classics

Celebrating Slava! – In Remembrance of Mstislav Rostropovich

santa.uwm@gmail.com (octron) — Mon, 05 Oct 2009 19:21:00 +0000

rec. 3 October 2007; Kronberg and 4–7 October 2007; Frankfurt am Main.

HÄNSSLER PROFIL PH08029 [4 CDs: 58:13 + 65:47 + 65:34 + 74:32]

Jascha Heifetz said, “I occasionally play works by contemporary composers for two reasons. Firstly to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.” I am sure that he meant it and I am equally convinced that many performers would disagree with him. I know one who would. I doubt that there was any other 20^th century musician who not only regularly played the music of his contemporaries but commissioned, inspired and helped to bring into being so many works by so many different composers for their own instrument as Mstislav Rostropovich. It didn’t matter to Slava - as he was known to all - what style the composer would write in: “write for me whatever you want” was his simple instruction. And write they did. Concertos, Sonatas with piano, solo sonatas, not to mention the orchestral and operatic works he conducted. In all, he premièred 117 compositions.

This set derives from two live events given in Germany in 2007, the Gedenktag für Mstislav Rostropovich in Kronberg, and the 8^th Cello Festival in Frankfurt. What a span of music we are given and what a splendid variety of superb cello playing there is on offer.

I must mention the highlights. Britten’s Cello Sonata receives a strong, bold and very lyrical performance from Natalia Gutman. This is one of the best performances of this work I’ve ever heard, Slava’s own notwithstanding. She has a strong bowing arm and uses her strength to make the first movement a very dark and rich experience, whilst the pizzicato scherzo is all fun. The Elegia returns us to the terse argument of the opening and this is matched by another fun movement – the march. The finale is all hell–for–leather and Gutman goes at the music like a woman possessed. She is joined, with equal inspiration, by Viacheslav Poprugin in a truly thrilling performance.

Perényi’s performance of Britten’s 2^nd Suite is almost as good. He handles the difficulties with ease and is very clear in the direction the music is taking him. If it lacks the final ounce of passion this is no criticism. It is a fearsome work and it’s fascinating to hear something this imposing given by someone who didn’t study the work with the composer.

The first CD contains a number of shortish pieces – the Britten Suite aside – and the mood is one of darkness without respite. It’s not really for listening in one sitting. Kancheli’s Nach dem Weinen, played by Julius Berger, deserves special mention for his sustained playing, sometimes delicate and quiet, but always with the typical Kancheli bursts of strident ardour.

The mood lightens on the second CD with Slava’s own arrangements of two of Prokofiev’s smaller pieces which are followed by an hair–raising composition of his own – Humoresque. It’s all notes, flying all over the place, all over the instrument. Gabriel Schwabe seems totally unconcerned by the intricacy of the writing. As a piece of music it’s negligible, but as an example of cello playing it’s phenomenal! Slava premiered the Debussy miniatures and they are delightful early pieces, but with no Debussian character: the Nocturne has a pleasant Mediterranean feel.

The third CD contains three large-scale works given their premières by Slava. Schnittke’s Epilogue from the ballet Peer Gynt is a complicated work, made up of tortured music, lamenting, screaming cello lines, heavy chordal accompaniment and a recording of a choir holding a single chord almost throughout. It’s very ritualistic, totally hypnotic, entirely gripping and Geringas plays it to the manner born.

Nikolai Miaskovsky’s 2^nd Sonata was the first work Slava premièred. It’s a conventional three movement piece in the Russian romantic tradition. There’s nothing startling here just gentle writing for the cello in the first two movements and a moto perpetuo finale. Prokofiev’s Sonata is a late work, and, like the Britten Sonata, presents a darkly lyrical piece with a jaunty foot-stamping dance which Andreas Brantelid performs superbly.

CD4 introduces the orchestra. Rodion Shchedrin’s Slava! Slava! Ein festliches Glockengeläut is a celebratory piece, and the only work in this set which doesn’t include a prominent part for a cello soloist! Henze’s Trauerode is a deeply felt lament, beautifully played by Cellisimo. Bernstein’s Three Meditations from Mass are totally overshadowed by Kancheli’s Silent Prayer which follows it. This is another of Kancheli’s quiet meditations, sincere, supremely beautiful but beset with problems, as always, by louder, very disruptive, elements. This is a recording of the world première and the booklet tells us that this is “… a now obsolete first version”, so it will be interesting to be able to compare any future version with the composer’s first thoughts.

This set has something for everyone, from rich romanticism to ultra-modernism and is a fascinating compendium of cello playing. It’s also a fabulous tribute to a unique musician. The sound throughout is excellent, and the producers have wisely left the applause on each track so we can join in with the enthusiasm of the audience. I expected this collection to be a bit of hard listening but, apart from what I wrote about the first disk, this is a fascinating collection and it contains much which you will want to revisit. Bob Briggs

Not my rip, downloaded from eMule, scans, CUE+FLAC, no log

eBook (pdf)

Ravel : L'enfant et les Sortileges, Ma Mere l'Oye - S. Rattle / Rundfunkchor Berlin, Berliner Philharmoniker - 2009.

dolphindives@gmail.com (Ice) — Mon, 05 Oct 2009 20:30:00 +0000

Ravel : L'enfant et les Sortileges, Ma Mere l'Oye - S. Rattle / Rundfunkchor Berlin, Berliner Philharmoniker - 2009.

By Request

Maurice Ravel (1875-1937)
      L'Enfant et les Sortileges
      Lyric fantasy in one act to a libretto by Colette
      Ma Mere l'Oye
      Magdalena Kozena : L'enfant
      Annick Massis : Le Feu, La Princesse, Le Rossignol
      Nathalie Stutzmann : Maman, La Tasse Chinoise, La Libellule
      Sophie Koch : La Bergere, La Chatte, L'Ecureuil, Un Patre
      Jose Van Dam : Le Fauteuil, Un Arbre
      Francois Le Roux : L'Horloge Comtoise, Le Chat
      Jean-Paul Fouchercourt : La Theiere, Le Petit Vieillard, La Rainette
      Mojca Erdmann : Une Pastorelle, La Chauve-souris, La Chouette
      Les Meubles
      Sabine Puhlmann : Le Banc
      Nora Von Billerbeck : Le Canape
      Bianca Reim : Le Pouf
      Silke Schwab : La Chaise de Paille
      (Members of the Rundfunkchor Berlin)
      Rundfunkchor Berlin / Chorus master : Simon Halsey
      Berliner Philharmoniker
      Sir Simon Rattle
      Recorded in Concert : 24-28.IX.2008, Philharmonie, Berlin
      Total Time : 72min 58sec
      Year 2009

BBC music magazine : April 2009 ;

Gramophone music magazine : June 2009

Tracklist :

CD: Ravel : L'enfant et les Sortileges, Ma Mere l'Oye - S. Rattle / Rundfunkchor Berlin, Berliner Philharmoniker - 2009.

01. Introduction    [0:04:32.35]
02. Votre serviteur humble, Bergere    [0:03:17.30]
03. How's your mug?    [0:09:02.47]
04. Oui, c'est Elle, ta Princesse enchantee    [0:06:49.05]
05. Deux robinets coulent dans un rιservoir!    [0:04:29.36]
06. Ah! Quelle joie de te retrouver, Jardin!    [0:07:22.25]
07. Sauve-toi, sotte! Et la cage? La cage?    [0:03:02.22]
08. Ah! C'est l'enfant au couteau!    [0:05:53.62]
09. Ma Mere l'Oye : Prelude    [0:03:14.61]
10. Danse du Rouet et Scene    [0:03:45.40]
11. Pavane de la Belle au bois dormant    [0:02:36.25]
12. (Interlude) - Les entretiens de la Belle et de la Bete    [0:05:05.68]
13. (Interlude) - Petit Poucet    [0:04:41.17]
14. (Interlude) - Laideronnette, Impιratrice des Pagodes    [0:05:04.49]
15. (Apotheose) - Le Jardin fιerique    [0:04:02.30]
16. DATA    [0:03:47.00]

Beethoven: The Complete Piano Concertos - Richard Goode, Ivan Fischer

santa.uwm@gmail.com (octron) — Tue, 06 Oct 2009 15:06:00 +0000

MUSICIANS
Richard Goode, piano
Budapest Festival Orchestra
Iván Fischer, conductor

PRODUCTION CREDITS
Produced by Max Wilcox and Hein Dekker
Engineer: Jean-Marie Geijsen
Recorded June 20-23, 2005 (Concertos Nos. 1-3), and November 20-21, 2005 (Nos. 4-5), at the National Concert Hall, Budapest
Mixed by Max Wilcox and Paul Zinman at SoundByte Productions, NYC

Design by Evan Gaffney
Photography by Michael Wilson

Executive Producer: Robert Hurwitz

Review:

For European pianists, performing and recording Beethoven cycles is never a task undertaken lightly. But it is undertaken. American musicians are more cautious still, except the rigorously dedicated Richard Goode, the pianist revered even by pianists. Twelve years ago Nonesuch released his account of the complete Beethoven sonatas. Now it is the concertos’ turn, recorded in 2005 in Budapest with the Budapest Festival Orchestra under Ivan Fischer.

What has held up this splendid set? Post-production grouches? Stupidity? Forgetfulness? It’s academic now, for lost paradise is regained the moment Goode and Fischer’s musicians bounce into the C Major Concerto, Op 15 (first in publication, not in composition). Goode’s special gift has always been his selfless artistry: his penetrating intellect, warm heart and nimble fingers are entirely placed at the composers’ service. Goode even holds back from showering us with personal thoughts in the CD notes. Instead, the booklet features a photograph of his hands.

Being Beethoven, Beethoven often makes contrary demands, but Goode knows just how to balance and weigh conflicting elements: argument and repose, dark and light, struggle and wit. With their bumptious cadenzas and dreaming pauses, the first two concertos wriggle about with particular zest. Goode meets their challenges with a mix of aplomb and discriminating taste. When Beethoven is strenuous, Goode never batters; when he smiles, Goode never clips the notes into topiary.

Nor is he stumped by the concertos’ familiarity. Every landmark phrase or interjection pops up freshly felt, as though newly composed. And he’s never led into the superficial. In the third concerto’s arpeggiated exchanges with the orchestra, pianists who like to ooze charm lean to the skittish and flirty; Goode’s fingers are much more thoughtful, nudging us towards the work’s darker, submerged elements. He’s equally refreshing in the Fifth, a concerto easily entombed in imperial pomp and gilt. Here it prances and glitters with light.

