Musica Clasica para todos

Schumann - Piano Sonata n.2, Fantasy, Etudes [Hamelin]

2010-03-14T11:03:00.000-07:00

‘These are among the most poetic readings you will find by anyone. The tone is beautiful, the phrases long and songful, the drama passionate. This disc whets one’s appetite for more mainstream masterpieces from the world’s fastest fingers’ (The Capital Times)

‘For me the outstanding performance is the great C major Fantasie…so beautifully voiced and phrased I can only say that it moved me more deeply than any I have heard for a long time’ (Gramophone)

'A dazzling technician fuses technical dexterity and poetry to compelling effect' (Gramophone)

‘If you want to experience a whirlwind ride, Hamelin is definitely your man. A remarkable tour-de-force’ (The Irish Times)

'Hamelin brings a transcendental technique and passionate romantic temperament to music that, more often than not, is the preserve of pianistic intellectuals and poets. But his performances of the great C major Fantasy and the Symphonic Studies are not merely exercises in virtuosity. His astounding feats of dexterity and dazzling spectrum of colour are constantly put to the service of the music. This is freshly conceived Schumann, light and brilliant in bravura passages - the concluding Allegro brillante of the Etudes rarely sounds so joyous - yet never lightweight in reflective music: the slow third movement of the Fantasy is a poignantly poetic meditation, while the lovely Andantino of the Sonata glows with an entirely appropriate inward emotional intensity. Hamelin's Schumann ideally combines the extrovert and introspective characteristics of this glorious music. Highly recommended.' (The Sunday Times)

'Genuinely outstanding disc' (The Guardian)

'While there’s no shortage of either visceral excitement or poetic exploration, this remains supremely balanced playing … If you’re already a Hamelin aficionado, of course, you won’t need my urging to buy this disc; but if you’ve been wary because of his usually offbeat repertoire, here’s a chance to see what he can contribute to the mainstream. Top recommendation' (Fanfare, USA)

'[Hamelin’s] reading is glorious in its blend of virtuosity and emotional commitment … The recording quality is first-rate. I doubt very much if the current year will produce a finer piano CD’ (Musical Opinion)

Tracklist:

Fantasie in C major, Op 17
1 Movement 1: Durchaus phantastisch und leidenschaftlich vorzutragen [12'59]
2 Movement 2: Mässig. Durchaus energisch [7'49]
3 Movement 3: Langsam getragen. Durchaus leise zu halten [11'59]
Piano Sonata No 2 in G minor, Op 22
4 Movement 1: So rasch wie möglich [5'45]
5 Movement 2: Andantino (gretragen) [5'02]
6 Movement 3: Scherzo. Sehr rasch und markiert [1'37]
7 Movement 4: Rondo. Presto [5'19]
Études symphoniques, Op 13
8 Movement 01: Thema. Andante [1'45]
9 Movement 02: Variation 1. Un poco più vivo [1'05]
10 Movement 03: Variation 2 [3'14]
11 Movement 04: Étude 3. Vivace [1'23]
12 Movement 05: Variation 3 [0'58]
13 Movement 06: Variation 4 [1'05]
14 Movement 07: Variation 5 [0'51]
15 Movement 08: Variation 6. Allegro molto [1'04]
16 Movement 09: Variation 7 [2'56]
17 Movement 10: Étude 9. Presto possibile [0'39]
18 Movement 11: Variation 8 [1'13]
19 Movement 12: Variation 9 [2'35]
20 Movement 13: Finale. Allegro brillante [6'16]

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Schumann - Album for the Young Op.68 [Brownridge]

2010-03-14T10:51:00.000-07:00

Tracklist:

1 No 01: Melodie [0'59]
2 No 02: Soldatenmarsch [0'46]
3 No 03: Trällerliedchen [0'53]
4 No 04: Ein Choral [1'17]
5 No 05: Stückchen [0'55]
6 No 06: Armes Waisenkind [1'34]
7 No 07: Jägerliedchen [0'57]
8 No 08: Wilder Reiter [0'30]
9 No 09: Volksliedchen [1'31]
10 No 10: Fröhlicher Landmann von der Arbeit zurückkehrend [0'42]
11 No 11: Sizilianisch [1'23]
12 No 12: Knecht Ruprecht [1'49]
13 No 13: Mai, lieber Mai [2'28]
14 No 14: Kleine Studie [1'33]
15 No 15: Frühlingsgesang [2'11]
16 No 16: Erster Verlust [1'43]
17 No 17: Kleiner Morngenwanderer [1'14]
18 No 18: Schnitterliedchen [1'00]
19 No 19: Kleine Romanze [0'57]
20 No 20: Ländliches Lied [1'52]
21 No 21: *** [1'52]
22 No 22: Rundgesang [1'15]
23 No 23: Reiterstück [1'09]
24 No 24: Ernteliedchen [1'22]
25 No 25: Nachklänge aus dem Theater [1'28]
26 No 26: *** [2'16]
27 No 27: Kanonisches Liedchen [1'45]
28 No 28: Erinnerung [1'43]
29 No 29: Fremder Mann [2'27]
30 No 30: *** [3'06]
31 No 31: Kriegslied [1'15]
32 No 32: Sheherazade [3'22]
33 No 33: Weinlesezeit – fröhliche Zeit! [1'35]
34 No 34: Thema [2'18]
35 No 35: Mignon [2'34]
36 No 36: Lied italienischer Marinari [1'11]
37 No 37: Matrosenlied [2'31]
38 No 38: Winterzeit I [1'51]
39 No 39: Winterzeit II [3'20]
40 No 40: Kleine Fuge [2'26]
41 No 41: Nordisches Lied [1'14]
42 No 42: Figurierter Choral [1'39]
43 No 43: Sylvesterlied [1'58]

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Schumann - Papillions, Fantasiestucke, Carnaval [Hamelin]

2010-03-14T10:49:00.000-07:00

Schumann - Papillions, Fantasiestucke, Carnaval [Hamelin]

'Not since Sviatoslav Richter's classic 1962 live account of Papillons have these fluttering miniatures been so stunningly brought to life as by that genius of the piano, Marc-André Hamelin … Add an entrancing Op.12 Fantasiestücke to surpass even Argerich's, a stunning production from Andrew Keener and exemplary notes from Misha Donat, and you have a Schumann disc made in heaven' (Classic FM Magazine)

'All three of these sets of pieces by Schumann - Papillons, Fantasiestücke and Carnaval - explore the world of the composer's imagination. And it is that sense of fantasy that comes across so beautifully in Marc-André Hamelin's performances' (Evening Standard)

'Hamelin's combination of fleet-fingered delicacy and compelling drive suit Schumann's aesthetic ideally; but best of all is his gleeful sense of story-telling … The excellent sound-quality has all the warmth and detail that Hyperion habitually bring to Hamelin's CDs' (BBC Music Magazine)

Tracklist:

Papillons, Op 2
1 Movement 01: Introduzione [0'15]
2 Movement 02: No 1 [0'37]
3 Movement 03: No 2. Prestissimo [0'19]
4 Movement 04: No 3 [0'47]
5 Movement 05: No 4. Presto [0'45]
6 Movement 06: No 5 [1'23]
7 Movement 07: No 6 [0'52]
8 Movement 08: No 7. Semplice [0'57]
9 Movement 09: No 8 [1'00]
10 Movement 10: No 9. Prestissimo [0'42]
11 Movement 11: No 10. Vivo [2'00]
12 Movement 12: No 11 [2'52]
13 Movement 13: No 12. Finale [1'51]

