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Zoltán Kodály: Chamber Music for Cello

97794 - Zoltán Kodály: Chamber Music for Cello

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Zoltán Kodály was the Hungarian national composer of the twentieth century. But he was also one of the most eminent composers for the cello: it was to this instrument that he dedicated the passionate and sublime works recorded on this CD. more

Zoltán Kodály was the Hungarian national composer of the twentieth century. But he was also one of the most eminent composers for the cello: it was to this instrument that he dedicated the passionate and sublime works recorded on this CD.

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Zoltán Kodály Sonata for Solo Cello, Op. 8 (31:06) Marc Coppey

I. Allegro maestoso ma appassionato (08:31)
III. Allegro molto vivace (11:50)

Zoltán Kodály Cello Sonata, Op. 4 (17:59) Marc Coppey | Matan Porat

II. Allegro con spirito (09:42)

Zoltán KodályMarc Coppey | Matan Porat

Sonatina for Cello & Piano (08:37)

Zoltán Kodály Duo for Violin & Cello, Op. 7 (23:21) Barnabás Kelemen | Marc Coppey

I. Allegro serioso, non troppo (07:46)
II. Adagio – Andante (07:37)
III. Maestoso e largamente, ma non troppo lento – Presto (07:58)

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Details

Zoltán Kodály: Chamber Music for Cello
article number: 97.794
EAN barcode: 4022143977946
price group: BCA
release date: 4. March 2022
total time: 81 min.

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​The common question as to who was the most important Hungarian composer of the twentieth century - Béla Bartók or Zoltán Kodály - would have been vehemently rejected by the two like-minded friends. On the one hand, they shared many ideas and goals, such as researching Hungarian folk music, which they recorded in the countryside before and after the First World War using a wax cylinder phonograph. Bartók and Kodály made the original music of the peasant societies, which has nothing to do with the idea of Csárdás fire and Puszta romanticism, the basis of their own idioms, which they further developed in very personal ways. On the other hand, the careers of the two composers progressed in entirely different ways. While Bartók embraced international modernism and went into American exile at the height of fascist rule in Hungary, Kodály remained in his home country even under politically difficult circumstances, devoting himself unswervingly to his great task: integrating music into the school curriculum in order to make it the basis of national consciousness and social behaviour.


The works that Kodály composed in this spirit during the interwar period now form part of the canon of orchestral and choral music - as for instance his Psalmus Hungaricus, the folk opera Háry János or the Dances of Galánta. But there is also a lesser-known Kodály who until 1918, almost unnoticed by the international music world, wrote chamber music whose boldness was met with much hostility in Hungary. At the centre of these works was the cello: the virtuosos emerging from the legendary master class of the cellist David Popper in Budapest introduced Kodály to the instrument's expressive and stylistic variety. But even for the master cellists of his time, the Sonata Op. 4 with piano, the Duet Op. 7 for violin and cello and, above all, the challenging Solo Sonata Op. 8 were expeditions into new technical and musical territory. Unusual multiple stopping, breakneck runs and abrupt changes of mood, not to mention the narrative power and presence demanded in the monologues and dialogues, create enormous challenges for the performer.

The French cellist Marc Coppey, who recently received international acclaim for his recording of Dmitri Shostakovich's cello concertos for audite, has invited two masters of their craft for this new recording of Kodály's ground-breaking pieces: the Hungarian violinist Barnabás Kelemen, who after winning numerous prizes became a professor at the Franz Liszt Academy in Budapest at the age of twenty-seven, and the Israeli pianist and composer Matan Porat, a pupil  of Murray Perahia and Maria João Pires at the New York Juilliard School, who today is an internationally renowned and sought-after chamber music partner and film composer.

Reviews

www.on-mag.fr | 21 septembre 2022 | Jean-Pierre Robert | September 21, 2022 | source: https://www.on-m... CD : la musique de chambre pour violoncelle de Zoltán Kodály

La prise de son dans une église berlinoise à l'acoustique ouverte, dispense un excellent relief sur les instruments.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
La prise de son dans une église berlinoise à l'acoustique ouverte, dispense un excellent relief sur les instruments.

