Classical Music Vinyl 247 Items

Wonderful set of Old-school tinged House tunes, a dedication to Theo, Larry, Chez and all the legendary deep House cats.

Celibidache never conducted opera (perhaps a single Carmen, or maybe an act of Don Giovanni…) because, he said, opera performance is subject to too many approximations. Celibidache was the great conductor of Symphonies and Concertos and here, in this recital, his performance is the best. Featuring a sublime rendition of Shubert's "Unfinished", this is a magical recording with great sound.

There is no such thing as confused programming! Relentless, grungy dark Acid with an industrial feel at a reasonable pace by I-F as Jungian Archetype!

Limited edition for Record Store Day 2018!

We no longer present Piotr Ilitch Tchaïkovski and his music. However, we offer you here to rediscover his work in a easy way with its greatest classics played by the greatest orchestras.

Pablo R. Ruiz returns for his sophomore release for Portage Garage Sounds with an evolution of his distinctive blend of sonic brilliance (first witnessed on 2017’s “Bad Hombre.”)
"Estados Criminales” features 5 tracks, playful yet sinister, like the chaotic energy of a carnival ride falling off its hinges.

The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.
Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form. As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.
Emika is on a quest to try and change what we mean when we talk about ‘classical music’. For her, the magic of the ‘genre’ is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself. I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops.”

Record Store Day 2020 Release.
Limitation: 500 copies.

Edith Sitwell’s series of her most famous poems re- released on the 100th anniversary of the original transcripts. Includes the original ultra rare Jim Flora artwork, this beautiful package includes 26 page lyric booklet. Idolised by Smiths frontman Morrissey, Sitwell was like the Warhol of her day, publishing a mountain of essays and poems covering every aspect of the arts. The Scarborough-born poet-eccentric extraordinaire who had once publicly declared that her immense wisdom had been born of a long, unrequited love affair with the Russian painter, Pavel Ychelitchew (unrequited on the account of his homosexuality). Morrissey heavily featured Edith as his tour mascot on his Kill Uncle tour and used her image as his stage backdrop and on his T-shirts.

The latest in a brilliant run of releases from the 130701 label this year, ‘The Sea at The End of Her String’ is a seven-track EP that highlights three adventurous, hugely talented female artists from the current roster of FatCat’s pioneering 130701 imprint. Featuring seven exclusive new tracks, the EP is available both digitally and in a limited edition, one-time-only vinyl pressing of 300 copies to be sold exclusively on a short, triple-bill UK tour this Autumn. Both tour and EP feature the same three artists – French pianist / composer Emilie Levienaise-Farrouch, Polish cellist Resina and Swedish-Iranian pianist Shida Shahabi, whose debut LP, ‘Homes’, will be released in mid-October.

A download code is included. Summer OF Seventeen are Monika Khot (nordra, ZEN Mother), William Fowler Collins, Daniel Menche, Faith Coloccia (mamiffer), and Aaron Turner. (sumac, Split CRANIUM).Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, Monika Khot, William Fowler Collins, Daniel Menche, Faith Coloccia, and Aaron Turner had gathered at the latter two musicians' House Of Low Culture studio on idyllic Vashon Island with revered producer Randall Dunn. There they cut eight songs that capture the makeshift band's feelings of what Coloccia calls “a kind of doomsday lurking in the background.” It's as if these highly attuned players had a premonition.

Following on from the hugely popular ‘Klavirni’ (Emika’s first solo piano album in 2015) her second installment of piano solos are a magical cluster of melodies, dreamy effects, obscure production mistakes with tape echo’s and other old analog gear.

“Prehension ” is the new album of composer and pianist Joep Beving.

Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in social sciences. However, his love for his instrument never perished.

Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.

Joep Beving is a composer and musician, but to the international advertising community he is mostly known as the face of music agency MassiveMusic.

Mica Levi returns to Slip with six piano pieces played by Eliza McCarthy in ‘Slow Dark Green Murky Waterfall’ - a crepuscular suite riddled with Mica’s inquisitive, conversational phrasing and smartly expanding upon their 7” track, ‘Riding Through Drinking Harpo Dine’ [Foom, 2017], a new recording of which also appears in this set. The culmination of three years work between Mica and Eliza - winner of the 2013 British Contemporary Piano Competition - ‘Slow Dark Green Murky Waterfall’ follows up their collaboration on the Oscar-nominated score for Pablo Larrain’s ‘Jackie’ score with a finer-shaded, patient space for low-lit, smoky expression that’s so intimate and personal it almost feels like eavesdropping a private recording.

Another first-time-on-vinyl release from Koko, Ballads For Bass Clarinet (previously a Japan-only CD) comprises a couple of waltzes, a blues, a Monk-ish suite-like piece, a free-ish drums and clarinet interlude, and finally an elegy to civil rights leader Fannie Lou Hamer.

David Murray leads on bass clarinet, managing to go both deep and soaringly high; it sometimes sounds like two different instruments are being played. Backed by John Hicks (piano), Ray Drummond (bass) and Idris Muhammad (drums), Murray’s quartet is tight and the recording superb, with a warm and intimate sound.

Highly recommended.

Both prolific composers in their own right working within the field of modern composition/ new electronic music, Berlin-based Yair Elazar Glotman and Stockholm-based Mats Erlandsson have been collaborating since 2015. ‘Negative Chambers’, their first joint album together was released on Miasmah Recordings in 2017, and saw them exploring new approaches to the use of traditional acoustic instruments. Having recently signed to FatCat’s 130701 imprint, and following closely on from Deutsche Gramophon’s release of Jóhann Jóhannsson’s ‘Last and First Men’ project which Yair co-composed, the pair’s sophomore album ‘Emanate’ is a powerful and stunningly executed extended duration work that utilises a fantastic ensemble cast and continues to explore their ideas of a ‘displaced sound’ – combining electronic and acoustic sound sources through both analogue and digital means to create an ambiguous composite work, a music that sounds neither clearly electronic or acoustic, existing instead in some in-between space.

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.