LP Beethoven Piano Sonatas Binns 12 LP ( 4 Kassetten) s
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  $   33

 


€ 29 Sold For
May 12, 2010 Sold Date
May 2, 2010 Start Date
1 Number Of Bids
  Germany Country Of Seller
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Beethoven Piano Sonaten; florilegium. l'oiseau Lyre; fortepiano; LP classical box sets; 4 boxes; ______________________________________________________________________________________________________________________________________________________________________________ Malcolm Binns gives the world première of John McCabe's "Homage to Mussorgsky: Study No.11" at London's Wigmore Hall on Sunday the Eighth of July 2007. Malcolm Binns' distinguished career marks him as one of the finest British pianists of modern times. He is renowned for his flawless technique, in which is found a joyous balance between virtuosity, power and musical finesse. A veteran concerto soloist in many BBC Henry Wood Promenade Concerts (see also below), he has worked with many leading orchestras and conductors around the World (including Boulez, Boult, Dorati, Haitink and Rattle); he broadcasts and records extensively. Malcolm Binns is the professional pianist's pianist par excellence. Malcolm Binns is a noted authority on British piano music. He has performed the Britten and both Rawsthorne piano concerti at the BBC Henry Wood Promenade Concerts in the Royal Albert Hall, London (the latter as part of several "Last Night of the Proms" programmes, under the batons of Sargent and Davis). Malcolm Binns was influential in the William Sterndale Bennett revival, performing the piano concerti with the London Philharmonic and Philharmonia Orchestras (recording numbers 1, 2, 3 and 5 for Lyrita plus number 4 for Unicorn-Kanchana, together with the Stanford concerti numbers 1 and 2). The Lyrita recording of the Sterndale Bennett piano concerti numbers 1 and 3 was featured as David Mellor's "Connoisseurs Choice" on Classic FM radio on Saturday the 21st of October 2006. Malcolm Binns' recording of Stanford's third concerto - a work orchestrated by the late Geoffrey Bush from the composer's two-piano score - is due to be released under a new licensing agreement between Nimbus Records (2006). The much-acclaimed 1983 BBC recording of the Piano Concerto in G by Edmund Rubbra (with the London Symphony Orchestra, conducted by Vernon Handley) was released on a Carlton Classics/BBC Sound Archive CD (15656 91932). His wide repertoire of British music also encompasses piano concerti by Gardner, Hamilton Harty, Ireland and Richard Rodney Bennett. Malcolm Binns has a vast repertoire which spans the classics to new music, and is recognised as a major exponent of the works of Beethoven, Brahms, Chopin, and Schumann. He has recorded extensively, including the first-ever recording of the complete Beethoven Piano Sonatas to be performed on original instruments (Decca L'Oiseau-Lyre - 1977 - and to be re-issued progressively under licence from the 22nd of September 2006 by Explore Records), plus the complete Chopin Studies (Pearl SHE CD 9641). Malcolm Binns has also recorded the Lyapunov Transcendental Studies and works by Medtner (Pearl SHE CD9624 & 9628). A recording of solo piano works by Balakirev - including the Sonata and Oriental Fantasy: Islamey was released on the Pearl label (SHE CD 9644) in May 2001. His wide range of piano concerti include those of Balakirev, Beethoven, Brahms, Falla (Nights in the gardens of Spain), Franck (Symphonic Variations), Gershwin (plus "Rhapsody in Blue" and Variations on "I Got Rhythm"), Grieg, Mozart, Andrzej Panufnik, Poulenc, Rachmaninov (1-3 & Variations on a theme of Paganini), Ravel, Rimsky-Korsakov, Rubbra and Schumann. Malcolm Binns' first recording for the Hyperion label (CDA 66640) - of the Balakirev and Rimsky-Korsakov piano concerti - was made in 1992 with the English Northern Sinfonia, conducted by David Lloyd-Jones. ------------------------------------------------------------------------------------------------------------------------------------------------------------------- Editions de L’Oiseau-Lyre was originally created as a music publishing venture by an Australian businesswoman and devotee of Baroque music, Louise Hanson-Dyer, in Paris in 1932. One of the publisher’s first pioneering music publications was a complete edition of François Couperin’s works – a project that was undertaken by Hanson-Dyer with the help of her friend, harpsichordist Wanda Landowska. While the publishing activities embraced primarily Baroque music, Dyer’s pioneering sense also extended to publishing music by contemporary French composers such as Koechlin and Milhaud. In the years following the Second World War, with the dawn of the LP era in the early 1950s and the advances in recording techniques, the enterprise expanded to include recordings. As a result, Decca engineers became involved in the recordings of a wide variety of artists and repertoire. During the 1950s and 1960s the first recordings by many celebrated and acclaimed artists appeared on the label; some of Joan Sutherland’s first recordings were on L’Oiseau-Lyre and Colin