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29 February 2012

Philip Glass - Music from The Thin Blue Line

Philip Glass - Music from The Thin Blue Line
Easy CD-DA, FLAC tracks, CUE, Log | 1 CD, Covers | 308 MB
CD Date: April 4, 2003 | Orange Mountain Musico Filevelocity - - Filefactory
“In a dark night in 1976, a Dallas police officer named Robert Wood was shot and murdered by someone in a car that he had stopped for a minor traffic infraction. A young man named Randall Adams who had no criminal record was convicted of the murder. He was serving his 11th year of a life sentence when Errol Morris, one of America's most brilliant and innovative documentary filmmakers, interviewed him while researching a film on a Dallas psychiatrist nicknamed "Doctor Death".”
Music by Philip Glass
For the film by Errol Morris
Michael Riesman, conductor
TRACKS:
1. Adam's Theme 4:45
2. Thin Blue Line 4:40
3. Help Me 2:33
4. Houston Skyline 4:45
5. Looking 3:00
6. Boston Blackie 2:38
7. Comets and Vegas 1:28
8. Deception 1:25
9. The Whole Truth 1:39
10. Remembering 1:53
11. Adam's Nightmare 2:05
12. Miller's Theme 4:32
13. Hypnotic Time 1:25
14. Harris' Story 1:16
15. Randall 2:20
16. Strange and Abstract 2:20
17. Lies 2:04
18. Strange Welcome 2:16
19. Emily 4:18
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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G.Rossini: Il barbiere di Siviglia

