEPENIK – WHITETREE\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e6. MAIN THEME – FROM “THE THIRD MURDER” (\u003cem\u003eLudovico Einaudi Piano · Redi Hasa Cello)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e7. ELEGY FOR THE ARCTIC\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e8. GIORNI DISPARI\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e9. AL DI LÀ DEL VETRO – LIVE AT LA SCALA, MILAN, 2003\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e10. RESTA CON ME\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e11. LADY JANE – LIVE AT LA SCALA, MILAN, 2003 (\u003cem\u003eWritten by Mick Jagger \u0026amp; Keith Richards)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLP2\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e1. LA NASCITA – LIVE FROM BERLIN\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e3. INIZIO\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e3. CHOROS\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e4. MALI SAJIO (\u003cem\u003eWritten by Ludovico Einaudi \u0026amp; Ballaké Sissoko) \u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e5. MERCURY SANDS – WHITETREE (\u003cem\u003eWritten and performed by Ludovico Einaudi, Robert \u0026amp; Ronald Lippok)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e6. TARANTA (\u003cem\u003eWritten by Ludovico Einaudi \u0026amp; Mauro Durante, lyrics by Mauro Durante)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e7. CIRCLES (BASED ON “EXPERIENCE”) (\u003cem\u003eGreta Svabo Bech Vocals Written by Ludovico Einaudi, lyrics by Greta Svabo Bech)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003cli\u003e\u003cp\u003e8. NUVOLE BIANCHE \u003cem\u003eAlessia Tondo Vocals (\u003c\/em\u003e\u003cem\u003eWritten by Ludovico Einaudi, lyrics by Alessia Tondo)\u003c\/em\u003e\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e9. 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Julian Aguirre: Caminito\u003c\/p\u003e\u003cp\u003e2. Alberto Nepomuceno: Coração triste\u003c\/p\u003e\u003cp\u003e3. Yvette Souviron: Al banco solitario\u003c\/p\u003e\u003cp\u003e4. Anonymous: Spanish dance (harp solo)\u003c\/p\u003e\u003cp\u003e5. Carlos Guastavino: Se equivocó la paloma\u003c\/p\u003e\u003cp\u003e6. Carlos Guastavino: Violetas\u003c\/p\u003e\u003cp\u003e7. Carlos Guastavino: La rosa y el sauce\u003c\/p\u003e\u003cp\u003e8. Carlos Guastavino: Bailecito – (harp solo)\u003c\/p\u003e\u003cp\u003e9. Eduardo Sanchez de Fuentes: Deseo\u003c\/p\u003e\u003cp\u003e10. Silvio Rodríguez: En estos dias\u003c\/p\u003e\u003cp\u003e11. Silvio Rodríguez: La vida\u003c\/p\u003e\u003cp\u003e12. Luis Antonio Calvo: Gitana\u003c\/p\u003e\u003cp\u003e13. Valdir Azevedo: Brasileirinho (harp solo)\u003c\/p\u003e\u003cp\u003e14. Alberto Ginastera: Zamba\u003c\/p\u003e\u003cp\u003e15. Alberto Ginastera: Triste\u003c\/p\u003e\u003cp\u003e16. Alberto Ginastera: Chacarera\u003c\/p\u003e\u003cp\u003e17. Alberto Ginastera: Canción al árbol del Olvido\u003c\/p\u003e\u003cp\u003e18. Zequinha de Abreu: Tico Tico no Fubá – (harp solo)\u003c\/p\u003e\u003cp\u003e19. Ariel Ramírez: Alfonsina y el mar\u003c\/p\u003e\u003cp\u003e20. La llorona (Mexikan Folksong)\u003c\/p\u003e\u003cp\u003e21. Ruben Fuentes Gasson: La Bikina\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRolando Villazón\u003c\/strong\u003e\u003cstrong\u003e’s\u003c\/strong\u003e \u003cstrong\u003elatest album for Deutsche Grammophon\u003c\/strong\u003e showcases the vocal music of his native continent. \u003cstrong\u003e\u003cem\u003eSerenata latina\u003c\/em\u003e\u003c\/strong\u003e, set for \u003cstrong\u003einternational\u003c\/strong\u003e \u003cstrong\u003erelease