Classica – le meilleur de la musique classique & de la hi-fi
Classica – le meilleur de la musique classique & de la hi-fi | N° 244 - Juillet-Août 2022 | Jérémie Cahen | July 1, 2022

[Marc Coppey] d’autant qu’il y déploie un imaginaire sonore parfaitement assorti aux phrasés anguleux de l’ouvrage. Tout sonne juste dans ce premier mouvement tiré au cordeau, où l’accentuation acérée du discours s’accompagne d’une grande richesse de timbres. On admire le soin extrême apporté aux nuances dans un Adagio à la fois ascétique et profondément tourmenté. Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[Marc Coppey] d’autant qu’il y déploie un imaginaire sonore parfaitement assorti aux phrasés anguleux de l’ouvrage. Tout sonne juste dans ce premier mouvement tiré au cordeau, où l’accentuation acérée du discours s’accompagne d’une grande richesse de timbres. On admire le soin extrême apporté aux nuances dans un Adagio à la fois ascétique et profondément tourmenté.

Rhein-Main Magazin | 07/22 | Sebastian Laux | July 1, 2022

Zoltán Kodály war der ungarische Nationalkomponist des 20. Jahrhunderts. Aber er war auch einer der bedeutendsten Komponisten für das Violoncello,Mehr lesen

Zoltán Kodály war der ungarische Nationalkomponist des 20. Jahrhunderts. Aber er war auch einer der bedeutendsten Komponisten für das Violoncello, dem er die leidenschaftlichen und grandios angelegten Werke dieser CD widmete. Der französische Cellist Marc Coppey, der zuletzt für seine Aufnahme der Cellokonzerte von Dmitri Schostakowitsch für audite international gefeiert wurde, hat für die Neuaufnahme von Kodálys bahnbrechenden Stücken zwei Meister ihres Fachs eingeladen: den ungarischen Geiger Barnabás Kelemen und den israelischen Pianisten Matan Porat.
Zoltán Kodály war der ungarische Nationalkomponist des 20. Jahrhunderts. Aber er war auch einer der bedeutendsten Komponisten für das Violoncello,

Fono Forum
Fono Forum | Juni 2022 | Dorothee Riemer | June 1, 2022

Die Cello-Kammermusik von Kodály ist eine große technische Herausforderung, braucht aber auch ein hohes Maß an Ausdrucksfähigkeit und ein tiefesMehr lesen

Die Cello-Kammermusik von Kodály ist eine große technische Herausforderung, braucht aber auch ein hohes Maß an Ausdrucksfähigkeit und ein tiefes Verständnis der ganz eigenen Musiksprache Kodálys. Der Cellist Marc Coppey bringt das alles mit und geht die hochexpressive Musik mit bewundernswerter Ruhe und Ausgeglichenheit an und trägt so mit leichter Hand zum Verständnis dieser Musik bei. Mit Barnabás Kelemen hat er sich für das Duo einen Kodály-Experten eingeladen, der mit seinem ausdrucksstarken Spiel ein perfekter Partner ist.
Die Cello-Kammermusik von Kodály ist eine große technische Herausforderung, braucht aber auch ein hohes Maß an Ausdrucksfähigkeit und ein tiefes

Diapason
Diapason | N° 712 JUIN 2022 | Patrick Szersnovicz | June 1, 2022

Beauprogramme, qui reflète la période (environ de 1908 à 1921) la plus féconde et prospective de Zoltan Kodaly, celle où, forte de la découverteMehr lesen

Beauprogramme, qui reflète la période (environ de 1908 à 1921) la plus féconde et prospective de Zoltan Kodaly, celle où, forte de la découverte de Debussy et de la collecte, avec son ami Bartok, de chants paysans de Hongrie et de Roumanie, son activité créatrice se concentre surla musiquede chambre et se lance dans l’exploration d’un langage neuf.