The orchestra’s contribution is exceptional. Bland playing appears beyond Fischer’s troops: their East European colours are individual, their phrasing constantly alert, and their union with Goode total. Listen how soloist and orchestra handle each other in the Fourth Concerto’s battles and interruptions — possibly the cycle’s finest performance. Throughout, the recording is warm and natural. Buy with confidence. Geoff Brown

Not my rip, downloaded from eMule (credits to ngy), scans (excerpts), CUE+FLAC, log

Hildegard von Bingen : Ordo Virtutum - Sequentia - 2CDs - 1999.

dolphindives@gmail.com (Ice) — Wed, 07 Oct 2009 14:17:00 +0000

Hildegard von Bingen : Ordo Virtutum - Sequentia - 2CDs - 1999.

By Request

Hildegard Von Bingen (1098-1179)

Ordo Virtutum

Sequentia

Ensemble for medieval music

Barbara Thornton & Benjamin Bagby : Directors

Recorded in the Basilica of Knechtsteden, Germany, 29June - 5July 1997

Total time : CD1: 51min 09 sec CD2 : 40min 52 sec

Year : 1999

More infos about Sequentia Ensemble : Here

Reviews :

"Hildegard Defies Time and the Devil"

By Cori Ellison

Published: Sunday, July 5, 1998

WE should all be as lively and robust in our 900th year as Hildegard of Bingen. Unless you've been dwelling under a rock, the name of this 12th-century German abbess should at least sound vaguely familiar by now. Though never formally canonized, Hildegard has achieved an eccentric sort of sainthood, having been adopted as an icon by partisans of such renegade causes as Creation Spirituality and feminism. In the last two decades, her vivid prose, mystical paintings and singular music, all conceived in visions said to have been induced by debilitating migraines, have been whooshed from centuries of monastic obscurity to New Age celebrity by a flurry of performances and publications.

The latest wave of recordings is at hand. In addition, this year New York will see no fewer than three staged productions of Hildegard's magnum opus, the musical morality play ''Ordo Virtutum'' (''The Company of the Virtues''), in wildly varying styles.

Beginning on Tuesday, as part of the Lincoln Center Festival, the esteemed medieval-music ensemble Sequentia, which is based in Cologne, Germany, and has performed and recorded Hildegard's music for nearly two decades, will stage ''Ordo Virtutum'' at the Church of St. Paul the Apostle, as it might have been performed by the women in Hildegard's convent, according to the advance publicity. Then, also in the festival, a decidedly downtown ''Ordo'' will follow at Lincoln Center's Clark Studio Theater. Cooked up by the Hildegurls, a consortium of four New York women who compose as well as sing, it will fuse Hildegard's Latin texts and melodies with computer-generated sounds. Finally, in November, the respected Camerata of the Mannes College of Music will offer a musically orthodox interpretation in modern dress.

Since Hildegard's scores, consisting of single monophonic lines, offer no tangible clues to niceties like rhythmic shape, tempo, dynamics, vocal distribution or instrumentation (if any), much less expression, interpreters today must make major choices. The growing body of Hildegard recordings, ranging from the sublime to the bizarre, demonstrates how astonishingly different those choices can be, even when shaped by scholarship and taste.

The latest recordings are led by two versions of ''Ordo Virtutum,'' by Sequentia (whose earlier recording of the work, for Deutsche Harmonia Mundi in 1982, is now on Editio Classica), and Vox Animae, a British medieval vocal ensemble. Thought to be the world's oldest surviving music drama, ''Ordo Virtutum'' is essentially one of Hildegard's colorful, apocalyptic visions described in words and music. With its cast of allegorical characters (Humility, Charity, Fear of God and the like), it foreshadows later medieval morality plays like ''Everyman.'' The plot concerns a Soul tempted away from a host of Virtues by the Devil. Ultimately, the traumatized Soul returns to grace, and the victorious Virtues bind and cast out the Devil.

Neither recording claims to be a historical reconstruction, since nothing is known of the work's performance history; indeed, it it is not known whether the work was even intended for performance. It may have been presented by Hildegard's sisters at the consecration of their new convent on the Rupertsberg in 1152, some suggest, with the single male role -- the Devil, of course -- taken by the monk Volmar, Hildegard's secretary. Since it is known that instruments played a part in musical life at Hildegard's convents, each of the new recordings, like Sequentia's earlier one, uses them in some way, And both versions, again like Sequentia's first, occasionally add rudimentary harmony, in the form of drones or parallel lines, which were probably improvised in Hildegard's day.

The Sequentia release (Deutsche Harmonia Mundi 05472-77394-2; two CD's) proves preferable for its near-perfect balance of thoughtful scholarship, imagination and brio. It uses a small complement of instruments -- three fiddles, a flute and a hurdy-gurdy -- and deploys them not so much to accompany the singers and enhance characterization as to create mood and flow. Over some two decades of performing Hildegard, Barbara Thornton and her crackerjack ensemble have gained even greater nuance and fluency, and deepened their characterizations. They offer luminously sung, impeccably synchronized, and spirited performances. Franz-Josef Heumannskaemper's grouchy Devil is like the scary neighbor of every child's nightmare. Harmony is applied liberally and cogently.

Editorial Reviews : Matthew Westphal
Amazon.com : Essential Recording
Sequentia brought this extraordinary allegorical proto-opera to public attention with a recording and tour in 1982, at the beginning of the Hildegard boom. This new release is the culmination of the label's series of Hildegard's complete works in honor of the 900th anniversary of her birth. The earlier recording included a lot of intrusive instrumental doodling, but 16 years of experience have given Sequentia the courage to let the vocal lines (however plain) speak for themselves--and what glorious lines they are. The Soul's weary lament as she returns from her sojourn with the Devil and Victory's soaring solo upon the Devil's final defeat are astonishing. Fine singing and playing make this disc as fine a tribute as Hildegard and her fans could want.

Tracklist :

CD: 1-2 : Hildegard von Bingen : Ordo Virtutum - Sequentia - 1999.

01. Prologue : Qui sunt hi, qui ut nubes?    [0:02:24.25]
02. Processional of embodied souls (instrumental)    [0:02:28.72]
03. Scene 1 : O nos peregrine sumus    [0:02:23.53]
04. Anima processional (instrumental)    [0:02:59.17]
05. Scene 1 (cont.) : O dulcis divinitas    [0:02:11.33]
06. Anima processional (instrumental)    [0:00:46.00]
07. Scene 1 (cont.) : O gravis labor    [0:09:39.50]
08. Instrumental dance     [0:01:59.37]
09. Scene 2 : Ego Humilitas    [0:24:25.38]
10. Instrumental dance    [0:01:48.60]

CD: 2-2 : Hildegard von Bingen : Ordo Virtutum - Sequentia - 1999.

01. Symphonia : O quam magnum miraculum    [0:04:33.22]
02. Symphonia : O felix anima    [0:04:28.38]
03. Symphonia : O quam mirabilis    [0:03:12.55]
04. Ordo Virtutum (cont.) : Instrumental Lament    [0:02:18.37]
05. Scene 3 : Heu! Heu! nos virtutes plangamus    [0:13:02.50]
06. Scene 4 : Que es, aut unde venis?    [0:09:06.60]
07. Finale : In principio    [0:04:08.20]

Claude Debussy : Preludes Book I & II, Images Book I & II , Estampes, Suite Bergamasque, etc - Claudio Arrau - 2003

dolphindives@gmail.com (Ice) — Wed, 07 Oct 2009 17:08:00 +0000

Claude Debussy : Preludes Book I & II, Images Book I & II , Estampes, Suite Bergamasque, etc - Claudio Arrau - Heritage - 3CDs - 2003.

More infos about Claudio Arrau : Here

Reviews :

Gramophone music magazine : Joan Chissell -2/1992

"Spellbinding" is the first adjective that comes to mind in trying to describe them. The sustained intensity of his atmospheric evocation holds you in a trance throughout the entire two and a quarter hours.
It is difficult to believe that Arrau was already in his late seventies when making these recordings. 'Spellbinding' is the first adjective that comes to mind in trying to describe them. The sustained intensity of his atmospheric evocation holds you in a trance throughout the entire two and a quarter hours.

Even listening blind, so to speak, I think you might guess the player's identity. In maturer years Arrau always favoured an unhurried tempo and a deeper, more reverberant sound-world than many of his renowned contemporaries. This, coupled with a very warm Philips recording, makes for a slightly less pellucid Debussy than we sometimes hear. But that accepted, this reissue never for a moment leaves you in any doubt as to his remarkable dynamic range and tonal palette, and the sheer beauty of sound he draws from his instrument at all times.

Yes, I think just one or two pieces might have benefited from sharper-cut textures and rhythms, not forgetting ''Les tierces alternees'', ''Poissons d'or'' and ''La puerta del Vino''. But such a quibble is totally outweighed by the marvels that we're given, alike in the exuberance and virtuosity of ''Les collines d'Anacapri'' and ''Ce qu'a vu le vent d'Ouest'', the shapely architectural breadth of ''La cathedrale engloutie'' and ''Hommage a Rameau'', the humour of ''La serenade interrompue'', the desolation of ''Des pas sur la neige'' and ''Feuilles mortes'', and the magical delicacy of colouring in ''Cloches a travers les feuilles'' and ''Et la lune descend sur le temple qui fut'', to pick out just a few. And while making the music entirely his own, in all contexts he shows that same profound respect for the printed text in its every detailed expressive marking (and few composers were more generous with these than Debussy) that characterized his playing throughout his life.'

Tchaikovsky - Manfred Symphony - The Voyevoda - Vasily Petrenko - Royal Liverpool Philharnonic Orchestra - 2008.

dolphindives@gmail.com (Ice) — Fri, 09 Oct 2009 18:10:00 +0000

Tchaikovsky - Manfred Symphony - The Voyevoda - Vasily Petrenko - Royal Liverpool Philharnonic Orchestra - 2008.