Gioacchino Rossini's Birthday (by Google)
EAC Rip | Classical (opera) | 2 CD | FLAC + CUE + Logs
Scans | 632 mb | TT 02:21:11
Released: 1994 | Label: Emi Classics
Recorded: 09/1962 - EMI Abbey Road Studio No. 1, London
John Rhys Evans, Victoria de los Angeles, Luigi Alva, Ian Wallace, Carlo Cava, Laura Sarti, Duncan Robertson, Sesto Bruscantini, Harold Williams
Royal Philharmonic Orchestra, Glyndebourne Festival Chorus, Vittorio Gui (conductor)
CD 1
CD 2
Booklet
Vittorio Gui and Rossini's "Barber"
More than any conductor of his generation, Vittorio Gui (1885-1975) helped redeem Rossini's opere buffe in general, and Il barbiere di Siviglia in particular, from the endless alterations and distortions they had undergone for the best part of a century. In an essay "Tradition and Rossini's Barber", which accompanied the present recording when it first appeared in 1963, Gui wrote: "These incrustations ultimately assert themselves under the terrible name of "traditions", frightening young interpreting artists who no longer feel free to search out the secret of those signs under which lies hidden the eternal life of creation".
Gui's Rossini revolution began in 1925 with a series of now legendary performances of L'italiana in Algeri, staged in a charming semi-private theatre in Turin, with Conchita Supervia in the title role. The revelation of Rossini as an elegant stylist, urbane and classicaly-minded, suited the neo-classical temper of the times. (How Rossini would have relished works like Pulcinella, Apollo, and Jeu de cartes.) "Traditional" Rossini continued to hold sway in opera houses, but the quiet revolution continued with Gui's 1929 revival of Rossini's exquisite late masterpiece the Petite messe solennelle, Supervia's brilliant performances in La Cenerentola, and, in 1942, Gui's historic re-thinking of what he called "the all-too-distorted Barber". The production in Florence's Teatro Comunale starred Gino Bechi as Figaro and Ferruccio Tagliavini as the Count, but it was Gui's first-hand study
of Rossini's autograph manuscripts in Bologna and Pesaro that gave this production - and Gui's subsequent productions in Palermo, Venice, and, finally, Glyndebourne - their unique authority and appeal.
With his edition of Il barbiere, Gui anticipated much that was later to find permanent embodiment in the Fondazione Rossini's Critical Edition, edited by Alberto Zedda. Indeed, Gui was considerably irked by what he took to be Zedda's (and Abbado's) discourtesy when a 1971 recording based on the new Critical Edition was written up as a decisive and revelatory break with the bad old traditions of the past. Fences were later mended (Gui left his entire music library to the Fondazione Rossini) but Gui was right to feel that it was he, and not Zedda or Abbado, who had first reclaimed Il barbiere from the musical and theatrical bear-pit.
The list of things Gui had begun to put right in 1942 is formidable. First, the role of Rosina, written for a mezzo-soprano, had to be reclaimed from bird-brained soubrettes. In fact, as the casting of the delectable Victoria de los Angeles reveals, Gui's essentially classical view of the score left him with a marked preference for a lighter rather than a darker mezzo in this crucial role. In a later essay on the opera, written in 1969, Gui described Rosina as "the perfec example of the joy of living, of youth, love, and aspiration to liberty; she is a rose who opens herself up to the light but who isn't entirely without thorns to protect her against evil". Under Gui, Rosina's cavatina "Una voce poco fa" is restored to the lower key of E major and Rossini's own music is reinstated in the Act 2 singing lesson. (For years ,opranos had turned this into a private recital sequence, with showpieces like Arditi’s Il baccio much in favour.) It was also neccessary for Gui to restore to Dr Bartolo the two superb and musically difficult numbers Rossini had originally provided. Over the years simpler music had made it increasingly easy for stage directors to cast voiceless buffoons in the role of this distinguished pillar of the Seville community. Comparable restraints were put on performers of the role of Don Basilio, a popular role for ham actors of whom (according to Gui) Chaliapin was one of the most offensive. Typically, Gui's Don Basilio, Carlo Cava, is required to sing his "Calumny" aria in the original key of D, where on a rival recording Cava got away with the traditional downward transposition to C. Though Gui permitted some cuts in the recitatives, he very rightly declined to reinstate the Count's lengthy aria at the end of the opera. It was reassigned with Rossini's consent within monyhs of the opera's prima in 1816 and retaining it, as some "authenticists" have done, is pseudo-scholarship of the worst klind.
Gui also paid great attention to Rossini's original orchestrations, ignoring beefed-up nineteenth-century versions of the overture and preferring, instead, the scoring specified by Rossini in 1815 when the piece had the seccond of its three outings, as overture to Elisabetta, regina d'lnghilterra. Zedda's edition would later refine the orchestral detail even more, and now we have period instruments as well. But Gui's "ear", both as a conductor and as an editor, is second to none. Helped by the refined and stylish playing of Beecham's RPO, and a series of beautifully honed performances by the Glyndebourne principals, his reading turns Il barbiere into an obvious but distinctive sequel to Mozart's Figaro. Rossini himself couldn't - wouldn't - have asked for more.
-- Richard Osborne, 1992 (review extracted from the booklet)
Disc 1
1. Ouverture
2. Piano, pianissimo, senza parlar
3. Ecco ridente in cielo
4. Ehi, Fiorello! - Mio signore
5. Mille grazie, mio signore
6. Gente indiscreta!
7. La ran la le ra ... Largo al factotum
8. Ah, che bella vita!
9. Non è venuto ancora
10. Le vostre assidue premure
11. Se il mio nome saper voi bramate
12. Oh cielo!... Nella stanza convien
13. All'idea di quel metallo
14. Una voce poco fa
15. Sì, sì, la vincerò
16. Ah, disgraziato Figaro!
17. Ah! Barbiere d'inferno
18. La calunnia è un venticello
19. Ah, che ne dite?
20. Ma bravi! Ma benone!
21. Dunque io son
22. Ora mi sento meglio
23. A un dottor della mia sorte
Disc 2
1. Finora in questa camera
2. Ehi, di casa, buona gente
3. Che cosa accadde
4. Freddo ed immobile
5. Ma signor...ma in dottor
6. Ma vedi il mio destino!
7. Pace e gioia sia con voi
8. Insomma, mio signore
9. Venite, signorina
10. Contro un cor che accende amore
11. Bella voce! Bravissima!
12. Quando mi sei vicina
13. Bravo, signor barbiere
14. Don Basilio!...Cosa veggo!
15. Che vecchio sospettoso!
16. Il vecchiotto cerca moglie
17. Dunque voi Don Alonso
18. Temporale
19. Alfine eccoci qua
20. Ah, qual colpo inaspettato!
21. Ah, disgraziati noi!
22. Insomma io ho tutti i torti
23. Di sì felice innesto
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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Buxtehude: Sonate op.1 & op.2

