DisinfestAvaxhome: March 2012

CD 2

CD scans

This very generous two disc release has so many positive aspects that it hopefully will manage to garner the attention of music lovers around the world despite the negative comments being published in some quarters. Fame of an artist is accompanied by that very public eye and ear that references previous performances and recordings of repeated works as being superior to a new issue, and while that may gather the ire of some, it is simply part of the joy of encountering new performances: some boo, some shout Brava! Renée e Fleming is a bona fide star of the opera and concert stage, a physically beautiful woman with a soaring, rich, intelligent voice who manages to inhabit a number of roles that she makes her own - be those her signature Strauss roles or her favorite 'Rusalka' and 'Thais'. For the opening songs on this 2008 live recording from Munich in collaboration with the superb Strauss conductor Christian Thielemann at the helm of the Munich Philharmonic Fleming offers the Strauss 'Four Last Songs'. Yes, they are different from her 1995 recording but thirteen years have passed and for this listener the depth of character in the poetry of these gorgeous songs is finer and the voice remains one of the few truly Straussian soprano voices before the public today. Plus, after the 'Four Last Songs' we are gifted with three excerpts form 'Ariadne auf Naxos' and these are impeccably performed as are the four songs that follow and the 'Zweite Brautnacht!' from Strauss' 'Die AEgyptische Helena' that conclude the 'concert'. Fleming and Thielemann are as superb a team for Strauss as one could imagine. The second CD on the package is called 'Signature Roles at the Met Opera' and these include Tchaikovsky's 'Letter Scene' form 'Eugen Onegin, Dvorak's 'O Silver moon' aria from 'Rusalka', and Verdi's 'Willow song/Ave Maria' from 'Otello' - with Fleming accompanied by Sir Georg Solti and the London Symphony Orchestra 'Ah! Je suis seule...' from Massenet's 'Thais' with Yves Abel conducting the Orchestre National Bordeaux Aquitane and the 'Mondscheinmusik' from Strauss' 'Capriccio' joined by Walter Berry and with Christoph Eschenbach and the Vienna Philharmonic Orchestra. This is Fleming's realm and to have each of these special interpretations on one recording is a gift. Renée e Fleming is an extraordinary artist, a true diva, and this collection is a rich one. 'Habe dank!' Highly recommended. Grady Harp

tracklist:

Ariadne auf Naxos, Op. 60: Wo war ich?

Ariadne auf Naxos, Op. 60: Ein schönes war

Ariadne auf Naxos, Op. 60: Es gibt ein Reich

Gesänge, Op. 33: no 1, Verführung

Lieder Op. 48: no 1, Freundliche Vision

Lieder Op. 48: no 4, Winterweihe

Lieder Op. 10: no 1, Zueignung.

Die ägyptische Helena, Op. 75: Zweite Brautnacht, Zaubernacht "Helen's Awakening"

Eugene Onegin, Op. 24: Tatiana's letter scene by Peter Ilyich Tchaikovsky

Rusalka, Op 114/B 203: O moon high up "Song to the moon" by Antonín Dvorák

Otello: Piangea cantando...Ave Maria by Giuseppe Verdi

Thaïs: Ah! je suis seule by Jules Massenet

Capriccio, Op. 85: Interlude "Moonlight Music"

Capriccio, Op. 85: Wo ist mein Bruder?

Four Last Songs, AV 150 by Richard Strauss

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...

Charming European Baroque

Easy CD-DA | FLAC tracks | Covers | 332 Mb

Date CD: 10/01/1999 | Entree/Qualiton | 64:40

tracklist:

Vivaldi - Trio concertante in G minor, RV 81

Quantz - Trio sonata in C minor

J.M.Hotteterre - Trio sonata in C minor

Loeillet - Trio sonata No. 1 in F major

Telemann - Trio in D minor

Couperin - La Visionnaire, trio sonata in C minor

Pepush - Trio sonata in G minor: Adagio

Boismortier - Trio sonata No. 5 in F major

Ensemble Geminiani

(flute, oboe, cello, guitar)

Mozart: 21 Concertos pour Piano

EAC, APE, CUE, Log | 8 CD, cover | 2.07 GB

July 29, 2002 | EMI

Christian Zacharias is a well-proven artist in this repertory. I have always found much to admire in his Mozart concerto recordings, which form part of a cycle, and although he has changed orchestra more than once—and conductor too, for he is not as yet one of those who prefer to direct these works from the keyboard—there is a consistency in these performances, with their crisp and vivid quicker music and an expressive yet unsentimental approach to slow movements and other lyrical writing. Occasionally the pianist has done something mildly eccentric, or jokey, such as interpolating unexpected instrumental (nonpiano) material into cadenzas, but usually we feel in safe hands.