Pyotr Il'yich Tchaikovsky (1840-1893)
      Manfred Symphony - The Voyevoda
      Royal Liverpool Philharmonic Orchestra
      Vasily Petrenko : Conductor
      Recorded at the Philharmonic Hall, Liverpool, England, 20-21 June 2007
      Total Time : 68min 51sec
      Year : 2008

More infos about Vasily Petrenko & Royal Liverpool Philharmonic Orchestra : Here

Reviews :

Gramophone music magazine : January 2009 (Click on images to enlarge)

MusicWeb International : December 2009

Classical Net

Nicola Matteis - Ayrs for the Violin - H. Schmitt, G. Nasillo, E. Belloco, J-A. Botticher - 2009.

dolphindives@gmail.com (Ice) — Sun, 11 Oct 2009 00:26:00 +0000

Nicola Matteis - Ayrs for the Violin - H. Schmitt, G. Nasillo, E. Belloco, J-A. Botticher - 2009.

Nicola Matteis (? - after 1714)
      Ayrs for the ViolinHelene Schmitt : Violon
      Gaetano Nasillo : Violoncelle
      Eric Belloco : Guitare & Theobre
      Jorg-Andreas Botticher : Clavencin & Organ
      Recorded : Paris Chapelle de l'Hopital Notre-Dame de Bon Secours,
      April 2008.
      Total Time : 73min 41sec
      Year : 2008

More infos about Helene Schmitt : Here

More infos about this album and to listen to the samples : Here

Editorial Note :

Reviews :

The Strad

Tracklist :

CD : Nicola Matteis - Ayrs for the Violin - H. Schmitt, G. Nasillo, E. Belloco, J-A. Botticher - 2009.

01. Suite in A major - I. Allemanda presto    [0:02:11.39]
02. II. Aria con divisioni, allegro    [0:02:56.17]
03. III. Courante    [0:02:20.13]
04. IV. Fuga, prestissimo    [0:01:01.68]
05. V. Sarabanda amorosa, adagio    [0:02:42.48]
06. Suite in C major - I. Adagio    [0:01:55.18]
07. II. Gavotte a cembalo solo de John Banister    [0:00:28.49]
08. III. Jigg, prestissimo    [0:01:24.21]
09. IV. Aria con divisioni    [0:01:27.14]
10. V. Diverse bizarrie sopra la vecchia Sarabanda o pur Ciaccona    [0:05:51.20]
11. Suite in E major - I. Preludio semplice, adagio    [0:02:19.30]
12. II. Passagio a solo e adagio    [0:02:46.71]
13. III. Giga allegro    [0:00:40.50]
14. IV. Sarabanda con affetco    [0:02:05.61]
15. V. Fuga a due corde    [0:01:44.49]
16. VI. Prestissimo    [0:00:51.19]
17. VII. Ground    [0:04:39.11]
18. Suite in A major - I. Andamento adagio    [0:02:05.43]
19. II. Passagio roto, Andamento veloce e Fantasia a violino solo senza basso    [0:05:33.28]
20. III. Minuetto con sua divisione, Allegro    [0:02:46.63]
21. IV. Gigg a cembalo solo de John Banister    [0:00:44.01]
22. V. Scaramuccia prestissimo    [0:01:44.10]
23. Suite in D major - I. Improvistation en forme de prelude par Jorg-Andreas Botticher    [0:03:06.23]
24. II. Aria di sarabanda fatta a chitarra sola    [0:02:14.34]
25. III. Sarabanda, adagio    [0:02:34.17]
26. IV. Andamento presto e con affetto    [0:01:49.28]
27. V. Preludio in delasolre terza maggiore    [0:01:42.67]
28. VI. Giga    [0:01:28.27]
29. Suite in G major - I. Gavotta con divisioni fatta a chitarra sola e cembalo. senza violino    [0:02:02.09]
30. II. Ricercata    [0:02:16.52]
31. III. Corrente da piedi    [0:00:47.53]
32. IV. Adagio    [0:01:31.36]
33. V. Burlesca    [0:01:15.62]
34. VI. Corrente da orecchie    [0:01:39.09]
35. VII. Prelude de Mister Henry Purcell, a violino solo    [0:01:54.48]

Chaconne : F. Busoni, R. Lutz, J. Brahms, J.S. Bach - Amandine Beyer, Edna Stern - 2005.

dolphindives@gmail.com (Ice) — Sun, 11 Oct 2009 16:12:00 +0000

Chaconne : F. Busoni, R. Lutz, J. Brahms, J.S. Bach - Amandine Beyer, Edna Stern - 2005.

"The chaconne, like the passacaglia, is an old dance of Spanish origin, often slow and solemn, which is built on a rhythmic scheme in triple time. The term chaconne came to designate a variation form founded on a theme of four or eight bars stated in the bass, and ending with a clearly marked perfect cadence. Cadential regularity, a slow and solemn tempo, triple time, and the ostinato principle are the essential characteristics of this imposing form whose majestic gait and demonstrative, ostentatious character make it a Baroque phenomenon par excellence. This major genre inseparable from the Baroque style, was to prove ideal terrain for the creators of the seventeenth and eighteenth centuries. Its unrivaled period of expansion, notable for distinguished contributions from such men as Frescobaldi, Couperin, and Buxtehude, culminated in the works of Johann Sebastian Bach, with such noted examples as the towering Passacaglia in C minor for organ, BWV582."

Chaconne : Bach, Brahms, Busoni, Lutz
      Johann Sebastian Bach (1685-1750), Johannes Brahms (1833-1897),
      Feruccio Busoni (1866-1924), Rudolf Lutz (1951- )
      Transcriptions on Bach's Chaconne in D major
      (from "Partita for Solo Violin in D minor BWV 1004")
      Edna Stern : Piano
      Amandine Beyer : Violin
      Recording : Church de Bowswill, Switzerland, December 17-January 20, 2005
      Total Time : 61min 39sec
      Year : 2005

More infos about Edna Stern : Here

More infos about Amandine Beyer : Here

More infos about this album : Here

Reviews :

Amazon com : Editorial Reviews
"Her piano playing bears the mark of three great pianists who formed her and of whom she managed to create an improbable synthesis: the panache of Martha Argerich, the musicality of Leon Fleisher, and the impeccable finish of Krystian Zimerman." -- Diapason

Transcriptions of Bach's Chaconnes from the Partita for solo violin in D minor Bwv 1004 by three composers, as well as a timeless interpretation of the original.

Tracklist :

Chaconne : F. Busoni, R. Lutz, J. Brahms, J.S. Bach - Amandine Beyer, Edna Stern - 2005.

01. Ferruccio Busoni : Chaconne [0:15:47.12]

02. Rudolf Lutz : Chaconne    [0:15:18.47]
03. Johannes Brahms : Chaconne    [0:15:28.50]
04. Johann Sebastian Bach : Chaconne    [0:13:58.19]

J.S. Bach: Actus Tragicus - Cantatas 106, 131, 99, 56, 82 & 158 - Joshua Rifkin - The Bach Ensemble - 2CDs - 1998

dolphindives@gmail.com (Ice) — Tue, 13 Oct 2009 14:55:00 +0000

J.S. Bach: Actus Tragicus - Cantatas 106, 131, 99, 56, 82 & 158 - Joshua Rifkin - The Bach Ensemble 1998.

A long forgotten request..

Especially for Berthold

Johann Sebastian Bach (1685-1750)

Actus tragicus : Cantatas BWV 106, 131, 99, 56, 82,158

BWV 106 & 131:

Ann Monoyios : Soprano

Steven Rickards : Ccountertenor

Edmund Brownless : Tenor

Jan Oplalach : Bass

BWV 99:

Julianne Baird : Soprano

Allan Fast : Countertenor

Frank Kelley : Tenor

Jan Opalach : Bass

BWV 56, 82, 158

Jan Opalach : Bass

Laurie Monahan : Soprano

Douglas Stevens : Countertenor

William Hite : Tenor

The Bach Ensemble On Authenic Instruments

Joshua Rifkin

Recorded : The American Academy of Arts and Letters New York, November

1985(BWV 106,131)

Methuen Memorial Music Hall, Methuen MA, March-April 1988 (BWV 99),

April 1989 (BWV 56, 82,158)

Total Time CD1: 55min 54sec CD2: 51min 15sec

Year :1998.

Review :

CD1-2 : J.S. Bach : Actus Tragicus - Cantatas BWV106, 131 & 99 - Joshua Rifkin - The Bach Ensemble - 1998.

01. Gottes Zeit ist die allerbeste Zeit (Actus tragicus), BWV 106 : I. Sonatina    [0:02:12.38]
02. II. Gottes Zeit ist die allerbeste Zeit    [0:01:43.71]
03. III. Ach Herr, lehre uns bedenken    [0:01:55.67]
04. IV. Bestelle dein Haus    [0:01:07.01]
05. V. Es ist der alte Bund    [0:03:29.16]
06. VI. In deine Hande befehl' ich meinen Geist    [0:05:33.40]
07. VII. Glorie, Lob, Ehr' und Herrlichkeit    [0:02:49.16]
08. Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 : I. Chorus - Aus der Tiefen rufe ich, Herr, zu dir    [0:03:48.39]
09. II. Arioso and Chorale - So du wilt, Herr, Sόnde zurechnen    [0:04:20.70]
10. III. Chorus - Ich harre des Herrn    [0:03:02.04]
11. IV. Aria and Chorale - Meine Seele wartet auf den Herrn    [0:04:41.11]
12. V. Chorus - Israel, hoffe auf den Herrn    [0:03:47.39]
13. Was Gott tut, das ist wohlgetan, BWV 99 : I. Was Gott tut, das ist wohlgetan    [0:05:01.64]
14. II. Recitative - Sein Wort der Wahrheit stehet fest    [0:01:18.65]
15. III. Aria - Erschuttre dich nur nicht, verzagte Seele    [0:05:39.02]
16. IV. Recitative - Nun, der von Ewigkeit geschlbne Bund    [0:01:05.68]
17. V. Aria, Duet - Wenn des Kreuzes Bitterkeiten    [0:03:03.17]
18. VI. Chorale - Was Gott tut, das ist wohlgetan    [0:01:13.17]

CD: 2-2 : J.S. Bach : Actus Tragicus - Cantatas BWV 56, 82 & 158 - Joshua Rifkin - The Bach Ensemble - 1998.