Buxtehude - Sonate op.1 & op.2 - L'Estravagante
Classical | APE + CUE | 2 CD, Book PDF | 389+376 MB
CD date: Jan 2007 | Amadeus | TT: 60:28, 67:12 min.
CD2
booklet
Composer: Dietrich Buxtehude
Performer: L'Estravagante ( Maurizio Salerno, Rodney Prada, Stefano Montanari )
Track Listings
Sonate op.1
Sonata I in fa maggiore BuxWV252
Sonata II in sol maggiore BuxWV253
Sonata III in la minore BuxWV254
Sonata IV in si bemolle maggiore BuxWV255
Sonata V in do maggiore BuxWV256
Sonata VI in re minore BuxWV257
Sonata VII in mi minore BuxWV258
Sonate op.2
Sonata I in si bemolle maggiore BuxWV259
Sonata II in re maggiore BuxWV260
Sonata III in sol minore BuxWV261
Sonata IV in do minore BuxWV262
Sonata V in la maggiore BuxWV263
Sonata VI in mi maggiore BuxWV264
Sonata VII in fa maggiore BuxWV265
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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Handel: Complete Cantatas Vol.2

Easy CD-DA | FLAC tracks | Covers | 294 Mb
Un’alma innamorata HWV 173 • O lucenti o sereni occhi HWV 144
Del bell’idolo mio HWV 104 • Aure soavi e liete HWV 84
Tra le fiamme (Il consiglio) HWV 170
Stefanie True, soprano
Contrasto Armonico
Marco Vitale, harpsichord and direction
Brilliant Classics 94000 (1-CD) • EAN code: 5028421940007
Release date: December 2009
FANFARE fffff (Want List, November 2010)
Handel’s cantatas represent an important but until recently little-known area of his work. Even now newly discovered works are found and performed to much excitement in the media and among lovers of Handel’s music. They were written during his time in Rome from 1707/8, and were intended for private use. They range from miniatures consisting of two arias, recitative and a basso continuo, to large scale works with all the drama of his operas, complete with named characters, a plot, and large orchestral forces.
This CD contains the remarkable ‘Tra le fiamme’, written for Cardinal Pamphilj, who provided the text. The story concerns a young man who’s heart is playing for amusement and affection ‘in the flames’, but is being deceived by ‘charm and beauty’. He considers the fact that very few people escape the flames of love safely, and without being hurt. The story then turns to the example of Daedalus and his son Icarus, and how man seldom learns from history.

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28 February 2012

Bertouch: Trio Sonatas

Easy CD-DA | FLAC tracks | Covers | 371 Mb
Date CD: 2005 | Tactus | 65:32
This is music from Norway, from Bergen specifically, written in the early eighteenth century. Composer Georg von Bertouch has an interesting biography; a German-born musician of French extraction, he was also a military leader who participated in 22 battles in Denmark (of which Norway was a part), Germany, and France. A bit older than Bach and Telemann, and geographically even farther removed from the fonts of Italian innovation, he did not (on the evidence of the music here) engage with Vivaldi or with Telemann's galant styles. Instead, the keyboard pieces presented here are modest examples of French style, and the trio sonatas, to which the bulk of the album is devoted, are modeled on those of Corelli, with elegant two-part writing featuring rather obsessive use of sequences and long chains of harmonic suspensions. The album's interest lies not only in its rediscovery of a forgotten composer but also in the variety of ways the trio sonatas are presented. Recorder player and annotator Frode Thorsen identifies four possible modes of playing a trio sonata: with two similar melody instruments, with two different ones, with one melody instrument and keyboard part incorporating the second melody line, and on an organ or harpsichord by itself (as with Bach's trio sonatas for organ). The program gives examples of all four, resulting in an unusually varied sonic palette and a program that might easily have been given by a virtuoso complement of musicians at a noble establishment in the eighteenth century. The music isn't brilliantly compelling, and Thorsen's recorder doesn't always have the smooth organ-like quality that's desirable, but this disc offers enjoyable listening for anyone from commuters to Baroque specialists.
by James Manheim
tracklist:
Trio Sonata for 2 violins & continuo No. 8 in G Major
March, for viola da gamba, recorder & continuo, No. 106*
Aria, for viola da gamba, recorder & continuo, No. 248*
Trio Sonata for 2 violins & continuo No. 15 in F minor
Paspie de la Compertanje, for harpsichord*
Trio Sonata for recorder, violin & cello No. 11 in F major
Menuetto, for viola da gamba, recorder & continuo, No. 13*
Gavotte, for viola da gamba & continuo, No. 53*
Sonata for recorder & continuo No. 21 in B flat minor
Sonata for keyboard No. 17 in E flat major
Trio Sonata for 2 violins & continuo No. 12 in D minor
Allegro et Trio, for viola da gamba, recorder & continuo, No. 166*
Sonata for viola da gamba, recorder, flute & continuo No. 14 in G minor
* (Music-Book of Jacob Mestmacher)
Bergen Barokk

