Solomon, HWV 67: The Arrival Of The Queen Of Sheba (by George Frideric Handel)

please visit my website https://homeofficepianist.de

Anatoly Lyadov Bagatelle Opus 30

Jubalat

Prelude Op. 11 No. 1

Claude Debussy's Études (L 136) are a set of 12 piano études composed in 1915. Debussy described them as "a warning to pianists not to take up the musical profession unless they have remarkable hands". This dreamy Étude 11, titled "Pour les arpèges composés" (composite arpeggios) starts with a musical stream of notes that flows flows and develops, taking us on a series of sudden and short-lived adventures, culminating with a playful splash of sound.
This piece is recorded and produced at the Macedonian Radio and Television in Skopje, North Macedonia. Producer: Risto Avramovski.

Debussy Etude No.11 "Pour Les Arpèges Composés"

Der Dichter der Natur

Gesänge der frühe, Op.133: I. Im ruhigen tempo

Grabación casera de este bello estudio del afamado guitarrista y compositor español de finales del siglo XIX, conocido en su época como el "Sarasate de la guitarra", aludiendo a su compatriota violinista Pablo Sarasate y el virtuosismo que tenían cada uno en su instrumento.

Estudio Velocidad - Francisco Tárrega

Franz Schubert (1797 - 1828)
Symphony No.8 in B minor D759, ’Unfinished’ - I. Allegro moderato

1st Violins: David Grimal - Sullimann Altmayer - Doriane Gable - Arnaud Vallin - Yorrick Troman - Anna Göckel - Emilie Belaud - Manon Phillipe 
2nd Violins: Hans Peter Hofmann - Jin-Hi Paik - Leslie Levi - Dorothée Node Langlois - Maud Grundmann - Nathalie Crambes - François Girard Garcia 
Violas: David Gaillard - Natacha Tchitch - Delphine Tissot - Claudine Legras - Clémence Gouet - Alain Martinez 
Cellos: Xavier Phillips - Marie Leclercq - Louis Rodde - Héloïse Luzzati 
Double basses: Laurène Durantel - Grégoire Dubruel 
Flutes: Júlia Gállego Ronda - Bastien Pelat 
Oboes: Alexandre Gattet - Gildas Prado 
Clarinets: Vicent Alberola Ferrando - Gaëlle Burgelin 
Bassoons: Julien Hardy - Lola Descours 
Horns: Antoine Dreyfuss - Pierre Burnet 
Trumpets: Josef Sadílek - François Petitlaurent 
Trombones: Murray Stenhouse - Pete Brandrick - Damien Prado 
Timpani: Camille Baslé

Live recording at Cité de la musique - Philharmonie de Paris – 19 December 2013

Schubert, Symphony No.8 in B minor D759, 'Unfinished' - I. Allegro Moderato

Enigma Variations, Op. 36  Nimrod (Edward Elgar)

Mozart Allegro

Serenade No. 13 "Eine Kleine Nachtmusik" IV. Rondo Allegro K525

Colourful arrangements for organ and percussion of glorious music by Ravel, J.S. Bach, Saint-Saëns and Mussorgsky, performed by Spanish organist Daniel Oyarzabal on the majestic León Cathedral organ.

The organ of León Cathedral in Spain is celebrated for its rich range of sounds, which are showcased by Daniel Oyarzabal in the variety of works selected for this release. He is joined by percussionists Juanjo Guillem and Joan Castelló, who add rhythmic emphasis and additional colour to these arrangements made by Oyarzabal himself. 

J.S. Bach was a master of organ music, and we hear his Sinfonia from Wir danken dir, Gott, Cantata BWV 29 as originally arranged by Marcel Dupré, alongside Wachet auf, ruft uns die Stimme, BWV 645 in Bach’s own arrangement of his Cantata BWV 140. There are also transcriptions of some of the most beloved works in the repertoire: Mussorgsky’s vivid Pictures at an Exhibition, the irresistible Carnival of the Animals by Saint-Saëns, the Capriccio Espagnol by Rimsky-Korsakov, and Ravel’s hypnotic Bolero. It is fascinating to hear how the stops of this famous organ replicate the colourful orchestration of these composers. There is also the chance to hear more rarely-performed music by 20th-century Spanish composer Jesús Guridi with his critically-acclaimed work, The Homestead.

