Pochekin Russian National Orchestra Uryupin - Violin Concertos 1 & 2 - COMPACT DISCS [CD]

This recording features the works of Russian composers who were outstanding personalities in the musical life of their country during their lifetime The Violin Concerto in D major, op. 35, by Tchaikovsky and the Violin Concerto in A minor, op. 82, by Glazunov. Each of the two composers wrote only one concerto for violin and orchestra respectively, as did Beethoven or Brahms as well. The two concertos by Tchaikovsky and by Glazunov each quickly gained admirers in the West. The image of Tchaikovsky is well-known, who closely emulated Western European music, especially music originating in Italy, France and Germany. Glazunov, who had no conservatory training, acquired his skills as a composer with Rimsky-Korsakov. He was one of the members of the InchMighty HandfulInch of five composers who banded together in Saint Petersburg in 1862 and called themselves novators, or innovators. They championed and strongly supported a national style of Russian classical music. There were therefore contrasts in style at the time. Yet Tchaikovsky, who was accused of InchWestern leaningsInch, was also an adherent of other contemporary Russian composers and his stance towards the novators was generally positive, though differentiated. And Glazunov, the pupil of Rimsky-Korsakov? The attitude he upheld was based on the maxim InchI am possessed by music.Inch To use the slightly overstated words of Vladimir Fédorov InchGlazunov can be seen as a type of musician who thinks only in musical terms, 'feels' through music and knows of no other interests than this music... to him in music there is nothing else but themes, rhythms, development, form, plasticity of the musical material and tonal color of the orchestra. He thus focused almost exclusively on instrumental music, which thanks to it's brilliance ensured him a special position among Russian composers of his day.Inch

This remarkable album marks the recording debut of German violinist Julia Fischer as well as the beginning of her extraordinary partnership with Russian-born conductor Yakov Kreizberg, which would result in numerous Pentatone releases before the conductor's untimely death in 2011. Together they tackle three Russian violin concertos (by Khachaturian, Prokofiev and Glazunov) which have been tragically overlooked, shedding new light on these masterpieces. After releases on SACD and vinyl, this iconic album now returns in an affordable stereo version.

The much anticipated debut album by Giant Swan, the brainchild of Robin Stewart & Harry Wright; an acerbic marriage of energised, aggressive dance music, quaking bass and hypnotic electronic noise. Across a table of machines and pedals, incorporating abused guitar and liberal vocal manipulation, Giant Swan create a cross-breed of hypnotic bass, industrial percussion and disorientating energy delivered with telepathic intricacy. With strong ties to Bristol's deep musical heritage, Giant Swan are a maelstrom of potential energy, bleeding between several sonic movements that both obliterate and invigorate. Building on a foundation of rhythmic tension and frenzied improvisation, no two performances are the same as the duo re-build and destroy their twisted vision of techno-not-techno. Steadily assembling an arsenal of heavy hitting releases on Howling Owl (2015), FuckPunk (2016), Timedance (2017), Mannequin (2018) and most recently Whities (2018), their recorded output has been sculpted and refined into consummate snapshots of the unrivalled, ecstatic energy they fire from the stage through raw improvisation. Relentless touring of DIY circuits as well as festival stealing performances at the likes of Unsound and Atonal has seen their reputation take flight as an unstoppable force in live electronic music.A1 - 55 Year Old DaughterA2 - PandaemoniumA3 - 'I' As ProofA4 - Pan HeadA5 - Not A CrossingB1 - OPAFS; RB2 - Weight Of LoveB3 - Peace Fort 9B4 - YFPHNTB5 - Spisbah