on 2 October 2020\u003c\/strong\u003e, presents songs recorded for the first time with specially arranged harp accompaniments realised and performed by the great \u003cstrong\u003eFrench\u003c\/strong\u003e \u003cstrong\u003eharpist\u003c\/strong\u003e \u003cstrong\u003eXavier de Maistre\u003c\/strong\u003e. Together Villazón and de Maistre present a programme embracing everything from Venezuelan and Peruvian dance-songs to art songs by composers such as \u003cstrong\u003eAlberto Ginastera\u003c\/strong\u003e and \u003cstrong\u003eCarlos Guastavino\u003c\/strong\u003e.\u003c\/p\u003e\u003cp\u003eThanks to its long and turbulent history, Latin America boasts a wealth of musical influences – indigenous, African and European. Its song repertoire is therefore one of the most diverse in the world, rich in melodic, rhythmic and narrative forms unique to the continent. \u003cem\u003eSerenata latina \u003c\/em\u003epays tribute to a repertoire that reflects a two-way exchange between the rural spaces where folk music reigned and the salons and concert halls of urban areas.\u003c\/p\u003e\u003cp\u003e\u003cbr \/\u003e“This album is a collection of beautiful traditional folk and art songs from my big homeland – when you come from Latin America, all other Latin countries feel like siblings,” explains Villazón. “Its themes vary from nature to love, from grief for the spirits of the dead to the joy of being alive. 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The composer’s widow, Aurora Nátola, visited him backstage after the concert and suggested that he should transcribe her late husband’s \u003cem\u003eCinco canciones populares argentinas\u003c\/em\u003e for harp. From this starting point, the harpist eventually went on to transcribe the piano parts of almost two dozen Latin American songs, as well as four solo pieces originally written for other instruments.\u003c\/p\u003e\u003cp\u003e“I really wanted to record Latin songs with a tenor,” says de Maistre. “The first person I thought of was Rolando. He’s familiar with this music and is very innovative, always looking for fresh projects. When I phoned him about it, he immediately said that it was a great idea. We met and after half an hour he said: ‘Let’s do it!’ When he realised what was possible on the harp, he really encouraged me to try new pieces.”\u003c\/p\u003e\u003cp\u003eRolando Villazón praises de Maistre as “one of the finest musicians of our time”. 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Es zeigt auch, wie typische Elemente des Silbernen Zeitalters, etwa Ironie und Interesse für Volkskultur oder Vorstellungen aus der Vergangenheit, in späteren Kompositionen von Prokofjew zutage treten, zum Beispiel in seiner Musik zu \u003cem\u003eCinderella\u003c\/em\u003e und der Klaviersonate Nr. 8, Werken der Reifezeit, in denen er erneut den musikalischen Idealen nachgeht, die einst seinen Ruf als bilderstürmender junger Komponist und Pianist begründeten.\u003c\/p\u003e\u003cp\u003eVor allem erfasst Trifonovs Auswahl die kreative Vielfalt dieses kurzen, aber explosiven kulturellen Augenblicks. »\u003cstrong\u003eSkrjabin\u003c\/strong\u003e«, so Trifonov, »wollte alle ästhetische Erfahrung in einer einzigen, mystischen, musikalischen Vision zusammenfassen; \u003cstrong\u003eStrawinsky\u003c\/strong\u003e vereinte die Künste durch eine radikale Neubestimmung des Balletts; und \u003cstrong\u003eProkofjew\u003c\/strong\u003e wandte sich dem Film als vollständiger, modernster Verbindung der Sinne zu.« Das russische Silberne Zeitalter bereitete den Weg für künftige künstlerische Entwicklungen, sein Geist wird zu Recht in dieser neuen Aufnahme gefeiert.