Premier chef-d’œuvre du genre depuis les Suites de Bach, la prodigieuse Sonate pour violoncelle seul op. 8 (1915) révèle une utilisation toute personnelle de la forme sonate et une exploitation proprement fabuleuse des ressources expressives et techniques de l’instrument : il n’est pas étonnant qu’elle ait servi d’étalon aux meilleures pages pour violoncelle seul écrites plus tard par Ligeti, Zimmermann, Xenakis, Berio et quelques autres. Marc Coppey en offre une interprétation austère. La volonté d’introspection et le refus du spectaculaire deviennent ici un défi, tant l’œuvre semble réclamer la flamboyance virtuose la plus éclatante, assumée et intégrée dans des versions légendaires (Starker, Fournier, Perényi) comme dans des références plus récentes (Mørk, Phillips). Mais notre violoncelliste strasbourgeois, s’astreignant à un rigoureux respect de la lettre, insuffle une intensité très convaincante dans les trois mouvements puissamment architecturés.

Tout aussi économe d’effets, l’approche de la Sonate op. 4 (1909) avec le pianiste Matan Porat apporte son lot de détente et de fantaisie, fascinant paradoxe s’agissant d’une partition aussiramassée, pétrie d’invention, d’ambiguïtés tonales et rythmiques. Ce climat poétique et d’une grande beauté lyrique trouve un prolongement dans la brève Sonatine (mouvement peut-être originellement destiné à la sonate précédente), tandis que les trois mouvements du Duo op. 7 (1914) nous ramènent à l’ampleur et à la substance de l’Opus 8, épanouies en un magnifique contrepoint linéaire. Marc Coppey et l’excellent violoniste hongrois Barnabas Kelemen, malgré leur flexibilité de diction, privilégient l’aspect anguleux et l’extrême modernité de l’écriture davantage que son côté rhapsodique.
Beauprogramme, qui reflète la période (environ de 1908 à 1921) la plus féconde et prospective de Zoltan Kodaly, celle où, forte de la découverte

Preis der Deutschen Schallplattenkritik | 16. Mai 2022 | Elisabeth Richter | May 16, 2022 | source: https://www.scha... Bestenliste 2/2022 PdSK
Gewinner Kategorie "Kammermusik"

Im Jahr 1915, als Kodály seine Cello-Solosonate schrieb, verzweifelten die Interpreten noch an den damals ungewöhnlichen Techniken, den hohen Lagen,Mehr lesen

Im Jahr 1915, als Kodály seine Cello-Solosonate schrieb, verzweifelten die Interpreten noch an den damals ungewöhnlichen Techniken, den hohen Lagen, zum Beispiel, oder dem Einsatz des linken Daumens. Heute kommt kein Cellist daran vorbei. Dem Franzosen Marc Coppey ist Kodálys Musiksprache in Fleisch und Blut übergegangen, so natürlich und leicht, so frei präsentiert er sie. Er lässt sein wunderbar sonores Goffriller Cello vielfarbig leuchten, spannendste Geschichten wispern oder mit energetischem Nachdruck erzählen. In dem Pianisten Matan Porat und dem Geiger Barnabás Kelemen hat Coppey kongeniale Partner.
Im Jahr 1915, als Kodály seine Cello-Solosonate schrieb, verzweifelten die Interpreten noch an den damals ungewöhnlichen Techniken, den hohen Lagen,

Radio France | vendredi 6 mai 2022 | Jean-Baptiste Urbain | May 6, 2022 | source: https://www.radi... BROADCAST
L'invité du jour

Des élans passionnés de Saint-Saëns et de Lalo, aux accents révolutionnaires de Kodaly, Marc Coppey célèbre, à travers ses deux nouveaux albums, quelques-uns des plus beaux chefs d’œuvres du répertoire pour violoncelle.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Des élans passionnés de Saint-Saëns et de Lalo, aux accents révolutionnaires de Kodaly, Marc Coppey célèbre, à travers ses deux nouveaux albums, quelques-uns des plus beaux chefs d’œuvres du répertoire pour violoncelle.