The present issue is no exception to this general rule, and from the opening of the D major Concerto we recognize, too, that he has found a sympathetic partner in Sir Neville Marriner and that the Stuttgart Radio Symphony Orchestra is a skilful body of players, though just once or twice I thought its wind section could be neater still. Using a modern instrument with a clean and wellvaried touch and discreet but effective pedalling, Zacharias is persuasively deft and alert in this Allegro and conveys a feeling of delight in brilliant yet sensitive music-making, and while I would have awaited a cadenza of his own with a mixture of curiosity and anxiety (see above), in fact all the cadenzas played here are rightly Mozart's own. Perhaps he is sometimes a little too 'chirpy' where simplicity is called for (e.g. in the first movement of No. 19), but few will want to resist his touch of high spirits in this music; and while the Andante of No. 16 could have been a trace more relaxed in pace, better this than sluggishness, and there is no doubt at all about the agile, happy finales.

-- Gramophone [9/1990, reviewing K 451 and 459]

---------------------------

This is attractive playing, crisp yet flexible... The pianist's own cadenza in K482 is attractive and stylish although the effect of intervening woodwind may surprise. In this concerto, also, the variation-form Andante has the right kind of delicate gravity. The Dresden orchestra sound much at ease in this music, and the American conductor David Zinman is a sympathetic partner.

-- Gramophone [10/1986, reviewing K 482 and 488]

---------------------------

I have often admired Christian Zacharias in Mozart and this new issue from EMI gives me no cause to modify a view of him as a reliable, thoughtful and stylish performer in this repertory. Here is a shapely and well articulated approach and an evident understanding of the different expressive worlds inhabited by the two concertos and their component movements. Collectors familiar with Sir Neville Marriner's Mozart piano concerto series with Alfred Brendel as the soloist (Philips) will not need to be told that this conductor brings a keen, sensitive ear and sense of timing to this music; the Stuttgart Radio Symphony Orchestra is a good one too, and the orchestral opening to the Andante of the G major Concerto is just one example of fine playing, robust yet flexible, that draws a well-matched contribution from Zacharias.

-- Gramophone [6/1989, reviewing K 453 and 456]

---------------------------

Zacharias is a skilful Mozartian..., and his playing on [K 491], is if anything even more persuasive and confident, with some lovely half tones as well as the necessary authority, and he is sympathetically partnered by Wand and the North German Radio orchestra... [T]his is a good account of this magnificent and disturbing concerto, and Zacharias's thoughtful cadenzas are of a piece with the overall approach.

-- Gramophone [2/1987, reviewing K 491 and 595]

tracklist:

1. Concerto No. 21 K467

2. Concerto No. 13 K415

3. Concerto No. 8 K246

4. Concerto No. 25 K503

5. Concerto No. 24 K491

6. Concerto No. 26 K537 - Du Couronnement

7. Concerto No. 16 K451

8. Concerto No. 5 K175

9. Concerto No. 20 K466

10. Concerto No. 22 K482

11. Concerto No. 9 K271 - Jeunehomme

12. Concerto No. 14 K449

13. Concerto No. 19 K459

14. Concerto No. 11 K413

15. Concerto No. 17 K453

16. Concerto No. 23 K488

17. Concerto No. 12 K414

18. Concerto No. 18 K456

19. Concerto No. 27 K595

20. Concerto No. 15 K450

21. Concerto No. 6 K238

Bliss: Violin Concerto

FLAC tracks | Covers | 113 Mb

LP rip | Date: 1956 | Decca | 44:49

Grab the back cover from here 'cuz I forgot to put it into the RAR

This doesn't come from Avax. It was originally posted here. Visit this blog, is worth it.

