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Rachmaninov: Lilacs, Op. 21 No. 5

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They Answered • 5. Lilacs • 6. Fragment from Musset • 7. How Fair This Spot • 8. On the Death of a Linnet • 9. Melody • Before the Icon • No Prophet I • It was an afternoon of pure delight as Anna Netrebko presented a full program of Russian art songs acompanied by an excellent pianist colleague. *****.

Find a copy in the library Finding libraries that hold this item Details Additional Physical Format: Sergei Rachmaninoff ; Ek Beketova Find more information about: Sergei Rachmaninoff Ek Beketova. Two Australian pieces generate interesting resonances alongside their European counterparts. Liam Viney andAnna Grinberg enjoy an international performance profile involving festivals, major series, live radio broadcasts, orchestras and CD releases.

They spent a decade in the United States before taking up their current position as Ensemble-in-Residence at the University of Queensland, Australia. Deep in the American South, a little boy named Sailboat lives in a slanted house held up with a stick. His mother hasn't set foot outside the house in years, his father drives a car with no doors, his grandmother is in hospital and his best friend cannot blink.

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The Grigoryan Brothers will be performing the soundtrack live at a series of special film screenings across Australia in November and December. It is powerful and beautiful. It sounds instantly Australian, celebrating the abundance of our natural environment while also warning of its intensity and brutality. This is not a peace of tranquillity, however — rather the uneasy peace that forms after a period of violence and conflict. Born in Adelaide in , Andrew Schultz grew up in regional New South Wales and Victoria before his family moved to Brisbane, where he completed his secondary schooling.

The band liked the sound that trombone, flute and clarinet created, so charts were written by Jenna Cave for five of the songs for the album, played by top-shelf Sydney jazz musicians. Sixteen songs in all: Celtic and Gaelic Sacred MelodiesCatherine Strutt piano with special guest Chris Duncan Scottish fiddleThere is a quality in the music of the Celtic and Gaelic people that touches something deep inside us. It could be the home-spun folk rhythms that speak of good times with close friends.

It could be the sound of a people who have been defined by dispossession, a sense of yearning for a homeland that can never be theirs. Or perhaps it is purely musical, a tradition whose core notes resound with the sound of the human spirit.

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Catherine Struttexplores these themes on her new album No Wind at the Window. It was there that I encountered the great tunes of the Welsh and English hymn writers, and from this first early exposure, the hymns tunes have been stored deep inside my memory, and never forgotten. She is well respected as an innovative and sensitive natural dance and concert musician and is a grapheme synaesthete, an individual who experiences numbers and letters in colour.

Using this phenomenon as a tool, Catherine plays and records entirely by ear. Throughout a long and storied career, Ross has written music that celebrates Australia — its cultural diversity, its natural environment, and its connection to the vast and diverse Pacific Rim region. Perhaps nowhere is this better demonstrated than in his chamber music, which allows for rich, detailed musical textures as well as an intense, focussed intimacy.

It contains four previously unreleased recordings and a number of others making their CD debut, as well as highlights from the ABC Classics catalogue. Nowhere does his outsized brilliance shine through more brightly than in his keyboard works, and the influence that they have had on centuries of composers and musicians.

Born and brought up in rural Queensland, Jayson Gillham travelled for hours to piano lessons in Brisbane, before shooting to fame in a number of prestigious international competitions. ABC Classics signed Jayson for a three-album deal, and his debut record, an all-solo offering surveying music by Bach, Schubert and Chopin, reached No. Soon afterwards the great pianist Vladimir Ashkenazy, conducting the Sydney Symphony, chose to make his first-ever recording of a Beethoven concerto with Jayson Gillham at the keyboard. The Grigoryan Brothers return with an album of J. The two great forces in J.

Bach first wrote the concertos on this disc as a young composer finding his place in the world, seeking to establish both his musical and personal identity. But they stayed with him throughout his life: So it is entirely fitting that two brothers, Slava and Leonard Grigoryan, have come together to play these works.