Fantasiestücke, Op 12
14 Book 1 No 1: Des Abends [5'18]
15 Book 1 No 2: Aufschwung [3'24]
16 Book 1 No 3: Warum? [3'01]
17 Book 1 No 4: Grillen [3'12]
18 Book 2 No 1: In der Nacht [4'24]
19 Book 2 No 2: Fabel [2'43]
20 Book 2 No 3: Traumes Wirren [2'21]
21 Book 2 No 4: Ende vom Lied [4'28]

Carnaval, Op 9
22 No 01: Préambule [2'21]
23 No 02: Pierrot [1'49]
24 No 03: Arlequin [1'05]
25 No 04: Valse noble [1'30]
26 No 05: Eusebius [2'09]
27 No 06: Florestan [0'58]
28 No 07: Coquette [1'35]
29 No 08: Réplique, Sphinxes [0'53]
30 No 09: Papillons [0'41]
31 No 10: ASCH–SCHA (Lettres dansantes) [0'49]
32 No 11: Chiarina [1'52]
33 No 12: Chopin [1'04]
34 No 13: Estrella [0'25]
35 No 14: Reconnaissance [1'39]
36 No 15: Pantalon et Colombine [0'54]
37 No 16: Valse allemande [0'53]
38 No 17: Introduzione. Paganini [1'35]
39 No 18: Aveu [1'06]
40 No 19: Promenade [2'25]
41 No 20: Pause [0'17]
42 No 21: Marche des Davidsbündler contre les Philistins [3'35]

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Schumann - Violin Sonatas, 3 Romances [Marwood, Tomes]

2010-03-14T10:46:00.000-07:00

‘The best performances of these pieces on disc’ (Gramophone)

‘Recommended, without reservation’ (Fanfare, USA)

‘The performances have all the virtues – clarity, focus, warmth of feeling, superb technique – that have distinguished The Florestan Trio’s discs’ (International Record Review)

‘Anthony Marwood’s high range of colours serves the music’s passions perfectly, and the pianist Susan Tomes is very much an equal partner. Marwood is allowed to sing with rapture’ (The Sunday Times)

'Stylish, full-blooded artistry … matched with impeccable performing' (BBC CD Review)

Tracklist:

Violin Sonata No 1 in A minor, Op 105
1 Movement 1: Mit leidenschaftlichem Ausdruck [7'17]
2 Movement 2: Allegretto [3'45]
3 Movement 3: Lebhaft [5'21]

Drei Romanzen, Op 94
4 No 1: Nicht schnell [3'05]
5 No 2: Einfach, innig – Etwas lebhafter [3'40]
6 No 3: Nicht schnell [4'03]

Violin Sonata No 2 in D minor, Op 121
7 Movement 1: Ziemlich langsam – Lebhaft [12'31]
8 Movement 2: Sehr lebhaft [4'22]
9 Movement 3: Leise, einfach [4'50]
10 Movement 4: Bewegt [8'51]

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Clara Schumann · Complete Piano Works · Jozef De Beenhouwer

2010-03-08T19:26:00.000-08:00

“

Jozef de Beenhouwerpf CPO © CP0999 758-2 (225 minutes: DOD) From Partridge PART9293-2 (1/93)

A rather heavy-handed championship of

Clara Schumann's uneven works for piano

In his warns appreciation for Clara Schumann's piano works, Gerd Nauhaus's essay claims that 'it would be very unjust.. to see her relatively small oeuvre as merely an echo or even as a lacklustre reflection of [Robert] Schumann's music.' That's easy enough to say. But after nearly four hours of only intermittendy pleasurable listening I would say that the only injustice in the kind of assessment Nauhaus deplores is that it fails to mention all the other influences on Clara.

In the first work on these three discs, the Sonata in G minor of 1841-42, her husband's A minor Concerto is looking benignly on, together with Schubert, Mendelssohn and Weber. Prior to that, much of Clara's salonish writing derives from Chopin; and later on there are signs of close encounters of the Brahmsian kind. Not that there is nothing to charm and fascinate here. There are rhapsodically dreamy pieces like the second of the Soirees musicales (Robert was so taken with the fifth of these that he used its theme to kick off his Davidskiindlertiinze) and the Quatre pieces caracteristiques, Op 5, are a delight. Like most of the music here, these were the product of a fabulously talented teenager. What heights she might have risen to, given more favourable life circumstances, we can only guess.

As Joan Chissell noted in January 1993, the recording quality is only fair. The piano is too forwardly balanced and too much pedal-thump has been captured. Even allowing for that, Jozef de Beenhouwer is not the subtlest of exponents. He copes well enough with the considerable demands of such tours de force as the Valses romantiques, but his fortissimo throughout the three discs grates on the ear, and he thuds his way through the Eel/ii Variations, obliterating any pleasure one might take in their affinities with Robert's Etudes symphoniqztes.

A useful library acquisition then, but it is not hard to imagine others making the case for Clara Schumann more eloquently. David Fanning. Gramophone. November 2001 Page 73

”

Clara Schumann (1819-1896)

CD 1
Sonata for Piano in G minor by Clara Wieck Schumann
Romance for Piano in B minor, Op. Posthumous by Clara Wieck Schumann
Impromptu for Piano in E major by Clara Wieck Schumann
Romance for Piano in A minor by Clara Wieck Schumann
Scherzo for Piano in D minor, Op. 10 by Clara Wieck Schumann
Scherzo for Piano no 2 in C minor, Op. 14 by Clara Wieck Schumann
Prelude for Piano in F minor by Clara Wieck Schumann
Soirées musicales, Op. 6 by Clara Wieck Schumann
Etude for Piano in A flat major by Clara Wieck Schumann
March for Piano in E flat major "Birthday March" by Clara Wieck Schumann
Preludes and Fugues (3) for Piano, Op. 16 by Clara Wieck Schumann
Variations for Piano on a theme of Robert Schumann in F sharp minor, Op. 20 by Clara Wieck Schumann

CD 2
Romances (3) for Piano, Op. 11 by Clara Wieck Schumann
Romance Variée Op. 3 by Clara Wieck Schumann
Caprices en forme de valse, Op. 2 by Clara Wieck Schumann
Impromptu for Piano in G major, Op. 9 "Souvenir de Vienne" by Clara Wieck Schumann
Valses Romantiques for Piano, Op. 4 by Clara Wieck Schumann

CD 3
Variations de concert on a Cavatina from Bellini's "Pirata", Op. 8 by Clara Wieck Schumann
Polonaises (4) for Piano, Op. 1 by Clara Wieck Schumann
Pièces caractéristiques (4) for Piano, Op. 5 by Clara Wieck Schumann
Pièces fugitives (4) for Piano, Op. 15 by Clara Wieck Schumann
Praeludium und Fuge for Piano in F sharp minor by Clara Wieck Schuma
Fugues (3) on themes of JS Bach by Clara Wieck Schuman
Romances (3) for Piano, Op. 21 by Clara Wieck Schumann

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Spring Symphony - Sinfonía De Primavera Film

2010-03-08T19:24:00.000-08:00

'Sinfonía de primavera' nos trasla de lleno a pleno siglo XIX. La película narra la historia de amor entre la joven y hermosa pianista Clara Wieck (Nastassja Kinski) y el compositor Robert Schumann (Herbert Grönemeyer), como también la relación de amor-odio entre Schumann y Friedrich Wieck (Rolf Hoppe), el padre de Clara, cuyo amor por su hija supera lo meramente parental. Wieck presiona a Clara en su carrera como pianista en un esfuerzo por satisfacer sus propias ambiciones artísticas. ¿Qué hubiera sido de Wieck sin Clara? ¿En qué se hubiera convertido Schumann sin ella?

