Classical & Contemporary Music

NUM 1032

Title: Tatiana Pavlova – Piano

Artist: Tatiana Pavlova

Composers: Armando José Fernandes, Cláudio Carneyro, Luís de Freitas Branco, Óscar da Silva

Armando José Fernandes (Lisbon, 26 July 1906 – Lisbon, 3 May 1983) was a neoclassical Portuguese composer; with Jorge Croner de Vasconcelos, Fernando Lopes-Graça, and Pedro do Prado, one of the “group of four” who dominated mid-20th-century Portuguese music.[1] After studying at the National Conservatory of Lisbon (Conservatório Nacional de Lisboa in Portuguese), he won a three-year scholarship to Paris and became a pupil of, among others, Nadia Boulanger.
Originally trained as a concert pianist, Fernandes came to concentrate more on composition and teaching. He composed, among other works, a cello sonata, a violin concerto, and numerous piano pieces. His work, usually of an intimate character, occasionally contains virtuosic passages. It has been described as “[pursuing] a more conventional neoclassical path, albeit with great finesse”.[3] Most of his works were written for the national broadcasting station.
From 1940 onwards he taught at the Academia de Amadores de Música in Lisbon, and from 1953 to 1976 at the Lisbon Conservatory.
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09/27/2008 Posted by | Classical Music | , , , , , , , , , , , , | Comments Off on NUM 1032

NUM 1030

Title: Depois de Tordesilhas…

Artists: Nuno Vieira de Almeida, Helena Afonso, Elsa Saque & Elizabete Matos

Composers: José Francisco Leal, Francisco de Lacerda, Luis de Freitas Branco, Ernesto Haffer, Enrique Granados, Xavier Montsalvatge, Heitor VillaLobos

Luís Maria da Costa de Freitas Branco (Lisbon, 12 October 1890 – Lisbon, 27 November 1955) was a Portuguese composer and professor of music who played a preeminent part in the development of Portuguese music in the first half of the 20th century,.
Luis de Freitas Branco was born into an aristocratic family who for centuries had had close ties to the royal family in Portugal. He had a cosmopolitan education, studied piano and violin beginning in childhood and began composing at a precocious age. He studied music in Berlin and Paris, where he worked with Engelbert Humperdinck and other composers. He returned to Portugal and became professor of composition starting in 1916 at the Lisbon Conservatory of Music. There he taught, among many others, Joly Braga Santos.
Luis de Freitas Branco was a leading force in restructuring musical education at the Conservatory. He was also a musicologist of note, did research on Portuguese Baroque composers and published a book about the musical works of King John IV of Portugal (1603 – 1656) who had been an accomplished composer and introduced new music to Portugal.
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09/26/2008 Posted by | Classical Music | , , , , , , , , , , | Comments Off on NUM 1030

NUM 1028

Title: Orgãos da Sé Catedral de Braga

Artist: Gerhard Doderer

Composers: Pedro de Araujo, Carlos Seixas

Carlos Seixas was immensely popular during his lifetime, but has unfortunately, outside his native country, never been accorded the attention given, for example, to his contemporary Domenico Scarlatti. Seixas and Scarlatti both held the position of music master at the Royal Court of King John V.Carlos Seixas was immensely popular during his lifetime, but has unfortunately, outside his native country, never been accorded the attention given, for example, to his contemporary Domenico Scarlatti. Seixas and Scarlatti both held the position of music master at the Royal Court of King John V.Seixas was an extremely prolific composer. He had written over 700 works before his death from rheumatic fever at the age of thirty-eight. His compositions include 114 sonatas para instrumento de tecla (keyboard instruments), which would have been harpsichord, organ, clavichord and fortepiano. Unfortunately, many of them were lost in the great Lisbon earthquake of 1755.Seixas himself was an accomplished organist. When only 14, he was appointed Cathedral organist in Coimbra, succeeding his father, Francisco Vaz, who had just died.Although he never left his native Portugal, Seixas’ works contain more originality and international spirit than those of his more-traveled countrymen. His Overture in D Major for Orchestra shows the influence of French style, while his Symphony in B Flat for String Orchestra leans toward the Italian. Seixas succeeded in combining the Italian and the French with a nostalgic atmosphere that is quintessentially Portugese.

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08/26/2008 Posted by | Classical Music, compositores portugueses, concertmuziek, Классическая музыка, κλασσική μουσική, klassieke muziek, musica clássica, musique classique, фортепьяно, orchestra, piano, portuguese composers, Uncategorized, violin | , , , , , , , , , , , , , , | Comments Off on NUM 1028

NUM 1025

Title: Orgãos dos Açores
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Artists: Gerhard Doderer, Luís Sá Pessoa, Paula Pires de Matos & Helena Afonso

Composers: Carlos Seixas, Antonio Leal Moreira, João de Sousa Carvalho, Francisco Xavier Baptista, José Totti, Frei Manuel de Santos Elias, José da Madre de Deus

Carlos Seixas was immensely popular during his lifetime, but has unfortunately, outside his native country, never been accorded the attention given, for example, to his contemporary Domenico Scarlatti. Seixas and Scarlatti both held the position of music master at the Royal Court of King John V.
Seixas was an extremely prolific composer. He had written over 700 works before his death from rheumatic fever at the age of thirty-eight. His compositions include 114 sonatas para instrumento de tecla (keyboard instruments), which would have been harpsichord, organ, clavichord and fortepiano. Unfortunately, many of them were lost in the great Lisbon earthquake of 1755.
Seixas himself was an accomplished organist. When only 14, he was appointed Cathedral organist in Coimbra, succeeding his father, Francisco Vaz, who had just died.
Although he never left his native Portugal, Seixas’ works contain more originality and international spirit than those of his more-traveled countrymen. His Overture in D Major for Orchestra shows the influence of French style, while his Symphony in B Flat for String Orchestra leans toward the Italian. Seixas succeeded in combining the Italian and the French with a nostalgic atmosphere that is quintessentially Portugese.

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08/26/2008 Posted by | Classical Music | , , , , , , , , , , , , | Comments Off on NUM 1025

NUM 1015

Title: OPUS ENSEMBLE 94

Artist: Opus Ensemble, Ana Bela Chaves, Olga Prats, Bruno Pizzamiglio & Alejandro Erlich-Oliva

Composers: António Victorino D’Almeida, Erik Satie, Mozart, Beethoven, Maurice Ohana

António Victorino D’Almeida was born in Lisbon on May 21st 1940. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon, obtaining a final mark of 19 out of 20. He then studied composition with Karl Schiske at the Superior School of Music of Vienna in Austria and obtained the highest classification possible.
As a concert pianist, he had a successful international career and was considered one of the best Portuguese pianists at that time. He recorded all 19 Waltzes by Chopin for the ETE record label of Vienna and these recordings received critical acclaim and were praised by the highly regarded pianist Alfred Brendel. António Victorino D’Almeida is one of the most prolific Portuguese composers.
He has written everything including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, “lied”, opera, cinematic and theatre scores. His work has been appreciated by many illustrious figures in the music world including Hans Swarowski, Godfried von Einem, João de Freitas Branco and Dimitri Schostakovitch.
In Portugal, several CDs of António Victorino D’Almeida’s work are currently available from the label “Numérica”

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08/26/2008 Posted by | Classical Music | , , , , , , , , , , | Leave a comment