Davis’s first Berlioz recordings appeared on the label; Stuart Burrows made a number of recordings for the label with recordings by Janet Baker also. The breadth of repertory was very wide in the beginning and other important projects that originally appeared on the label during the 1970s include the Fitzwilliam Quartet’s Shostakovich cycle; discs of music by Hans Werner Henze and Peter Maxwell Davies and recitals by Shura Cherkassky and Jorge Bolet. Decca acquired the label outright in 1970, and in 1973 the first recording with Christopher Hogwood and The Academy of Ancient Music took place: Arne’s Eight Overtures, now reissued on CD. Significantly, this was the first release on L’Oiseau-Lyre dedicated to performance on period-style instruments. The release of the Arne recording – and all subsequent recordings employing period-style instruments – appeared as part of the L’Oiseau-Lyre “Florilegium” series, a label dedicated to the performance of music from the Baroque, Classical and Romantic periods on original instruments or authentic copies, based on the most recent research into the original texts, instrumentation and performing styles of each period. Interestingly, this name and design was derived from the decorative border used on a Ruckers harpsichord. This release signalled therefore the direction in which L’Oiseau-Lyre would continue for more than a quarter of a century. The chief driving force behind the revival of L’Oiseau-Lyre and the creation of the Florilegium series, from the early 1970s until his death in 1992, was Decca producer Peter Wadland. It was he who was responsible for establishing the profile of the label as one of the pioneering and innovatory labels exploring the latest developments in musicology and performance practice. Furthermore, he was responsible for bringing so many new artists to L’Oiseau-Lyre and a wealth of repertory that ranged from plainsong to music of the early nineteenth century. The sheer range and number of recordings is astonishing and the list of artists who have appeared on L’Oiseau-Lyre in the past thirty years is immense including: The Medieval Ensemble of London under the direction of Peter and Timothy Davies recorded landmark collections devoted to Dufay and Ockeghem in the 1980s. Christopher Hogwood and The Academy of Ancient Music were setting forth on a recording partnership that would last for a quarter of a century. This resulted in many major cycles of works such as Purcell Theatre Music, Mozart Symphonies, Beethoven Symphonies and Piano Concertos (with soloist Steven Lubin), projected series of all the Haydn Symphonies and Mozart Piano Concertos (with fortepianist Robert Levin) and numerous Handel and Vivaldi recordings. Philip Pickett and The New London Consort recorded a large number of projects that include the complete Carmina Burana as well as other themed projects of early music programmes with music by Monteverdi, Bach and Vivaldi. Catherine Bott made her first solo album for the label in the late 1980s [this appears in the first group of CD reissues] and went on to make several solo albums during the 1990s. Emma Kirkby with Anthony Rooley and The Consort of Musicke undertook numerous projects including a series of albums surveying the music of John Dowland; Emma Kirkby also appeared on numerous recordings with Christopher Hogwood in works by Purcell, Handel and Vivaldi. Opera is no stranger to L’Oiseau-Lyre. Arnold Östman and the Drottningholm Court Theatre recorded a much-praised cycle of Mozart’s Da Ponte Operas (plus Die Zauberflöte) in the late 1980s. During the 1990s Cecilia Bartoli appeared in recordings of Handel’s Rinaldo, Haydn’s Orfeo ed Euridice and La Clemenza di Tito (all with Christopher Hogwood). Another artist signed to the label in the late 1980s was French harpsichordist and conductor Christophe Rousset; he recorded solo albums of Bach (including the “Goldberg” variations) and harpsichord concertos as well as such operatic rarities as Handel’s Riccardo Primo and Mondonville’s Les Fêtes de Paphos (with his own ensemble, Les Talens Lyriques); other recordings with Rousset and his ensemble include works by François Couperin and Rameau. ________________________________________________________________________________________________________________________________________________________________________________________ ca 3 KG), mit Textbeilagen im LP Format; sehr guter Zustand der Platten , deutsch, englisch,französich Teilweise handschriftliche Notizen in den Beiliegern; alle aus Erstbesitz, nur mit Topplayer (Zarathustra) abgespielt; ________________________ ________________________________________________________________ D Versand/ Verpackung € 7.- Paket versichert ( max 10 KG); EU € 18.- Paket versichert/ Package insured (max 5 KG); EU package not unsred (max 2 KG);SCHWEIZ Paket versichert € 30- (Zone 2 DHL) max 5 KG;_________________________________________________________________ _________________________________________________________________ Beachten Sie bitte die folgenden Bedingungen: Bitte stellen Sie Ihre Fragen vor Abgabe eines Gebotes. 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