Record Geijutsu
Record Geijutsu | 01.05.2022 | May 1, 2022

Japanische Rezension siehe PDF!Mehr lesen

Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!

www.musicweb-international.com
www.musicweb-international.com | Thursday April 28th | Stephen Barber | April 28, 2022 | source: http://www.music...

Kodály was less prolific than his great friend Bartók and most of his works come early in his life. Composition was for him secondary to improvingMehr lesen

Kodály was less prolific than his great friend Bartók and most of his works come early in his life. Composition was for him secondary to improving music education in Hungary, and the Kodály method became famous and influential. His chamber works, in particular, are all early. The main ones are his two string quartets, which are moderately well known, and these works for cello.

In them he practises a fusion of traditional Western music with the techniques he and Bartók had learned from the folk music they assiduously collected. These used different scales and rhythms from those in the Austrian and German music which had previously been dominant. Kodály was also influenced by Debussy, who himself had been impressed by the music of East Asia which he had heard at the Paris Expositions Universelles and from which he had adopted techniques in his own music.

The three works here are similar in their idiom and all require a great deal of virtuosity from the cellist. The instrument is frequently taken up into its highest register, is required to perform complicated double and multiple stopping and deliver a range of special sound effects. Kodály also uses frequent changes of tempo and a good deal of freedom in rhythm, to give the impression of improvising, though everything is carefully notated.

We begin with the sonata for solo cello. This was, I believe the first such work since the cello suites of Bach, although Max Reger was also writing for the solo cello at around the same time. Kodály requires the cello to adopt scordatura, a baroque device in which the tunings of the strings are different from the standard ones. Here, the two lower strings, normally C and G, are tuned down to B and F-sharp, which changes the timbre and resonance of the instrument and not only in the lower range. There are three movements, respectively fast, slow and fast, and the first movement particularly exploits the higher range. The central Adagio has the feel of an improvisation while the final Allegro is one of those fast dance movements which Bartók also liked to write.

The Sonata for cello and piano is in only two movements, Kodály having rejected his original opening movement. We begin with a Fantasia, starting with the cello unaccompanied. When the piano joins in, it is given the kind of writing we associate with the Hungarian cimbalon, in which the player uses beaters directly on the strings. We then have another fast movement, but with sudden pauses and virtuosic outbursts and, surprisingly, with a quiet ending.

Some twelve years after composing this sonata Kodály thought again about providing an opening movement and wrote one, though it was not published until 1969, after his death. It is titled Sonatina. It begins with a piano solo and then moves into an elegiac movement. It is a little strange that on this disc it is placed after, rather than before, the work for which it was written as a prelude.

Finally, we have the Duo for violin and cello. This preceded Ravel’s rather better-known sonata for this combination, which dates from 1920-2. This is in three movements. In it the violin and cello vie with each other, throwing scraps of melody to and fro and urging each other to technical display. Kodály writes for this difficult combination as to the manner born, and the result is an exhilarating work.

The solo cello sonata is the best-known of these works and has become famous. At first it was received poorly, but the composer said presciently ‘In twentyfive years no cellist will be accepted who has not played it.’ It was the cellist János Starker who made the work well-known, first playing it to the composer in 1939 when he was fifteen. He went on to record it four times. I must admit to not having heard a performance by him, but I can’t believe it is superior to the one here by Marc Coppey, whose playing seems to me outstanding. I was gripped throughout. He is also very ably partnered by Matan Porat in the sonata for cello and piano and by Barnabás Kelemen in the Duo. These works are all masterpieces and here they receive performances they deserve. The recording is superb – splendidly present without being harsh. The booklet is good, though it discusses the works in chronological order and not that on the disc. It is a shame that Kodály did not continue to write chamber music.
Kodály was less prolific than his great friend Bartók and most of his works come early in his life. Composition was for him secondary to improving

www.arts-spectacles.com | Jeudi 14 Avril 2022 | Pierre Aimar | April 14, 2022 | source: https://www.arts... Marc Coppey revisite les grandes pages du violoncelle romantique et modern

