29 November 2012

In Musica Vivarte (1991 selection)

Easy CD-DA | FLAC tracks | Covers | 370 Mb

Date CD: december 6, 1991 | Sony | 76:23

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1 - Danielis prophetia
2 - In dulci iubilo
3 - Brumel - Gloria: Qui tollis peccata mundi
4 - Mateo Flecha - La Justa: Para ti la quiero
5 - Schutz - Beschluß
6 - Bach - Gavotte en rondeau
7 - Bach - Chorus "Auf, schmetternde Töne"
8 - Bach - Aria "Hört doch! Der sanften Flöten Chor"
9 - Bach - Sonata III in G minor, BWV 1029 - I. Vivace
10 - Gazzaniga - Don Giovanni. Scene 7. Duetto "Dell'Italia, ed Alemagna"
11 - Mozart - Don Giovanni (overture)
12 - Mozart - Grande sestetto concertante, after K. 364 III. Presto
13 - Mozart - Symphonie in D major, K. 320 ("Posthorn" serenade). III. Presto
14 - Schubert - Symphony No. 6 in C major D 589. IV. Allegro
15 - Schubert - String Quintet in C major D 956. II. Adagio

Anner Bylsma
Bob van Asperen
The Classical Band
Bruno Weil
Huelgas Ensemble
Paul van Nevel
Kammerchor Stuttgart
Frieder Bernius
Lutz Kirchhof
Niederaltaicher Scholaren
Konrad Ruhland
jeanne Lamon


Wagner: Parsifal [Knappertsbusch]

Unknown rip | FLAC tracks | Cover | 1.19 Gb

Date CD: October 30, 2001 | Philips | 4 CD

CD 1
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CD 1 track 9
(if you downloaded CD 1 before
november 29 you'll need it!)
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CD 2
CD 4

"Knappertsbusch's expansive and dedicated 1962 reading is caught superbly in the Philips set, arguably the finest live recording ever made in the Festspeilhaus at Bayreuth, with outstanding singing from Jess Thomas as Parsifal and Hans Hotter as Gurnemanz...its spiritual quality and the sound has undoubtedly been further enhanced in the remastering for CD."--The Penguin Guide to Compact Discs

"This is not merely one of Philips's Great Recordings but also one of the greatest sets of all time. Every time one returns to it, its inspiration and distinction seem to have been enhanced, its all-enveloping eloquence the more evident. Its overriding advantage over all other recordings of the work is Knappertsbusch's masterly traversal of the score, even more aware of dramatic impetus, long line and Wagnerian import...There have been much-admired Parsifals in more recent times but none of these studio-made sets quite catches the immediacy and inevitability of this moving and elevated version, now sounding freshened in its remastered form. At mid-price, a very special experience is in store for any newcomer to the work."--Gramophone


Chor und Orchester der Bayreuther Festspiele
Hans Knappertsbusch, conductor

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


27 November 2012

Luca Marenzio: Madrigali

Easy CD-DA | FLAC tracks | Covers | 355 Mb

Date CD: july, 2003 | Opus 111 | 73:41

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Italian Renaissance composer Luca Marenzio was internationally recognized as the leading composer of madrigals at the height of his career, in the last two decades of the 16th century. He was so popular (and the sales of his music so lucrative) that within years of his death, both Flemish and German publishers had issued volumes of his complete five- and six-part madrigals, an honor almost unheard of at the time. Marenzio's madrigals, while anticipating the songlike lyricism of monody that would come to dominate vocal music of the early Baroque, made full use of the textural and expressive qualities of Renaissance polyphony. His music was not quite as adventurous as Gesualdo's, but it still pushed at the harmonic conventions of the time in order to draw out the emotion of the texts with the maximum expressivity. Palestrina, the paragon of polyphonic correctness, is known to have despised Marenzio for placing expressive content above the rules of proper counterpoint.

Marenzio wrote over 400 madrigals, and this collection includes a sampling of 28, written during the composer's most fruitful period, between 1580 and his death in 1599. Five- and six-part madrigals are represented, some a cappella and some accompanied, and there are several instrumental arrangements of the works made by composers of Marenzio's generation. Using texts by a variety of poets, they are remarkable for the emotional depth and inventiveness of the text setting, the sure handling of harmonies that are sometimes vertiginously chromatic, and their expressive range. The majority are melancholy meditations on lost love, but Marenzio finds infinite ways to express anguished intensity. Rinaldo Alessandrini leads six singers and a small instrumental ensemble of Concerto Italiano in impassioned performances. The singers have distinctive, lovely voices, and each sings with warmth and transparent expressiveness, but at the same time, their blend is gorgeously rich and smooth, an ideal combination for these madrigals. Opus 111's sound is immaculate and wonderfully present. The CD should be of strong interest to fans of Renaissance vocal music and superlative ensemble singing.

