Catalog: os602eT

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Individual eTracks

  Name (Click for Sound Sample) Composer Time Buy/Price

Three Preludes
Prelude No.1

G. Gershwin 1:32 € 0,80

Three Preludes
Prelude No.2

G. Gershwin 3:08 € 0,80

Three Preludes
Prelude No.3

G. Gershwin 1:09 € 0,80


S. Berinsky 8:10 € 1,15

Suite for Bayan
The Song

A. Kholminov 3:51 € 0,80

Suite for Bayan
The Scherzo

A. Kholminov 3:01 € 0,80

Suite for Bayan

A. Kholminov 3:50 € 0,80

Suite for Bayan

A. Kholminov 3:29 € 0,80

Soiree de Vienne, op. 56

A. Grunfeld 5:56 € 1,15
10. Sempre Majore! S. Berinsky 7:41 € 1,15

os602: IL Cinema Per Sempre CD
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George Gershwin (1898-1937) was born in Brooklyn in New York in the family of Jewish emigrants from Byelorussian Mogilev. Among remarkable music - opera Porgy and Bess, Rhapsody in blue for piano and orchestra, numerous songs, music to performances, etc., which became recognizable, favourite and influenced on establishment and development of new jazz art is a cycle Three preludes for piano. This is a synthesis of academic and jazz art.

Fantasia for bayan Cinema was written by S. Berinsky (1946-1998) in memory of maestro Nino Rota (1911-1979). The compostion, very impressive and striking, is perception and comprehension of appearance and development of cinematograph. In this fantasia Berinsky uses quotations from Nino Rota's music to Federico Fellini's film Eight and a half. We want to mark unconventional sound decision. In this play the performer's voice must be heard.

The suite for bayan was written by A. Kholminov (born in 1925) in 1951, and during these decades up to present days is a favourite and classic composition in the repertoire of accordionists giving concerts.

Johan Strauss-junior (Vienna, 1825-1899) wrote his Spring voices on R. Gene's verses dedicated to B.Bianchi. In 1883, during Budapest tour, Strauss arranged that composition for F. Liszt that gave an unexpected triumph to Strauss. But Spring voices were meant for quite another musician, Alfred Grunfeld (1852-1924), an Austrian court composer and pianist who had made a lot for popularization of that composition. One day Strauss even told him: This waltz is not nice at all as it seemed to be, but when I listen to your play.

In the compostion Sempre majore! (always-major!) by S. Berinsky for oboe and bayan the elements of Indian classic music of raga (musical modes, from Sancrit colour, mood) are used. I part - contemplative and soft, dispose to meditative immersion. II part - rapturously flight: fast change of solo episodes brings to unity, cheerful and stubborn figures come to joint unison. After ecstatic episode the music being vanished is swiftly coming to an end.


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