Archive | February, 2015


App of Maria Callas Remastered Edition on Deezer streaming service

Posted on 28 February 2015 by admin

Maria Callas – The Complete Studio Recordings (The Original Jacket Collection)

Price: $175.27

4.8 out of 5 stars (48 customer reviews)

26 used & new available from $171.29

All 39 albums in the Maria Callas Remastered Edition are now available to millions of listeners on the Deezer streaming service as part of Warner Classics’ new app dedicated to the most famous opera star in recording history.

Warner Classics’ Maria Callas Remastered Edition was one of the most highly anticipated and critically acclaimed releases of 2014, winning the Classica and Diapason awards for Reissue of the Year. These accolades are testimony to the fruits of a yearlong labour of love, in which La Divina’s complete studio recordings (1949-69) were remastered by a team of expert sound engineers at the famed Abbey Road Studios, in 24-bit/96kHz sound for the first time, from the original master tapes.

Available for free in English, French, Italian and German, the app is designed to offer not only an accessible introduction for users beginning to explore classical music thanks to the convenience of online streaming, but also an indispensible collection of high-quality recordings and biographical materials for opera-lovers and completists.

The Maria Callas app offers extensive insights into the life of an artist who transcended the world of opera to become a true, everlasting cultural icon. Alongside the searchable catalogue of the Remastered Edition’s complete opera and recital albums, including an album showcasing her greatest arias, there is a detailed timeline of Callas’ career and tragic personal life, featuring rare photographs of the diva.

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The Tetzlaff Quartet’s Lyric Suite

Posted on 27 February 2015 by admin

Lyric Suite

Price: $17.98

5.0 out of 5 stars (1 customer reviews)

16 used & new available from $12.48

The Tetzlaff Quartet is unusual in consisting of four busy soloists who get together only intermittently. The upside is that what they do has the tension and imagination of four big personalities, and that certainly pays off here.

Their combined sound is highly refined and honed, resulting in a tautness of approach that gives Mendelssohn’s A minor Quartet real potency and drive. Even in the most driven passages, textures always have a sparkling clarity. Just dip into the first movement (beginning at 2’30”), where viola player Hanna Weinmeister takes over the melody with eloquence. The Elias are more refulgent in tone, generally more open-hearted in the touching Adagio non lento, but the Tetzlaff’s greater austerity is also very moving. And their finale is particularly searing, bringing out the contrast between the melodramatic tremolos and the leader’s impassioned recitatives, the light-as-air passages of the upper three players and the pungent pizzicatos of the cellist. The Elias are equally zesty but with a wilder edge here, as if chaos is a hair’s breadth away. Both, in their different ways, are riveting.

The Berg makes a compelling if unusual coupling and the Tetzlaff reveal its extraordinary beauties. They are alive to every nuance, every emotional change of this highly charged music, yet never lose sight of the music’s architecture. Just sample the way they move from an otherworldly quiet to the most impassioned playing (tr 6, from 2’37”) with a sense of inevitability and they convey the mournful desperation of the finale more potently than the Cecilia Quartet. I’d rate this new reading of the Lyric Suite alongside that treasurable performance of the Tetzlaff/Uchida/Boulez Chamber Concerto.

Gramophone Review

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Trevor Pinnock‘s Bach Keyboard Works on Archiv Produktion

Posted on 26 February 2015 by admin

Collector’s Ed: J.S.Bach – Keyboard Works [10 CD]

Price: $29.68

5.0 out of 5 stars (3 customer reviews)

11 used & new available from $25.22

Trevor Pinnock is known worldwide as a harpsichordist and conductor who pioneered performance on historical instruments with his own orchestra.

Many contemporaries admired Bach’s virtuosity on the organ and on the clavier , the word that was used to describe the harpsichord or the clavichord until well into the 18th century. But whereas numerous documents have come down to us describing Bach s abilities as an organist, his harpsichord playing is rarely mentioned…

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Extraordinaire harpist Claire Jones tells 10 worst things about playing the harp

Posted on 25 February 2015 by admin

1. It’s not collapsible

No, the harp does not break down into pieces. I’m trying to imagine if it did… how… nope. That’ll never work.


2. Your fingers

Say goodbye to your dainty, harpist fingers forever.

3. Tuning

You’ll always be tuning those strings. Ever timed a piano tuner? Almost the same amount of strings, but you have to do it in a fraction of the time.


4. The harp chooses the car

Sadly you’ll never drive a cute sporty motor.


5. It’s too darn quiet

Yes orchestra, play louder. That will help everyone hear the magic of the harp.


6. Five-note runs

Why do composers think we play with five fingers on each hand, same as the piano? With just a little research, they’d find that the pinkie never gets involved – EVER.


7. Feet and hands… together

Most people are unaware that harpists have to use their feet as well as their hands – it probably makes us the most dexterous of the whole orchestra *grins smugly*, but also calls upon superhuman skills of co-ordination *cries*.

8. No warm-up time

Don’t expect to play or warm up before a performance – it’s sitting on stage an hour before (looking glorious, obviously).


9. Expense

For concert harps, think racehorse. And that’s before you’ve had your monthly string bill.


10. You’re first and last

But don’t call harpists lonely, just because we’re first to arrive and last to leave rehearsals.

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