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Bartók: Bluebeard's Castle

EAC | APE, CUE, LOG | 1 CD, Covers, Book | 250Mb
62:54 min. | CD date: October 22 1996 | EMI
Bluebeard's Castle: Prologue & Opening
Bluebeard's Castle: First Door (The Torture Chamber)
Bluebeard's Castle: Second Door (The Armoury)
Bluebeard's Castle: Third Door (The Treasury)
Bluebeard's Castle: Fourth Door (The Secret Garden)
Bluebeard's Castle: Fifth Door (Bluebeard's Kingdom)
Bluebeard's Castle: Sixth Door (Tears)
Bluebeard's Castle: Seventh Door (Bluebeard's Former Wives)
John Tomlinson (Bass), Bluebeard
Anne Sofie von Otter (Mezzosoprano), Judith
Sandor Eles (Spoken vocals), Narrator
Berlin Philharmonic Orchestra
Conductor: Bernard Haitink
This recording, taped from 'live' performances at the Philharmonie in Berlin in 1996, was greeted with much acclaim upon its appearance – and rightly so. Throughout, Haitink and the Berlin Philharmonic strive for a note-perfect rendering of the score that does not sound the least bit contrived. Much attention is paid to the atmospherical aspects of the music, revealing the conductor's realisation of the composer's intentions.
Anne Sofie von Otter is a sublime, sweet-voiced 'Judith' who manages without effort to adopt the swift mood-changes her character demands; and John Tomlinson gives us a dark-hued, though undistinguished, Bluebeard. The oration that precedes the opera-proper is effectively undertaken by Sandor Elès, brilliantly creating the spooky ambience. Although none of the artists involved in this recording (save for the narrator) are Hungarian, it has been applauded for its faithfulness to the language – thanks, no less, to efficient language-coaching.
Anne Sofie von Otter Already from the opening music one is likely to recall Debussy's Pelléas, and Haitink's reputation as an accomplished Debussyian serves him in good stead. Accompaniment is duly sensitive, echoing in every phrase and turn the characters' lyrical exchanges; and most times setting the pace for abrupt shifts of mood.
Sample, for example, the final bars of the Prologue, where a sense of unease underlines Judith's impending doom: what superb orchestral response Haitink (left) draws from the Berliners! The loveliest music can be heard when Judith opens the sixth door to Bluebeard's 'Lake of Tears', and the characters' plaintive exchanges are most memorable.
It would surely be a mistake to overlook this, surely one of Bartók's masterpieces in any genre; and Haitink's recording, no doubt, is one to suit all tastes!
by Chua Gan Ee

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Philip Glass: Glass Cuts

Classical, Soundtrack | EAC, FLACs, CUE, Log | 1 CD, Booklet | 432 MB
CD Date: 26 Sep 2005 | Orange Mountain Music
Filevelocity - - Filefactory
A year or so ago OMM started receiving some unsolicited remixes of Philip Glass works from young producer/musicians. I believe this is because in some circles Philip Glass is known as "the Godfather of Trance". The remixes I received were exciting interpretations of Philip's work.
Orchestra: Stuttgart Chamber Orchestra
Conductor: Dennis Russell, Dennis Russell Davies, Michael Riesman
Composer: Philip Glass
TRACKS:
01 Another Look at Harmony, Part IV [Robert Bell] 7:47
02 Etude No. 2 [Luciano Supervielle] 2:44
03 Saxophone Concerto [Héctor Castillo & Eduardo Larez] 4:14
04 Tirol Concerto for Piano and Orchestra [Sebastián Escofet] 6:46
05 Etude No. 1 [Androoval] 6:00
06 Houston Skyline [Kate Simko] 2:44
07 Dance from Act II, Scene 3 of Akhnaten [impLOG.] 3:31
08 Etude No. 5 [Taylor Deupree] 5:38
09 Channels and Winds [Marcos Romero] 5:05
10 Why Are We Here? [Dave Wesley] 6:08
11 Thin Blue Line [Dietrich Schoenemann] 6:35
12 Saxophone Concerto [Brian Bender] 2:58
13 Second Perception of Light, Moon, Mist and Rainbow [Woody McBride] 7:12
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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Purcell: The Complete Ayres for the Theatre