01. Ich will den Kreuzstab gerne tragen, BWV 56 : I. Aria - Ich will den Kreuzstab gerne tragen    [0:06:14.38]
02. II. Recitative - Mein Wandel auf der Welt    [0:01:48.12]
03. III. Aria - Endlich, endlich wird mein Joch    [0:06:40.38]
04. IV. Recitative and Arioso - Ich stehe fertig und bereit    [0:01:32.50]
05. V. Chorale - Komm, o Tod, du Schlafes Bruder    [0:01:44.12]
06. Ich habe genung, BWV 82 : I. Aria - Ich habe genug    [0:07:03.13]
07. II. Recitative - Ich habe genug    [0:01:14.37]
08. III. Aria - Schlummert ein, ihr matten Augen    [0:09:26.63]
09. IV. Recitative - Mein Gott! wenn kommt das schone: Nun!    [0:00:51.12]
10. V. Aria - Ich freue mich auf meinen Tod    [0:03:45.13]
11. Der Friede sei mit dir, BWV 158 : I. Recitative - Der Friede sei mit dir    [0:01:46.12]
12. II. Aria and chorale - Welt, ade, ich bin dein mude    [0:06:05.25]
13. III. Recitative - Nun Herr, regiere meinen Sinn    [0:01:29.63]
14. IV. Chorale - Hier ist das rechte Osterlamm    [0:01:33.00]

Diabelli Variations [after Ludwig van Beethoven] : Uri Caine - Concerto Koln - 2002

dolphindives@gmail.com (Ice) — Wed, 14 Oct 2009 14:41:00 +0000

Diabelli Variations [after Ludwig van Beethoven] : Uri Caine - Concerto Koln - 2002

Especially for our Jazz guys : Horacio, Scoredaddy, AnimaLOo

“Don’t waste your time reading this review: beg, borrow or buy a copy of this life-enhancing disc as soon as possible … If you don’t come

away from the whole experience, with a grin a mile wide … then there’s probably no hope for you.” — BBC Music magazine [on Uri Caine’s Diabelli Variations]

"Not for purists. No, wait: it should be mandatory for purists" - Jazzloft

...Caine ranges freely over the music, with infectious brio, helped by the sparkling support of his backup band....His cadenza comes with the penultimate figure, and it is truly an amazing cascade of notes and ideas...

JazzTimes (05/01/2003)

More infos about Uri Caine : Here

Uri Caine : Diabelli Variations

Arrangments and Improvisations : Uri Caine

after Ludwig van Beethoven [Diabelli Variations, Opus 120]

Concert Koln

Uri Caine : Fortepiano [Erard 1839]

Recording : At WDR, Koln, Germany, February 23rd through 26th, 2002

Total Time : 56min 07sec

Year : 2002

Reviews :

BBC music

Classical Net

All about-Jazz

Beethoven : Complete Music for Piano and Violoncello - Andras Schiff · Miklos Perenyi - 2CDs - 2004.

dolphindives@gmail.com (Ice) — Fri, 16 Oct 2009 10:25:00 +0000

Beethoven : Complete Music for Piano and Violoncello - Andras Schiff · Miklos Perenyi - 2CDs - 2004.

Ludwig van Beethoven (1770-1827)
Complete music for Piano and Violoncello
Andras Schiff : Piano
Miklos Perenyi : Violoncello
Recorded at Reitstadel, Neumarkt in der Oberpfalz DE-BY, 2001-12 & 2002-08.
Total Time : 2h 31m19s
Year 2004

Reviews:

Gramophone music magazine : December 2004

Tracklist :

CD: 1-2 : Beethoven : Complete Music for Piano and Violoncello - Andras Schiff · Miklos Perenyi - 2004.

01. Cello Sonata No.1 in F, op.5, No.1 : I. Adagio sostenuto    [0:02:56.73]
02. II. Allegro    [0:14:55.03]
03. III. Rondo. Allegro vivace    [0:06:54.53]
04. 12 Variations in G on a theme by Handel, WoO 45    [0:11:09.12]
       "Judas Maccabeus"
05. Cello Sonata No.2 in g, op.5, No2 : I. Adagio sostenuto e espressivo    [0:05:08.20]
06. II. Allegro molto piu tosto presto    [0:13:01.60]
07. III. Rondo. Allegro    [0:08:33.25]
08. Horn Sonata in F, op.17 : I. Allegro moderato    [0:08:00.06]
09. II. Poco adagio, quasi andante    [0:01:08.50]
10. III. Rondo. Allegro moderato    [0:04:46.47]

CD: 2-2: Beethoven : Complete Music for Piano and Violoncello - Andras Schiff · Miklos Perenyi - 2004.

01. 12 Variations in F on Mozart's "Ein Madchen oder Weibchen", op.66    [0:09:10.25]
      "Die Zauberflote"
02. Cello Sonata No.3 in A, op.69 : I. Allegro ma non tanto    [0:11:35.20]
03. II. Scherzo. Allegro molto    [0:05:11.41]
04. III. Adagio cantabile    [0:01:30.58]
05. IV. Allegro vivace    [0:06:48.04]
06. 7 Variations in Eb on Mozart's "Bei Mannern, welche Liebe fuhlen", WoO 46    [0:08:19.53]
      "Die Zauberflote"
07. Cello Sonata No.4 in C, op.102, No.1 : I. Andante    [0:02:44.34]
08. II. Allegro vivace    [0:04:50.24]
09. III. Adagio · Tempo d'Andante    [0:02:58.15]
10. IV. Allegro · Allegro vivace    [0:04:15.45]
11. Cello Sonata No.5 in D, op.102, No.2 : I. Allegro con brio    [0:06:01.04]
12. II. Adagio con molto sentimento d'affetto    [0:06:34.11]
13. III. Allegro · Allegro fugato    [0:04:41.44]

Complete Webern: Pierre Boulez

noreply@blogger.com (dulcisruby) — Sat, 17 Oct 2009 00:01:00 +0000

Leos Janacek (1854-1928)

Album Details:

Recording Year: 2004
Label: Decca
Catalog#: 000321102
Spars Code: ADD
Performer: Paul Crossley, Kenneth Sillito, Antony Pay, Janet Craxton, Michael Harris,
Sebastian Bell, Martin Gatt, Philip Eastop, Christopher Van Kampen,
Richard Novák, Vladimir Bogachov, Marta Benacková, Eva Urbanová,
Thomas Trotter
Conductor: Sir Charles Mackerras, François Huybrechts, Sir Neville Marriner, Riccardo Chailly
Orchestra/Ensamble: Gabrieli String Quartet, London Sinfonietta members, Vienna Philharmonic Orchestra, London Philharmonic Orchestra,
Los Angeles Chamber Orchestra, London Sinfonietta Chorus, Slovak Philharmonic Choir

Number of Discs: 5
Recorded in: Stereo
Length: 6 Hours 4 Mins.

Notes & Review:
To celebrate the 150th anniversary of Janáček’s birth, this Decca Collector Edition brings together most of the composer’s chamber works and solo pieces plus his most popular orchestral works and the magnificent Glagolitic Mass in a superb digital recording with Riccardo Chailly and Wiener Philharmoniker. The recordings of the solo works and chamber pieces feature one of the world’s most distinguished ensembles: the London Sinfonietta and David Atherton. Their recordings were originally released as a 5-LP set in 1981 and many of these performances have not been available for several years; many also make their first international appearance on CD. This set provides the listener with all the essential non-operatic Janáček in one convenient collection.

Works on This Recording:

1.	On the overgrown path by Leos Janácek
	Performer: Paul Crossley (Piano) Period: 20th Century Written: 1901-1908; Brno, Czech Republic

2.	In the mists by Leos Janácek
	Performer: Paul Crossley (Piano) Period: 20th Century Written: 1912; Brno, Czech Republic

3.	Reminiscence for Piano by Leos Janácek
	Performer: Paul Crossley (Piano) Period: 20th Century Written: 1928; Brno, Czech Republic

4.	Quartet for Strings no 1 "Kreutzer Sonata" by Leos Janácek
	Orchestra/Ensemble: Gabrieli String Quartet Period: 20th Century Written: 1923; Brno, Czech Republic

5.	Quartet for Strings no 2 "Intimate letters" by Leos Janácek
	Orchestra/Ensemble: Gabrieli String Quartet Period: 20th Century Written: 1928; Brno, Czech Republic

6.	Sonata for Violin and Piano by Leos Janácek
	Performer: Paul Crossley (Piano), Kenneth Sillito (Violin) Period: 20th Century Written: 1914-1921; Brno, Czech Republic

7.	Dumka for Violin and Piano by Leos Janácek
	Performer: Kenneth Sillito (Violin), Paul Crossley (Piano) Period: 20th Century Written: 1880; Brno, Czech Republic

8.	Romance for Violin and Piano by Leos Janácek
	Performer: Kenneth Sillito (Violin), Paul Crossley (Piano) Period: 20th Century Written: 1879; Brno, Czech Republic

9.	Youth by Leos Janácek
	Performer: Antony Pay (Clarinet), Janet Craxton (Oboe), Michael Harris (Bass Clarinet), Sebastian Bell (Piccolo), Martin Gatt (Bassoon), Philip Eastop (French Horn), Sebastian Bell (Flute) Period: 20th Century Written: 1924; Brno, Czech Republic

10.	Capriccio for Piano left hand and Winds "Defiance" by Leos Janácek
	Performer: Paul Crossley (Piano) Orchestra/Ensemble: London Sinfonietta members Period: 20th Century Written: 1926; Brno, Czech Republic

11.	Fairy tale by Leos Janácek
	Performer: Paul Crossley (Piano), Christopher Van Kampen (Cello) Period: 20th Century Written: 1910-23; Brno, Czech Republic

12.	Presto for Cello and Piano by Leos Janácek
	Performer: Paul Crossley (Piano), Christopher Van Kampen (Cello) Period: 20th Century Written: ?1910; Brno, Czech Republic

13.	Sinfonietta by Leos Janácek
	Conductor: Sir Charles Mackerras Orchestra/Ensemble: Vienna Philharmonic Orchestra Period: 20th Century Written: 1926; Brno, Czech Republic

14.	Taras Bulba by Leos Janácek
	Conductor: Sir Charles Mackerras Orchestra/Ensemble: Vienna Philharmonic Orchestra Period: 20th Century Written: 1915-1918; Brno, Czech Republic

15.	Lachian Dances by Leos Janácek
	Conductor: François Huybrechts Orchestra/Ensemble: London Philharmonic Orchestra Period: 20th Century Written: 1924; Brno, Czech Republic

16.	Suite for Strings by Leos Janácek
	Conductor: Sir Neville Marriner Orchestra/Ensemble: Los Angeles Chamber Orchestra Period: 20th Century Written: 1877; Brno, Czech Republic
	Notes: This selection is a DDD recording.

