This album is just chock full of great piano, nice laid back vocals, organ, acoustic guitars, violins, mellotron, and solid bass and drums. The remastered mini that I have has decent sound (for 1972) and a nice gatefold with strange artwork. As with PFM the musicianship is very high, the arrangements are handled with great care and there is a nice balance between rock sections and more mellow, contemplative sections. I have read that the lyrics on both of their albums are quite good, though of course I have no way to confirm this personally. The music has a romantic and somewhat wistful sound throughout.
The Mandelring Quartet plays with unflinching resolve, sympathetic expression, incisive attacks, and penetrating tone, which are all necessary in Shostakovich's sardonic and frequently bitter language.
L’intento del presente Manuale è di indirizzare e guidare alla comprensione migliore delle tecniche e dei sistemi compositivi adottati dai compositori inquadrati nel contesto storico-sociale in cui le opere furono prodotte. …
Though he had already produced works he called "diverimenti a Quattro" in his Opus 1 and 2, Haydn only really got serious about the string quartet genre 10 years later with his Opus 9, 17, and 20. The earlier works had been five movement, serenade-like pieces, but starting with Opus 9 the composer favored four-movement, sonata-form works that were lyric, dramatic, cogent, and entertaining and they became the model for all subsequent quartets.
Tremendous new recordings of Baroque master Corelli's complete works, performed on period instruments. Corelli was a peer of and huge influence on Vivaldi, as well as the founder of modern violin technique; his work consists of six opus numbers comprising 72 works altogether. They are all written for string instruments only, mainly sonatas for orchestra or, in the case of Opus 6 , 12 concerti grossi that played a major role in establishing the form. Performed here by the Musica Amphion under the direction of harpsichordist/organist Pieter-Jan Belder.
A string quartet was among the very first works that Edvard Grieg presented after completing his studies in 1861, but the Quartet in G minor, Op. 27, was the only such work to be published in his lifetime. In 1878, while composing it, Grieg wrote that ‘it aims at breadth, to soar, and, above all, at vigorous sound’, and the amplitude of the sound is indeed striking: the generous use of double-stops creates an almost orchestral effect, unusual for the genre. This caused some reviewers to criticize the quartet as being unidiomatic, while others, including Liszt, greeted it with enthusiasm. Some thirty years later, when Jean Sibelius composed his D minor quartet Op. 56, he too had previous experience of writing for the medium, but Op. 56 is the only quartet among his mature works. The often used 'nickname' Voces intimae is often taken to refer to the intimate interchange between the four voices in a quartet, but is probably a more specific allusion to a brief passage in the third movement: Sibelius wrote the remark into a score some time after the work had been published.