by Stephen Eddins 


   1 - Basciami mille volte a 5 
   2 - Satiati Amor, ch'a piu dogliosi amante a 6 
   3 - Dolorosi martir, fieri tormenti a 5 
   4 - Ne fero sdegno mai,Donna, mi mosse [prima parte] 
   5 - Talche dovunque vo, tutte repente [seconda parte] a 6 
   6 - Liquide perle Amor, da gl'occhi sparse a 5 
   7 - Liquide perle Amor, da gl'occhi sparse diminuito per liuto 
   8 - Vaghi e lieti fanciulli a 6 
   9 - Deh rinforzate il vostro largo pianto a 6 
  10 - Donne il celeste lume a 9 
  11 - Udite lagrimosi Spirti d'averno, udite a 5 
  12 - La dove sono i pargoletti Amori a 6 
  13 - E s'io mi doglio, Amor a 6 
  14 - Fuggi speme mia, fuggi a 6 
  15 - Tirsi volea [prima parte] 
  16 - Freno tirsi il desio [seconda parte] 
  17 - Cosi moriro i fortunati amanti a 5 [terza parte] 
  18 - Tirsi morir volea diminuito per cembalo 
  19 - Consumando mi vo di piaggia in piaggia a 5 
  20 - O verdi selv'o dolci fonti e rivi a 6 
  21 - Caro Aminta pur voi [prima parte] 
  22 - Non puo Filli piu [seconda parte] a due voci in dialogo a 6 
  23 - Cruda Amarilli [prima parte] 
  24 - a grideran per me le piagge [seconda parte] a 5 
  25 - Per duo coralli ardenti a 6 
  26 - Cosi nel mio parlar vogl'esser aspro [prima parte] 
  27 - Et ella anide, e non val c'huom si chiuda a 5 voci [seconda parte] 

Concerto Italiano
Rinaldo Alessandrini 

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


26 November 2012

Vanessa Perez: Chopin - The Complete Preludes

EAC | FLAC tracks + CUE| Cover | 234 Mb
Date CD: May 8, 2012 | Telarc | 65:57

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The Venezuelan-American pianist Vanessa Perez "returns home" with a recording of Chopin's Preludes. "The idea of recording all the Chopin Preludes came to me one night as I was playing them at home this past January," said Perez from her home in New Jersey. "Chopin brings me back to my childhood [in Venezuela]. It connects me to every possible emotion, and to so many memories. It is music I have always loved, and that reminds me how truly blessed I am to be a pianist."

"As we listen to Chopin's music, we are convinced that we hear a powerful narrative drama," read the CD booklet notes for this release of Chopin's preludes by Venezuelan pianist Vanessa Perez. Perez did not write the booklet notes, but they seem to reflect her approach to the preludes, for which "narrative" is not normally the first word that would come to mind. Trained mostly in the U.S., Perez is not a product of Venezuela's famed Sistema music education system, but her fiery, fearless preludes she matches the fresh, charismatic readings that have been coming from other Venezuelan musicians. The album is unorthodox at both the micro and macro levels. Consider the opening shot, the Prelude in C major, Op. 28, No. 1, where the usually dreamy, lyrical melody with which the piece trails off turns into a sort of ominous mutter. Perez takes it from there with intense contrasts, unusual although not unheard-of tempo extremes, and in general rethinkings of almost all of the famous preludes. This is welcome in the case of chestnuts like the Prelude in C minor, Op. 28, No. 20, where Perez plays down the funeral-march aspect with a slow tempo that turns the piece into a much more more personal piece of tragedy. She leaves little space between the individual preludes, and the overall effect is indeed to produce one large narrative. The average listener will probably find that some stages of this work better than others, and that injustice is being done to Chopin's conceptions at times, but the album is certainly not dull, and Chopin collectors will want it on their shelves and hard drives. Telarc's sound, which picks up what seem to be foot taps from Perez, is as intense and almost confrontational as her playing.


1. 24 Preludes, Op. 28, No. 1 Agitato - C major
2. 24 Preludes, Op. 28, No. 2 Lento - A minor
3. 24 Preludes, Op. 28, No. 3 Vivace - G major
4. 24 Preludes, Op. 28, No. 4 Largo - E minor
5. 24 Preludes, Op. 28, No. 5 Molto allegro - D major
6. 24 Preludes, Op. 28, No. 6 Lento allegro - B minor
7. 24 Preludes, Op. 28, No. 7 Andantino - A major
8. 24 Preludes, Op. 28, No. 8 Molto allegro - F-sharp minor
9. 24 Preludes, Op. 28, No. 9 Largo - E minor
10. 24 Preludes, Op. 28, No. 10 Molto allegro - C-sharp minor
11. 24 Preludes, Op. 28, No. 11 Vivace - E major
12. 24 Preludes, Op. 28, No. 12 Presto - G-sharp minor
13. 24 Preludes, Op. 28, No. 13 Lento - F-sharp major
14. 24 Preludes, Op. 28, No. 14 Allegro - E-sharp minor
15. 24 Preludes, Op. 28, No. 15 Sostenuto - D-flat major
16. 24 Preludes, Op. 28, No. 16 Presto con fuoco - B-flat minor
17. 24 Preludes, Op. 28, No. 17 Allegretto - A-flat major
18. 24 Preludes, Op. 28, No. 18 Molto allegro - F minor
19. 24 Preludes, Op. 28, No. 19 Vivace - E-flat minor
20. 24 Preludes, Op. 28, No. 20 Largo - C minor
21. 24 Preludes, Op. 28, No. 21 Cantabile - B-flat major
22. 24 Preludes, Op. 28, No. 22 Molto agitato - G minor
23. 24 Preludes, Op. 28, No. 23 Moderato - F major
24. 24 Preludes, Op. 28, No. 24 Allegro appassionato - D minor
25. Prelude in C-sharp major (Sostenuto) Op. 45
26. Prelude No. 26 in A-flat major op. posth. (Presto con Leggierezza)
27. Barcarolle in F-sharp major Op. 60
28. Fantasie in F minor Op. 49

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


24 November 2012

Puccini: Tosca [Davis]

EAC | APE + CUE | Cover | 540 Mb

Date CD: 10/31/2006 | Pentatone | 119:00

CD 1
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CD 2
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This recording was made in the summer of 1976, in London, and was received with mixed reactions when it first came out. One of its problems was, and remains, the existence of one of the phonograph’s true classics, the first Callas Tosca for EMI, a recording that is virtually unchallenged as the Tosca to have if you’re having only one. Then, for those who have trouble responding to Callas’s voice, there are a number of other alternatives with both great singing and plenty of temperament.