17.	Nursery rhymes by Leos Janácek
	Conductor: Riccardo Chailly Orchestra/Ensemble: London Sinfonietta members, London Sinfonietta Chorus Period: 20th Century Written: 1927; Brno, Czech Republic	Language: Czech

18.	Glagolitic Mass by Leos Janácek
	Performer: Richard Novák (Bass), Vladimir Bogachov (Tenor), Marta Benacková (Mezzo Soprano), Eva Urbanová (Soprano), Thomas Trotter (Organ) Conductor: Riccardo Chailly Orchestra/Ensemble: Vienna Philharmonic Orchestra, Slovak Philharmonic Choir Period: 20th Century Written: 1926; Brno, Czech Republic	Language: Latin

19.	Thema con variazioni for Piano, Op. 1 "Zdenka variations" by Leos Janácek
	Performer: Paul Crossley (Piano) Period: 20th Century Written: 1880; Brno, Czech Republic

20.	Concertino for Piano, 2 Violins, Viola, Clarinet, Horn and Bassoon by Leos Janácek
	Performer: Paul Crossley (Piano) Orchestra/Ensemble: London Sinfonietta members Period: 20th Century Written: 1925; Brno, Czech Republic

ENJOY!

J.S.Bach - The Piano Transcriptions Vol.7 (Markus Becker - HYPERION)

noreply@blogger.com (APotter) — Mon, 19 Oct 2009 19:58:00 +0000

Johann Sebastian Bach (1685-1750)

THE PIANO TRANSCRIPTIONS VOL.7

arr. Max Reger

Release Date: June 2009 (Official)
Label: Hyperion Catalog #: 67683 Spars Code: DDD
Composer: Johann Sebastian Bach
Performer: Markus Becker

Number of Discs: 2
Recorded in: Stereo
Length: 110 Mins 19 Secs

'Markus Becker is a heroic exponent of this obscure yet satisfying repertoire ... The core of the two discs is Reger's series of Chorale Prelude transcriptions, in which … he finds a profound and plangent expressiveness ... A fascinating addition to Hyperion's series of Bach transcriptions'

(BBC Music Magazine)

'A new kind of Bach sound which belongs to both piano and organ … [BWV14] is slow and thoughtful, yet is made serenely beautiful in Becker's glowing performance … Fascinating, and I do recommend you to try this collection. It really is rewarding'

(Gramophone)

'Marvelous, both Reger and Becker balancing the intimate moments with the public ones'

(Fanfare, USA)

Richard Strauss : Die Agyptische Helena (1928 version) - Deborah Voigt - Lein Botstein / American Symphony Orchestra - 2003

dolphindives@gmail.com (Ice) — Fri, 23 Oct 2009 19:53:00 +0000

Richard Strauss : Die Agyptische Helena (1928 version) - Deborah Voigt - Lein Botstein / American Symphony Orchestra - 2003.

To George (from New York)

Richard Strauss

Die Agyptische Helena, Op.75 (1928 version)

Libretto by Hugo von Hofnamnsthal

Helen : Deborah Voigt : Soprano

Menelaus : Carl Tanner : Tenor

Airtha an Egyptian : Celena Shafer : Soprano

The Omniscient Seashell : Jill Grove : Mezzo-Soprano

Altair : Christopher Robertson : Baritone

Da-ud, his son : Eric Cutler : Tenor

First Servant : Tamara Mesic : Soprano

Second Servant : Elizabeth Batton : Mezzo-Soprano

Concert Chorale of New York

Gary Thor Wedow : Chorus Master

American Symphony Orchestra

Leon Bonstein : Conductor

Total Playing Time : 2hours, 10min, 8sec.

Recorded Live in Avery Fischer Hall, Lincoln Center, New York City, October 6, 2002.

Year : 2003

More infos aboutDeborah Voigt : Here

More infos about Leon Botstein & American Symphony Orchestra : Here

Reviews :

Fanfare Magazine : September 2003.

Classics Today : Dan Davis

VOIGT SHINES IN NEGLECTED STRAUSS OPERA

Avery Fisher Hall, Lincoln Center, N.Y.; October 6, 2002
Has any composer been so enamored of the soprano voice as Richard Strauss? That trait, along with his genius for orchestration, makes even his lesser operas worth hearing, as proved by Sunday’s concert performance of Die ägyptische Helena by conductor Leon Botstein, the American Symphony Orchestra, and a sterling cast headed by Deborah Voigt, arguably today’s reigning Straussian soprano. Despite their advocacy, the intermittent emergence of first-rate music, and the program booklet’s attempt to establish Die ägyptische Helena as one of Strauss’ greatest operas, its obscurity remains assured. Librettist Hugo von Hofmannsthal’s text may be the masterpiece Botstein claims it to be, but it’s a static, convoluted story clotted with magic potions, improbable events, and mythical figures, including an omniscient seashell, sort of a water version of The Ring’s Erda (as Anna Russell used to say of the Wagner, “I’m not making this up, y’know)."
The plot revolves around Menalaus’ conflicted feelings about Helen, whom he rescued in the Trojan Wars and with whom he is now returning to his homeland. He wants to kill her for her infidelity and the resulting horrors of the war fought to punish her kidnappers and get her back. After various plot twists and magic potions, he realizes he still loves her and must accept the real woman, not the fantasies of mental constructs of the feminine. Thus, this is the last of a trilogy celebrating the necessity of fidelity and marital relationships, preceded by Die Frau ohne Schatten and Intermezzo. Strauss’ score – here performed in the original version that he cut and altered for a 1933 revival after the cool reception given to the 1928 premiere – is not among his strongest, despite many lovely passages. There are hints of his next opera, Arabella, and leftover exoticisms from Salome in the second act desert scene; the first act has some delicious comic writing and lustrous, harp-heavy scoring. But the heavy orchestration and relatively flat transformation scene, which lacks the full impact of other such scenes in his operas, make this a work for specialists to savor, not the general audience.
Botstein did not find all of the score's dynamic nuances and light and shade, so despite a good performance by the orchestra, especially a brass section that rose to the occasion in great form, the overall impression was of a relentlessly heavy work whose orchestration often drowned out the singers. Not Deborah Voigt, though. Her ample soprano fears no orchestral climax – they exist for her to ride over. She was absolutely radiant in the role of Helena, pouring out thrillingly gleaming tones. In the big aria that opens Act Two, she seized on Strauss’ lovely melody and soprano-friendly writing to leave one limp with admiration. Tenor Carl Tanner was fine as Menalaus, a thankless role suggesting that Strauss may have hated tenors as much as he loved sopranos. His thick-toned tenor had the stamina to get through the part, though he was often buried by the orchestra, and, in their duets, by Voigt. The major role of Poseidon’s mistress Aithra, who pulls the plot strings, was taken by Celena Shafer, a young soprano whose voice at first seemed set in the lighter mode of Susanna-Sophie roles, but who quickly displayed the reserves of vocal power to make her mark, even alongside Voigt. That seashell, a brief but important part, was sung by mezzo Jill Groves, whose imposing vocal range, precise diction, and tonal beauties impressed mightily. Baritone Christopher Robertson was a firm Altair, the act two desert chieftain, and Eric Cutler as his son, Da-ud, made the most of his part, his full-toned lyric tenor impressive. The Concert Chorale of New York, collectively singing as elves and then as desert tribesmen, did what it had to do. The case for Die ägyptische Helena will have to be made on the opera stage where flamboyant staging might overcome its weaknesses. But even in concert form, its many fine passages make it a work well worth hearing.

Johann Heinrich Schmelzer : Unarum Fidium - John Holloway, A. Assenbaum, L. U. Mortensen - 1999.

dolphindives@gmail.com (Ice) — Fri, 23 Oct 2009 22:44:00 +0000

Johann Heinrich Schmelzer : Unarum Fidium - John Holloway, Aloysia Assenbaum, Lars Ulrik Mortensen - 1999.

Includes the first track in the player (Bertali : Chiacona a Violino Solo)

Antonio Bertali (1605-1669)
Johann Heinrich Schmelzer (c.1620-1680)
John Holloway : Violin
Aloysia Assenbaum : Organ
Lars Ulrik Mortensen : Harpsichord, Organ
Recorded : December 1997, Kloster Fischingen, Switzerland.
Total Playing Time : 1hour, 56sec
Year : 1999

More infos about John Holloway : Here

More infos about this album : Here

Reviews:

Tracklist :

Johann Heinrich Schmelzer : Unarum Fidium - John Holloway, A. Assenbaum, L. U. Mortensen - 1999.

01. Antonio Bertali : Chiacona a Violino Solo     [0:09:35.50]
02. Johann Heinrich Schmelzer : Sonatae Unarum Fidium : Sonata Prima    [0:08:40.10]
03. Sonata Seconda    [0:07:04.52]
04. Sonata Terza    [0:07:08.05]
05. Sonata Quarta    [0:08:48.35]
06. Sonata Quinta    [0:08:46.50]
07. Sonata Sesta    [0:07:44.05]
08. Anonymous : Sonata for scordatura violin and basso continuo (organ)    [0:05:20.68]

Seriously Sibelius - Osmo Vanska, Lahti Symphony Orchestra - 2006.

dolphindives@gmail.com (Ice) — Mon, 26 Oct 2009 15:31:00 +0000

Seriously Sibelius - Osmo Vanska, Lahti Symphony Orchestra - 2006.

By Requests

Sibelius, Johan (Jean) Christian Julius (1865-1957)

On Two Serious Melodies : Marko Ylonen : Cello

On Humoresque No.1 : Jaako Kuusisto : Violin

On Three Pieces for Orchestra : b. Autrefois : Kristiina Makela : Soprano, Matleena Vakkilainen : Alto

Lahti Symphony Orchestra

Osmo Vaska : Conductor

Total Playing Time : 77:54

Year : 2006

More infos about Lahti Symphony Orchestra : Here

More infos about this album : Here :

Review :

BBC music magazine November 2006 (Click on image to enlarge)

Tracklist :

CD : Seriously Sibelius - Osmo Vanska, Lahti Symphony Orchestra - 2006.