Nell Gwynn posing as Diana by Simon Verelst (1644-c1710-21)
Easy CD-DA | FLAC tracks | Cover & Booklet | 3 RAR
205' | 2009 | Hyperion | 385,338,359 Mb
CD1
CD2
CD3
Ayres for the Theatre, as it was known for short, was the first printed collection devoted entirely to the incidental music used in the London theatres. It marked the point at which this repertory, hitherto largely confined to theatrical circles, was taken up in public concerts and in the home, and it was the model for a series of more than fifty theatre suites published by Walsh and Hare in the first decade of the eighteenth century. The four part-books of Ayres for the Theatre contain thirteen suites written by Purcell for the London theatres between June 1690 (Dioclesian) and the autumn of 1695 (Bonduca). Despite the mention of ‘other occasions’, the collection only seems to contain theatre music, and it includes all his known theatre suites: the ones for The Double Marriage, Timon of Athens and The Rival Sisters, included in earlier lists of Purcell’s works, are now thought to be by Louis Grabu, James Paisible and John Ridgley.
'The Parley of Instruments up to their usual stellar form' (Stereophile, USA)
'Highly enjoyable!' (Early Music Review)
''Ayres for the Theatre' is a wonderful collection of rich and varied, tuneful music and has been marvellously well recorded by engineer Tony Faulkner … the players set out in almost holographic detail between, beyond, between and in front of the loudspeakers. You could almost be there' (Gramophone 'Soundings')
'Strongly recommended' (Fanfare, USA)
'Goodman pilote sa troupe avec une science, une fraîcheur, une addresse, une élégance, qui signale le parfait purcellien' (Diapason, France)
tracklist:
cd 1
The Prophetess, or The History of Dioclesian Z627, Suite
King Arthur, or The British Worthy Z628, Suite
The Fairy Queen Z629, Suite
The Indian Queen Z630, Suite
CD 2
The Married Beau, or The Curious Impertinent Z603, Suite
The Old Batchelor Z607, Suite
Amphitryon, or The Two Sosias Z572, Suite
The Double Dealer Z592, Suite
Distress'd Innocence, or The Princess of Persia Z577, Suite
The Gordion Knot Unty'd Z597, Suite
cd 3
Abdelazar, or The Moor's Revenge Z570, Suite
Bonduca, or The British Heroine, Z574, Suite
The Virtuous Wife, or Good luck at last Z611, Suite
The Fairy Queen Z629, Act IV Sonata 'while the sun rises'
Dido and Aeneas Z626, Overture in G minor, Overture
Timon of Athens Z632, Suite
The Indian Queen Z630, Symphony
Henry Purcell (1659-1695)
The Complete Ayres for the Theatre
The Parley of Instruments, Roy Goodman (conductor)
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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Handel: Complete Cantatas Vol.3

Easy CD-DA | FLAC tracks | Covers | 237 Mb
Arresta il passo (Aminta e Fillide) HWV 83
Klaartje van Veldhoven (Soprano, Aminta)
Stefanie True (Soprano, Fillide)
Contrasto Armonico
Marco Vitale, harpsichord and direction
Brilliant Classics 94230 (1-CD) • EAN code: 5028421942308
Release date: August 2011
This dramatic cantata is one of the earliest works composed for Handel’s Italian patron Marquis Francesco Maria Ruspoli. It is thought that the first performance took place in 1707, around the same time as his La Resurrezione. Handel met Corelli, and had heard the music of Alessandro Scarlatti, and his compositional skills had broadened considerably as a result.
In addition, his ability at realising in his music the emotion behind the words, and of creating fully rounded characters (that would later distinguish him as one of the greatest opera composers) blossomed. Although Handel had huge orchestral forces at his disposal in Italy, the scoring for this tender tale of a shepherd who eventually wins the love of a nymph playing hard to get, is small and ideal for the drama that unfolds. This recording uses Handel’s original version of the score, considered by Marco Vitale to be stronger than his revision.
A unique and prestigious project: the complete cantatas by Handel. Volume 3 offers the great, large-scale Italian Cantata Aminta & Fillide, written by the young Handel in Rome, and telling the story of a shepherd winning the love of a reluctant nymph. The performances of Contrasto Armonico and Marco Vitale, bases on thorough scientific research and played on period instruments, are full of “Handelian” drama and virtuosity. The singers are absolutely wonderful, Stephanie True is one of the finest Baroque sopranos at present. Complete texts included, as well as liner notes written by Marco Vitale, explaining the background, history and sources of this wonderful music.