A motion picture of passions, "Spring Symphony" is a story of love, hate and artistic ambitions. Nastassja Kinski and Herbert Gronemeyer star as Clara Wieck and Robert Schumann, star-crossed classical musicians of the nineteenth century trying to overcome the stifling objections of Wieck's father. All three of them share the same passion for music, but the battle the two men fight for Clara's affections is at the same time a fight between different artistic styles and different lifestyles, a war between the generations. When Schumann finally wins his Clara, "Spring Symphony" is the expression of his love and passion for her.

Título: Sinfonía de primavera
Título original: Frühlingssinfonie
Dirección: Peter Schamoni
Fotografía: Gérard Vandenberg
Música: Herbert Grönemeyer
País: Alemania Occidental
Año: 1983
Fecha de estreno: 20/11/1985
Duración: 103 min.
Género: Biográfico, Música
Reparto: Nastassja Kinski, Rolf Hoppe, Herbert Grönemeyer, Anja-Christine Preussler, Edda Seippel, André Heller, Gidon Kremer, Bernhard Wicki, Gerda Rimpler, Sonja Tuchmann
Productora: Österreichischer Rundfunk (ORF), Zweites Deutsches Fernsehen (ZDF), Schweizer Fernsehen DRS

^^ Download ^^

Parte 1
Parte 2
Parte 3
Parte 4
Parte 5
Parte 6
Parte 7
Parte 8
Parte 9

Great Masters: Robert and Clara Schumann - Their Lives and Music

2010-03-08T19:14:00.000-08:00

In this course by Professor Robert Greenberg you meet the Schumanns—brilliant, gifted, troubled, and unique in the history of music.

Robert Schumann (1810–1856) and his wife Clara Wieck Schumann (1819–1896) have earned a distinct place in the annals of Western music. As a couple with a two-career marriage—he as a pioneering critic and composer, she as one of the leading concert pianists of Europe—they were highly exceptional in their own time though they seem very contemporary in ours.

Great Critic, Great Composer—Coupled with a Great Pianist

Robert Schumann is unique by virtue of being the only great composer who was also a great critic. His contributions to the Neue Zeitschrift für Musik (New Journal for Music), the periodical he founded in 1834, made him far better known originally as a writer than composer. It also gave him a platform from which he could champion the Romantic ideas that informed his own works and recognize the geniuses of his time, including Chopin, Mendelssohn, Brahms, and Franz Liszt.

The Zeitschrift would go down in history as one of the most important musical periodicals of the 19th century. Robert was its leading voice for 10 years, until depression and ill health led him to sell it in 1844. When he returned to print again nine years later it was a memorable occasion, for he broke his long silence to hail the gifts of a brilliant but thus far unknown young composer from Hamburg, Johannes Brahms.

This essay proved a mixed blessing for Brahms, but it clearly showed the quality of Robert's critical judgment. It came at the beginning of a close friendship between Brahms and the Schumann family. This friendship endured through the difficult years when Clara had to concertize continually to support her children after Robert's death—a story that Professor Greenberg details in his Great Masters lectures on the life and music of Brahms.

Clara was one of the most famous pianists and acclaimed touring musicians in Europe at a time when women of her class were rarely encouraged to pursue careers outside the home.

She was also a composer of no small talent, though her family commitments and touring schedule kept her from developing her compositional gifts as fully as she might have. The songs that she did compose with Robert's encouragement show great promise, however. During this lecture series you will hear two of Clara's songs and one of her piano works.

An Extraordinary Marriage

Clara was the only daughter of Friedrich Wieck, a tyrannical yet innovative piano teacher. His methods may have caused the crippling hand injury that ended Robert's own dreams of becoming a piano virtuoso and caused him to turn decisively toward writing and composing as his way of making an impact on the art of his time.

Clara first met her future husband when he was 18 and she was only 9. The two fell in love when Robert was 25 and she was 16—five years after her public-performance debut on the stage of the Gewandhaus in her native Leipzig.

After a dramatic, intrigue-filled courtship that included smuggled letters, secret meetings, and a lawsuit brought by Clara against her outraged father, the couple would marry when Robert was 30 and Clara was a day short of her 21st birthday. Their alliance would result in eight children and was a loving one, though not without its tensions.

Clara had been raised to be a star on the concert stage, not a wife and mother, and Robert did not always find it comfortable to be the husband of a woman whose fame and earning power exceeded his own, or to endure the slights he sometimes received while making the concert rounds with her.

And Clara was not only the main breadwinner of a growing family, but the wife of an emotionally unstable man who alternated between manic bouts of awesome creativity (he once wrote an entire symphony in four days) and terrifying fits of depression, exacerbating the worsening effects of the syphilis that would eventually kill him.

Triumph amid Adversity

Despite his illness and instability, Robert Schumann triumphed over adversity by leaving behind a magnificent legacy of compositions and insights into music that you will explore in these lectures.

He began as a writer of exquisite, often literature-inspired works for piano or piano and voice such as Papillons (1831), Carnaval (1835), Arabesque (1839), and Frauenliebe und Leben (1840). He succeeded, with Clara's indispensable encouragement, in combining his taste for "program music" (instrumental works inspired by and intended to bring literature to life) with the strict compositional technique and abstract content required to write chamber and orchestral music—the kind of "stand-alone" works that critics call "absolute music."

Thus Robert was able, in the wonderful "symphonic year" of 1841, to step out from beneath the long shadow cast by Beethoven's symphonies and make his own mark in this form with his First Symphony in B-flat Major, to be followed by three more by 1851.

In the second half of 1842, Robert turned his energies to chamber music and produced three string quartets as well as a piano quartet and piano quintet, all of which remain among the most enduring works in the chamber repertoire.

Music was, for the Romantic 19th century, truly the ultimate art form, and Robert Schumann, according to Professor Greenberg, represents its Romantic quintessence.

"Of all the early Romantic composers, it is Robert Schumann even more than Hector Berlioz whose music stands as the quintessence of the Romantic ideal—an art that combines music and literary storytelling in pursuit of the fullest possible degree of expression. It tended to strike contemporaries—including, in this case, even Schumann's wife, Clara—with its originality, its personal character, and its willingness to test aesthetic limits."

Works you'll hear in the lectures are excerpted from:

Robert Schumann's Works:

Papillons (Butterflies), op. 2 (1831)
Carnaval, op. 9 (1835)
Symphony no. 1 in B-flat Major (Spring), op. 38 (1841)
Piano Quintet in E-flat, op. 44 (1842)
Das Paradies und die Peri (Paradise and the Peri), oratorio (1843)
Piano Concerto in A Minor, op. 54 (1845)
Concert Piece for Four Horns and Orchestra, op. 86 (1849)
Symphony no. 3 in E-flat Major, op. 97, Rhenish (1850)
"An Anna" (1828)
Symphony in G Minor, WoO 29, Zwickau (1832)
Kreisleriana, op. 16 (1838)
Arabesque, op. 18 (1839)
Frauenliebe und Leben (Woman's Love and Life), op. 42 (1840)
Symphony no. 2 in C Major, op. 61 (1846)
Theme in E-flat Major (1854)

Clara Schumann's Works:

Walzer (1834)
Soirées Musicales, op. 6 (1836)
Am Strand (Musing on the Roaring Ocean) (1840).