A Colour Symphony

Introduction and Allegro Op.117

London Symphony Orchestra

directed by Sir Arthur Bliss

30 March 2012

Padre G.B.Martini: Sonate

EAC | FLAC + CUE | Covers | 376 Mb

Date CD: 15 Sep 2010 | Tactus | 58:58

The new collection entitled Sonate per l'organo e il cembalo, was issued from the presses of Della Volpe in 1747, with a dedication to Monsignor Gian Carlo Molinari. The print consists of six sonatas, and this time the instrumental destination is expressly stated by Padre Martini: the odd-numbered sonatas are intended for the harpsichord, while the even-numbered ones are written for the organ. Yet the differences are substantially of another kind: the most rigorous counterpoint has been banished and Martini’s writing is exclusively in keeping with the pleasantness and refinement of the galant style. Free rein is given to experimentation with gracious tones, animated rhythms, brief and sinuous melodic lines. Though these pieces still require remarkable agility on the part of the performer, they never stoop to mere artifice or virtuosity for its own sake. This has caused not a few scholars to turn up their noses, obtusely accustomed as they are to seeing in the Franciscan father only the unmoveable high priest of the strictest polyphony. This, despite the presence in these six sonatas of the most elaborate melodic designs and the most sprightly and seductive rhythms, all of which reveal a highly developed mastery of composition. Above all, one is struck by his vivacious imagination, the driving force behind his writing. Martini succeeds in uniting in a single coherent structure brief ideas, intimations of a thoroughly Italian cantabile line, and flashes of fiery rhythmic motifs. Here he juxtaposes elegant courtly dances against an irrepressible vivacity typical of the baroque concerto.

Ottavio Tenerani

organo e clavicembalo

Bella Ciao

Easy CD-DA | FLAC tracks | Covers | 271 Mb

Date CD: June 01, 2000 | Harmonia Mundi | 54:20

Eternal Italy.

Popular songs, work songs, love songs: here is a tour of Italy through the music of her streets. One often recognises a people in its most popular songs, and here smiles and sighs are united in tunes of an extraordinary melancholy power. Generous and unique, this performance by Giovanna Marini and her companions has become one of the indispensable recordings of our time.

This title was released for the first time in 1975.

tracklist:

1 La lizza delle Apuane

2 Bella ciao

3 Cade l'uliva

4 Gli scariolanti

5 Tutti mi dicon Maremma Maremma

6 Sciur padrun da li beli braghi bianchi

7 Stornelli mugellani

8 Stornelli Ciociari

9 Sant Antonio nel deserto

10 Lu cacciaturi Gaetano

11 Bel uselin del bosch

12 Pellegrin che vien da Roma

13 Il tragico naufragio della nave Sirio

14 Canto della Pasquetta

15 Mia mamma voeul chi fila

16 El piscinin

17 Amore, mio non piangere

18 Jolicoeur

19 In su monte Gonare

20 Porta romana bella

21 A 'ttochi, a 'ttochi

22 Partire partiro bisogna

23 O Gorizia tu sei maledetta

24 Addio a Lugano

25 Son cieco

26 La lega

27 Cade l'uliva

28 Bella ciao

29 La lizza delle Apuane

Giovanna Marini

Choeur 'Padano di Piadena'

Gaspare de Lama

Glass & Wilson: Einstein on the Beach

EAC | FLAC+CUE+LOG | Covers

4 CD | 1979 | CBS | 967 Mb

CD 1

CD 2

CD 3

CD 4

scan

Einstein on the Beach is an opera in four acts (framed and connected by five "knee plays" or intermezzos), scored and written by Philip Glass and designed and directed by theatrical producer Robert Wilson. The music was written "in the spring, summer and fall of 1975." The premiere took place on July 25, 1976, at the Avignon Festival in France. The opera contains writings by Christopher Knowles, Samuel M. Johnson and Lucinda Childs. It is Glass's first and longest opera score, taking approximately five hours in full performance without intermission; given the length, the audience is permitted to enter and leave as desired.

The work became the first in Glass' thematically-related Portrait Trilogy, along with Satyagraha (1979), and Akhnaten (1983). These three operas were described by Glass as portraits of men whose personal vision transformed the thinking of their times through the power of ideas rather than by military force. (Wikipedia)

Music of Bliss

FLAC tracks | Covers | 100 Mb

LP rip | Date: 1964 | Decca | 42:14

Grab the back cover from here 'cuz I forgot to put it into the RAR

This doesn't come from Avax. It was originally posted here. Pay this blog a visit, is worth it.