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27 February 2012

Handel: Complete Cantatas Vol.4

Easy CD-DA | FLAC tracks | Covers | 270 Mb
Clori, mia bella Clori HWV 92 • Sans y penser HWV 155
Clori, vezzosa Clori HWV 95 • Pensieri notturni di Filli HWV 134
Lungi n'ando Fileno HWV 128
Stefanie True, Klaartje van Veldhoven, sopranos
Contrasto Armonico
Marco Vitale, harpsichord and direction
Brilliant Classics 94257 (1-CD) • EAN code: 5028421942575
Release date: November 2011
The 4th volume of Brilliant Classics' recordings of Handel's complete cantatas, performed by Contrasto Armonico and directed by Marco Vitale, gathers together five works that vividly illustrate the composer's skill at setting the words of his texts, creating hitherto unknown emotional depth and nuance from modest orchestral forces.
The musical setting of Clori, mia bella Clori amply displays the genius that would establish Handel as the leading operatic composer of his day, using a range of different combinations of instruments to respond to the subject of each section of the text, from grief and weeping to passionate jealousy. Similarly, in both Pensieri notturni di Filli (Nel dolce dell'oblio) and Lungi n'andò Fileno Handel employs striking dissonance to create a musical counterpart to the despair and suffering of the texts. By contrast, Sans y penser, Handel's only French cantata, is a comic work, closing with a humorous musical illustration of the singer's tribute to drinking.
Handel composed over 100 secular cantatas during his stay in Italy in the early 1700s. He had several patrons; among the most generous and supportive was the Marquis Francesco Maria Ruspoli, and most of the information on the works included on this disc comes from his records.
These cantatas reveal the richness of the young composer's compositional palette, and his ability to depict the content of his texts in such a way that the listener both hears and experiences the emotions of each work. As such, they are an important foreshadowing of his later career as a celebrated operatic composer.

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Janitsch: Sonate da camera II

FLAC tracks | Booklet | RAR 364 Mb
2011 | Atma Classique | Fsonic-Fserve Uploaded - - Filevelocity - - Filefactory
Notturna is dedicated to the performance of early music written for winds. The members of the ensemble are distinguished performers who specialize in historical performance of the 18th and 19th centuries. Notturna draws on the transparency and expressiveness of early wind instruments to paint fresh pictures of unexplored repertoire. Since its inception the ensemble has felt a unique rapport with the music of Berlin composer Johann Gottlieb Janitsch, and have taken as part of their mandate to expose his neglected masterworks, many of which have yet to be published and recorded. This is the second of a three-disc collection.
Four of the five sonatas presented on this CD are world premiere recordings. tracklist: Sonata da camera in C minor, Op. 3, No. 4 Sonata da camera in A major, Op. 3, No. 3 Sonata da camera in C minor, Op. 1, No. 1
Sonata da chiesa in G major, Op. 7, No. 4 Sonata da chiesa in G minor, Op. 7, No. 6
Notturna:
Christopher Palameta, oboe, oboe d'amore, artistic direction
Stephen Bard, oboe
Mika Putterman, traverso
Hélène Plouffe, violin and viola
Kathleen Kajioka, alto
Karen Kaderavek, cello
Erin Helyard, harpsichord

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Philip Glass and Robert Wilson: Monsters Of Grace

Philip Glass and Robert Wilson - Monsters Of Grace
Easy CD-DA, FLAC tracks, CUE, Log | 1 CD, Covers | 355 MB
CD Date: 29 Oct 2007 | Orange Mountain Music
Filevelocity - - Filefactory
“Over the last three years , Bob Wilson and I have been meeting to work on a new theater piece, Monsters of Grace. Since Einstein on the Beach in 76, we have come together on several occasions to make new work, but unlike those projects, with this present work, we have had a real opportunity to sit together and engage in a new world of ideas. Of course inage, music and structure are at the root of what we are thinking. We are, moreover, addressing a challange of a new technology and it's impact of a developing artistic view. It is fair to say that as an on going process, it is still fluid, elusive, and for us, full of surprise.”
“Opera by Philip Glass and Robert Wilson. Poems by Jalaluddin Rumi, translated and adapted from the original by Coleman Barks.”
The Philip Glass Ensemble
Michael Riesman, Music Director and Conductor
Singers: Marie Mascari, Alexandra Montano, Gregory Purnhagen, Peter Stewart
01. Where Everything Is Music
02. The Needle
03. Don't Go Back To Sleep
04. In the Arc Of Your Mallet
05. My Worst Habit
06. Like This
07. Stereo Gram
08. Let the Letter Read You
09. Boy Beach And Ball
10. They Say Paradise Will Be Perfect
11. The New Rule
12. An Artist Come To Paint You
13. Boy On Fire
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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26 February 2012

