Classical Music Vinyl 403 Items

2022 repress

Steve Reich´s "Six Pianos" played by Gregor Schwellenbach, Hauschka, Daniel Brandt, Paul Frick, etc. The LP comes in a special printed sleeve and 180g Vinyl plus a WAV&MP3 Download code.

Renowned for her percussion genius, Limpe Fuchs surprises with a rare venture into her classical roots - the piano. Despite her extensive musical career, documented piano performances have been scarce until now. In this album she transcends time and expectation, diving into the instrument's essence. Her rhythmic finesse as a percussionist leaves an indelible mark on each keystroke. Join Fuchs on this intriguing late venture into the world of piano and savour every note on this unique and raw artistic encounter.

“What a shadow in the instrument, and what a murmur, of the forests from whence issued its wood.” Rainer Maria Rilke

While reading the “Midnight Skin” script for the first time, Carla Pallone (Vacarme, Mansfield.TYA) in Nantes met Fanny in Athens. And the Eucalyptus trees. And it was at this same moment that she saw through her window, an Eucalyptus tree. Fact and fiction are already mixing, and Carla Pallone welcomes this sign with a smile. Then comes the meeting with filmmaker Manolis Mavris, and his work: first “Brutalia”, then “Midnight Skin”. The writing is chiseled and precise. Each frame is a painting. At the center of the film: Fanny's solitude which excludes her from humankind. This solitude requires a place for expression. Carla Pallone thus imagines an “organic” music, linked to the way that wood, strings and other materials live and resonate. A poetic and strange sound universe, close to Fanny, to her physical and psychological states. She has found the perfect junction between acoustic and electronic, highlighting a modern violin, out of the times. The result is a soundtrack similar to Fanny, inhabited, dark and moving. Human.

Somewhere between Mickaël Nyman and Mica Levi, Carla Pallone knows how to write atmospheres, create landscapes and draw lines of fiction. Her classical training and her taste for ancient music have nourished her path as a composer, to open the spectrum of her music to the widest possible audience. With a strong appreciation for the strings, she explores a sensitive sound universe, which unfolds between organic and analog materials. Acute sense of melody, neoclassicism, minimalism... repetitive pieces of music rub shoulders with ritornellos with great joy. And if the violin is king, synthesizers also find their proper place as disturbing basses or melodic sweeps. There is great sensivity in her sound research, at the crossroads of musical paths, from the most classical to the most experimental, improvised or meditative.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir´s sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it´s taken them this long to collaborate. All that´s left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.
March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.
The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world.
I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."
Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.
Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another.

To celebrate the 90th anniversary of Luc Ferrari's birth Transversales Disques is very glad to announce the release of Photophonie, unpublished archives, spanning 1973-1992, revelatory collection of commercial, commission and secret music by electroacoustic music pioneer Luc Ferrari.
« Photophonie » (1989) / Music for the photographic exhibition of Alain Willaume.
« Il était une fois » (1973) / Commissioned by the G.M.E.B.
« Trans-Voices » (1992) / Curated by the American Center, Paris.
« Leica » - (1977) / Advertising for the Leica camera.
Affiliated with French Radio’s Groupe de Musique Concrète, co-founder of the GRM with Pierre Schaeffer in 1958, Luc Ferrari (1929-2005), major figure of musique concrète and electroacoustic music, broke away to pave his own path of individualistic expressions of minimalist music, musical theater, field recordings, orchestral music and soundtracks…

Toronto keyboardist R. Grunwald has played on sessions for hundreds of musicians, and has served as bandleader for jazz/pop chanteuse Jill Barber and country/folk songwriter Donovan Woods for the better part of a decade. Now he's ready to step onto the public stage with his own music'alone. Oma is an evocative and deeply personal solo piano record, inspired in part by the life story of his 96-year-old grandmother, a Holocaust survivor and pianist. Drawing from Erik Satie, Nils Frahm and others, Grunwald refers to his intensely melodic compositions as 'extended minimalism.'

'After quitting piano, it was my Oma who inspired me to get back into it. She survived the 2nd world war moving from town to town, hiding from the Nazis, and the Russians in Poland. Music was the one thing that tied her young life together. This music is a tribute to her.'

Enjoy in a quiet environment.

“Three Worlds: Music from Woolf Works” is the new album by Max Richter. The album is based on the Woolf Works compositions, originally created for the London Royal Ballet production of choreographer Wayne McGregor. This was production was inspired by the work and life of Virginia Woolf.

Max Richter (1966) is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.

Richter is well known for his prolific output: composing and recording his own music; writing for stage, opera, ballet and screen; producing and collaborating on the records of others; and collaborating with performance, installation and media artists. He has recorded seven solo albums and his music is widely used in cinema.