A Colour Symphony

Introduction and Allegro Op.117

London Symphony Orchestra

directed by Sir Arthur Bliss

Philip Glass: The Photographer

Classical, Soundtracks | EAC, FLACs, CUE, Log | 1 CD, Covers | 232 MB CD Date: October 25, 1990 | SONY Filevelocity - - Filefactory

Music-drama based on the scandal-filled life of the photographer Edweard Muybridge, whose motion studies of people and animals made him famous, and whose murder of his wife's alleged lover made him notorious. The Phographer utilizes drama, dance and slides of Muybridge's photographs. Act I is a 20 minute play with incidental music recounting the circumstances under which Muybridge became a murderer and his subsequent trial and aquittal. Act II is a violin solo with orchestra, accompanied by a slide show of Muybridge's photographs. Act III is a dance involving all characters.

Performer: Jack Kripl, Michael Riesman, Bob Carlisle, Robert Carlisle, Ronald Sell, et al. Conductor: Michael Riesman Composer: Philip Glass TRACKS: 1. The Photographer/"A Gentleman's Honor" (Vocal) 2. The Photographer/Act II 3. The Photographer/"A Gentleman's Honor" (Instrumental) 4. The Photographer/Act III

29 March 2012

Rossini: Colbran, The Muse

EAC | FLAC tracks, CUE | Covers | 281 Mb

Date CD: 10/06/2009 | Virgin | 71:54

Many opera fans are perfectly happy to enjoy Rossini's operas without ever visiting the facts of his personal life beyond that which can be read in a program booklet. As the old saying goes, however, behind every great man there is a woman, and in Rossini's case it was Spanish diva Isabella Colbran, whom he worshiped from afar before the two became an item around 1817 -- he was 25, she 32 -- and subsequently married in 1822. Not long after they married her voice went into sharp decline; this is documented in a number of unflattering reviews from both Italy and London. Nevertheless, this did not occur before Rossini had the chance to write his most challenging and involved roles for her, and this part of his legacy is what is explored on Virgin Classics' Colbran, the Muse.

Mezzo-soprano Joyce DiDonato is not your ordinary diva; mere months before Virgin Classics' Colbran, the Muse was released, DiDonato made the headlines when she broke her leg during a performance of Il Barbiere di Siviglia, yet finished the performance on crutches. This helped cement DiDonato's reputation as a trouper, but it is the diva -- not the trouper -- that we hear on Colbran, the Muse. While recording companies do not routinely concern themselves with exploring the legacies of singers no one can reasonably hear, to her credit DiDonato takes this project quite seriously and does her best to channel Colbran through music Rossini wrote for her. There is some controversy as to whether Colbran was a soprano or a mezzo; however, there certainly isn't anything in her music that DiDonato can't handle; moreover, she does so not only with accuracy and respect for the model but also with no small amount of sheer star power and charisma. Rossini tends to be less harder on the orchestra than on singers, and this can lead to a certain underpowered "house style" with Rossini, especially in Italy. Not so here, as Edoardo Müller and the Orchestra dell'Accademia Nazionale di Santa Cecilia approach every bar of their music with attentive dedication and a scrupulous sense of ensemble dynamics. Likewise, the chorus doesn't sound like it's in the next province, yet never covers the star of the show and is well drilled by Müller.

Virgin Classics' Colbran, the Muse is a terrific star turn for DiDonato and an especially fine tribute to an artist whose voice gave way more than 50 years before Thomas Edison developed the technological means to capture it. This quirky idea succeeds so well that opera fans might regard it as a privilege.

Is Joyce DiDonato the world's best Rossini singer?, asked the New York magazine Opera News after the American mezzo sang the finale of La Cenerentola at Carnegie Hall in January 2009. That title certainly seemed hers by sovereign right, it continued; Her phrasing was silky, her timbre rich and glowing, and her ornaments were impeccably stylish and utterly beguiling. Most impressive was DiDonato's combination of immaculate technical control with an air of wild, unstoppable joy. This was truly a moment to treasure from an artist who is at the very top of her game.

