This newest release from BR KLASSIK explores the genre of the 19th and 20th century Rhapsody, featuring works from masterful composers Emmanuel Chabrier, George Gershwin, George Enesecu, Maurice Ravel, and Franz Liszt. The concert-like atmosphere of this recording makes this a truly unique release, as these works were recorded live in Munich as recently as October 2015. The five rhapsodies featured here come from different regions and the composers unique styles can be heard in each of their works. Chabriers Espana is centered around Iberian and folk music which was very popular at the time. Liszts Hungarian Rhapsody contrasts this work with its use of Hungarian folk melodies. The ever-popular Rhapsody in Blue from George Gershwin throws Americana into the mix with its blues roots. Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks never fails to please with their brilliant interpretations and performance quality. World-renowned Russian pianist Denis Matusev is brilliant as the Rhapsody in Blue soloist.
La radiographie ostéo-articulaire requiert des connaissances anatomiques et techniques étendues et complexes. A chaque indication correspondent des incidences spécifiques faites selon des critères stricts. Ce recueil est consacré à toutes les incidences radiographiques ostéo-articulaires hiérarchisées et détaillées en fonction de leur localisation mais aussi de leur importance. …
After rubbing your eyes and maybe even hitting your forehead with the palm of your hand a few times to convince yourself that, yes indeed, in fact a young pianist has chosen to make his concerto recording debut with the Tchaikovsky and Grieg concertos, go ahead and have a listen. Denis Kozhukhin, who took first prize at the 2010 Queen Elisabeth, here partners with the Berlin Radio Symphony Orchestra under Vassily Sinaisky. Out of repertory that has been celebrated, picked over and just about played to death over the course of almost a century and a half, they create magic.
Francis I, as a princely patron of the arts, realised that music was a very useful tool for his policy of prestige: Official music for great diplomatic events like the amazing musical ‘tournament’ between the Chapelle of the King of France and the Chapel Royal of Henry VIII of England at the Mass for the Field of the Cloth of Gold, reconstructed in this recording; but also more intimate music with the exceptionally subtle, refined and learned repertory to be heard in the monarch’s châteaux such as Chambord and Fontainebleau, performed by the finest singers and instrumentalists of the realm under the aegis of the Chambre du Roi. Here is a feast of previously unrecorded music for King Francis I, the symbol of a happy Renaissance.