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31 March 2012

R.Strauss: Four Last Songs

EAC | FLAC+CUE+LOG | Covers | 532 Mb
2 CD | September 27, 2010 | Decca | 119:27
CD 1
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...

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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)

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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

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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

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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
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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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

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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)

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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

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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
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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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
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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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

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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

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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'
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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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
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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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
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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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
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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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]
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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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
Johann Christian Hertel was a composer and string player who migrated from Bavaria to central Germany and spent much of career in Eisenach, Bach's birthplace. He was better known as a performer than as a composer; his music, now almost completely unknown and much of it lost, was never very widely diffused, and the present set of sonatas for violin and continuo was his only publication. Yet it suggests the depth of the region's musical culture in the early eighteenth century, a depth that had something to do with prosperity, certainly, but also with the convergence of multiple traditions: instrumental virtuosity, church patronage, the town musician culture that nurtured Bach's talent. This is an intriguing set of violin sonatas in the Italian sonata da chiesa (church sonata) format, with four movements in some version of a slow-fast-slow-fast configuration. Hertel varies this enjoyably, substituting dance movements for the finale and offering slow movements of various types. The violin writing is dense rather than fancy in the Corelli mode; despite an overall light mood it works in a good deal of counterpoint, which may involve the violin itself (as in the unusual fugue in the Violin Sonata No. 6 in A major, track 22) or a distinctive kind of interplay with the continuo. The continuo group here, with cello, harpsichord, and either archlute or theorbo, is unusually resonant, with an intriguing variety of sounds. Several of the slow movements are set off with pizzicato textures. A strong group of young British and German musicians, headed by the emerging Baroque violinist and ensemble leader Rachel Harris, delivers lively, sensitive performances. Spacious sound, recorded in a church, overdoes the resonance of the large group and robs the music of the pleasant intimacy it naturally contains, but this is an intriguing find for Baroque violin fans, not derivative of the style of any other composer. ~ James Manheim, Rovi
Sonata for violin & continuo No. 1 in F major, Op. 1
Sonata for violin & continuo No. 2 in C major, Op. 1
Sonata for violin & continuo No. 3 in C minor, Op. 1
Sonata for violin & continuo No. 4 in G minor, Op. 1
Sonata for violin & continuo No. 5 in E major, Op. 1
Sonata for violin & continuo No. 6 in A major, Op. 1
Rachel Harris, violin
Andrea C. Baur, archlute & theorbo
Melanie Beck, cello
Jennifer Harris, cembalo
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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J.S.Bach: La Chair et l'Esprit