To make a recording of Rossini arias is a true dream for me, says Joyce DiDonato. His works have been hugely responsible for giving me the opportunity to break into this crazy opera world, and they have given me such incredible joy on the stage. I wanted to take this wonderful opportunity to show the wide, surprising range of his compositions. He was incredibly inspired by his wife, Isabella Colbran the reigning, supreme diva of her day and to explore some of the nine roles he wrote for her. I think it will afford wonderful insight into how a composer is inspired by a particular muse, to hear how Isabella ignited incredibly creative forces in him. She was widely hailed in her relatively short career for her incredible range not only vocal, but dramatic too and that will be evident here as we explore the heartbreaking pathos of Desdemona, the hopeful triumph of Semiramide, and the unleashed power of Armida.

tracklist:

1. Armida: D'amor Al Dolce Impero

2. La Donna Del Lago: Oh Mattutini Albori

3. La Donna Del Lago: Tanti Aaffetti In Tal Momento

4. La Donna Del Lago: Fra Il Padre, E Fra L'amante

5. Maometto II: Giusto Ciel, In Tal Periglio

6. Elisabetta, Regina D'Inghilterra: Qant'è Grato All'alma Mi

7. Semiramide: Serena I Vaghi Rai.... Bel Raggio Lusinghier

8. Semiramide: Bel Raggio Lusinghier Di Speme

9. Otello: Ah! Dagli Affanni Oppressa

10. Otello: Nessun Maggior Dolore

11. Otello: O Come Infino Al Core

12. Otello: Assisa Appiè D'un Salice

13. Otello: Deh Calma, O Ciel, Nel Sonno

16. Armida: È Ver....Gode Quest'Anima

Joyce DiDonato, Mezzo-soprano

Accademia di Santa Cecilia Chorus

Saint Cecilia Academy Orchestra

Edoardo Müller

J.S. Bach: Harpsichord Concertos [Egarr]

Easy CD-DA | FLAC tracks | Covers | 384 Mb

Date CD: 06/09/2009 | Harmonia Mundi | 66:00

Concerto for Harpsichord in D minor, BWV 1052

Concerto for Harpsichord in E major, BWV 1053

Concerto for Flute, Violin and Harpsichord in A minor, BWV 1044

Richard Egarr (Harpsichord)

Rachel Brown (Flute)

Pauline Nobes (Violin)

Academy of Ancient Music

directed by Andrew Manze

Amours, Zéphyrs & Sirènes

Easy CD-DA | FLAC tracks | Covers | 267 Mb

Date CD: 2003 | Naive | 54:56

La Turbulente are a young French group consisting of two flutes, cello, harpsichord/organ and theorbo/archlute and they were founded in 1989 by the two flute players. For this recital they trace the burgeoning independence of instrumental music. From being simply instrumental transcriptions of vocal works, instrumental pieces gradually take on a life of their own. Parallel to this development was the development of the seconda prattica, in which the text was paramount and this text was carried by a few melody lines supported harmonically as opposed to the older prima prattica which consisted of equal voices in counterpoint. This emphasis on melody and harmony meant that instrumental music could develop in its own right. Instruments could take the vocal forms and expand them rather than simply providing a sometimes unsatisfactory transcription of vocal polyphony.

The period covered by this recital was decided by the range of publications, starting with Bassano’s Ricercated, passaggi e cadentie published in Venice in 1685 and ending with Andrea Falconieri’s Primo libro di canzoni, sinfonie, fantasie printed in Naples in 1650.

As the form developed, with pieces for one or two instruments supported by chordal harmony predominating, so instrumentalists were able to begin to experiment with the deployment of virtuoso elements. In the version of the madrigal by Cipriano de Rore, ‘Ancor che col partire’, La Turbulente perform the piece with their own variations (diminutions) as would have happened at the time.

The recital is not organised in a strictly chronological manner, so once has a nice variety of types of piece and speeds. For me, the most outstanding ones were the livelier, toe-tapping numbers such as Merula’s ‘Chiacona a 3’ and Rossi’s ‘Sonata Duodecima sopra La Bergamasca’. The chaconne form (as used here by Merula) and pieces based on a dance theme (such as La Bergamasca or La Follia) are both quite common as they enable the instrumentalists to create or improvise melodic and rhythmical variations.

Also included on the disc are pieces which foreshadow the 18th century trio sonata. Cima’s ‘Sonata a tre’, which lays out two treble parts over an articulate and complex bass, is remarkable for its early date (1610).

With such a small group of instruments at their disposal, La Turbulente manage to deploy a remarkably variety of timbres and textures. The ensemble plays all these pieces in a lively and infectious manner. The flute/recorder players produce some lovely haunting tone in the slower pieces. But the combination of the temperament used, the flautists tendency to approach notes from below and their letting long notes droop, means that the tuning sometimes takes a little getting used to. But on the whole this is a highly recommendable disc.