10 - Johann Sebastian Bach - Wachet Auf Ruft Uns Die Stimme BWV 645 (arr. J. S. Bach)

Odradek Records is a democratic classical cooperative, non-profit and artist-controlled label and concert association, promoting new artists and fresh repertoire.

Entrance to our roster is through anonymous demo.

Our dream is utopian: to separate music-making from markets and create a just system of pure artistic meritocracy.


Odradek Records is not just a new record label. Odradek Records is the first wedge of a larger project, proposing a new way to produce and enjoy classical music. We think that the current model undermines the true essence and significance of music. We think that a model centered on just a few big names, the great concert halls, a limited repertoire that is necessarily restricted by the bonds of popularity--a model that makes its selection of new young performers from the anti-musical system of competitions, the success of which is often obtained through extravagant histrionics rather than the correctness or subtlety of interpretation--and finally, a model that is subject to the exploitation of the marketplace, and which obliges the majority of musicians to pay enormous sums to record CDs, for which the profits then go largely to the record company, thus depriving many very worthy but not wealthy musicians from the possibility of recording--is not only a model that is far from art, but is a model that even itself is in crisis. 

Ideally, music just as other primary goods, should not fall subject to the markets. We know that in a strict sense, this is utopian, but it is precisely this tension towards an unreachable utopia that guides our project.

Odradek Records is a non-profit seeking label. Once production and distribution expenses are recuperated, all of our proceeds go directly to the artist. Odradek Records selects its artists solely through the criterion of utmost quality of the recording and the interest of the proposed program. We don’t want to exclude, but rather include: we are not interested if you have won important competitions or not, neither if you have performed in important halls or signed with major labels. We are not interested in your age or where you come from. The only thing that interests us is whether you play your instrument to a very high and professional level. With us you can record Chopin, but you can also record: Berio, Scelsi, Copland, Carter, Webern, Schoenberg, Ligeti, Kurtag, Ives, and many others.

Our recording studio avails itself of the greatest technical instruments available today.

The distribution of our CDs is guided by an innovative criterion of transparency and flexibility in setting prices.
The rights of the composers and of the artist are protected by Creative Commons copyright (sometimes referred to as “copyleft” policy) because we want to render legal and free all those things that almost everybody already illegally does anyway.

We consider that the distribution of our music is not a one way street, but instead a dialogue. Only the presence of an active public gives true life to an artistic product. Write us. In the comments section you can leave opinions, suggestions, and criticisms of our music and our project. If you want to you can sign up as a “Friend of Project Odradek”, indicating your name, your profession, where you are from, and why you support Project Odradek. Send us your thoughts on the state of music, culture, and the arts: we’ll publish them on our blog.

If you like us, help us spread the word by linking to us from your blogs, sites, and through your social networks.

Odradek Records does not only produce CDs. We are convinced that the truest fruition of music happens in live concerts. For this reason we organize itinerant music festivals, moving from city to city, to promote our disks and music.

And finally, a word about our name: we borrow it from Kafka. Like the worried family man in Kafka’s tale, we are also worried. We are worried that music might become always more and more an odradek, an indefinable and incomprehensible being, whose voice sounds falsely, like the voice of one who is “without lungs”, a being without form, disturbingly replicating that which was once alive, that can plastically become whatever is wished for by those who posses the instruments of power and control. We wish for the cage-like railing surrounding the man of Kafka’s drawing to become instead an instrument to play - we would like to transform our prison into our liberty. 

We would like to restore music to its true role, that of artwork, and restore musical interpretation to its true function, the only one that opens itself towards the possibility of a future: that of a field of research.

Welcome to Project Odradek.

10 - Johann Sebastian Bach - Wachet Auf Ruft Uns Die Stimme BWV 645 (arr. J. S. Bach)

Odradek Records

Related tracks