Andrea Lauren Brown: Wie bin ich froh

Easy CD-DA | FLAC tracks | Covers | 189 Mb
Date CD: 2004 | Tactus | 54:49
Uploaded - - FileVelocity - - FileFactory
The American soprano, Andrea Lauren Brown, studied piano and flute before turning to singing, studying with Joy Vandever and Laura Brooks Rice. She holds a Master of Music degree in Voice Pedagogy and Performance from Westminster Choir College in Princeton, New Jersey and a Bachelor of Music degree from West Chester University, in Pennsylvania, where she graduated summa cum lau
de. Studying under the sponsorship of the Austrian-American Society she was a summer academy prize-winner at the Internationale Sommerakademie of the Universitaet-Mozarteum in Salzburg, Austria in 2002. Out of numerous prizes, her most recent and outstanding prize was second place at the International Competition of the ARD in Munich, Germany.
tracklist:
Claudio Monteverdi
Quell sguardo sdegnosetto
Si dolce e’l tormento
Eri gia tutta mia
Henry Purcell
Evening Hymn
Franz Schubert
Suleika I
Suleika II
Hugo Wolf
Ganymed
Claude Debussy
C’est l’extase
Il pleure dans mon cœur
L’Ombre des Arbes
Chevaux de Bois
Green
Spleen
Sergey Rachmaninov
In my Garden at Night
To Her
Anton Webern
Wie bin ich froh
Gian Carlo Menotti
Monicas Walz
All Piano and Harpsichord by Detlef Bratschke

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Janitsch: Sonate da camera I

FLAC tracks | covers | RAR 307 Mb 2008 | Atma Classique | Fsonic-Fserve Uploaded - - Filevelocity - - Filefactory
Johann Gottlieb Janitsch (1708-1763), was born in Silesia (then under Austria, but Prussia from 1742 and now part of Poland) and followed a normal career path for a musician in Mitteleuropa, culminating as contraviolonist in the Royal Orchestra of the Court of Prussia from 1736 until his death in 1763. Janitsch also composed ballet music for the Royal Court Opera), rehearsed the opera chorus, and composed music for the balls held at the opera house during carnival-time. Janitsch was also called on to participate in the intimate concerts that took place in the king’s private apartments at Sanssouci, alongside a number of instrumentalist-composers including C.Ph.E. Bach and Johann Joachim Quantz...
Notturna’s playing is spirited and sensitive and highlights the intricacies of the composer’s crisp counterpoint.
(Early Music America)
Through his own inspirational direction Palameta has literally revived Janitsch's music
(The WholeNote)
The musicians play with a fluid, seductive balance. Palameta's silky oboe sound is captivating
(The Toronto Star)
tracklist: Sonata da camera in G minor, "O Haupt voll Blut und Wunden" Sonata da camera in C minor, Op. 5 Sonata da camera in C major, Op. 4 Sonata da camera in E minor, Op. 5b Sonata da camera in A minor, Op. 5a Notturna:
Christopher Palameta, oboe, oboe d'amore, artistic direction
Stephen Bard, oboe
Mika Putterman, traverso
Hélène Plouffe, violin and viola
Kathleen Kajioka, alto
Karen Kaderavek, cello
Erin Helyard, harpsichord
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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John Lenehan: Philip Glass, The Piano Music