Robert Hugill

tracklist:

Marco Uccellini: Aria decima terza Sopra "Questa Bella Sirena"

Bellerofonte Castaldi: Sonata 7 for theorbo

Tarquinio Merula: Chiaccona a 3

Girolamo Frescobaldi: Canzona No.5, basso solo, "detta la Tromboncina"

Andrea Falconieri: Gioiosa fantasia

Giovanni Bassano: Susanne un jour, diminution after Lassus

Bellerofonte Castaldi: Sonata 5 for theorbo

Salomone Rossi: Sonata No.12 sopra la Bergamasca

Giovanni Paolo Cima: Sonata a tre

Cipriano de Rore: Anchor che col partire

Giovanni Battista Buonamente: Sonata No.10 sopra Cavaletto zoppo

Girolamo Frescobaldi: Fiori Musicali, No.16, Tocata Cromaticha

Bartolome de Selma y Salaverde: Divisions on Vestiva i colli (after Palestrina)

Andrea Falconieri: Bayle de los dichos diabolos

Girolamo Frescobaldi: Canzona No.13, a due canti, "detta la Bianchina"

Salomone Rossi: Sinfonia a 3

Bellerofonte Castaldi: Ritornello primo

Giovanni Battista Buonamente: Gagliarda Decima

Andrea Falconieri: Fantasia echa para el muy reverendo Padre Falla

Andrea Falconieri: Folias (a 3) echa para mi Señora Doña Tarolilla de Carallenos

La Turbulente

Frédérique Thouvenot and Susi Möhlmeier, recorders

Claire Giardelli, cello & cello piccolo

Mirella Giardelli, keyboards

Pascal Monteilhet, theorbo & archlute

Telemann: The Cornett Cantatas

Classical | Easy CD-DA, APE, CUE, No Log | 1 CD, Covers | 290 MB CD Date: December 1, 1998 | CPO

The "cornetto" played on this CD, and in Germany almost exclusively during the Baroque era, was not the North Italian cornetto in G used by Monteverdi and played brilliantly today by Bruce Dickey and Doron Sherwin of Concerto Palatino. It was the stubby cornettino in C (with D as its lowest note), a ridiculously hard critter to play with any aplomb, about the length of an alto recorder and with a mouthpiece the size of a Dutch dime. Let me hasten to say that cornettinist Arno Paduch performs miracles, playing nicely in tune and pushing a sweet timbre through his wee beastie. The particular idiom of Italian cornetto playing, with its mesmerizing rapid ornamentation and divisional improvization, was long dead by Telemann's time, of course, and the only thing that separates Paduch's cornettino from an other obbligato instrument is its timbre, trumpet-like but softer and more vocal.

Composer: Georg Philipp Telemann Performer: Henning Voss, Mona Spägele, Wilfried Jochens, Klaus Mertens, Arno Paduch Conductor: Ludger Rémy Orchestra/Ensemble: Michaelstein Telemann Chamber Orchestra, Leipzig Wind Collegium Tracks: 01 - TWV 1:1259 - Bass Solo - Coro : 'Sehet an die Exempelt der Alten' 02 - TWV 1:1259 - Recitativo (Alto) : 'Es ist von allen keiner' 03 - TWV 1:1259 - Aria (Tenor) : 'Hofft auf den Herrn' 04 - TWV 1:1259 - Recitativo (Bass) : 'Es kommt die Hilfe zwar nicht allemal' 05 - TWV 1:1259 - Aria (Alto) : 'Die Stunde wird doch endlich schlagen' 06 - TWV 1:1259 - Recitativo (Tenor) : 'Und so soll keine Pein vermögend sein' 07 - TWV 1:1259 - Aria (Soprano) : 'Ich bleibe fest dabei' 08 - TWV 1:1259 - Chorale (S/A/T/B) : 'So sei nun, Seele, seine' 09 - TWV 1:459 - Tenor Solo : 'Erhöre mich, wenn ich rufe' 10 - TWV 1:459 - Bass Solo : 'Wahrlich, wahrlich ich sage euch' 11 - TWV 1:459 - Aria (Tenor) : 'Ich rufe Tag und Nacht' 12 - TWV 1:459 - Aria (Bass) : 'Noch keinen hat Gott je verlassen' 13 - TWV 1:459 - Recitativo (Tenor / Bass) : 'Ach! Manches hab ich' ich ja begehret' 14 - TWV 1:459 - Duet (Tenor / Bass) : 'Herr, auf Dein Wort verlaß ich mich' 15 - TWV 1:459 - Chorale (S/A/T/B) : 'Und was der ew'ge güt'ge Gott' 16 - TWV 1:840 - Tenor Solo - Coro : 'Ich halte aber dafür' 17 - TWV 1:840 - Recitativo (Alto) : 'Gewiß, die Zeiten sind schon angegangen' 18 - TWV 1:840 - Aria (Bass) : 'So will ich mich zufrieden geben' 19 - TWV 1:840 - Recitativo (Tenor) : 'Der Trost bei allen Plagen' 20 - TWV 1:840 - Aria (Alto) : 'Herr, die Kinder Deiner Knechte' 21 - TWV 1:840 - Recitativo (Bass) : 'Ihr Sünder, Gott der heil'ge Geist' 22 - TWV 1:840 - Aria (Soprano) : 'Nichts raubt mir das Herze' 23 - TWV 1:840 - Chorale (S/A/T/B) : 'Du heil'ge Brunst, süßter Trost'