Enregistrer la sonate pour violoncelle seul de Kodaly est l’aboutissement d’une longue et intense fréquentation de cette partition parmi les plus redoutables et les plus fascinantes du répertoire. Une œuvre pour laquelle Marc Coppey a bénéficié des précieux conseils du grand violoncelliste et pédagogue Janos Starker, qui étudia lui-même auprès du compositeur hongrois. Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Enregistrer la sonate pour violoncelle seul de Kodaly est l’aboutissement d’une longue et intense fréquentation de cette partition parmi les plus redoutables et les plus fascinantes du répertoire. Une œuvre pour laquelle Marc Coppey a bénéficié des précieux conseils du grand violoncelliste et pédagogue Janos Starker, qui étudia lui-même auprès du compositeur hongrois.

www.artalinna.com | 14 AVRIL 2022 | Jean-Charles Hoffelé | April 14, 2022 | source: http://www.artal... LE DISQUE DU JOUR
LE VIOLONCELLE PARLE

[...] c’est merveille d’entendre Marc Coppey en saisir l’urgence comme les méditations, faire résonner les registres si différentsMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] c’est merveille d’entendre Marc Coppey en saisir l’urgence comme les méditations, faire résonner les registres si différents

The Art Music Lounge | MARCH 21, 2022 | Lynn René Bayley | March 21, 2022 | source: https://artmusic... Coppey’s Fiery Kodály

[...] considering the fact that Várdai is Hungarian and Coppey is French, the latter really “gets” this music in the same gutsy, energetic style. And, to be honest, Coppey has the better tone: rich, deep and full [...] Moreover, Coppey’s richer tonal palette allows him to access a greater range of sounds and colors from his instrument. Another thing that works in his favor is the sound quality. [...] This now my go-to recording of these pieces. As good as Várdai was, Coppey outstrips him.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] considering the fact that Várdai is Hungarian and Coppey is French, the latter really “gets” this music in the same gutsy, energetic style. And, to be honest, Coppey has the better tone: rich, deep and full [...] Moreover, Coppey’s richer tonal palette allows him to access a greater range of sounds and colors from his instrument. Another thing that works in his favor is the sound quality. [...] This now my go-to recording of these pieces. As good as Várdai was, Coppey outstrips him.

www.highresaudio.com | März 2022 | March 4, 2022 | source: https://www.high... LISTENING TIPP

Der Cellist Marc Coppey [...] spielt in der Solosonate herausfordernd direkt, mit den Zuhörer anspringender Intensität auf und lässt die Sonatine in all ihrer Schönheit aufblühen. Matan Porat am Klavier und Barnabás Kelemen mit seiner Violine, beide Meister ihres Fachs, erweitern die Klangwelt des formidablen Cellospiel Marc Coppeys ganz im Sinne des ungarischen Komponisten in Sachen Farbigkeit und Rhythmus.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Der Cellist Marc Coppey [...] spielt in der Solosonate herausfordernd direkt, mit den Zuhörer anspringender Intensität auf und lässt die Sonatine in all ihrer Schönheit aufblühen. Matan Porat am Klavier und Barnabás Kelemen mit seiner Violine, beide Meister ihres Fachs, erweitern die Klangwelt des formidablen Cellospiel Marc Coppeys ganz im Sinne des ungarischen Komponisten in Sachen Farbigkeit und Rhythmus.

www.pizzicato.lu | 03/03/2022 | Uwe Krusch | March 3, 2022 | source: https://www.pizz... Marc Coppey verschafft den Einblick bei Kodaly

Die wesentlichen Kammermusikwerke für das Cello von Zoltan Kodaly hat der aus Straßburg stammende Marc Coppey zusammen mit Freunden für eineMehr lesen

Die wesentlichen Kammermusikwerke für das Cello von Zoltan Kodaly hat der aus Straßburg stammende Marc Coppey zusammen mit Freunden für eine randvolle CD eingespielt. Dabei unterstützt ihn Barnabas Kelemen auf der Violine im Duo und in den Werken mit Klavier Matan Porat. Neben dem Duo sind dies die Solosonate, die Sonate mit Klavier und noch ein Lento mit Klavier.