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIgor Stravinsky (1882–1971)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSerenade in A\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e1 1. 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There’s a similarity with Simon: what happens in the concert is not necessarily the same as what happened in the rehearsal. We’ll set up a frame of functioning, but he knows that I at any moment can snap and I know that he at any moment can follow it, and vice versa. When I make a joke, he does not let me get away with this – I will get it back in the next two minutes!”\u003c\/p\u003e\u003cp\u003eThe unique rapport between Krystian Zimerman and Sir Simon Rattle is based upon years of shared ideals and mutual respect. Gramophone described their partnership as ‘a thing of wonder’, praising their ‘thrilling sense of purpose’.\u003c\/p\u003e\u003cp\u003eNow, 30 years after his first recordings, Zimerman returns to Beethoven’s Piano Concertos. He offers an exceptional new interpretation recorded with Sir Simon Rattle and the London Symphony Orchestra. This release is among the biggest highlights to conclude the Beethoven anniversary celebrations.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eCD 1\u003c\/p\u003e\u003cp\u003e1 Beethoven: Concerto for Piano and Orchestra No. 1 in C major op. 15 – I. Allegro con brio\u003c\/p\u003e\u003cp\u003e2 Beethoven: Concerto for Piano and Orchestra No. 1 in C major op. 15 – II. Largo\u003c\/p\u003e\u003cp\u003e3 Beethoven: Concerto for Piano and Orchestra No. 1 in C major op. 15 – III. Rondo. Allegro\u003c\/p\u003e\u003cp\u003e4 Beethoven: Concerto for Piano and Orchestra No. 2 in B flat major op. 19 – I. Allegro con brio\u003c\/p\u003e\u003cp\u003e5 Beethoven: Concerto for Piano and Orchestra No. 2 in B flat major op. 19 – II. Adagio\u003c\/p\u003e\u003cp\u003e6 Beethoven: Concerto for Piano and Orchestra No. 2 in B flat major op. 19 – III. Rondo. Molto allegro\u003c\/p\u003e\u003cp\u003eCD 2\u003c\/p\u003e\u003cp\u003e1 Beethoven: Concerto for Piano and Orchestra No. 3 in C minor op. 37 – I. Allegro con brio\u003c\/p\u003e\u003cp\u003e2 Beethoven: Concerto for Piano and Orchestra No. 3 in C minor op. 37 – II. Largo\u003c\/p\u003e\u003cp\u003e3 Beethoven: Concerto for Piano and Orchestra No. 3 in C minor op. 37 – III. Rondo. Allegro – Presto\u003c\/p\u003e\u003cp\u003e4 Beethoven: Concerto for Piano and Orchestra No. 4 in G major op. 58 – I. Allegro moderato\u003c\/p\u003e\u003cp\u003e5 Beethoven: Concerto for Piano and Orchestra No. 4 in G major op. 58 – II. Andante con moto\u003c\/p\u003e\u003cp\u003e6 Beethoven: Concerto for Piano and Orchestra No. 4 in G major op. 58 – III. Rondo. Vivace\u003c\/p\u003e\u003cp\u003eCD 3\u003c\/p\u003e\u003cp\u003e1 Beethoven: Concerto for Piano and Orchestra No. 5 in E flat major “Emperor” op. 73 – I. Allegro\u003c\/p\u003e\u003cp\u003e2 Beethoven: Concerto for Piano and Orchestra No. 5 in E flat major “Emperor” op. 73 – II. Adagio un poco moto\u003c\/p\u003e\u003cp\u003e3 Beethoven: Concerto for Piano and Orchestra No. 5 in E flat major “Emperor” op. 73 – III. Rondo. Allegro\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"Krystian Zimerman","offers":[{"title":"OS","offer_id":46371492790515,"sku":"135541000","price":32.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Krystian-Zimerman_Beethoven-Complete-Piano-Concertos-3CD-Digipack_3CD-Digipack_s135541_o201997_a298704_v12052227.47f8c40e.png?v=1744694888"}],"url":"https:\/\/store.deutschegrammophon.com\/en-de\/collections\/produkte-ohne-streichpreis-bis-200-euro.oembed?page=13","provider":"Deutsche Grammophon","version":"1.0","type":"link"}