Easy CD-DA | FLAC tracks | Booklet | 2.56Gb
Date CD: October, 2011 | Alpha | 6 CD
The missing page from the booklet is here:
http://img23.imageshack.us/img23/1/scan07b.jpg
La chair et l'esprit
Earthly and divine
200 pages colour book + 6 CD’s
Our idea in presenting this set of CDs with its accompanying book was to propose a hedonistic experience, centred on Johann Sebastian Bach, and including a rich array of texts, music and illustrations, sources above all of pleasure for the music lover. And this, not with any instructive aim, but rather as an invitation to rediscover Bach, the man and the musician; perhaps also to break with the austere, neo-Romantic image that still survives today.
These six discs, bringing together a variety of performances and instrumentations, make no claim to represent a definitive view of Bach’s works; this explains, for example, why some are present in several ‘forms’, while others are absent.
It is our hope that everyone will savour the sensuality, spirituality and sheer genius of Johann Sebastian Bach!
Authors : Gilles Cantagrel, François Lazarevitch, Céline Frisch, Pablo Valetti, Bruno Cocset, Lucille Boulanger, Arnaud de Pasquale, Benjamin Alard.
Soloists : Gustav Leonhardt, Bruno Cocset, Dmitry Badiarov, Hélène Schmitt, Pablo Valetti, Céline Frisch, Lucille Boulanger, Arnaud de Pasquale, Pascal Monteilhet, Edin Karamazov, Yves Rechsteiner, Blandine Rannou, Elisabeth Joyé, Jocelyne Cuiller, Benjamin Alard, Bernard Foccroulle, Francis Jacob, Andrei Vieru, Raphaël Imbert, Koen Plaetinck, Raphaël Oleg, Jean-Marc Fabiano, Vincent Dubois, Salomé Haller, James Bowman, Damien Guillon, Gérard Lesne, Robin Blaze…
Ensembles : Café Zimmermann, Pygmalion, Les Basses Réunies, Les Chantres du Centre de Musique Baroque de Versailles, Akadêmia, La Chapelle Rhénane, Ricercar Consort, Quatuor Manfred.
Disque I – Cordes frottées
Alpha 029 – 6 Suites a Violoncello Solo senza Basso
Suite n°1 en sol majeur, BWV1007
Bruno Cocset, Violoncelle d'après Gasparo Da Salo, Charles Riché, 2000
1 Prélude 2’04
2 Allemande 4’17
Ram1003 – Cello Suites
Suite n°1 en sol majeur, BWV1007
Dmitry Badiarov, violoncello da spala
3 Courante 2’48
4 Sarabande 2’52
Alpha 139 – Sonates BWV 1027-1029, Chorals & Trios
Sonate en sol mineur, BWV1029
Bruno Cocset, grande basse de violon en sol "a la bastarda" d'après Amati, Charles Riché, 2002 ; Bertrand Cuiller, clavecin italien, Philippe Humeau, 2002
5 vivace 4’59
6 adagio 4’23
7 allegro 3’28
Alpha 082 - Sei Solo a Violino senza Basso accompagnato – I
Partita n° 2, BWV 1004
Hélène Schmitt, violon Camillo Camilli (tout début XVIIIe siècle)
8 Ciaccona 13’53
Alpha 008 – Pièces pour violon & basse continue
Sonate pour violon & basse continue en mi mineur, BWV 1023
Hélène Schmitt (violon), Alain Gervreau (violoncelle), Jan Willem Jansen (clavecin flamand Matthias Griewisch d’après Rückers)
9 1’14
10 Adagio ma non tanto 3’39
11 Allemanda 4’31
12 Gigue 2’56
Alpha 060 – Sei Suonate à Cembalo certato è Violino solo
Sonate III en mi majeur, BWV 1016
Pablo Valetti (violon Giovani Battista Guadagnini, Milan, 1751), Céline Frisch (clavecin allemand realisé par Anthony Sidey et Frédéric Bal); Sonate III en mi majeur, BWV 1016
13 Adagio 3’43
14 Allegro 2’53
15 Adagio ma non tanto 5’13
16 Allegro 3’29
Alpha 161 (à paraître) – Sonates pour viole de gambe et clavecin
Sonate pour viole de gambe en ré majeur BWV 1028
Lucille Boulanger (viole de gambe), Arnaud de Pasquale (clavecin Silbermann, copie réalisée par Philippe Humeau)
17 Adagio 1’59
18 Allegro moderato 4’16
Temps Total : 73’10
Disque II – Cordes pincées (& cordes frappées)
ZZT020901 – Suites pour violoncelle BWV 1010 à BWV 1012
Suite n° 6 en ré majeur BWV1012, luth théorbé de Stephen Murphy
Pascal Monteilhet
1 Prélude 4’34
2 Gigue 4’22
Alpha 056 – Britten – Bach
Sei solo a violino, Partita n°2, BWV 1004
Edin Karamazov, luth théorbé de Nico van der Waals
3 Sarabanda 4’34
4 Giga 4’26
Alpha 027 – Fantasia Cromatica, sonates & transcriptions