01. In Memoriam : (First Version 1909)    [0:10:34.40]
      Funeral march for Large Orchestra, Op.59 World Premiere Recording
02. Two Serious Melodies, for Cello and Orchestra Op. 77 : No1. Cantique    [0:05:14.34]
      (Laetare Anima Mea) Moderato assai
03. No.2. Devotion    [0:03:32.44]
      (Ab Imo Pectore). Tempo molto moderato
04. Presto for strings (1894)    [0:06:54.73]
05. Lemminkainen in Tuonela Op. 22 No. 2     [0:22:18.69]
      Reconstructed 1896 Version. World Premiere Recording.
      Based on the performing edition by Colin Davis (2004)
06. Humoresque No. 1 in D minor for Violin and Orchestra, Op.87 No.1    [0:03:15.06]
      First Version (1917). World Premiere Recording
07. Three pieces for Orchestra, Op. 96 : a. Valse Lyrique    [0:04:13.25]
      (1919, orch. 1920). Poco Moderato
08. b : Autrefois    [0:05:48.39]
      (11919, rev.1920). Allegretto
09. c : Valse Chevaleresque    [0:04:09.39]
      (1921/22). Comodo
10. In Memoriam, Op. 59 (Revised Version)    [0:11:52.74]
      Funeral March for Large Orchestra. Revised Version (1910)

J. S. Bach : Ouvertutes "The 4 Orchestral Suites" - Masaaki Suzuki / Bach Collegium Japan - 2 Hybrid SACDs - 2005.

dolphindives@gmail.com (Ice) — Wed, 28 Oct 2009 15:10:00 +0000

J. S. Bach : Ouvertutes "The 4 Orchestral Suites" - Masaaki Suzuki / Bach Collegium Japan - 2 Hybrid SACDs - 2005.

Johann Sebastian Bach (1685-1750)

4 Ouvertures ( Orchestral Suites)Orchestra of the Bach Collegium Japan

Masaaki Suzuki : Direction

Recorded on 26th-30th October 2003 at Kobe Shoin Women's University, Japan

Total Playing Time : CD1: 75min 18sec - CD2: 24min 27sec

Year : 2005

More infos about Masaaki Suzuki & Bach Collegium Japan : Here

More infos about this album : Here

Reviews :

Tracklist :

CD 1-2 : J. S. Bach : Ouvertutes "The 4 Orchestral Suites" - Masaaki Suzuki / Bach Collegium Japan - 2 Hybrid SACDs - 2005.

01. Ouverture III (Suite in D major) BWV 1068 : I. Ouverture    [0:10:22.45]
02. II. Air    [0:04:44.03]
03. III. Gavotte I & II    [0:04:27.59]
04. IV. Bourree    [0:01:08.66]
05. V. Gigue    [0:02:58.59]
06. Ouverture I (Suite in C major) BWV 1066 : I. Ouverture    [0:10:04.50]
07. II. Courante    [0:02:23.72]
08. III. Gavotte I & II    [0:03:49.08]
09. IV. Forlane    [0:01:20.00]
10. V. Menuet I & II    [0:03:28.20]
11. VI. Bourree I & II    [0:02:32.09]
12. VII. Passepied I & II    [0:03:18.20]
13. Ouverture II (Suite in B minor) BWV 1067 : I. Ouverture    [0:10:44.31]
14. II. Rondeau    [0:01:54.47]
15. III. Sarabande    [0:02:55.36]
16. IV. Bourree I & II    [0:02:07.13]
17. V. Polonaise - Double - Polonaise    [0:03:53.57]
18. VI. Menuet    [0:01:17.19]
19. VII. Badinerie    [0:01:47.54]

CD 1-2 : J. S. Bach : Ouvertutes "The 4 Orchestral Suites" - Masaaki Suzuki / Bach Collegium Japan - 2 Hybrid SACDs - 2005.

01. Ouverture IV (Suite in D major) BWV 1069 : I. Ouverture    [0:12:22.72]
02. II. Bourree I & II    [0:02:58.66]
03. III. Gavotte    [0:01:57.66]
04. IV. Menuet I & II    [0:04:11.17]
05. V. Rejouissance    [0:02:56.24]

Brahms: Sonatas, Scherzo, Ballades - Krystian Zimerman

santa.uwm@gmail.com (octron) — Wed, 28 Oct 2009 16:43:00 +0000

Review Sonatas Nos.1&2 (March 1981)

Review 2 CD-set (July 1988)

For Ángel

Credits to torrontes

Beethoven : Symphonies Nos 1-9 + ( Leonore Overture No 2 / Triple Concerto) - Special Edition - Bernard Haitink / London Symphony Orchestra - BoxSet 6 Hybrid-SACD - 2006

dolphindives@gmail.com (Ice) — Thu, 29 Oct 2009 16:45:00 +0000

Beethoven : Symphonies Nos 1-9 + ( Leonore Overture No 2 / Triple Concerto) - Special Edition - Bernard Haitink / London Symphony Orchestra - BoxSet 6 Hybrid-SACD - 2006.

On Symphony No.9 'Choral' :

Twyla Robinson : Soprano)

Karen Cargill : Mezzo-soprano

John Mac Master : Tenor

Gerald Finley : Bass

On Triple Concerto :

Gordan Nikolitch : Violin

Tim Hugh : Cello

Lars Vogt : Piano

Symphonies Performed using the Barenreiter Editions

Recorded Live November 2005 and April 2006 at the Barbican London

Includes Multi-channel 5.0/5.1 and stereo mixes.

Total Playing Time : 6 hours, 37min, 41sec.

Year : 2006

More infos about Bernard Haitink : Here
More infos about LSO : Here
More infos about this BoxSet : Here

CD1 (Click on images to enlarge)

CD2

CD3

CD4

CD5

CD6

Janacek: Chamber Music & Orchestral Works

noreply@blogger.com (dulcisruby) — Thu, 29 Oct 2009 22:21:00 +0000

Works on This Recording:

1. On the overgrown path by Leos Janácek
Performer: Paul Crossley (Piano)
Period: 20th Century
Written: 1901-1908, Brno, Czech Republic

2.In the mists by Leos Janácek
Performer: Paul Crossley (Piano)
Period: 20th Century
Written: 1912, Brno, Czech Republic

3.Reminiscence for Piano by Leos Janácek
Performer: Paul Crossley (Piano)
Period: 20th Century
Written: 1928, Brno, Czech Republic

4.Quartet for Strings no 1 "Kreutzer Sonata" by Leos Janácek
Orchestra/Ensemble: Gabrieli String Quartet
Period: 20th Century
Written: 192,; Brno, Czech Republic

5Quartet for Strings no 2 "Intimate letters" by Leos Janácek
Orchestra/Ensemble: Gabrieli String Quartet
Period: 20th Century
Written: 1928, Brno, Czech Republic

6.Sonata for Violin and Piano by Leos Janácek
Performer: Paul Crossley (Piano), Kenneth Sillito (Violin)
Period: 20th Century
Written: 1914-1921, Brno, Czech Republic

7.Dumka for Violin and Piano by Leos Janácek
Performer: Kenneth Sillito (Violin), Paul Crossley (Piano)
Period: 20th Century
Written: 1880, Brno, Czech Republic

8.Romance for Violin and Piano by Leos Janácek
Performer: Kenneth Sillito (Violin), Paul Crossley (Piano)
Period: 20th Century
Written: 1879, Brno, Czech Republic

9.Youth by Leos Janácek
Performer: Antony Pay (Clarinet), Janet Craxton (Oboe), Michael Harris (Bass Clarinet),
Sebastian Bell (Piccolo), Martin Gatt (Bassoon), Philip Eastop (French Horn),
Sebastian Bell (Flute)
Period: 20th Century
Written: 1924, Brno, Czech Republic

10.Capriccio for Piano left hand and Winds "Defiance" by Leos Janácek
Performer: Paul Crossley (Piano)
Orchestra/Ensemble: London Sinfonietta members
Period: 20th Century
Written: 1926, Brno, Czech Republic

11.Fairy tale by Leos Janácek
Performer: Paul Crossley (Piano), Christopher Van Kampen (Cello)
Period: 20th Century
Written: 1910-23, Brno, Czech Republic

12.Presto for Cello and Piano by Leos Janácek
Performer: Paul Crossley (Piano), Christopher Van Kampen (Cello)
Period: 20th Century
Written: ?1910, Brno, Czech Republic

13.Sinfonietta by Leos Janácek
Conductor: Sir Charles Mackerras
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: 20th Century
Written: 1926, Brno, Czech Republic

14.Taras Bulba by Leos Janácek
Conductor: Sir Charles Mackerras
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: 20th Century
Written: 1915-1918, Brno, Czech Republic

15.Lachian Dances by Leos Janácek
Conductor: François Huybrechts
Orchestra/Ensemble: London Philharmonic Orchestra
Period: 20th Century
Written: 1924; Brno, Czech Republic

16.Suite for Strings by Leos Janácek
Conductor: Sir Neville Marriner
Orchestra/Ensemble: Los Angeles Chamber Orchestra
Period: 20th Century
Written: 1877, Brno, Czech Republic
Notes: This selection is a DDD recording.

17.Nursery rhymes by Leos Janácek
Conductor: Riccardo Chailly
Orchestra/Ensemble: London Sinfonietta members, London Sinfonietta Chorus
Period: 20th Century
Written: 1927, Brno, Czech Republic
Language: Czech

18.Glagolitic Mass by Leos Janácek
Performer: Richard Novák (Bass), Vladimir Bogachov (Tenor), Marta Benacková (Mezzo Soprano),
Eva Urbanová (Soprano), Thomas Trotter (Organ)
Conductor: Riccardo Chailly
Orchestra/Ensemble: Vienna Philharmonic Orchestra, Slovak Philharmonic Choir
Period: 20th Century
Written: 1926, Brno, Czech Republic
Language: Latin

19.Thema con variazioni for Piano, Op. 1 "Zdenka variations" by Leos Janácek
Performer: Paul Crossley (Piano)
Period: 20th Century
Written: 1880, Brno, Czech Republic

20.Concertino for Piano, 2 Violins, Viola, Clarinet, Horn and Bassoon by Leos Janácek
Performer: Paul Crossley (Piano)
Orchestra/Ensemble: London Sinfonietta members
Period: 20th Century
Written: 1925,Brno, Czech Republic

ENJOY!

Antonio Salieri : The 2 Piano Concertos, Variazioni sulla "Follia di Spagna", Les Horaces & Semiramide Overtures - Pietro Spada / Philharmonia Orchestra - 1996.

dolphindives@gmail.com (Ice) — Fri, 30 Oct 2009 17:10:00 +0000

Antonio Salieri : The 2 Piano Concertos, Variazioni sulla "Follia di Spagna", Les Horaces & Semiramide Overtures - Pietro Spada / Philharmonia Orchestra - 1996.