28 March 2012

Mancini: Concerti da camera

Easy CD-DA | FLAC tracks | Covers | 390 Mb

Date CD: May 11, 2004 | Tactus | 71:18

This recording serves as a wonderful sound bite from Naples in the early 18th century, when it was a hotbed of far-reaching musical developments. Francesco Mancini's Concerti da camera, or chamber concertos, both register those developments and capture the excitement of that moment. They are, strictly speaking, neither solo concertos nor concerti grossi (which consist of several featured instruments against the backdrop of a larger string ensemble). Mancini drew freely from both types of concertos and also looked to opera and church music, and the resulting works show a wonderful mix of styles. The gracious slow movements owe a debt to Handel, while certain fast movements, such as the last movement of Sonata No. 10 in B-flat Major, anticipate the frothy textures of the comic operas of Pergolesi, Mancini's younger fellow Neapolitan. Featured in several of the concertos, the recorder is often given the most lyrical passages. Musica Pacifica's Judith Linsenberg breathes these melodies with a lovely, controlled tone, and is supported by a terrifically coordinated ensemble of musicians.

"This recording is a delightful collection, played with much style and aplomb, and Musica Pacifica's intonation is never less than excellent. (This is for our friend with delicate ears...)

It is a pleasure to hear this fine but unjustly neglected music getting a well-deserved airing. Highly recommended!" – The Recorder Magazine, Autumn 2002

“A thumbs up to Francesco Mancini, Concerti da Camera by Musica Pacifica, featuring elegant performances of Neapolitan baroque instrumentals from a superb, world class West Coast early music ensemble.” – Southern Voice, March 2001

tracklist:

Sonata for recorder, 2 violins & continuo No. 17 in A minor

Sonata No. 10 in B flat major

Sonata No. 20 in C minor

Concerto No. 2 in G minor

Sonata No. 19 in E minor

Sonata for recorder, 2 violins & continuo No. 6 in D minor

Sinfonia No.1 for strings and continuo in A major

Sonata No. 14 in G minor

Musica Pacifica

Brahms - Claudio Arrau

EAC | FLAC+CUE+LOG | Booklet | 1.11Gb

4 CD | September 1, 2003 | Philips

tracklist:

Disc 1

Ballad Op. 10: No. 1 in D minor

Ballad Op. 10: No. 2 in D

Ballad Op. 10: No. 3 in B minor

Ballad Op. 10: No. 4 in B

Variations and Fugue on a Theme of Handel in B flat major, Op. 24

Variations on a Theme of Paganini in A minor, Op. 35

Disc 2

Piano Sonata No. 2 in F sharp minor, Op. 2

Piano Sonata No. 3 in F minor, Op. 5

Scherzo for piano in E flat minor, Op. 4

Disc 3

Piano Concerto No. 1 in D minor, Op. 15

Disc 4

Piano Concerto No. 2 in B flat major, Op. 83

Claudio Arrau, piano

Royal Concertgebouw Orchestra

conductor: Bernard Haitink

J.S.Bach - Complete Lute Works

Easy CD-DA | FLAC tracks | Booklet | 244+224+58 Mb

2 CD | Nov 06, 1990 | Tactus | 54:00 + 51:09

CD 1

CD 2

booklet

Konrad Junghänel's repertoire covers the entire literature for lute written in the 16th, 17th and 18th centuries, and he is regarded as one of today’s best interpreters of the lute works of J.S. Bach and Sylvius Leopold Weiss. His recordings of the solo lute music of Weiss was awarded the Preis der Debutschen Schallplattenkritik in 1985.