Montserrat Caballé was frequently criticized during her career for producing beautiful tone without variety of color or dramatic involvement. Truth to tell, this criticism was always facile and frequently wrong-headed. There is nothing inherently wrong with beautiful singing, and contrary to what some believe it does not always imply the absence of theatrical qualities. Caballé could, when properly inspired by her surroundings, give performances of great dramatic intensity and conviction. They may have lacked the remarkable range of color and subtlety of a Callas—but then again, so did the work of just about every other soprano of the 20th century. Caballé here is convincing—not as fiery and impassioned as Callas to be sure, but at no point do we feel we are listening to a soprano who doesn’t care about text or dramatic situation. Hers is a gloriously sung and deeply felt Tosca, and it is doubtful that you will ever encounter a more stunning rendition of “Vissi d’arte.”

In 1976, Carreras was in his prime, and he sings with beauty of tone and dramatic force. The role is one size too big for him, and it was singing roles like this that began to wear on the voice soon enough, but as we hear it here, this is a performance on the level of the best (which are Di Stefano and Bergonzi, at least in this lyrical vein). I prefer a more Italianate sound and style for Scarpia (Gobbi, of course, but even the Americans Warren and Milnes managed it brilliantly); Wixell is more in the Fischer-Dieskau mode, though there is a bit more ping to the Wixell voice. This is an intelligent, menacing Scarpia, and he and Caballé are very deeply engaged with each other throughout their big scene in the second act.

Colin Davis conducts with elegance, clarity, rhythmic precision, and a sure sense of tempo relationships. This isn’t the blazing conducting of De Sabata on that first Callas set, nor of Mehta or Karajan, both of whom propel Leontyne Price on two different recordings. But it is a valid approach to the score—vividly giving us Puccini’s masterly orchestration, warmly phrasing the melodic line, and never letting the drama flag.

PentaTone has gone back to Philips’s original eight track master tape for this reissue. It plays in regular stereo or surround SACD sound—and I only heard the former. In fact, I compared the stereo sound with my LP originals, and found this more satisfying. The original LP set was fine, but just a bit lacking in clarity and detail; the stereo version of this set balanced warmth and clarity perfectly. Fairly simple notes and a multilingual libretto are provided. As you might be able to tell from this review, I enjoyed hearing this set again (after many years) more than I expected to, and wouldn’t be surprised if that were your reaction as well.

FANFARE: Henry Fogel 


Colin Davis, conductor
Montserrat Caballé ( Tosca )
José Carreras ( Cavaradossi )
Ingvar Wixell ( Scarpia )
Royal Opera House
Covent Garden Orchestra & Choir

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


23 November 2012

Hasse - Reloaded - Valer Barna-Sabadus

EAC | FLAC + CUE | Covers | 289 Mb
Date CD: February 24, 2012 | Oehms | 62:24

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Barna-Sabadus devotes this entire CD to the music of Johann Adolph Hasse (1699 - 1783), an 18th-century German composer, singer and teacher of music. Immensely popular in his time, Hasse was best known for his prolific operatic output, though he also composed a considerable quantity of sacred music. Hasse was a pivotal figure in the development of opera seria and 18th-century music. For this recital Barna-Sabadus is joined with the Munich Court Orchestra conducted by Michael Hofstetter and the works are form three of Hasse's operas. 


1 - Didone abbandonata- Sinfonia
2 - Didone abbandonata- Aria 'Tu mi disarmi il fianco'
3 - Didone abbandonata- Aria 'Leon ch' errando vada'
4 - Didone abbandonata- Aria 'Chiama mi pur cosi'
5 - Didone abbandonata- Aria 'Cadra fra poco in cenere'
6 - La Gelosia- Rec. 'Perdono, amata Nice'
7 - La Gelosia- Aria 'Bei labbri che Amore'
8 - La Gelosia- Rec. 'Son reo, son reo, non mi difendo'
9 - La Gelosia- Aria 'Giura il nocchier che al mare'
10 - Artaserse- Aria 'Or la nube procellosa' 

Valer Barna-Sabadus: countertenor
Munich Court Orchestra
conducted by Michael Hofstetter

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


22 November 2012

Florence Foster Jenkins & Friends: Murder on the High Cs

Easy CD-DA | FLAC tracks | Covers | 175 Mb
Date CD: September 23, 2003 | Naxos | 60:10

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The review of mr. Pollock, who rated this product only one star, got me thinking. Yes, I like a good laugh as much as the rest of you and yes: Mrs. Florence Foster Jenkins's musical offerings are so g*dawful bad it is almost unbelievably funny but....
But there is also the fact that the gormless creature herself apparently sincerely and steadfastly believed she possessed loads of talent! She really was convinced that she was Maria Malibran, Giuditta Pasta, Jenny Lind and Dame Nellie Melba, all rolled into one.
It seems she truly and honestly never noticed or even suspected how cruelly her leg was being pulled by her "adoring audience". Tickets to her few annual "recitals" in the foyer of the New York Ritz hotel were highly sought after.

This fact makes always makes me a bit uncomfortable when listening to Mrs. FFJ. On the one hand I can't help wincing and laughing to myself at her preposterous attempts at "diva-dom" and yet there's also that ever so slight frisson of guilty embarrassment of laughing at someone behind his, or in this case her, back. Which mostly isn't actually all that funny, but rather cheap and easy.