Coppey spielt gleich in der Solosonate herausfordernd direkt, so dass seine Interpretation den Zuhörer mit ihrer Intensität anspringt. Das ergibt eine Sichtweise, die man nicht nebenbei abtun kann. Man wird als Zuhörer sofort eingesogen ins Geschehen. Diese Qualität des Herangehens kann Coppey die gesamte Strecke über überzeugend halten. In der Sonate mit Klavier lässt er der einleitenden Fantasia einen weiten Raum der Entfaltung und Ruhe, der im Vergleich zum Vorhergehenden entspannt klingt und sich erst im Laufe des Satzes wieder etwas aufbaut. Ob das anschließende Adagio einmal als weiterer Satz zu der nur zweiteiligen Sonate gedacht war, wird sich nicht nachvollziehen lassen. Aber auch als Einzelsatz mit der ausgreifenden, an das Cymbal erinnernden Klaviereinleitung und Bezügen zur Volksmusik der ungarischen Heimat entfaltet Kodaly seine ebenso persönliche wie auch heimatgebundene Stimme. Das Duo, das nicht nur mit technischen Hürden, sondern auch spielfreudigen Szenen garniert ist, schließlich bietet den reizvollen Abschluss. Auch hier sind Kelemen und Coppey sich in der gepflegt zugreifenden Herangehensweise einig und es gelingt ihnen, die modernen Seiten der Komposition hervorzuheben.

-----

The essential chamber music works for cello by Zoltan Kodaly have been recorded by Marc Coppey, a native of Strasbourg, together with friends for a brimming CD. He is supported by Barnabas Kelemen on the violin in the Duo and Matan Porat in the works with piano. Besides the Duo, these are the Solo Sonata, the Sonata with piano and another slow piece with piano.

Coppey’s playing is challengingly direct right from the Solo Sonata, so that his interpretation jumps at the listener with its intensity. This makes for a point of view that cannot be ignored. As a listener, one is immediately sucked into the action. Coppey is able to maintain this interpretative quality convincingly throughout the entire track. In the Sonata with Piano, he allows the opening Fantasia a wide space of development and tranquility, sounding relaxed compared to the preceding and only building up a bit in the course of the movement. Whether the subsequent Adagio was once intended as a further movement to the sonata, which is only in two parts, will be impossible to ascertain. But even as a single movement, with its expansive piano introduction reminiscent of the cymbal and references to the folk music of the Hungarian homeland, Kodaly unfolds his voice, which is as personal as it is tied to his country. Finally, the Duo, garnished not only with technical hurdles but also scenes of joyful playing, provides the delightful conclusion. Here, too, Kelemen and Coppey are united in their cultivated approach, and they succeed in bringing out the modern sides of the composition.
Die wesentlichen Kammermusikwerke für das Cello von Zoltan Kodaly hat der aus Straßburg stammende Marc Coppey zusammen mit Freunden für eine

