Contact details and purchase info

Posted in Uncategorized with tags on August 3, 2012 by orinococds

Keeping you up to date with cd releases from the best independent record labels, with a bias toward the classical and jazz genres.

In 2004 my wife and I set up Orinoco CDs . Orinoco is a niche mail order supplier for New Zealand customers, with a loyal customer base.

The number and quality of independant cd labels has blossomed in the past 30 years, now accounting for a significant segment of the non-downloaded classical market – and we are able to sell at a reasonable price. If you’re hunting for that elusive but timeless piece, let us do the detective work, so you can just enjoy the music.

Please email us for any purchases, payment will be arranged by direct bank deposit or cheque. Orders from New Zealand residents only. An additional $2 postage fee applies for single cds, $4 for two or more. Delivery approx 2-6 weeks, according to import stock availability.


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Mail: Orinoco CDs, 36 Miro Street, Masterton 5810, NZ


Philharmonia – Live from London: About Mahler Symphony No. 3 | Philharmonia Orchestra

Posted in Uncategorized on September 30, 2017 by orinococds

Dear Air New Zealand…

Posted in Uncategorized on February 9, 2017 by orinococds

Last week, I had an unprecedented travel experience, and not in a good way. See my letter to the airline below. — Dear Air New Zealand, My name is Erin and I am one of your frequent traveller…

Source: Dear Air New Zealand…

STARK : The concerto

Posted in Uncategorized on November 4, 2016 by orinococds

There is icing sugar all over my face. I’ve finally finished my violin concerto. And I survived. And I think I deserve this pretty massive jammy donut I’m currently consuming. I haven&#…

Source: STARK : The concerto

Messiaen: Quartet for the End of Time – V. “Praise to the Eternity of Jesus” (Barenboim, Tetard) – YouTube

Posted in Chamber music, Instrumental on July 18, 2013 by orinococds

Messiaen: Quartet for the End of Time – V. “Praise to the Eternity of Jesus” (Barenboim, Tetard) – YouTube.

On the art of variation: why Paganini’s theme is so popular | Music | The Guardian

Posted in Music journalism, Piano solo, Soloists and artists with tags , , on July 6, 2013 by orinococds

On the art of variation: why Paganini’s theme is so popular | Music | The Guardian.

Interpreting Performance: An Interview with Imogen Cooper

Posted in Uncategorized on June 21, 2013 by orinococds

The Oxford Culture Review

As an international concert pianist, Imogen Cooper’s career has encompassed performances across the globe, working with musicians such as Sir Colin Davis and Sir Simon Rattle, and recording works by Schubert, Mozart, Schumann, and Beethoven amongst others. She has recently been appointed Oxford’s Humanitas Professor of Classical Music and Musical Education, a series of visiting professorships dedicated to addressing themes in the arts, social sciences, and humanities. I spoke to her about her career as a pianist and her new role as Humanitas Professor.

Why do you choose to play Schubert? What’s special about his music for you?

It’s a love affair that goes back a very long way. I first heard his music when I was a teenager studying in Paris. I didn’t hear it through any of my teachers and I’m rather glad of that, because I’m not sure French Schubert is necessarily something what I would have…

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World-premiere recording of Pergolesi: Septem verba a Christo | Akademie für Alte Musik Berlin, René Jacobs, cond.

Posted in Baroque, Vocal chamber works with tags , , , , on April 10, 2013 by orinococds
Pergolesi: Septem verba a Christo | Akademie für Alte Musik, Rene Jacobs cond. | 1 cd | $NZ 33  hmc902155

Pergolesi: Septem verba a Christo | Akademie für Alte Musik, Rene Jacobs cond. | 1 cd | $NZ 33 hmc902155

Now attributed to Pergolesi on the basis of the most recent research, the Seven Words of Christ has been regarded, ever since it was discovered by Hermann Scherchen, as ‘one of the most heartfelt works of art, full of profound tenderness and an all-conquering sense of beauty’.
This major work of the Neapolitan Baroque (1736) was given its concert premiere at the Beaune Festival in July 2012, a few days before it was recorded.

“the work is beautiful, and its deeply spiritual loveliness has been realised in a fine period performance. Certainly, it won’t be languishing in dusty libraries any more. It is, in its own way, just as sublime as the Stabat Mater, and René Jacobs and his musicians have given it a comprehensive rehabilitation.” Charlotte Gardner BBC, 11th March 2013

“this hybrid cycle of seven early-18th-century cantatas based on the Seven Last Words is deeply impressive…The mood ranges wide, from fiery, coloratura-laden anger to a touching lyricism.” Sunday Times, March 2013

“the music is both constantly surprising and often profoundly eloquent; Jacobs’s soloists, as well as the instrumentalists of the Berlin orchestra, project that sense of devotional wonder without a trace of self-conscious piety.” Guardian, March 2013

Sophie Karthäuser, soprano | Christophe Dumaux, countertenor | Julien Behr, tenor | Konstantin Wolff, bass | Akademie für Alte Musik Berlin, René Jacobs

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