Someone close Mrs. FFJ ought off course to have had the balls to tell her to stop making such a silly spectacle exhibition of herself. No one ever did and she happily lived on in her self-created and self-funded (thanks to inheriting a whopping great fortune) charade. It must have been very drôle to hear her and to watch her, for during her recitals this portly and middle-aged lady dressed up in the most incredibly stereotypical and over-the-top Opera costumes. The audience was treated to a parade of fantastic, beached whale-like Carmens, Brunhildes, Queens-of-the-Night-from-the-Magic-Flute, Greek godesses, Vestal virgins, Warrior Queens and so on, complete with sceptres, crowns, tiaras, spears, shields and swords and horned helmets.

Still, I do wonder: didn't anyone in the audience find it the slightest bit painful or embarrassing, to make fun of the silly old moo?
On the other hand, she was fully compos mentis and willingly chose to make such a caricature of herself for more than 30 years. She payed it all out of her own money and she did nobody any harm with it. Indeed, the proceeds of her appearances were generously donated to various good causes, along with hefty amounts of her own money!!
In the end one has to admit that mrs. FFJ did what few of us can do or dare to do: she lived out her dream of being a diva. Good for her!

Mrs. FFJ reminds me of those characters the great Margaret Dumont used to play in those 30s and 40s Marx Brothers films, you know the type: the rather stout, benign, rich, none too bright, hoity-toity dowager and socialite, who falls victim to the most relentless piss-taking by Groucho, Chico, Harpo, Sleepy, Dopey, Doc and Bashful.

So enjoy this but spare a thought for Mrs. FFJ. People applauded her in her face, but laughed at her behind her back. Not very nice that. I deducted one star for that. 

S. A. Kuipers (Groningen, Netherlands - Amazon) 


Mozart - Queen of the Night Aria 
McMoon - Serenata Mexicana
Liadov - Musical Snuff Box
Like a Bird
Delibes - Lakme: Bell Song
David, Felicien - La perle du Bresil: Charmant oiseau, "Couplets du Mysoli"
Strauss II - Die Fledermaus: Adele's Laughing Song
Bach - Biassy (Prelude XVI) 
McMoon - Valse Caressante
Diack - Little Jack Horner
Malotte - Sing a Song of Sixpence
Geehl/Strauss II - An der schonen, blauen Donau
Brent - The Little Old State of Texa
Romberg - Up in Central Park: The Fireman's Bride
Styne, Jule - The Song's Gotta Come from the Heart
Barnett - A Real Piano Player
Fain - Thrill of a Romance: Please Don't Say No


21 November 2012

Jacopo da Bologna - Madrigali e Cacce

EAC | APE + CUE | Covers | 355 Mb

Date CD: May 21, 2009 | Arcana | 59:14

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Jacopo da Bologna is one of the earliest polyphonic composers about whom we sort of know something. We have his portrait in the form of a miniature, which reveals he was not a man of the cloth like the average fourteenth century musician, but a layman, and that suits the music Jacopo left us, almost none of which is sacred. We know of some of his professional engagements and it is postulated that he was teacher to Francesco Landini, the leading light of the Italian trecento. We can read a treatise Jacopo wrote on music and note that he was the only composer to set a Petrarch sonnet to music whilst Petrarch himself still lived. In spite of all this, it is difficult to appreciate what is important about Jacopo's music just by virtue of listening to it; it sounds primitive, and as it is most often anthologized it invariably suffers in the company of the music of his contemporaries, particularly Landini.

However, it is not time to write off Jacopo just yet, as La Reverdie appears to have found the key to assessing his great strengths as a figure in the trecento. Jacopo left about 40 works -- including keyboard intabulations that were like arrangements likely made by others -- and just about half of them are heard on Arcana's Jacopo da Bologna: Madrigali e Cacce. This project takes a varied approach to realizing Jacopo's limited contrapuntal resources -- which never exceed three voices -- through judicious use of instruments and sometimes adding fifths to the tenor or drones in places where Jacopo's original is a little naked. The fuller harmonic profile exposes several features not fully understood before in Jacopo's music; for example, the "under third" or "Landini cadence" makes an appearance in the madrigal In verde prato and many other aspects of the connectedness between Jacopo and Landini are made clear. Likewise, La Reverdie's dogged detective work manages to extract links to other musicians within his circle -- such as Magister Piero and Giovanni de Cascia -- by decoding the acrostics within his texts, which likewise lead outward to notable persons in the courts where he worked.

All of this informs La Reverdie's music-making, which is consummately professional, scrupulously rehearsed, and yet spirited and spontaneous. Arcana's recording is spacious, yet present, and the programming leads very sensibly from one performance to the next. Arcana's Jacopo da Bologna: Madrigali e Cacce is a superb exposition on a composer who has heretofore remained a mystery to most; Landini himself might have been envious of the quality of this recital.