Course Lecture Titles

01. Isn't it Romantic!
02. A Pianist in Leipzig
03. Clara
04. Carnaval
05. Marriage and Songs
06. The Symphonic Year
07. Illness Takes Hold
08. Madness

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Paganini: 24 Caprices for Violin with piano accompaniment by Robert Schumann, Nos. 1 - 23 !!!

2010-03-08T19:09:00.000-08:00

Paganini: 24 Caprices for Violin

(with piano accompaniment by Robert Schumann, Nos. 1 - 23)
David Garrett, violin - Bruno Canino, piano
Deutsche Grammophon, 1997 - Duration, 78'58"
Classical | mp3, 320 Kbps | Booklet and CD plate covers | 150 MB

Tracks
01. Caprice No. 01 in E major: Andante
02. Caprice No. 02 in B minor: Moderato
03. Caprice No. 03 in E minor: Sostenuto - Presto - Sostenuto
04. Caprice No. 04 in C minor: Maestoso
05. Caprice No. 05 in A minor: Agitato
06. Caprice No. 06 in G minor: Lento
07. Caprice No. 07 in A minor: Posato
08. Caprice No. 08 in E flat major: Maestoso
09. Caprice No. 09 in E major: Allegretto
10. Caprice No. 10 in G minor: Vivace
11. Caprice No. 11 in C major: Andante - Presto - Tempo I
12. Caprice No. 12 in A flat major: Allegro
13. Caprice No. 13 in B flat major: Allegro
14. Caprice No. 14 in E flat major: Moderato
15. Caprice No. 15 in E major: Posato
16. Caprice No. 16 in G minor: Presto
17. Caprice No. 17 in E flat major: Sostenuto - Andante
18. Caprice No. 18 in C major: Corrente - Allegro
19. Caprice No. 19 in E flat major: Lento - Allegro assai
20. Caprice No. 20 in D major: Allegretto
21. Caprice No. 21 in A major: Amoroso - Presto
22. Caprice No. 22 in F major: Marcato
23. Caprice No. 23 in E flat major: Posato
24. Caprice No. 24 in A minor: Tema: Quasi Presto - Var. 1-11 - Finale

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Robert Schumann - Chamber Music

2010-03-08T19:01:00.000-08:00

Robert Schumann - Chamber Music

6 CD | MP3 192 Kbps | 6 ZIP (525Mb)

Contents:

CD 1 88Mb

# Piano Quartet in E flat major, Op. 47
# Piano Quintet in E flat major, Op. 44

Jean Hubeau, piano
Jean Moulliere, violin
Jean-Pierre Sabouret, violin (op.44)
Claude Naveau, viola
Jean-Marie Gamard, cello

CD 2 84Mb

# Piano Trio No. 1 in D minor, Op. 63
# Piano Trio No. 2 in F major, Op. 80

Jean Hubeau, piano
Jean Moulliere, violin
Frederic Lodeon, cello

CD 3 94Mb

# Piano Trio No. 3 in G minor, Op. 110
# Phantasiestücke for violin, cello & piano in A minor, Op. 88
# Sonata for violin & piano No. 1 in A minor, Op. 105
# Sonata for violin & piano, WoO 22 Second Movement, intermezzo

Jean Hubeau, piano
Jean Moulliere, violin
Frederic Lodeon, cello

CD 4 76Mb

# Sonata for violin & piano No. 2 in D minor, Op. 121
# String Quartets (3), Op. 41 No 1 in A minor

Jean Hubeau, piano
Jean Moulliere, violin
Quatuor Via Nova

CD 5 97Mb

# String Quartets (3), Op. 41 No 2 in F minor
# String Quartets (3), Op. 41 No 3 in A minor
# 5 Stücke im Volkston for cello & piano, Op. 102

Quatuor Via Nova
Frederic Lodeon, cello
David Hovora, piano

CD 6 85Mb

# Adagio & Allegro for horn & piano in A flat major, Op. 70
# Märchenbilder for viola & piano, Op. 113
# 3 Romances for oboe & piano, Op. 94
# Märchenerzählungen for clarinet, viola & piano, Op. 132
# Phantasiestücke for clarinet & piano, Op. 73

Jean Hubeau, piano
Pierre del Vescovo, horn
Gerard Caussé, viola
Pierre Pierlot, oboe
Walter Boeykens, clarinet

C.P.E. Bach: The Complete Keyboard Concertos, Vol. 5, 10, 16 etc

2010-03-08T18:56:00.000-08:00

“

Carl Philipp Emanuel Bach was a German musician and composer, the second of five sons of Johann Sebastian Bach and Maria Barbara Bach. He was a crucial composer in the transition between the Baroque and Classical periods, and one of the founders of the Classical style, composing in the Rococo and Classical periods.
Miklós Spányi. The Hungarian organist, harpsichordist and pianist. For several years Miklós Spányi's work as performer and researcher has been focused on Carl Philipp Emanuel Bach. Today he is one of the world’s most acknowledged C.P.E. Bach scholars and performers.

”

The Complete Keyboard Concertos, Vol. 5
Concerto for harpsichord, strings & continuo in D major, H. 414, Wq. 11
Concerto for harpsichord, strings & continuo in A major, H. 422, Wq. 19
Concerto for harpsichord, strings & continuo in E major, H. 417, Wq. 14

The Complete Keyboard Concertos, Vol. 10
Concerto for harpsichord, strings & continuo in G major, H. 419, Wq. 16
Sonatina, concerto for harpsichord, 2 flutes, 2 horns, strings & continuo in F major, H. 452, Wq. 99
Concerto for harpsichord, strings & continuo in B flat major, H. 447, Wq. 36

The Complete Keyboard Concertos, Vol. 16
Concerto for harpsichord, 2 flutes ad lib, 2 oboes, 2 trumpets, horn, strings & continuo in D major, H. 433, Wq. 27
Sonatina, double concerto for 2 keyboards, 2 flutes, 2 horns, strings & continuo in B flat major, H. 459, Wq. 110
Concerto for harpsichord, strings & continuo in A minor, H. 424, Wq. 2

Label: BIS
Vol. 5 BIS-CD-785
Vol. 10 BIS-CD-914
Vol. 16 BIS CD-1587

Complete Keyboard Concertos Vol 1

Complete Keyboard Concertos Vol 2

Complete Keyboard Concertos Vol 3

Complete Keyboard Concertos Vol 4

Complete Keyboard Concertos Vol 5

Complete Keyboard Concertos Vol 6

Complete Keyboard Concertos Vol 7

Complete Keyboard Concertos Vol 8

Complete Keyboard Concertos Vol 9

Complete Keyboard Concertos Vol 10

Complete Keyboard Concertos Vol 11

Complete Keyboard Concertos Vol 12

Complete Keyboard Concertos Vol 13

Complete Keyboard Concertos Vol 14

Complete Keyboard Concertos Vol 15

Complete Keyboard Concertos Vol 16

Evgeny Kissin - The gift of music

2010-03-08T18:53:00.000-08:00

Evgeny Kissin - The gift of music

Genre: Classical | DVD 5 | 1998 | PAL 3:2 (720X480), PCM, 48000 Hz, 16 Bits, 2 Ch | 104 min | 4,3 GB

Tracklist:
This 104 minute DVD is an insight into Evgeny Kissin as a person, presenting a first glimpse of his day to day activi ties to a broad audience. Features interviews, rehearsals a nd dazzling performance footage shot live on stage where th is captivating artist is undoubtedly at his best. Also cont ains footage from Kissin's memorable August 1997 Promenade Concert at the Royal Albert Hall in London, which ended wit h Kissin playing the longest succession of encores in the e ntire history of the Promenade!

