This isn't the Carmen you're used to hearing. Shchedrin's re-working of Bizet's original music uses a lot of percussion, sort of Bizet-meets-Bartók. It adds a new dimension to the oh-so-familiar themes, but one that seems obvious for its use as ballet music. Granted, it does have its silly moments, when the melody is played on the marimba, ...
Catherine Perrin's Ah! Vous dirai-je maman is a recital to show off the sound of a 1772 Jakob and Abraham Kirckman harpsichord, a dual-manual instrument with a pedal mechanism that allows the performer to switch from loud to soft stops quickly. She chose pieces that are contemporaneous with the instrument, which are almost always performed either ...
Some of the Baroque releases on Canada's ATMA label have stuck close to established molds, but this one by the young Québécoise harpsichordist Catherine Perrin breaks them all. Perrin's career is unusual in itself; while many performers of early music stick to the specialized circles of players who do the same, Perrin has parallel careers as a ...
Canadian composers have managed, at least to some degree, to avoid the dichotomy between "high" and "low" art that causes so much animosity on the American new music scene; advocates of "popular" classical composers such as Glass and Adams, and of "serious" classical composers like Babbitt and Carter, tend to be divided by distrust, if not ...
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