1. In su' be' fiori, in sulla verde fronde, madrigal for 2 voices
2. Posando sopr'un acqua, in sonnio vidi, madrigal for 2 voices
3. Lo lume vostro dolce 'l mio singnore, madrigal for 2 voices
4. Un bel sparver çentil de penna biancha, madrigal for 2 voices
5. In verde prato a padilglon tenduti, madrigal for 2 voices
6. Quando vegio rinnovellar i fiori, madrigal for 2 voices
7. Vestissi la cornachia d'altrui penne, madrigal for 2 voices
8. O dolce apresso un bel perlaro fiume, madrigal for 2 voices
9. Io mi son un che per le frasch'andando, madrigal for 2 voices
10. Io mi son un che per le frasch'andando, madrigal for 2 voices
11. Per sparverare tolsi el mio sparvero, caccia in 2/3 voices
12. Ogelletto silvagio per stagione, canonic caccia madrigal for 3 voices
13. Sï chome al canto della bella Yguana, madrigal for 2/3 voices
14. Straccias'i panni 'n dosso, madrigal for 2 voices
15. Aquil' altera/Creatura gentil/Ucel de Dio, madrigal for 3 voices
16. Tanto soavemente, madrigal for 2 voices
17. Sotto l'imperio del possente prinçe, madrigal for 3 voices
18. Fenice fu' e vissi pura e morbida, madrigal for 2 voices
19. I' senti' zà como l'arco d'Amore, madrigal for 2/3 voices 

La Reverdie

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


20 November 2012


Easy CD-DA | FLAC tracks | Covers | 268 Mb

November 10, 2009 | Etcetera | 51:40

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The collection on this release is the work of the well-known poet Antonio Molino (pseudonym Manoli Blessi). He wrote in a made-up language, a mixture of Venetian dialect and elements of Greek that was given the name of ‘Greghesca’. The award winning Ensemble Zefiro Torna play historical instruments and offer a historical approach to performance practice.


Antonio Molino (aka Manoli Blessi) - Dedicatio, poem
Annibale Padovano - Mi ho scritto e sembre scrivo, madrigal
Bartolomeo Spontone - Li modi varij, madrigal
Cipriano de Rore - Madonn'hormai mi vedo, madrigal
Gioseffo Guami - La Todeschina, canzon
Adrian Willaert - Dulce padrun, canzona for 5 voices
Paolo Vergelli - Pavolo come'l polo, madrigal
Giovanni Antonio Terzi - Canzone di Claudio da Correggio, canzona
Andrea Gabrieli - Sassi, palae, sabion del Adrian lio, madrigal for 5 voices
Claudio Merulo - La Gratiosa, canzona
Alvise Willaert - Pianza'l Grego Pueta, madrigal
Claudio Merulo - Donna, se l'occhio mio, madrigal for 4 voices
Andrea Gabrieli - Como viver mi 'l posso, madrigal for 5 voices
Giaches de Wert - Che bello Epithimia, madrigal for 4 voices, W xiv 61
Claudio Merulo - La Leonora, canzona
Andrea Gabrieli - Saranda volde e plio, madrigal for 4 voices
Ivo de Vento - Cando la bun caval (Bataglia strathiotesca), madrigal
Annibale Padovano - Benedetta el gregaria, madrigal
Annibale Padovano - O Vui Greghette belle (Dialogo), madrigal

Ensemble Zefiro Torna


19 November 2012

Chen Reiss: Liaisons

EAC | FLAC + CUE | Covers | 280 Mb

Date CD: November 8, 2011 | Onyx | 55:48

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For her debut recording on Onyx, acclaimed Israeli soprano Chen Reiss has chosen a program of arias by Cimarosa, Haydn, Salieri and Mozart - all composers working in Vienna in the 1780s. Featured here are some of the 'insertion' arias by Haydn and Mozart, composed for use in operas by other composers such as Amfossi, Gugliemi and Martin - forgotten names today. So here, we have liaisons on stage - secret marriages and affairs, and liaisons between composers. 


1. Armida: Aria of Armida:
"Tremo, dell'idol mio"

2. Le nozze di Figaro: Aria of Susanna, K492:
"Giunse alfin il momento...Deh vieni, non tardar"
3. Galuppi's Le nozze di Dorina: Aria of Dorina, K217:
"Voi avante un cor fedele"

4. Il Matrimonio segreto: Sinfonia
5. Il Martimonio segreto: Aria of Carolina:
"Perdonate, signor mio"

6. Anfossi's La Metidles ritrovata: Aria of Nannina, Hob. 24b/3:
"Quando la rosa"
7. Anfossi's Il matrimonio per inganno: Aria of Rosina, Hob. 24b/7:
"Signor, voi sapete"
8. Guglielmi's La Quakera spiritosa: Aria of Cardellina, Hob. 24b/12:
"Vada adagio, Signorina"

9. La scuola de' gelosi: Sinfonia

10. Cosi fan tutte: Aria of Despina, K. 588:
"Una donna a quindici anni"
11. Martìn y Soler: Il burbero di buon core: Aria of Madama Lucilla, K. 582:
"Chi sa, Chi sa, qual sia"
12. Le nozze di Figaro: Aria of Susanna, K. 579:
"Un moto di gioia"
13. Interlude, K. 538: "Ah se in ciel, benigne stelle"

Chen Reiss, soprano
L'arte del mondo
Werner Ehrhardt (Artist, Conductor)

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


17 November 2012

Handel: Alessandro, HWV21

EAC | APE + CUE | Covers | 987 Mb

Date CD: 2012 | Decca | 3 CD

CD 1
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CD 2
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CD 3
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Handel's ninth major opera for London, Alessandro, was written as a showcase for the Rival Queens, the two famous Italian sopranos Francesca Cuzzoni and Faustina Bordoni whose supposed enmity, both personal and professional, not only generated good publicity for Handel's latest opera but also added extra dramatic frisson to the two divas' jealous clashes on stage.

Still something of a rarity even in this heyday of the Handel revival, Alessandro has only ever been recorded twice before over the past 30 years, and never previously with such a starry trio of singers in the three lead roles.

Marking the start of an exciting new partnership with the sensational Croatian counter-tenor Max Emanuel Cencic (and his company Parnassus Arts) that will involve both solo and ensemble recordings, this new recording stars Cencic himself as Alexander the Great (a role originally sung by the legendary castrato Senesino), with acclaimed French Canadian soprano Karina Gauvin as the Scythian princess Lisaura, and the sensational young Russian soprano Julia Lezhneva making her debut appearance as Decca's latest exciting solo signing in the role of Roxana, the Persian princess who finally wins the conquerors heart.