Pianist Kissin performs Liszt, Gluck, Haydn, Beethoven, Schubert, Paganini and Chopin at his 1997 solo recital at the Royal Albert Hall in London. Also features interviews and footage of rehearsals and other performances.

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Max Bruch - String Quartets

2010-03-08T18:51:00.000-08:00

“

"Max Bruch's two string quartets are early works...And though it is too bad Bruch never returned to the medium after his mature style was established, these two pieces can be treasured for what they are, the skillfully wrought creations of an immensely talented young composer working within the tradition of Mendelssohn, Schubert and Beethoven...listeners who know Bruch mostly from the First Violin Concerto...will be happy to make the acquaintance of these pieces.." -Quint, Fanfare

”

String Quartet No.1, in C minor, Op. 9
String Quartet No.2, in E major, Op. 10

Label: CPO Records
Catalog No: CPO 999460-2

Rapishare

Andras Schiff In Concert - Robert Schumann

2010-03-08T18:48:00.000-08:00

Andras Schiff, piano | Andras Schiff In Concert Robert Schumann

FLAC 350 Mb | Scans | RS | RAR | Easy CD Ripper Pro
Label: ECM | 2002 | DDD | 2 CD | Classical, instrumental

Les CD

Disc: 1

1. Humoreske op. 20
2. Novelletten op. 21: Markiert und kraftig
3. Novelletten op. 21: Ausserst rasch und mit Bravour
4. Novelletten op. 21: Leicht und mit Humor
5. Novelletten op. 21: Ballmassig. Sehr munter

Disc: 2

1. Novelletten op. 21: Rauschend und festlich
2. Novelletten op. 21: Sehr lebhaft mit vielem Humor
3. Novelletten op. 21: Ausserst rasch
4. Novelletten op. 21: Sehr lebhaft
5. Laviersonate f-Moll op. 14: Allegro brillante
6. Laviersonate f-Moll op. 14: Scherzo. Molto comodo
7. Laviersonate f-Moll op. 14: Quasi variazioni. Andantino de Clara Wieck
8. Nachstucke op. 23: Ad libitum-Einfach

Total time: 1:47:24

Recorded live at Tonhalle Zürich, May 30, 1999

Downloads:

CD 1

http://rapidshare.com/files/359950345/Schiff_in_Concert_-_Schumann_CD_1.rar

CD 2

http://rapidshare.com/files/359955907/Schiff_in_Concert_-_Schumann_CD_2.rar

Paderewski and Moonlight Sonata Film

2010-03-08T18:45:00.000-08:00

Paderewski and Moonlight Sonata Film
Genre: Classical | DVD 5 | 2005 | PAL 3:2 (720X480), Linear PCM | 85 min | 4,3 GB

Tracklist:
Paderewski portrays himself. The film includes a 21-minute recital (Chopin “Heroic Polonaise,” Liszt “Hungarian Rhapsody,” Beethoven “Moonlight,”) + Paderewski “Minuet in G.”

When Paderewski is playing, the camera mostly is trained on his face or hands, revealing details his records can’t: You see that he keeps his fingers bent except for the pinkies, which he often holds straight. With the left hand he often strikes the lowest note first, the rest of the hand follows and then the right hand comes down.

His rhythms are flexible within a strict overall tempo. Serene playing. Casts a spell.

—Stefan Zucker

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Stamitz - Duos for Violin and Viola - Vol 1 & 2

2010-03-06T07:58:00.000-08:00

Stamitz - Duos for Violin and Viola - Vol 1
Classical | APE & CUE | 1 CD , Covers | 275 MB | RS
Date: Jan 04, 2005 - Include Vol. 2

Composer Carl Stamitz (1745 - 1801)
Performer Vilmos Szabady (Violin), Peter Barsony (Viola)

Tracks

01 - Duo in F major-I. Allegro assi
02 - II. Rondeau. Allegretto
03 - Duo in C major Op. 18 No. 1-I. Maestoso
04 - II. Minuetto gracioso
05 - III. Rondo
06 - Duo in D major Op. 18 No. 2-I. Moderato
07 - II. Adagio
08 - III. Rondo. Allegretto con moto
09 - Duo in E flat major Op. 18 No. 3-I. Adagio
10 - II. Allegro moderato
11 - III. Minuetto grazioso
12 - Duo in A major Op. 18 No. 4-I. Moderato
13 - II. Rondo. Corrente e capriccioso
14 - Duo in F major Op. 18 No. 5-I. Adagio
15 - II. Maestoso
16 - III. Gracioso
17 - Duo in D major Op. 18 No. 6-I. Moderato
18 - II. Adagio
19 - III. Rondo

Download - Stamitz - Duos for Violin and Viola - Vol 1

Stamitz - Duos for Violin and Viola - Vol 2
Classical | APE & CUE | 1 CD , Covers | 316 MB | 2007

Composer Carl Stamitz (1745 - 1801)
Performer
Vilmos Szabady (Violin), Peter Barsony (Viola)

Tracks

01 - Duo in C major Op10 No1-I. Moderato
02 - II. Largo
03 - III. Rondo. Allegro
04 - Duo in A major Op10 No2-I. Allegro
05 - II. Andante grazioso
06 - III. Rondo. Allegretto
07 - Diverdimento No1 A major Op34-I. Moderato
08 - II. Rondo
09 - Diverdimento No2 D major Op34-I. Moderato
10 - II. Fugato
11 - Diverdimento No3 D major Op34-I. Poco allegrino
12 - II. Rondo
13 - Diverdimento No4 C major Op34-I. Moderato
14 - II. Rondo
15 - Diverdimento No5 E flat major Op34-I. Adagio
16 - II. Allegro con brio
17 - Diverdimento No6 G major Op34-I. Andantino
18 - II. Corente
19 - Duo in C major-I. Allegro
20 - II. Andante grazioso
21 - III. Allemande

Download - Stamitz - Duos for Violin and Viola - Vol 2

Walton Conducts Walton - Violin and Viola Concertos - Partita - Menuhin (EMI)

2010-03-06T07:56:00.000-08:00

Walton Conducts Walton - Violin and Viola Concertos - Partita - Menuhin (EMI)

20th Century Classical | FLAC + CUE & log | 1 CD, Covers and Booklet | 335 MB | 2000

William Walton

Violin Concerto*

Viola Concerto+

Partita for Orchestra

Yehudi Menuhin - violin & viola

London Symphony Orchestra*

New Philharmonia Orchestra+

Philharmonia Orchestra

William Walton

EMI - British Composers - 7243 5 65005 2 5

Recorded: Nº1 Studio, Abbey Road, VII - 1969 (Violin Concerto), X- 1968 (Viola Concerto) and Kingsway Hall, II - 1959 (Partita)

http://rapidshare.com/files/182204018/WLTN-MNHN.part1.rar
http://rapidshare.com/files/182209476/WLTN-MNHN.part2.rar
http://rapidshare.com/files/182214883/WLTN-MNHN.part3.rar

http://rapidshare.com/files/182217453/WLTN-MNHN.part4.rar

PASSWORD:Chamaespartium tridentatum

Bach - Cello Suites, Paolo Pandolfo (viola da gamba)