Yves Rechsteiner, clavecin à pédalier de Nicolas Macheret
5 Ciaccona (Partita n°2, BWV 1004) 9’52
6 Adagio (Toccata BWV 564) 2’50
Alpha 014 – Variations Goldberg
Céline Frisch, clavecin allemand realisé par Anthony Sidey et Frédéric Bal
7 Aria 3’52
8 Variation 1 2’06
ZZT 2020401.2 – Suites pour le clavessin (Suites Françaises)
Suite n°5 en sol majeur, BWV 816
Blandine Rannou, clavecin flamand Ruckers ravalé par Hemsch, copie réalisée par Anthony Sidey et Frédéric Bal
9 Allemande 4’11
10 Courante 1’50
11 Loure 2’22
12 Gigue 3’20
ZZT030401 – Suites Anglaises
Suite n°3 en sol mineur, BWV 808
Suite no 3 en sol mineur
Blandine Rannou, clavecin flamand Ruckers ravalé par Hemsch, copie réalisée par Anthony Sidey et Frédéric Bal
13 Prélude 3’38
14 Sarabande 4’11
15 Gavotte 1, Gavotte 2 (Musette) 3’04
Alpha 034 – Inventions & Sinfonies
Elisabeth Joyé, clavecin Carl Conrad Fleischer, copie réalisée par Philippe Humeau
16 Inventio 15 en si mineur, BWV 786 1’37
17 Sinfonia 15 en si mineur, BWV 801 1’38
Fuga 508 – O süsser Clavicord
Jocelyne Cuiller, clavicorde lié réalisé par Patrick Chevalier (d’après C.G. Hubert, 1785)
18 Fantasia en la mineur, BWV 922 6’20
Alpha 157 – Clavier Übung – I
Partita 1 in c moll, BWV 826
Benjamin Alard, clavecin allemand realisé par Anthony Sidey et Frédéric Bal
19 Sinfonia 4’39
20 Capriccio 4’11
Temps Total : 77’43
Disque III – Du clavecin à l’orgue
Alpha 042 – Bach, Bull, Byd, Gibbons, Hassler, Pachelbel, Ritter, Strogers
Gustav Leonhardt, clavecin allemand realisé par Anthony Sidey et Frédéric Bal
1 Fantasia, BWV 1121 2’47
2 Aria variata, BWV 989 15’17
Alpha 180 – Clacier übung II
Concerto nach Italiaenischen Gusto, BWV 971
Benjamin Alard, clavecin allemand realisé par Anthony Sidey et Frédéric Bal
3 -NN- ( supprimer-NN-) 4’29
Alpha 149 – Die Quellen des junghen Bach
Céline Frisch, clavecin allemand realisé par Anthony Sidey et Frédéric Bal
4 Toccata en mi mineur, BWV 914 7’20
RAM0903 - Johann Sebastian Bach, Toccatas
Léon Berben, orgue Galtus von Hagerbeer/Franz Caspar Schnitger, Alkmaar 1646/1725
5 Toccata & Fugue en ré mineur, BWV 565 8’55
RIC 289/X – Johann Sebastian Bach, Toccaten & Fantasien für Orgel
Konzert a-moll BWV 593 (nach Antonio Vivaldi, Concerto Op. 3/8 (L’Estro Armonico)
Bernard Foccroulle, Bielfeldt Orgel der Wilhadikirche in Stade
6 (Allegro) 4’02
7 Adagio 3’44
8 Allegro 4’05
Alpha 152 – Sonate a 2 Clav. & Pedal. BWV 525 – 530
Sonata 3, ré mineur, BWV 527
Benjamin Alard, orgue Bernard Aubertin de Saint-Louis en l’Île (Paris), 2005
9 Andante 5’32
10 Adagia e dolce 3’41
11 Vivace 4’30
Temps Total : 64’15
Disque IV – Grands effectifs profanes
Alpha 013 – Concerts avec plusieurs instruments – I
5ème Concert Brandebourgeois en ré majeur, BWV 1050
Café Zimmermann, Céline Frisch (clavecin allemand réalisé par Philippe Humeau)
1 Allegro 9’42
2 Affettuoso 5’01
3 Allegro 5’12
Alpha 118 – Weltliche Kantaten BWV 30a & 207
Angenehmes Wiederau, BWV 30a
Monika Frimmer (soprano), Robin Blaze (alto), Markus Schäfer (ténor), Stephan MacLeod (basse)
Les Chantres du Centre de Musique Baroque de Versailles
Café Zimmermann
Gustav Leonhardt
4 Recitativo 0’56
5 Aria (Basse) 4’27
6 Recitativo 0’38
7 Aria (alto) 5’15
Alpha 168 - Concerts avec plusieurs instruments – VI
Concerto pour clavecin en fa mineur, BWV 1056
Café Zimmermann, Céline Frisch (clavecin allemand réalisé par Philippe Humeau)
8 Allegro 3’06
9 Adagio 2’43
10 Presto 3’11
Alpha 137 – Concerts avec plusieurs instruments – IV
Concerto pour flûte (Michael Form), violon (Pablo Valetti), clavecin (Céline Frisch) & cordes, BWV 1044
Café Zimmermann
11 Allegro 7’56
12 Adagio ma non tanto e dolce 4’55
13 Tempo di Allabreve 6’10
Alpha 168 - Concerts avec plusieurs instruments – VI
Ouverture n°3 en ré majeur BWV 1068
Café Zimmermann
14 Ouverture 9’33
15 Air 3’32
16 Gavottes I & II 3’55
17 Bourrée 1’06
18 Gigue 2’33
Temps Total : 79’53
Disque V – Musique sacrée
Alpha 130 – Missae Breves BWV 234 & 235
Motet Der Gerecht Kommt um (Bach/Kuhnau)