John Lenehan - Philip Glass, The Piano Music
Easy CD-DA, FLAC tracks, CUE, Log | 1 CD, Covers | 284 MB
CD Date: Aug 06, 2007 | SONY
Filevelocity - - Filefactory
“Praised by the New York Times for his "great flair and virtuosity" and the London Times - "a masterly recital", John Lenehan's performances and recordings have been acclaimed throughout the world. As a soloist he has made many appearances with British Orchestras and his innovative recital programmes often include film projection and jazz repertoire. In a performing career spanning more than 25 years John Lenehan has also collaborated with leading instrumentalists and is recognised as one of the finest accompanists and chamber musicians of today. During the past few years he has performed in major concert halls in London, Amsterdam, Vienna, Salzburg, New York, Washington, Toronto, Seoul and Tokyo.”
Composer: Philip Glass
Performer: John Lenehan
TRACKS:
01. (5:13) Opening (from Glassworks)
"Trilogy Sonata" (arranged by Paul Barnes)
02. (6:47) Knee Play no. IV (from Einstein on the Beach)
03. (8:57) Satyagraha (conclusion act 3)
04. (5:13) Dance (from Akhnaten scene 3)
Music from "The Hours"
05. (3:32) The Poet Acts
06. (5:06) Morning Passages
07. (3:04) Something She Has To Do
08. (3:43) I'm Going To Make A Cake
09. (4:07) An Unwelcome Friend
10. (3:43) Dead Things
11. (4:04) Why Does Someone Have To Die
12. (5:02) Tearing Herself Away
13. (3:37) Escape!
14. (3:43) Choosing Life
15. (7:40) The Hours
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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25 February 2012

Cavalli: Gli Amori di Apollo e Dafne

Easy CD-DA | FLAC tracks | Covers | 347+343Mb Mb
2 CD | Date CD: 2006 | Naxos | 144:31
CD 1
CD 2
A chorister at St Mark's in Venice under Monteverdi, Cavalli became organist at the Basilica in 1639 and was to win a reputation as a leading composer of opera for the new commercial opera-houses of Venice in the generation after Monteverdi. The pastoral Gli amori d'Apollo e di Dafne (The Loves of Apollo and of Daphne) was Cavalli's second opera, setting a libretto by Busenello, who provided the text, three years later, for Monteverdi's last opera, L'incoronazione di Poppea. Cavalli's opera deals with the god Apollo's amorous pursuit of the chaste Daphne, who finds refuge in metamorphosis into a laurel tree, to her lover's distress.
Mario Zeffiri (Apollo/Titone)
Marianna Pizzolato (Dafne)
Marisa Martins (Aurora/Venere/Itaton)
Agustín Prunell-Friend (Cefalo/Pan)
Assumpta Mateu (Filena/Procri/1a musa)
Carlo Lepore (Alfesibeo/Peneo/Sonno/2o pastore)
José Ferrero (Cirilla/Morfeo/1o pastore)
Soledad Cardoso (Amore)
Ugo GUagliardo (Giove/Panto)
Fabiola Masino(2a musa/1a ninfa)
Luisa Maesso (3a musa/2a ninfa)
Orquesta Joven de la Sinfónica de Galicia
Alberto Zedda, conductor

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The Essential Philip Glass

The Essential Philip Glass
Easy CD-DA, FLAC tracks, CUE, Log | 1 CD, Covers | 351 MB
CD Date: 7 Oct 1993 | Sony Masterworks SK 64133
“This album is a mixed selection of Glasses works. I loved everything after the second track. The first two tracks sound to me like it was wrote for some 1970's experimental modern dance production and for me I really want to skip past them to get to the far more timeless compositions which compose the remaining tracks. I really dont think I could recommend this album as an introduction to Glass and minimalist compositions.”
Performer: Janice Pendarvis, Bernard Fowler, Paul Dunkel, Michael Riesman
Orchestra: Glass Ensemble, New York City Opera Orchestra
Composer: Philip Glass
TRACKS:
01. Lightning (from Songs From Liquid Days) 6:42
02. Changing Opinion (from Songs From Liquid Days) 10:38
03. Façades (from Glassworks) 7:21
04. A Gentleman's Honor (from The Photographer) 3:17
05. The Kuru Field of Justice (Extract) (from Satyagraha) 6:09
06. Protest (from Satyagraha) 4:19
07. Evening Song (from Satyagraha) 4:07
08. Hymn to the Sun (from Akhnaten) 6:16
09. Window of Appearances (from Akhnaten) 4:22
10. Bed (from Einstein On The Beach) 3:40
11. Dance VIII (from Dancepieces) 4:58
12. Metamorphosis Four (from Solo Piano) 7:00
13. Closing (from Glassworks) 5:59
I'm beginning here to resurrect some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real thought behind it, I'm just cleaning up my HDs and following the wind. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...

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