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Sep 22, 2022
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www.on-mag.fr
CD : la musique de chambre pour violoncelle de Zoltán Kodály
Aug 2, 2022
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Classica – le meilleur de la musique classique & de la hi-fi
Par quel miracle Marc Coppey parvient-il à s’approprier les idiomes si...
Jul 1, 2022
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jpc-courier 07/2022: new releases of the month
Jun 21, 2022
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Rhein-Main Magazin
Zoltán Kodály war der ungarische Nationalkomponist des 20. Jahrhunderts. Aber...
Jul 1, 2022
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German Record Critics’ Award: PdSK-Bestenliste II/2022 (Fono Forum 07/22)
Jun 1, 2022
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5 de Diapason - Zoltán Kodály: Chamber Music for Cello
Jun 1, 2022
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Diapason
Beauprogramme, qui reflète la période (environ de 1908 à 1921) la plus...
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Japanische Rezension siehe PDF!...
Oct 4, 2022
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German Record Critics’ Award (PdSK-Bestenliste II/2022)
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Die Cello-Kammermusik von Kodály ist eine große technische Herausforderung,...
Apr 28, 2022
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Recommended - Zoltán Kodály: Chamber Music for Cello
Apr 28, 2022
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www.musicweb-international.com
Kodály was less prolific than his great friend Bartók and most of his works...
Apr 19, 2022
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The Art Music Lounge
Coppey’s Fiery Kodály
Apr 19, 2022
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www.arts-spectacles.com
Marc Coppey revisite les grandes pages du violoncelle romantique et modern
Apr 19, 2022
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LE DISQUE DU JOUR - Zoltán Kodály: Chamber Music for Cello
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Mar 4, 2022
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Kodály's "Fantasia" from Cello Sonata, Op. 4 was added to iTunes and Apple Music Playlist "Modernism and Postmodernism" in Germany and other countries (#4/50)
Mar 4, 2022
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Kodály's "Allegro serioso, non troppo" from Duo für Violin & Cello, Op. 7 was added to iTunes and Apple Music Playlist "Neu in: Klassische Musik" in Germany and other countries (#38/100)
Mar 4, 2022
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Kodály's first movement "Allegro maestoso ma Appassionato" from Sonata for Solo Cello, Op. 8 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 4th until 10th March (#72/80)
Feb 18, 2022
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Kodály's Sonatina for Cello & Piano was added to iTunes and Apple Music Playlist "Modernism and Postmodernism" in Germany and other countries (#1/50)
Feb 18, 2022
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Kodály's Sonatina for Cello & Piano was added to iTunes and Apple Music Playlist "Neu in: Klassische Musik" in Germany and other countries (#21/100)
Feb 18, 2022
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Kodály's Sonatina for Cello & Piano was added to Deezer's Playlist "Classical New Releases" in Germany and other countries (#8/50)
Feb 4, 2022
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Kodály's "Allegro serioso, non Troppo" from Duo for Violin & Cello, Op. 7 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 4th until 10th February (#53/75)
Jan 21, 2022
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Kodály's "Adagio - Andante" from Duo for Violin & Cello, Op. 7 was added to iTunes and Apple Music Playlist "New in Classical" in Germany and other countries (#21/100)
Jan 24, 2022
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The album "Zoltán Kodály: Chamber Music for Cello" was pitched for different Curated Classical Playlists
Jan 20, 2022
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Kodály's Sonatina for Cello & Piano was pitched for different Curated Classical Playlists
Jan 10, 2022
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Kodály's "Allegro serioso, non Troppo" from Duo for Violin & Cello, Op. 7 was pitched for different Curated Classical Playlists
Jan 7, 2022
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Kodály's "Allegro con Spirito" from Cello Sonata, Op. 4 was added to iTunes and Apple Music Playlist "Modernism and Postmodernism" in Germany and other countries (#5/50)
Jan 7, 2022
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Kodály's "Allegro con Spirito" from Cello Sonata, Op. 4 was added to iTunes and Apple Music Playlist "New in Classical" in Germany and other countries (#24/100)
Jan 7, 2022
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Kodály's "Allegro con Spirito" from Cello Sonata, Op. 4 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 7th until 13th January (#27/61)
Dec 2, 2021
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Kodály's "Adagio - Andante" from Duo for Violin & Cello, Op. 7 was pitched for different Curated Classical Playlists
Dec 2, 2021
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Kodály's "Allegro con Spirito" from Cello Sonata, Op. 4 was pitched for different Curated Classical Playlists

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