Accord for Life
£13.25
Usually available for despatch within 2-3 working days
Despatch Information
This despatch estimate is based on information from both our own stock and the UK supplier's stock.
If ordering multiple items, we will aim to send everything together so the longest despatch estimate will apply to the complete order.
If you would rather receive certain items more quickly, please place them on a separate order.
If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up.
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Label: Nimbus - Alliance
Cat No: NI6370
Format: CD
Number of Discs: 1
Genre: Instrumental
Release Date: 2nd November 2018
Contents
Works
InterieurChorale Prelude BWV639 'Ich ruf' zu dir, Herr Jesu Christ'
Organ Sonata in D minor, op.65 no.6
Keyboard Sonata in D minor, K1
Keyboard Sonata in F major, K44
Keyboard Sonata in F sharp minor, K25
Don Rhapsodie no.2
Artists
Milos Milivojevic (accordion)Works
InterieurChorale Prelude BWV639 'Ich ruf' zu dir, Herr Jesu Christ'
Organ Sonata in D minor, op.65 no.6
Keyboard Sonata in D minor, K1
Keyboard Sonata in F major, K44
Keyboard Sonata in F sharp minor, K25
Don Rhapsodie no.2
Artists
Milos Milivojevic (accordion)About
His versatility as a musician performing different genres including classical, tango and world music, has ensured he is in demand internationally.
“The first time I heard Miloš Milivojević play at the Royal Academy of Music in London, the sound of the free-bass accordion was new to me and thrilling to hear, but it was the repertoire that gave me the greatest pause for thought. Music for keyboard (whether harpsichord, clavichord or organ) was now being played on what is essentially a wind instrument. I quickly learned that not all music would successfully transcribe to this ‘new’ instrument. Beethoven and Brahms would be completely out of place in such transcriptions, but there was a considerable body of ‘old’ music that was sufficiently all-purpose as to become exciting and ‘new’, especially in the hands of such a creative artist as Milos.
“Then there were the truly new composers of the twentieth century who were writing for the instrument and exploiting the unique sound characteristics of both classical and free-bass accordions. In the case of the classical accordion, the sheer sight of two hands (120 buttons on the left hand keyboard completely hidden from the performer’s view, 58 buttons on the right hand side only occasionally looked at in performance) weaving miracles of tightly-packed movement was, of itself, a fascinating and breath-taking visual experience.”
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