2010-03-06T07:52:00.000-08:00

Bach - Cello Suites, Paolo Pandolfo (viola da gamba)

A fresh light cast on Bach’s suites through Pandolfo’s revelatory transcriptions for viola da gamba – superbly performed‚ too

Tucked away in Glossa’s typically elegant packaging for this release is an imaginary dialogue‚ written by Paolo Pandolfo‚ in which a cello and a viola da gamba dispute the latter’s right to play Bach’s solo cello suites. The gamba’s point (and of course Pandolfo’s) is that‚ while on the one hand the suites can be seen as the beginning of one tradition‚ so they are also the end of another. Bach‚ who knew both the old world of the gamba and the new one of the cello‚ is peering into both at once‚ and by adapting the six suites for the gamba‚ Pandolfo contends that he is able to throw light onto that older world‚ to summon the ‘ancient footsteps’ which echo through the solo gamba repertoire and on into Bach’s bright new cello dawn. As he puts it‚ ‘I have let the innumerable suites to which the gamba has lent its voice during the span of its long life resound silently.’ This disc could actually serve as a useful demonstration of the relative strengths and weaknesses of gamba and cello. The gamba’s extra facility in spread chords is an obvious plus‚ and Pandolfo makes good use of it in his adaptations‚ adding a whole host of extra harmonies in the First Suite’s Gigue. Other comparisons‚ however‚ are more complex. The gamba is often the more agile instrument (Pandolfo adds quite a few extra twiddles)‚ but there are also times when it audibly requires more effort. Where the cello’s sound is bold and rounded with plenty of attack‚ the gamba’s is sparer and less assertive‚ so that in a movement such as the Sixth Suite Prelude the cello is a clear winner. Yet‚ though less powerful‚ the gamba has more resonance‚ sometimes leading to cloudier textures but at others offering up a gloriously rich sonority (as in the Gavotte of the Sixth Suite). In the end‚ though‚ it is the musicianship that matters‚ and fortunately Pandolfo’s is of the most eloquent kind. These are above all wonderfully supple readings full of thoughtfulness and imagination‚ but almost as impressive is the way in which he succeeds in casting these familiar pieces into the gamba’s poetic world of intimate selfcommunion. This is most noticeable in some of those places where cellists are often most outgoing (for instance the upward climb towards the end of the First Suite’s Prelude or the rustic drones in the Third Suite’s Gigue)‚ but where Pandolfo retreats into inward reflectiveness. There are other glimpses of the old regime‚ too‚ for instance in the aristocratic way he turns the complex figuration of the Sixth Suite’s Allemande into fleet‚ quasiimprovisatory flourishes. Yet this is more than a historical experiment‚ and there are moments when Pandolfo’s artistry stands on its own feet and hits you between the eyes: try the spectral Sarabande to the Fifth Suite‚ or the spellbinding pizzicatos of its counterpart from the Fourth. There is also an excellent hurdygurdy impression in the Sixth Suite’s second Gavotte. Pandolfo’s fictional dialogue makes much of the fact that he is borrowing these suites from the cello‚ not stealing them. He does so to great effect‚ however‚ and such is his musical personality that one can quickly forget about transcriptions and lose oneself in the sound of Bach played‚ quite beautifully‚ on an instrument which Pandolfo rightly describes as ‘noble‚ proud‚ and at the same time fragile and vulnerable’.
Reviewed: Gramophone 2001/10

http://rapidshare.com/files/119825989/Bach_Cello_Pandolfo_CD1.part1.rar
http://rapidshare.com/files/119818509/Bach_Cello_Pandolfo_CD1.part2.rar
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http://rapidshare.com/files/120019720/Bach_Cello_Pandolfo_CD2.part1.rar
http://rapidshare.com/files/120027927/Bach_Cello_Pandolfo_CD2.part2.rar
http://rapidshare.com/files/120035842/Bach_Cello_Pandolfo_CD2.part3.rar
http://rapidshare.com/files/120039055/Bach_Cello_Pandolfo_CD2.part4.rar
http://rapidshare.com/files/120039824/Bach_Cello_Pandolfo_Scans.rar

Brahms: Viola Sonatas - Two Song

2010-03-06T07:44:00.000-08:00

Brahms: Viola Sonatas; Two Songs - Yuri Bashmet

Brahms: Viola Sonatas; Two Songs - Yuri Bashmet
Label: RCA Victor Europe | ASIN: B000023YR1 | Ape + covers | 233 MB

“

On this CD:
Sonata for Clarinet (or viola) & Piano No. 1 in F minor, Op. 120/1
Composed by Johannes Brahms
with Mikhail Muntian, Yuri Bashmet

Sonata for Clarinet (or viola) & Piano No. 2 in E flat major, Op. 120/2
Composed by Johannes Brahms
with Mikhail Muntian, Yuri Bashmet

Songs (2) for alto, viola & piano, Op. 91
Composed by Johannes Brahms
with Mikhail Muntian, Yuri Bashmet, Larissa Diadkova

”

http://www.amazon.com/

rapidshare.com-part1.rar
rapidshare.com-part2.rar
rapidshare.com-part3.rar

depositfiles-part1.rar
depositfiles-part2.rar
depositfiles-part3.rar

ifolder.ru-part1.rar
ifolder.ru-part2.rar
ifolder.ru-part3.rar

NO MIRROR(S) PLEASE!

Marais - 4 Viola da Gamba Suites - Braumann, Jacobs

2010-03-06T07:31:00.000-08:00

Marais - 4 Viola da Gamba Suites - Braumann, Jacobs

Marais was a master of the basse de viol, and the leading French composer of music for the instrument. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with the master of the bass viol Monsieur de Sainte-Colombe.

CD Content
Suite for viola da gamba & continuo in E minor
Suite for viola da gamba & continuo in A minor
Suite for viola da gamba & continuo in D major
Suite for viola da gamba & continuo in E minor

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Britten & Walton: Violin & Viola Concertos, Maxim Vengerov

2010-03-06T07:25:00.000-08:00

Britten & Walton: Violin & Viola Concertos, Maxim Vengerov

Britten & Walton: Violin & Viola Concertos, Maxim Vengerov
Label: EMI Classics | Release Date: 2003 | APE CUE: 256 MB | MP3 (320 kbps): 140 MB
Rapidshare / Megaupload / Filefactory
Genre: Classical

Violin Concerto in D minor, Op. 15
Composed by Benjamin Britten
Performed by London Symphony Orchestra
with Maxim Vengerov
Conducted by Mstislav Rostropovich
1. Violin Concerto Op.15: I Moderato con moto -
2. Violin Concerto Op.15: II VIvace -
3. Violin Concerto Op.15: III Passacaglia

Viola Concerto
Composed by William Walton
Performed by London Symphony Orchestra
with Maxim Vengerov
Conducted by Mstislav Rostropovich
4. Concerto for Viola and Orchestra (revised 1961): I. Andante comodo
5. Concerto for Viola and Orchestra (revised 1961): II. Vivo, con molto preciso
6. Concerto for Viola and Orchestra (revised 1961): III. Allegro moderato