CD1

Suite in G Minor BWV995

Suite in C Minor BWV997

Praludium in C Minor BWV999

Fuge in G Minor BWV1000

CD2

Praludium, Fuge & Allegro in E-Flat Major BWV998

Suite in E Minor BWV996

Suite in E Major BWV1006a

Mendelssohn - Songs without words

2 CD | EAC | FLAC+CUE+LOG | Booklet | 436 MB | TT 125:11

Recorded: April 1986, Seldon Hall, Haberdashers' Aske's School, Hertfordshire

Released: March 1997| Label: HYPERION

Lívia Rév (piano)

'An exceptionally discerning musician playing with unaffected sincerity and warmth of affection' (Gramophone)

Tracklist:

CD1

Lieder ohne Worte I, Op 19

1 No 1: No 1 in E major [3'44]

2 No 2: No 2 in A minor [2'06]

3 No 3: No 3 in A major [2'52]

4 No 4: No 4 in A major [1'55]

5 No 5: No 5 in F sharp minor [3'01]

6 No 6: No 6 in G minor 'Venetianisches Gondellied' [1'58]

Lieder ohne Worte II, Op 30

7 No 1: No 7 in E flat major [4'26]

8 No 2: No 8 in B flat minor [2'18]

9 No 3: No 9 in E major [2'16]

10 No 4: No 10 in B minor [2'52]

11 No 5: No 11 in D major [1'50]

12 No 6: No 12 in F sharp minor 'Venetianisches Gondellied' [3'40]

Lieder ohne Worte III, Op 38

13 No 1: No 13 in E flat major [3'03]

14 No 2: No 14 in C minor [2'15]

15 No 3: No 15 in E major [2'45]

16 No 4: No 16 in A major [2'11]

17 No 5: No 17 in A minor [2'45]

18 No 6: No 18 in A flat major [3'08]

Lieder ohne Worte IV, Op 53

19 No 1: No 19 in A flat major [3'43]

20 No 2: No 20 in E flat major [3'08]

21 No 3: No 21 in G minor [2'54]

22 No 4: No 22 in F major [2'49]

23 No 5: No 23 in A minor 'Volkslied' [3'15]

24 No 6: No 24 in A major [3'14]

CD2

Lieder ohne Worte V, Op 62

1 No 1: No 25 in G major [2'21]

2 No 2: No 26 in B flat major [2'12]

3 No 3: No 27 in E minor [3'22]

4 No 4: No 28 in G major [1'45]

5 No 5: No 29 in A minor 'Venetianisches Gondellied' [2'36]

6 No 6: No 30 in A major 'Spring Song' [2'32]

Lieder ohne Worte VI, Op 67

7 No 1: No 31 in E flat major [2'37]

8 No 2: No 32 in F sharp minor [2'46]

9 No 3: No 33 in B flat major [2'08]

10 No 4: No 34 in C major 'Spinnerlied' [1'50]

11 No 5: No 35 in B minor [2'07]

12 No 6: No 36 in E major [2'18]

Lieder ohne Worte VII, Op 85

13 No 1: No 37 in F major [2'38]

14 No 2: No 38 in A minor [1'11]

15 No 3: No 39 in E flat major [2'40]

16 No 4: No 40 in D major [2'40]

17 No 5: No 41 in A major [1'53]

18 No 6: No 42 in B flat major [2'18]

Lieder ohne Worte VIII, Op 102

19 No 1: No 43 in E minor [2'42]

20 No 2: No 44 in D major [2'37]

21 No 3: No 45 in C major [1'26]

22 No 4: No 46 in G minor [2'21]

23 No 5: No 47 in A major [1'09]

24 No 6: No 48 in C major [2'38]

25 Lied ohne Worte 'No 49', Op posth. [2'16]

27 March 2012

J.Chr. Hertel: 6 Sonatas for Violin

EAC | FLAC + CUE + LOG | Covers | 395 Mb

Date CD: 06/09/2009 | Cornetto | 70:31