Recorded at the Megaron concert hall in Athens, this new recording of Handel's classical epic features the period instruments of Armonia Atenea conducted by George Petrou, the brilliant young Baroque specialist whose previous recordings of Handel operas (Oreste, Arianna in Creta, Tamerlano, Giulio Cesare and the pasticcio Alessandro Severo) have won numerous international awards.


"E tanto ancor s'indugia a superare questo vil muro?"
Sinfonia e Recitativo: "Ossidraca superba" - Recitativo - "Oh smisurato ardire!"
Recitativo: "Grazie all'eterno Giove"
Aria: "Fra le stragi e fra le morti"
Recitativo accompagnato: "Che vidi! - Che mirai?"
Recitativo: "Ecco Tassile, il re dell'Indi"
Aria: "Quanto dolce amor sarìa se non fosse gelosia"
Recitativo: "Ne trofei d'Alessandro trionfa ancor quest'alma"
Aria: "Lusinghe più care"
Recitativo: "Sventurato ch'io sono!"
Aria: "Vibra, cortese Amor, un'altro strale"
Solo e coro: "Fra le guerre e le vittorie fama eterna il ciel mi dà"
Recitativo: "Apprestasti, oh Cleone, i sacrifici a Giove"
Recitativo: "Dalla vittoria alla bellezza in braccio passa un felice vincitor"
Aria: "No, più soffrir non voglio"
Recitativo accompagnato: "Vilipese bellezze"
Recitativo: "Pur ti ritrovo; e perché mai partisti?"
Aria: "Men fedele, men costante finge il labbro, e non il cor"
Recitativo: "Sì, lusingando ei parla, e par che m'ami"
Aria: "Un lusinghiero dolce pensiero"
Recitativo: "Tu, che Rossane adori"
Aria: "Pregi son d un alma grande l'amicizia"
Recitativo: "Sempre del suo valor, fido seguace sarò"
Aria: "A sprone, a fren leggiero un nobile destriero contento ubbidirà"
Recitativo: "Al magnanimo, al forte, al vincitore"
Recitativo accompagnato: "Primo motor delle superne sfere"
Recitativo: "Figlio del Re degl'immortali Numi"
Duetto: "Placa l'alma, quieta il petto!"
Recitativo: "Fra gli uomini e fra i Numi"
Aria: "Da un breve riposo di stato amoroso"
Recitativo ed Arioso: "Solitudine amate in cui sfogarmi lice una fiamma infelice"
"Aure, fonti, ombre gradite"
"Recitativo ed Arioso: Eccola in preda al sonno"
Aria: "Vano amore, lusinga, diletto"
Recitativo: "Tiranna passion, lasciami in pace!"
Aria: "Sempre fido e disprezzato"
Recitativo: "Pur troppo veggio d'Alessandro il core alla rival rivolto"
Aria: "Che tirannia d'Amor!"
Recitativo: "Qui aspetto l incostante"
Aria: "Alla sua gabbia d'oro suol ritornar talor quell'augellin"
Recitativo: "Vince al fin la beltà - Recitativo: Vincitor generoso"
Aria: "Risolvo abbandonar la bella che mi sprezza"
Recitativo: "Finto sereno è d'Alessandro in volto"
Aria: "La cervetta nei lacci avvolta"
Sinfonia - Recitativo: "Dopo il sublime onor delle gran geste"
Recitativo: "Oh Dei! che infausta nuova!"
Aria: "Il cor mio, ch'è già per te tutto amore e tutto fé"
Recitativo: "Svanisci oh reo timore di tormentosa gelosia!"
Aria: "Dica il falso, dica il vero"
Arioso: "Sfortunato è il mio valore"
Recitativo: "L adulator s'appressa"
Aria: "Sarò qual vento, che nell'incendio spira"
Recitativo - "La resa libertà dunque, oh Rossane, a lasciarne t'alletta?"
Aria: "Sì, m è caro imitar quel bel fiore"
Recitativo: "Sento un'interna inusitata gioja"
Aria: "Brilla nell'alma"
Recitativo: "Qual tormento crudel soffrir non fanno ambo assalendo un core ambizione e amore! "
Aria: "L'amor, che per te sento"
Recitativo: "Sì generoso affetto degno è d'amor"
Aria: "Pupille amate"
Recitativo: "Numi eterni"
Aria: "Tempesta e calma sento nell'alma"
"D'uom fiero nel soglio si domi l'orgoglio"
Recitativo: "Chi oserà traditore assalire Alessandro?"
Aria: "Prove sono di grandezza"
"Spegni, oh supremo Regnator de' Numi, dell'orrida civil guerra la face! - Si festeggi il bel giorno di mia tranquillità!"
Duetto: "In generoso onor, bella, ti cede il cor'"
"Cara, la tua beltà in me sol regnerà'"
"Amico arrida il Ciel al nostro amor fedel"

Max Emanuel Cencic (Alessandro)
Karina Gauvin (Lisaura)
Julia Lezhneva (Roxana)
Xavier Sabata (Tassile)
Juan Sancho (Leonato)

Armonia Atenea
George Petrou

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


Mozart: Don Giovanni [Karajan]

Mozart - Don Giovanni [Karajan]
EAC Rip | Classical (opera) | 3 CD | FLACS + CUE + Logs
Scans 300 dpi | 753 mb | TT 02:58:50
Released: October 25, 1990 | Label: Deutsche Grammophon
Catalog #: 419179 | Recorded: 01/1985