Pygmalion, Raphaël Pichon
1 Motet Der Gerecht Kommt um 6’24
ZZT090102 – Cantates
Kantate Weinen, Klagen, Sorgen, Zagen, BWV12
Veronika Winter (soprano), Damien Guillon (alto), Marcel Beekman (ténor), Benoît Arnould (baryton)
Akadêmia, Françoise Lasserre
2 Sinfonia 2’31
3 Recitativo, Wir müssen durch… 0’44
4 Aria (alto), Kreuz und Kron sind verbunden 5’52
ZZT100301.2 – Passio Secundum Johannem
La Chapelle Rhénane, Benoît Haller - Parte Prima, BWV 245 (à vérifier avec Gilles)
5 Chorus , Herr, unser Herrscher, dessen Ruhm 9’26
6 Aria (Julien Freymuth, Alto) Von den Stricken meiner Sünden 4’45
7 Evangelista Simon Petrus aber folgete Jesu Nach und ein ander Jünger 0’14
8 Aria (Salomé Haller, Soprano), Ich folge dir gleichfalls mit freudigen Schritten 3’37
Alpha 042 – Bach, Bull, Byd, Gibbons, Hassler, Pachelbel, Ritter, Strogers
Gustav Leonhardt, clavecin allemand réalisé par Anthony Sidey et Frédéric Bal
9 Partite sopra O Gott, du frommer Gott, BWV 767 15’31
Alpha 170 – Missae Breves BWV 233 & 236
Missa Brevis en fa majeur, BWV 233
Pygmalion, Raphaël Pichon
10 Gloria 5’12
11 Domine Deus (Christian Immler, basse) 3’18
12 Qui tollis (Eugénie Warnier, soprano) 4’46
Alpha 139 – Sonates BWV 1027-1029, Chorals & Trios
Bruno Cocset, alto "a la bastarda" d'après un tableau de Bartolomeo Bettera, Charles Riché, 2006, et ténor de violon "a la bastarda" d'après Amati, Charles Riché, 2003 (enregistré en re-recording) – à vérifier
Bertrand Cuiller, orgue positif, Jean François Mingot, Manufacture d'orgues de Lausanne
Richard Myron , contrebasse Dominicus Busan, Venise 1743
13 Wachet auf, ruft uns die Stimme, BWV 645 3’09
ZZT(HM63*2) – Bach, pièces pour orgue
Francis Jacob, orgue Bernard Aubertin de Saessolsheim ; Caroline Magalhaes, soprano
14 Christ lag in Todesbanden, BWV695 (orgue) 3’15
15 Christ lag in Todesbanden (chanté) 1’23
Ric295 – Johann Sebastian Bach, Aus der Tiefe
Aus der Tiefe BWV131
Greta de Reyghere (soprano), James Bowman (contre-ténor), Guy de Mey (Ténor), Maw van Egmond (basse)
Ricercar Consort
16 Coro : Aus der Tiefe rufe ich
Aria (basse) : So du willst Herr
& Choral : Erbarme dich mein 9’20
Temps Total : 79’34
Disque VI – « Open Bach »
FUG581 – Johann Sebastian Bach, Notenbüchlein
Koen Plaetinck (marimba)
1 Menuet, BWV 115 2’12
2 Musette, BWV 126 1’24
Alpha 087 – Das Wohltemperierte Clavier – I
Andrei Vieru, piano
3-4 Prélude & Fugue en mi bémol mineur, BWV 853 10’07
FUG601 – Ein musikalisches Opfer “revisited”, J.S. Bach
Ein musikalisches Opfer, BWV 1079/Thematis Regii Elaborationes Canonicae
Thomas Dieltjens, piano, orgue, clavecin ; Wibert Aerts, violon ; Martijn Vink, violoncelle ; Toon Fret, flute, flute basse, flute alto ; Benjamin Dieltjens, clarinette & clarinette basse
5 Canon a 2 Violini in unisono “Concerto grosso” 0’45
6 Canon a 2, per Motum contrarium “Aeolian” 0’54
7 Canon a 2, per Augmentationem, contrario Motu “Tzigane” 1’17
ZZT080101 – Bach/Coltrane
Raphaël Imbert (saxophones, clarinette & direction); André Rossi (orgue Jean Daldosso de Bouc Bel Air); Jean-Luc di Fraya (percussions & voix); Michel Péres (contrebasse)
Quatuor Manfred (Marie Béreau & Luigi Vecchioni (violons); Vinciane Boulanger (alto); Christian Wolf (violoncelle)
Art de la fugue, BWV 1080
8 1er Contrepoint et improvisation de Raphaël Imbert 3’22
9 9eme contrepoint 2’42
Concerto pour clavier, BWV 1056
10 Largo 2’35
11 Improvisation de Raphaël Imbert 2’38
12 Jesu meine Freude BWV 227 6’08
Cantate “Vernügte Ruh, beliebte Seelenlust, BWV 170
13 1er air, avec la participation exceptionnelle de Gérard Lesne 5’44
Alpha 126 - Johann Sebastian Bach, Entre Parodies & transcriptions
Raphaël Oleg, orgue Jean-Daldosso de Guignicourt (Aisne)
14 Sinfonia de la Cantate BWV146
(Transcription de Marcel Dupré) 8’07
ZZT 030601 – Vague à lames
Partita n° 2, BWV 1004
Jean-Marc Fabiano, accordéon
15 Ciaccona (Transcription Ferrucio Busoni) 17’
Temps Total : 65’12

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