320 kbps mp3:
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Lossless Ape+Cue:
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http://rapidshare.com/files/75761729/VR.BW.VVC.A.part2.rar
http://rapidshare.com/files/75761042/VR.BW.VVC.A.part3.rar

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Fiorillo - Six quatours pour Flute, Violon, Viola & Violoncello - Ensemble A I'antica

2010-03-06T07:22:00.000-08:00

Fiorillo - Six quatours pour Flute, Violon, Viola & Violoncello - Ensemble A I'antica

Born in Germany, Federigo Fiorillo (1755-ca. 1823) was descended from a family of Neapolitan musicians: an ancestor, Carlo, had published a book of madrigals in the 16th century, and his father, Ignazio, had made a name for himself in Europe as a composer of operas and maestro di cappella. n excellent violinist and violist, Fiorillo was also a soloist on the mandolin as well as a pedagogue. His Etude pour le violon formant 36 caprices are still well known among violin students today, while harpists practice his seventy-two exercises for harp. In the late 1790s, Fiorillo printed his own six quartets for flute, violin, viola, and cello, possibly modelled on those of Francoise Philidor.

CD Content

Quartets (6) for flute, violin, viola & cello: Quartetto VI in mi minore
Quartets (6) for flute, violin, viola & cello: Quartetto IV in fa maggiore
Quartets (6) for flute, violin, viola & cello: Quartetto V in re maggiore
Quartets (6) for flute, violin, viola & cello: Quartetto I in do maggiore
Quartets (6) for flute, violin, viola & cello: Quartetto III in sol maggiore
Quartets (6) for flute, violin, viola & cello: Quartetto II in la maggiore

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Dittersdorf · Concertos for Double Bass and Viola

2010-03-06T07:11:00.000-08:00

Dittersdorf had composition lessons from Giuseppe Bonno in his native Vienna and served as a violinist in the orchestra of the Prince of Sachsen-Hildburghausen, followed by a position in the imperial theatre. There followed a period as Kapellmeister to the Bishop of Grosswardein, where, in 1762, he succeeded Michael Haydn. In 1769 he became Kapellmeister to the Prince-Bishop of Breslau, at this period acquiring the patent of nobility that added to the name of Ditters the honorific von Dittersdorf. Conditions in Johannisberg, the seat of the Prince-Bishop, deteriorated in the political circumstances of the time, and on the death of his employer in 1795, he moved with his family to join the household of a nobleman in Bohemia.

Orchestral Music

In orchestral music Dittersdorf may be compared in some respects to his near contemporary Joseph Haydn. His 120 listed symphonies include a set of six giving musical expression to the Metamorphoses of Ovid and another 'nel gusto di 5 nazioni' (in the taste of five nations). His concertos, rather less in number, include eighteen for violin, five for viola, one for cello and one for double bass, as well as a double concerto for viola and double bass.

Lubomir Malý viola · Frantisek Posta double bass · Frantisek Xaver Thuri harpsichord · Dvorák Chamber Orchestra · Frantisek Vajnar

CD
Ditters von Dittersdorf (1739-1799)

Concerto No.1 in E flat Major For Double Bass and Orchestra
Sinfonia Concertante for Viola, Double Bass and Orchestra
Concerto for Viola and Orchestra in F Major

FLAC+CUE
RS 1 | RS 2 | RS 3

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The Romantic Piano Concerto Vol.2

2010-03-06T07:07:00.001-08:00

Vox - The Romantic Piano Concerto Vol.2

FLAC + Cue | Logs + Scans | Scores + pdf Infos | 559 MB

Josef Rheinberger (1839-1901)
Felix Mendelssohn (1809-1847)
Ignaz Moscheles (1794-1870)
Ferdinand Hiller (1811-1885)
Carl Reinecke (1824-1910)
Henry Litolff (1818-1891)

Label: Vox, CDX 5065 (2 CDs)
UPC: 047163506529
ASIN: B000001K3D
CD Release: August 22, 1994
Recording Type: ADD, Stereo, Studio
Recording Date: 1968-1978
Venue: see each work details
Running Time: 2 15' 31''

Ignaz Moscheles'piano concert is a hit. I still wonder since the first day I listened why its an underrated work? This concert is loaded with a lyricism , expressiveness , and honest spirit : Its a romantic concert , but it's much more than simply that issue. You feel a sense of hidden majesty and dignity , that you'll be wonder how it's possible this concert has been less than ignored by the most of the piano players. The Hiller concert os a tour de force concert ; it's energic and filled with histamine , very brief but deeply expressive. Carl Reinecke is the other winner concert. You may feel the influence of Brahms , but is Brahms looking to the Baltic Sea. It owns commitment and sensuality! The other works are OK , but if you're really interested in the genre of piano concerts in the second half of the XIX century and you stoll think there wasn't anything new iunder the sun ; then you must acquire these lost and forgotten concerts. And the presence of this superb pianist, Mr. Ponti give the exact balance to these piano works. They are more than simple fireworks!

Ignaz Moscheles (1794-1870)
Concerto for piano & orchestra No 3 in G minor, Op 60 (c.1818)
Michael Ponti, Piano • Philharmonia Hungarica • Othmar Maga, Conductor
Recording date: 1968, venue not given
1.01 I. Allegro moderato
1.02 II. Adagio
1.03 III. Allegro agitato

Ferdinand Hiller (1811-1885)
Concerto for piano & orchestra in F-sharp minor, Op.69 (1856)
Michael Ponti, Piano • Orchestra of Radio Luxembourg • Louis de Froment, Conductor
Recording date: 1974, venue not given
1.04 I. Moderato, ma con energia e con fuoco
1.05 II. Andante espressivo
1.06 III. Allegro con fuoco

Henry Litolff (1818-1891)
Concerto Symphonique for piano & orchestra No. 3 in E flat major, Op. 45 (c.1846)
Michael Ponti, Piano • Berlin Symphony • Volker Schmidt-Gertenbach, Conductor
Recording date: 1978 in in Südwest Tonstudio, Stuttgart
1.07 I. Allegro
1.08 II. Scherzo
1.09 III. Andante
1.10 IV. Furioso

Carl Reinecke (1824-1910)
Concerto for piano & orchestra No. 1 in F sharp minor, Op. 72 (1879)
Michael Ponti, Piano • Orchestra of Radio Luxembourg • Pierre Cao, Conductor
Recording date: 1973, venue not given
2.01 I. Allegro
2.02 II. Adagio ma non troppo
2.03 III. Finale: Allegro con brio

Felix Mendelssohn (1809-1847)
Capriccio brillant for piano and orchestra in B minor, Op. 22 (1825)
Michael Ponti, Piano • Berlin Symphony • Volker Schmidt-Gertenbach, Conductor
Recording date: 1978 in in Südwest Tonstudio, Stuttgart
2.04 Capriccio brillant

Josef Rheinberger (1839-1901)
Concerto for piano & orchestra in A flat, Op 94
Michael Ponti, Piano • Berlin Symphony • Volker Schmidt-Gertenbach, Conductor
Recording date: 1978 in in Südwest Tonstudio, Stuttgart
2.05 I. Moderato
2.06 II. Adagio pathetico
2.07 III. Finale: Allegro energico

This set contains rarely recorded works of the lesser-known composers who provided a valuable contribution to the development of music through the 19th Century. The notes make interesting reading and give useful historical information. Descriptions of the works could have been fuller and more detailed. Michael Ponti plays with considerable dexterity, and handles both powerful and sensitive passages with considerable skill. The orchestras play competently under knowledgeable conductors.The analogue recordings of the '70s are clear without the extraneous noise that can show up in CD transfers of this period. They are pleasantly balanced for concerto recording with the piano placed nicely forward on the sound-stage. In the Reinecke concerto, a slight metallic timbre is noticed with the piano. A slight lack of dynamic range causes some detail of the orchestra to be hidden but this is not an obtrusive problem. There is no obvious mismatching in the acoustics or microphone placements between the different venues.