Gosta Winbergh, Anna Tomowa-Sintow, Jeffrey Tate,
Paata Burchuladze, Agnes Baltsa, Ferruccio Furlanetto,
Alexander Malta, Samuel Ramey, Kathleen Battle
Berlin Philharmonic Orchestra,
Berlin Deutsche Oper Chorus,
Herbert von Karajan (conductor)

CD 1

With Herbert von Karajan leading the Berlin Philharmonic in any performance, there are some automatic expectations: the music will be delivered with exemplary polish, balance, and a clear, logically implemented overall concept. These values will be pursued, if necessary, even at the expense of dramatic impact--the kind of impact you expect and get from Muti and Giulini, but there will be a beauty and a coordination in the performance that compensates for any lessening of purely theatrical excitement. As a matter of fact, there is plenty of theatrical impact in this Don Giovanni, and there are moments when the singing lacks the ultimate polish, but von Karajan's touch is evident everywhere, and it makes a tremendous difference. --Joe McLellan


Disc 1
1. Overture
2. Act 1, scene 1. 'Notte e giorno faticar'
3. Act 1, scene 2. 'Leporello, ove sei?'
4. Act 1, scene 3. 'Ah! del padre in periglio'
5. Act 1, scene 3. 'Ma qual mai s'offre, oh Dei'
6. Act 1, scene 3. 'Fuggi, crudele, fuggi!'
7. Act 1, scene 4. 'Orsù, spicciati presto'
8. Act 1, scene 5. 'Ah! chi mi dice mai'
9. Act 1, scene 5. 'Chi è là?' - 'Stelle! che vedo!'
10. Act 1, scene 5. 'Madamina, il catalogo è questo'
11. Act 1, scene 6. 'In questa forma, dunque'
12. Act 1, scene 7. 'Giovinette che fate all'amore'
13. Act 1, scene 8. 'Manco male è partita'
14. Act 1, scene 8. 'Ho capito, signor sì'
15. Act 1, scene 9. 'Alfin siam liberati'
16. Act 1, scene 9. 'Là ci darem la mano'
17. Act 1, scene 10. 'Fermati, scellerato'
18. Act 1, scene 10. 'Ah, fuggi il traditor'
19. Act 1, scene 11. 'Mi par ch'oggi il demonio si diverta'
20. Act 1, scene 12. 'Ah, ti ritrovo ancor'
21. Act 1, scene 12. 'Non ti fidar, o misera'
22. Act 1, scene 12. 'Povera sventurata!'
23. Act 1, scene 13. 'Don Ottavio, son morta!'
24. Act 1, scene 13. 'Or sai chi l'onore'
25. Act 1, scene 14. 'Come mai creder deggio'
26. Act 1, scene 14. 'Salla sua pace'

Disc 2
1. Act 1, scene 15. 'Io deggio ad ogni patto'
2. Act 1, scene 15. 'Fin ch'han dal vino'
3. Act 1, scene 16. 'Masetto. senti un po'!'
4. Act 1, scene 16. 'Batti, batti, o bel Masetto'
5. Act 1, scene 16. 'Guarda un po''
6. Act 1, scene 16. 'Presto presto pria ch'ei venga'
7. Act 1, scene 17. 'Su svegliatevi, da bravi'
8. Act 1, scene 18. 'Tra quest'arbori celata'
9. Act 1, scene 19. 'Bisogna aver coraggio'
10. Act 1, scene 20. 'Riposate, vezzose ragazze!'
11. Act 2, scene 1. 'Eh via buffone'
12. Act 2, scene 1. 'Leporello'/ 'Signore'
13. Act 2, scene 2. 'Ah! taci, ingiusto core'
14. Act 2, scene 2. 'Amico, che ti par?'
15. Act 2, scene 3. 'Eccomi a voi!'
16. Act 2, scene 3. 'Deh, vieni allla finestra''
17. Act 2, scene 3. 'V'è gente alla finestra!'
18. Act 2, scene 4. 'Non ci stanchiamo'
19. Act 2, scene 4. 'Metà di voi qua vadano'
20. Act 2, scene 5. 'Zitto! Lascia ch'io senta'
21. Act 2, scene 6. 'Ahi! ahi! la testa mia'
22. Act 2, scene 6. 'Vedrai, carino'
23. Act 2, scene 7. 'Di molte faci il lume'
24. Act 2, scene 7/8. 'Sola, sola, in buio loco'

Disc 3
1. Act 2, scene 9. 'Dunque quello sei tu'
2. Act 2, scene 9. 'Ah, pietà, signori miei'
3. Act 2, scene 10. 'Ferma, perfido, ferma'
4. Act 2, scene 10. 'Il mio tesoro intanto'
5. Act 2, scene 10. 'In quali eccessi, o Numi'
6. Act 2, scene 10. 'Mi tradi quell'alma ingrata'
7. Act 2, scene 11. 'Ah, ah, ah, questa è buona'
8. Act 2, scene 11. 'O statua gentilissima'
9. Act 2, scene 12. 'Calmatevi, idol mio'
10. Act 2, scene 12. 'Crudele! - Ah, no mio bene!'
11. Act 2, scene 12. 'Non mi dir, bell'idol mio'
12. Act 2, scene 12. 'Ah, si segna il suo passo'
13. Act 2, scene 13. 'Già la mensa è preparata'
14. Act 2, scene 14. 'L'ultima prova dell'amor mio'
15. Act 2, scene 15. 'Don Giovanni, a cenar teco m'invitasti'
16. Act 2, scene 15. 'Ah! dove è il perfido'