"This music is a discovery for anyone who always thought of Salieri as a compositional hack who became the bad guy!"

Antonio Salieri : 1750-1825

Philharmonia Orchestra

Pietro Spada : Piano & Conductor

Recorded in The Henry Wood Hall, London 20-21 August & 20 September 1994

Total Playing Time : 79min, 26sec

Year : 1996

"The 'Variations on the Follia of Spain' are in all probability Salieri's last symphonic work and can be chronologically placed in the middle of the Beethoven period (1815). They are almost surely the only nineteenth-century orchestral variations until Brahms's celebrated 'Variations on a theme by Haydn'. The folk song, incorrectly called 'Follies d'Espagne', which provides the theme is of seventeenth century Portuguese origin, and has been used and made famous by many composers including Corelli, d'Anglebert, Scarlatti, Pasquini, Bach (in his Cantatas), Cherubini (in the 'Osteria Portoghese'), Liszt (in his 'Spanish Rhapsody'), and Rachmaninov (in his 'Variations on a Theme by Corelli' op. 45).
It is hard for us to imagine why an elderly Salieri decided to compose a piece of this type - the work itself is conceived a bit in the spirit of a study in orchestration (as the later, famous Ravel's 'Bolero'). The instrumental draft faithfully follows the theme, always based on compositional and orchestral schemes which give the piece somewhat the air of an anthology of symphonic permutations relieved with solistic interludes. We can also discover canons and classic imitations as, for example, the dance movements in the pleasing variation in the 'Siciliana' style. This may not be a work of deep expression, but it shapes itself and finds the exact definition of its limits as an intellectual 'divertissement'.
Above all, and this is what makes it especially noteworthy, it manages to completely transcend that eighteenth-century climate which had dominated a great part of Salieri's previous works"

Some useful infos about Salieri can be found also : Here

Tracklist :

Antonio Salieri : The 2 Piano Concertos, Variazioni sulla "Follia di Spagna", Les Horaces & Semiramide Overtures - Pietro Spada / Philharmonia Orchestra - 1996.

01. Les Horaces : Overture    [0:04:44.60]
02. Piano Concerto in C : I. Allegro maestoso    [0:08:53.22]
      (Cadenzas : Spada)
03. II. Larghetto    [0:07:18.03]
04. III. Andantino    [0:05:50.55]
05. Semiramide : Ouverture     [0:05:10.70]
06. Piano Concerto in B flat : I. Allegro moderato    [0:12:05.57]
      (Cadenzas : Salieri)
07. II. Adagio    [0:06:45.25]
08. III. Tempo di Minuetto. Piu mosso    [0:05:57.58]
09. 26 Variations on La Follia di Spagna : Theme - Andante    [0:00:50.00]
10. Variation 1    [0:00:49.12]
11. Variation 2    [0:00:37.18]
12. Variation 3    [0:00:41.22]
13. Variation 4    [0:00:52.23]
14. Variation 5 - (Allegro)    [0:00:20.67]
15. Variation 6 - (Andante)    [0:00:53.05]
16. Variation 7 - (Allegretto)    [0:00:25.45]
17. Variation 8 - (Poco adagio)    [0:00:58.23]
18. Variation 9 - (Lo stesso tempo)    [0:00:48.40]
19. Variation 10    [0:01:03.60]
20. Variation 11 - (Allegretto)    [0:00:39.50]
21. Variation 12 - (Un poco piu Allegro)    [0:00:31.00]
22. Variation 13 - (Allegro moderato)    [0:00:41.15]
23. Variation 14    [0:00:50.10]
24. Variation 15    [0:00:46.42]
25. Variation 16    [0:00:33.65]
26. Variation 17    [0:00:51.10]
27. Variation 18 - (Largetto)    [0:00:59.38]
28. Variation 19 - (Allegretto)    [0:00:53.55]
29. Variation 20    [0:00:31.15]
30. Variation 21 - (Allegretto)    [0:00:37.32]
31. Variation 22 - (Andante Pastorale)    [0:01:36.18]
32. Variation 23 - (Allegro - canone)    [0:00:29.67]
33. Variation 24 - (Presto)    [0:00:30.35]
34. Variation 25 - (Adagio)    [0:01:43.20]
35. Variation 26 - (Allegro moderato)    [0:01:00.50]
36. Coda - (Adagio - Allegro)    [0:01:00.48]

Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

dolphindives@gmail.com (Ice) — Tue, 03 Nov 2009 17:46:00 +0000

Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

Wolfgang Amadeus Mozart (1756-1791)

Masses : Requiem, K 626 - Ave Corpus K 618 - Misa Brevis in D minor, K 65 - Missa In C major K 317 "Kronungsmesse" - Missa Solemnis In C major K 337 - Missa In C Major K 258 "Spraur-Messe" - Missa Brevis In C Major K 259 "Orgelsolo-Messe" - Missa In C Minor K 427 - Missa Brevis In C Major K 220 "Spatzen-Messe" - Missa in C minor K 139 "Waisenhausmesse" - Missa in C major K 257 "Credo-Messe" -

Missa In C Major K 66 "Dominicus-Messe" - Missa In C Major K 167 "Missa In Honorem Sanctissimae Trinitatis".

By Request

Monika Frimmer, Patrizia Kwella, Ann Monoyios, Diana Montague, Barbara Schlick : Soprano

Elisabeth Graf, Ulla Groenewold : Contralto

Michael Chance : Countertenor

Oly Pfaff, Christoph Pregardien, Markus Schafer : Tenor

Klaus Mertens, Franz-Josel Selig : Bass

Kolner Kammerchor - Collegium Cartusianum

Peter Neumann : Director

Total Playing Time : CD1: 62min, 45sec - CD2: 75min, 50sec - CD3: 69min - CD4: 66min, 08sec - CD5: 70min, 01sec

YEAR: 2000

Tracklists :

CD 1 : Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

01. Requiem In D Minor K.626 : 1. Introitus: Requiem    [0:04:33.50]
02. 2. Kyrie    [0:02:32.27]
03. 3. Sequenz: Dies Irae    [0:01:53.33]
04. 4. Tuba Mirum    [0:03:03.52]
05. 5. Rex Tremendae    [0:02:00.33]
06. 6. Recordare    [0:05:41.07]
07. 7. Confutatis    [0:02:32.50]
08. 8. Lacrimosa    [0:02:41.45]
09. 9. Offertorium: Domine Deus    [0:03:43.73]
10. 10. Hostias    [0:03:37.40]
11. 11. Sanctus    [0:01:32.35]
12. 12. Benedictus    [0:04:46.22]
13. 13. Agnus Dei    [0:03:05.50]
14. 14. Communio: Lux Aeterna    [0:05:27.73]
15. Ave Verum Corpus Motet K.618    [0:02:46.17]
16. Missa Brevis In D Minor K.65 - 1. Kyrie    [0:01:22.70]
17. 2. Gloria    [0:02:14.15]
18. 3. Credo    [0:04:57.18]
19. 4. Sanctus    [0:00:49.07]
20. 5. Benedictus    [0:01:15.00]
21. 6. Agnus Dei    [0:02:05.68]

CD 2 : Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

01. Missa In C Major K.317 : 1. Kyrie    [0:02:58.40]
02. 2. Gloria    [0:04:20.72]
03. 3. Credo    [0:06:47.43]
04. 4. Sanctus    [0:01:54.07]
05. 5. Benedictus    [0:03:06.73]
06. 6. Agnus Dei    [0:05:40.30]
07. Missa Solemnis In C K.337, 1. Kyrie    [0:02:52.30]
08. 2. Gloria    [0:03:28.32]
09. 3. Credo    [0:05:23.23]
10. 4. Sanctus    [0:01:43.02]
11. 5. Benedictus    [0:02:40.55]
12. 6. Agnus Dei - Dona Nobis Pacem    [0:05:30.05]
13. Missa In C Major K.258 "Spraur-Messe" : 1. Kyrie    [0:01:52.05]
14. 2. Gloria    [0:02:29.15]
15. 3. Credo    [0:04:42.18]
16. 4. Sanctus    [0:01:02.52]
17. 5. Benedictus    [0:02:41.48]
18. 6. Agnus Dei    [0:02:41.65]
19. Missa Brevis In C Major K.259 "Orgelsolo-Messe" 1. Kyrie    [0:01:57.65]
20. 2. Gloria    [0:01:55.45]
21. 3. Credo    [0:03:52.22]
22. 4. Sanctus    [0:01:04.53]
23. 5. Benedictus    [0:02:11.00]
24. 6. Agnus Dei    [0:02:54.32]

CD 3 : Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

01. Missa In C Minor K.427 : 1. Kyrie    [0:06:42.13]
02. 2. Gloria: Gloria In Excelsis    [0:02:19.46]
03. 3. Laudamus Te    [0:04:47.20]
04. 4. Gratias Agimus Tibi    [0:01:15.53]
05. 5. Domine Deus    [0:02:54.13]
06. 6. Qui Tollis    [0:05:18.07]
07. 7. Quoniam Tu Solus    [0:03:59.12]
08. 8. Jesu Christe    [0:04:34.43]
09. 9. Credo: Credo In Unum Deum    [0:03:19.34]
10. 10. Et Incarnatus Est    [0:08:45.17]
11. 11. Sanctus    [0:03:35.41]
12. 12. Benedictus    [0:05:48.22]
13. Missa Brevis In C Major K.220 "Spatzen-Messe" - 1. Kyrie    [0:01:48.47]
14. 2. Gloria    [0:02:51.44]
15. 3. Credo    [0:03:43.46]
16. 4. Sanctus    [0:00:57.31]
17. 5. Benedictus    [0:03:04.10]
18. 6. Agnus Dei    [0:03:13.54]

CD 4 : Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

01. Missa in C minor K.139 "Waisenhausmesse" : 1. Kyrie: Kyrie eleison    [0:01:27.02]
02. 2. Kyrie eleison - Christe eleison    [0:02:16.30]
03. 3. Christe eleison    [0:01:30.13]
04. 4. Kyrie eleison    [0:02:17.45]
05. 5. Gloria: Gloria in excelsis Deo    [0:00:49.18]
06. 6. Laudamus te    [0:01:40.12]
07. 7. Gratias agimus tibi    [0:00:53.43]
08. 8. Domine Deus    [0:01:37.26]
09. 9. Qui tollis    [0:01:34.15]
10. 10. Quoniam tu solus    [0:02:45.73]
11. 11. Cum sancto Spiritu    [0:02:16.16]
12. 12. Credo: Credo in unum Deum    [0:02:10.49]
13. 13. Et incarnatus est    [0:02:25.19]
14. 14. Crucifixus    [0:01:39.12]
15. 15. Et resurrexit    [0:01:22.49]
16. 16. Et in Spiritum Sanctum    [0:01:53.62]
17. 17. Et unam sanctam    [0:03:02.25]
18. 18. Sanctus    [0:01:36.21]
19. 19. Benedictus    [0:01:55.04]
20. 20. Agnus Dei: Agnus Dei    [0:02:49.62]
21. 21. Dona nobis pacem    [0:01:24.45]
22. Missa in C major K.257 "Credo-Messe" - 1. Kyrie    [0:02:24.59]
23. 2. Gloria    [0:03:35.21]
24. 3. Credo    [0:08:28.00]
25. 4. Sanctus    [0:01:39.02]
26. 5. Benedictus    [0:05:05.58]
27. 6. Agnus Dei    [0:05:26.36]

CD 5 : Mozart : Masses - Peter Neumann / Kolner Kammerchor / Collegium Crtusianum - BoxSet 5CDs - 2000.