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The Romantic Piano Concerto Vol.1

2010-03-06T06:58:00.000-08:00

Vox - The Romantic Piano Concerto Vol.1

FLAC + Cue | Logs + Scans | Scores + pdf Infos | 550 MB

Johann Nepomuk Hummel (1778-1837)
Friedrich Kalkbrenner (1785-1849)
Adolph von Henselt (1814-1889)
Ferdinand Hiller (1811-1885)
Frederic Chopin (1810-1849)

Label: Vox, CDX 5064 (2 CDs)
UPC: 04716350642
ASIN: B000001K3C
CD Release: November, 1992
Recording Type: ADD, Stereo, Studio
Recording Date: 1968-1978
Venue: see each work details
Running Time: 2 04' 38''

When the "Romantic Concerto" series came out I grabbed as many albums as I could find. The gems on the series are somewhat obscure, and that is a great shame. My favorite piece in Volume One is Chopin's Allegro de Concert, played to perfection by Michael Ponti, accompanied by the Berlin Symphony Orchestra. The brilliant Michael Ponti (One of the best pianists out there. Why is he not better known?!) gives a spectacular performance of Adolf von Henselt's superb f minor concerto. A work of terrifying difficulties (no less than Anton Rubinstein abandoned work on the piece because he considered it too difficult) it was once quite popular (Both Liszt and Clara Schumann championed the work). Ponti plays the fire out of it. The Henselt alone makes this a worthy aquisition, and the CD set contains other treasures as well. By all means pick this up.

Adolph von Henselt (1814-1889)
Concerto for piano & orchestra in F, Op 16
Michael Ponti, Piano • Philharmonia Hungarica • Othmar Maga, Conductor
Recording date: 1968, venue not given
1.01 I. Allegro patetico
1.02 II. Larghetto
1.03 III. Allegro agitato

Ferdinand Hiller (1811-1885)
Konzertstück for piano & orchestra, Op.113
Jerome Rose, piano • Orchestra of Radio Luxembourg • Pierre Cao, conductor
Recording date: 1973, venue not given
1.04 I. Konzertstück

Frederic Chopin (1810-1849)
Allegro de concert for piano in A major, Op. 46, CT. 1
Michael Ponti, Piano • Berlin Symphony • Volker Schmidt-Gertenbach, Conductor
Recording date: 1978 in Südwest Tonstudio, Stuttgart
1.05 I. Allegro de concert

Friedrich Kalkbrenner (1785-1849)
Concerto for piano & orchestra No. 1 in D Minor, Op 61
Hans Kann, piano • Hamburg Symphony • Heribert Beissel, conductor
Recording date: 1977, venue not given
2.01 I. Allegro maestoso
2.02 II. Adagio di molto
2.03 III. Rondo vivace

Johann Nepomuk Hummel, (1778-1837)
Piano Concerto in E major ("Les Adieux"), Op. 110
Hans Kann, piano • Hamburg Symphony • Heribert Beissel, conductor
Recording date: 1977, venue not given
2.04 I. Allegro pomposo e spirituoso
2.05 II. Andante con moto
2.06 III. Rondo: Allegro moderato ma con brio

Von Henselt piano concert is the peak of the crown. Absolutely agree. This work, despite its countless difficulties that demands from the player is surrounded of a romantic majesty and aristos presence. But think in Chopin's Allegro de Concerto : Chopin was planning to compose a third Piano Concert in 1849 but he only could finish the first movement. So this work literally was frozen for players. Nadia Reisenberg (vynil Westminster in the fifties) and Claudio Arrau (in the sixties) recorded this work and played for solo piano. But Michael Ponti aceppted the challenge and this was the world premiere recording with orchestra) The result is a fifteen minutes piece complete by itself with a mature Chopin loaded with new proposals and a revitalized concept of his beloved Poland. You notice inmediatly that the important 1848 revolution, permeated the soul of Frederick. Hiller' s piano concert is a bravura work. The notes fall incisively on the listener, and suddenly the mood is made: its introspective moods and fevered lyricism will steal your mind. Acquire as soon as you can this weird album .Ponti reveals himself not only as a superb pianist, but also as an untired searcher of the unknown pieces of the XIX century, happily for us. Thanks for Ponti, Earl Wild, and Raymond Lewenthal, extraordinary pianists inmersed in the purest romantic tradition.

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Norbert Bürgmuller - Orchestral Works

2010-03-06T06:51:00.000-08:00

Norbert Bürgmuller - Orchestral Works

1998 | Classical | FLAC, Separate Files | No Cue, Log, Scans | 285mb

1. Overture For Orchestra Op. 5 'Dionys' In F Major: 1. Adagio grave - 2. Allegro agitato
2. Symphony No. 2 Op. 11 In D Major: Allegro moderato
3. Symphony No. 2 Op. 11 In D Major: Andante
4. Symphony No. 2 Op. 11 In D Major: Scherzo. Presto
5. Concerto For Piano And Orchestra Op. 1 In F Sharp Minor: Allegro ma non troppo
6. Concerto For Piano And Orchestra Op. 1 In F Sharp Minor: Larghetto con moto
7. Concerto For Piano And Orchestra Op. 1 In F Sharp Minor: Allegro moderato

Norbert Burgmüller composed between 1825 and 1836 nearly fifty works. His orchestral works comprise two Symphonies (c minor op.2 and D major op.11), a Piano Concerto (f sharp minor op.1), an Overture (f minor op.5) and four Entr’Actes for small orchestra (op.17). Among his chamber music are four String Quartets (d minor op.4 and op.7, A flat major op.9 and a minor op.14), a Duo for Clarinet and Piano (E flat major op.15) and a Ständchen (Serenade) for Clarinet, Viola and Gitarre. The piano music is represented by a Sonata (f minor op.8), a Rhapsody (b minor op.13), a Polonaise (F major op.16) and a Waltz (E flat major, WoO). His vocal music is now partly lost (one song, several shorter pieces for male choir, a cantata, a Psalm and an Opera Fragment "Dionys") but nearly two dozens of Songs (mainly published in four volumes opp. 3, 6 10 and 12) have survived. The above mentioned opera numbers are misleading concerning chronology.

Burgmüllers early works show great promise, although they are partly influenced by Beethoven and Spohr. In his mature pieces, Burgmüller reaches quite a personal style which sometimes resembles Schubert, of whose works he knew next to nothing. At his best moments, he forshadows a later Schumann and even Brahms. His music combines melodies which long linger in the memory, with a highly individual harmonic language and original formal solutions.
Selected Discography
Orchestral Works / Musikproduktion Dabringhaus & Grimm MDG 335 0817-2
Piano Sonata / Genesis GCD 108
Clarinet Duo / ASV DCA 732
Songs / Muskproduktion Dabringhaus & Grimm MDG L 3244

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