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


16 November 2012

Mendelssohn: Violin concertos, The Hebrides

EAC | FLAC + CUE | Covers | 266 Mb

Date CD: October 2012 | Hyperion | 56:19

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The young violinist Alina Ibragimova is already established as an admired recording artist, standing alongside great artists of the past and present with her versions of Bach and Beethoven’s violin works. She appears on this latest release with the Orchestra of the Age of Enlightenment and Vladimir Jurowski (in his Hyperion premiere) in a programme which includes a classic of the concerto repertoire: Mendelssohn’s Violin Concerto in E minor, Op 64. Ibragimova’s is a glittering, knife-edge performance, her playing a portrayal in itself of the music’s passion held in control through exquisite craft. The Violin Concerto in D minor—an unusual and welcome pairing—is an early work, written when the composer was only thirteen. As with Mendelssohn’s other juvenile works it is extraordinarily accomplished and exceedingly charming.


Violin Concerto in E minor Op 64 
The Hebrides 'Fingal's Cave' Op 26
Violin Concerto in D minor

Alina Ibragimova (violin)
Orchestra of the Age of Enlightenment
Vladimir Jurowski (conductor)

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


15 November 2012

Codex Martinez Companon

Easy CD-DA | FLAC tracks | Covers | 382 Mb
Date CD: August 22, 2005 | K617 | 56:27

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Martinez Compañón's destiny was indeed a fascinating one! Ten years after the bloody revolt of Tupac Amaru II (1780), this bishop travelled all over his Peruvian diocese, observing the traditions and customs of the indigenous peoples with an ethnologist's eye. The result was his monumental 'General History', which includes 1411 watercolours illustrating his descriptions, but also twenty pieces of music representing the most characteristic forms of expression in his spiritual domain. Here they are brought together as the 'Codex Martinez Compañón' and performed by Capilla de Indias with astonishing fidelity to this ethnographic approach, entirely worthy of the aims of the Enlightenment. 


1 Cachua Al Nacimiento de Christo Nuestro Señor
2 Tonada La Brugita, de Guamachuco
3 Tonada El Congo
4 Tonada El Tuppamaro de Caxamarca
5 Tonada del Chimo
6 Bayle del Chimo
7 Tonada El Diamante, de Chachapoias
8 Tonada La Lata
9 Tonada La Selosa, del pueblo de Lambayeque
10 Tonada El Conejo
11 Tonada El Huicho, de Chachapoyas
12 Bayle de danzantes con pifano y tamboril
13 Tonada La Donosa
14 Cachuyta de la montaña El Vuen Querer
15 Cachua a duo y a quatro, Al Nacimiento de Christo Nuestro Señor
16 Lanchas para baylar
17 Tonada El Tupamaro [de] Caxamarca
18 Tonadilla El Palomo, del pueblo de Lambayeque
19 Cachua serranita El Huicho Nuebo, a N[uest]ra S[eñor]a del Carmen
20 Cachua La Despedida, de Guamachuco

Capilla de Indias
Direction musicale : TIZIANA PALMIERO

DANIEL MESÍAS, contre ténor 
FRANCO BONINO, flûtes à bec, dulciane, chalemie - 
FELIPE ARIAS, flûtes à bec
FRANCO DA PONTE & VICTOR CHOQUE, bajones, quenas, bandolin, cajon
JOSÉ MANUEL VALDÉS, guitare baroque
TIZIANA PALMIERO, harpe baroque
GUILLERMO MARCHANT, orgue et clavecin

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...


14 November 2012

Mozart: Piano Concertos Nos.19 & 23

EAC | FLAC + CUE | Covers | 291 Mb

Date CD: November 8, 2011| DG | 64:21

Hélène Grimaud considers the concerto in A major "probably the most sublime concerto Mozart ever wrote", with a slow movement that is "an extremely deep and painful expression of longing, where you find the real Mozart." The concerto was a 'must-have' for this collaboration. The concerto in F major K459 is less well-known, but with a very special vitality and a virtuosic finale that is for Grimaud, "pure pianistic pleasure"

This album marks two 'firsts' for Hélène Grimaud - her first live DG recording and her first ever Mozart concerto recording. The album is the culmination of a musical love affair which began two years ago when the French pianist played Bach with the Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks (Chamber Orchestra of the Bavarian Radio). From the beginning there was a very special chemistry and musical understanding. In May this year Hélène Grimaud returned to Munich to play Mozart with the orchestra led by her from the piano, in collaboration with the concert master Radoslaw Szulc. The pianist was so excited by the concerts that she was inspired to release this live recording. As well as the two concertos, the album includes the beautiful concert aria for orchestra, soprano and piano 'Ch'io mi scordi di te', sung by Mojca Erdmann. Hélène has loved this aria since she first heard it as a child and for her it represents what is most characteristic in Mozart's music: grace and tenderness. The aria was Mozart's declaration of love to the soprano Nancy Storace, his Susanna in the world premiere of "Le nozze di Figaro". It was composed in 1786, the same year as the Piano Concerto No.23 which it joins here. 


Piano Concerto No.19 in F, K.459
Ch'io mi scordi di te... Non temer, amato bene, K.505
Piano Concerto No.23 in A, K.488

Hélène Grimaud, piano
Mojca Erdmann, soprano
Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks
conducted by Radoslaw Szulc

I'm resurrecting here some of the works that "disappeared" from Avax or were "abandoned" from the original uploaders. There's not a real project behind it, I'm just cleaning up my HDs and following the tide. What I downloaded long ago is flowing back. All credits go to the first uploader. Enjoy...