01. Missa In C Major K.66 "Dominicus-Messe": 1. Kyrie Eleison (Adagio)    [0:03:13.50]
02. 2. Gloria In Excelsis Deo (Allegro Moderato)    [0:00:25.25]
03. 3. Laudamus Te (Andante Grazioso)    [0:02:53.47]
04. 4. Gratias Agimus Tibi (Adagio)    [0:00:47.60]
05. 5. Domine Deus (Un Poco Andante)    [0:02:25.23]
06. 6. Qui Tollis (Un Poco Adagio)    [0:02:19.20]
07. 7. Quoniam Tu Solus (Andante Ma Un Poco Allegro)    [0:04:33.02]
08. 8. Cum Sancto Spiritu    [0:02:23.73]
09. 9. Credo: Credo In Unum Deo    [0:00:04.52]
10. 10. Patrem Omnipotentem (Molto Allegro)    [0:01:59.03]
11. 11. Et Incarnatus Est (Adagio)    [0:03:26.27]
12. 12. Crucifixus (Adagio)    [0:03:06.05]
13. 13. Et In Spiritum Sanctum (Andante)    [0:02:22.40]
14. 14. Et Unam Sanctam (Moderato)    [0:02:28.35]
15. 15. Sanctus (Adagio) - Pleni Sunt Caeli (Allegro)    [0:02:02.58]
16. 16. Benedictus (Allegro Moderato) - Hosanna (Moderato)    [0:02:04.32]
17. 17. Agnus Dei (Allegro Moderato) - Dona Nobis Pacem (Allegro)    [0:04:06.13]
18. Missa In C Major K.167 "Missa In Honorem Sanctissimae Trinitatis": 1. Kyrie Eleison (Allegro)    [0:02:49.65]
19. 2. Gloria: Gloria In Excelsis Deo    [0:00:08.32]
20. 3. Et In Terra (Allegro)    [0:03:51.70]
21. 4. Credo: Credo In Unum Deum    [0:00:04.73]
22. 5. Patrem Omnipotentum (Allegro)    [0:05:43.60]
23. 6. Et In Spiritum Sanctum (Allegro)    [0:03:00.47]
24. 7. Et Unam Sanctam (Allegro)    [0:03:24.25]
25. 8. Sanctus (Andante)    [0:01:26.18]
26. 9. Benedictus (Allegro)    [0:03:37.65]
27. Missa, K.167 - 10. Agnus Dei (Adagio) - Dona Nobis Pacem (Allegro Moderato)    [0:05:12.25]

David Fray - Bach : Partita No.4 in D major - French Suite No.1 in D minor / Boulez : 12 Notations pour piano - Incises - 2007.

dolphindives@gmail.com (Ice) — Thu, 12 Nov 2009 17:13:00 +0000

David Fray - Bach : Partita No.4 in D major - French Suite No.1 in D minor / Boulez : 12 Notations pour piano - Incises - 2007.

Johann Sebastian Bach (1685-1750) : Partita No. 4 in D major BWV 828 / French Suite No. 1 in D minor BWV 812

Pierre Boulez (b.1925) : 12 Notations pour Piano / Incises

David Fray : Piano

Recording : Paris, Conservatoire National Superieur de Musique et de Dance, June 2005

Total Playing Time : 67min, 54sec

YEAR: 2007

More infos about this album : Here

Reviews :

Fanfare Music magazine December 2007

Gramophone music magazine July 2007

Audaud July 2007

Tracklist :

David Fray - Bach : Partita No.4 in D major - French Suite No.1 in D minor / Boulez : 12 Notations pour piano - Incises - 2007.

01. J. S. Bach : Partita in D major : Ouverture    [0:06:35.39]
02. Allemande    [0:11:37.02]
03. Courante    [0:03:31.18]
04. Aria    [0:02:02.17]
05. Sarabande    [0:06:26.59]
06. Menuet    [0:01:26.73]
07. Gigue    [0:03:26.43]
08. Pierre Boulez : 12 Notations pour Piano : I Fantastique - Modere    [0:01:06.35]
09. II Tres vif    [0:00:19.25]
10. III Assez lent    [0:01:01.72]
11. IV Rythmique    [0:00:32.33]
12. V Doux et Improvise    [0:00:49.02]
13. VI Rapide    [0:00:27.09]
14. VII Hieratique    [0:01:19.09]
15. VIII Modere jisqu'a tres vif    [0:00:42.19]
16. IX Lointaine - Calme    [0:01:53.23]
17. X Mecanique et tres sec    [0:00:25.56]
18. XI Scintillant    [0:00:49.35]
19. XII Lent - Puissant et apre    [0:01:22.28]
20. J. S. Bach : French Suite No. 1 in D minor : Allemande    [0:04:05.40]
21. Courante    [0:01:53.48]
22. Sarabande    [0:04:17.06]
23. Menuet 1 - Menuet 2 - Menuet 1    [0:03:02.53]
24. Gigue    [0:05:10.60]
25. Pierre Boulez : Incises    [0:03:29.74]

Emilio De' Cavalieri : Rappresentatione di Anima, et di Corpo - Christina Pluhar / L'Arpeggiata - 2004.

dolphindives@gmail.com (Ice) — Thu, 12 Nov 2009 17:43:00 +0000

Emilio De' Cavalieri : Rappresentatione di Anima, et di Corpo - Christina Pluhar / L'Arpeggiata - 2004.

Emilio De' Cavalieri (c.1550-1602)

Rappresentatione di Anima, et di Corpo (Roma 1600)

Tempo / Corpo : Marco Beasley

Anima : Johannette Zomer

Intelletto : Jan van Elsacker

Consiglio / Mondo : Stephan MacLeod

Piacere : Dominique Visse

Angelo Custode : Nuria Rial

Vita mondana : Beatrice Mayo Felip

L'Arpeggiata,

Christina Pluhar

Total Playing Time : CD1: 49min 32sec, CD2: 32min,15sec

YEAR: 2004

More infos about L'Arpeggiata & Christina Pluhar : Here

More infos about this album and to listen to the samples : Here

Reviews :

New York Times May 2005

BBC music magazine May 2005

Telegraph April 2005

ClassicsToday France

Tracklists :

CD 1-2 : Emilio De' Cavalieri : Rappresentatione di Anima, et di Corpo - Christina Pluhar / L'Arpeggiata - 2004.

01. Sinfonia    [0:02:30.22]
02. Intermedio Pass e Medio (Tielman Susato)    [0:01:48.68]
03. Atto Primo. Scena Prima. Tempo solo    [0:02:25.22]
04. Scena Secondo. Choro    [0:02:21.70]
05. Scena Terza. Intelletto solo    [0:02:24.05]
06. Scena Quarta. Corpo & Anima    [0:05:07.00]
07. Scena Quinta. Choro    [0:03:17.10]
08. Sinfonia    [0:02:28.55]
09. Atto Secondo. Scena Seconda. Consiglio    [0:01:43.40]
10. Scena Terza. Choro    [0:01:33.35]
11. Scena Quarta. Piacer con due compani, Corpo & Anima    [0:05:31.35]
12. Scena Quinta. Corpo & Anima e Riposta dal Cielo    [0:02:34.23]
13. Scena Sesta. Angelo Custode, Anima, Corpo & choro    [0:01:37.60]
14. Scena Settima. Mondo e Vita mondana, Corpo & Anima, Angelo Custode, Choro    [0:08:08.32]
15. Scena Ottava. Angelo Custode, Anima & Corpo & Angeli nel Cielo che s'apre    [0:01:54.25]
16. Scena Nona. Choro    [0:01:03.55]
17. Intermedio. Capriccio (Johann Vierdank)    [0:02:58.53]

CD 2-2 : Emilio De' Cavalieri : Rappresentatione di Anima, et di Corpo - Christina Pluhar / L'Arpeggiata - 2004.

01. Intermedio Pass e Medio    [0:01:51.67]
02. Sinfonia    [0:02:10.43]
03. Atto Terzo. Scena Prima. Consiglio, Anima & Corpo, Choro    [0:03:11.47]
04. Scena Seconda. Consiglio, Anima dannate    [0:00:56.08]
05. Scena Terza. Intelletto, Anime beate in Cielo, Consiglio, Anima & Corpo    [0:02:12.32]
06. Scena Quarta. Consiglio, Anime dannate, Intelletto, Anima, Corpo    [0:01:07.60]
07. Scena Quinta. Intelletto, Anime beate, Choro, Consiglio, Anima & Corpo    [0:02:08.70]
08. Scena Sesta. Consiglio, Anime dannate, Intelletto, Anima, Corpo    [0:00:54.63]
09. Scena Settima. Intelletto, Anime beate, Consiglio, Anime & Corpo    [0:03:03.20]
10. Scena Ottava. Angeli & Anime beate, Anima, Corpo, Intelletto & Consiglio    [0:00:44.55]
11. Scena Nona. Tutti    [0:05:10.62]
12. Intermedio. Festa & Ballo - Ciagogna (Philipp van Wichel)    [0:03:26.58]
13. Epilogo. Intermedio - Corpo solo (Claudio Merula)    [0:03:18.70]
14. Intermedio Pass e Medio    [0:02:01.00]

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