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Chopin à deux: The 2 Piano Concertos on 2 Erard Grand Pianos (Martin Oei & Daniel Wayenberg)
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V. Bellini - Beatrice di Tenda - Alberto Zedda
Mariana Nicolesco, Piero Cappuccilli, Stefania Toczyska
Vincenzo La Scola, Iorio Zennaro
Prague Philharmonic Choir
Monte Carlo Orchestra
dir: Alberto Zedda
Sony (1995) SM3K 64539 - 3 CDs DDD
[flac & cue, cover, inlays, booklet & disc scans]
Review
"Bellini’s penultimate opera was received unenthusiastically at its premiere in 1833, and has never attained the popularity of Norma. Early this century it disappeared completely until revived in 1935, as part of the centennial commemoration of the composer’s death. In recent years, its tragic heroine, the wife of a Milanese duke, falsely accused of infidelity and executed at her husband’s command, has been portrayed by such notable bel canto specialists as Joan Sutherland, Leyla Gencer and June Anderson. This dramatically vigorous and well-constructed work contains some of Bellini’s finest and most characteristic melodies, among them a ravishingly beautiful trio, ‘Angiol di pace’. Its neglect for so many years is difficult to comprehend. Zedda conducts an ardent performance, sung by a first-rate cast. As Orombello, La Scola sings throughout with pure tone and a fine appreciation of Bellini’s long phrases. The experienced Cappuccilli is the vengeful Duke, heard at his best in ‘Qui m’accolse’, the aria in which he hesitates before signing the warrant for his wife’s execution, and the Romanian soprano Mariana Nicolesco brings a vibrant and flexible voice and a forceful personality to the role of Beatrice. Highly recommended to all who know and love Bellini’s more frequently performed operas." - Charles Osborne , www.classical-music.com
I have to add in my humble opinion that Stefania Toczyska is the best of the whole cast, simply sensational.
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Elgar by John Barbirolli, Constantin Silvestri and Norman Del Mar
01. In the South. Concert overture, op.50 'Alassio'* []02. - 05. Symphony No. 1 in A-flat major, op.55^ []
06. - 09. Symphony No. 2 in E-flat major, op.63" []
10. - 12. Serenade for Strings in E minor, op.20# []
Bournemouth Symphony Orchestra conducted by Constantin Silvestri* and Norman Del Mar#
Philharmonia Orchestra^ and Halle Orchestra" conducted by John Barbirolli
EMI 9689242 (recorded August 1962^, April 1964", June# and September* 1967; this CD release 2009)
(Digital download; flacs, cover and inlay scans but no booklet)
Recording venues: Winter Gardens Theatre, Bournemouth*, Kingsway Hall, London^
Recording engineer: Harold Davidson^ and Christopher Parker"; Producer: Victor Olof^"
Recording engineer and Producer: Brian Culverhouse*#
This superb Elgar collection is posted here primarily for the two smaller works with the Bournemouth Symphony. Constantin Sivestri's scintillating recording of In the South is widely recognised as one of the finest ever set down but is generally only available in a large boxed set. Norman Del Mar's equally fine recording of the Serenade for Strings is much less well-known and, as far as I know, this is its only currently available release. As with John Barbirolli, Malcolm Sargent and Charles Groves before him, Del Mar makes the work deeply poignant with a magisterially slow tempo for the Larghetto movement.
Del Mar's recording first appeared on an LP of 'English Music for Strings' which also included works by Delius, Vaughan Williams and Warlock. Unfortunately, EMI/Warner have not seen fit to issue those equally splendid performances on CD. For some strange reason, many digital downloads, and the CD issue, In the South is divided into four tracks. But this came to me with the more conventional single track (as it also appears in the Silvestri box) and all tracks listed in numerical order rather than divided into 2 discs (as per the inlay scan).
Of course, both of the Barbirolli recordings are widely available and both have their adherents and detractors. I wouldn't want to be without the First Symphony (possibly because it was the first recording of it that I owned back in the early 60s.
Download from MEGA.
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G.Donizetti - Caterina Cornaro - Montserrat Caballé
Montserrat Caballé, Jaume Aragall,
Ryan Edwards, Gwynne Howell
Choeur et Orchestre Lyrique de l'ORTF
dir: Gianfranco Masini
Phoenix (1995) PX 505 2 - 2 CDs ADD Stereo (Very good sound)
Live recording: Salle Pleyel, Paris, November, 25 1973.
Bonus: Caballé in R.Devereux, Il Pirata, Aroldo, Il Corsaro.
[flac & cue, cover, inlays, booklet & disc scans]
This post is my humble tribute to the great Montserrat Caballé who died last year. It is in the Belcanto and particularly in Bellini and Donizetti that all its great virtues can be appreciated, a perfect legato, a good skill in agilities and heavenly pianissimi that were her trademark and that she did like no one else. By 1973 she was full of voice before going into heavier repertoires that were not convenient to her. He is accompanied by a dedicated and passionate Jaume Aragall on one of his best opera nights.
A true feast for the ears of Belcanto lovers.
Recorded live at the Salle Pleyel in Paris with a great sound, this edition from the Phoenix label which appears to be one of the best remasterings according to a testimony I reproduce below.
If you want to compare you have the Rodolphe edition in the fantastic blog: Afina tus Oidos from the "Humilde Campesino" ( a great opera collector).
Reviews
"Caballé at the absolute summum of her greatness, and the finer of her two live renditions. It remains not only the best recording of this wonderful work, but critical evidence that Caballe was the superb bel canto singer of her generation (pace Sutherland who was so often mechanical by comparison)." Scoglio - Amazon.com
"Remastering of this version of "Caterina Cornaro" (Rodolphe) is very good, and the other release of the same performance by PHOENIX in 1995 has even better remastering." Mike - Amazon.com
"Caballé and Aragall sing with heavenly voices and temperament their roles in this difficult but neglected opera by Donizetti. Melodies are sublime as well as their orchestration. Caballe’s pianissimo was simple an unearthly sound reserved for a goddess." Noberto Perdomo - www.norbertoperdomo.com
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Vivaldi & Contemporaries
Francesco Antonio Bonporti (1672-1749)Concerti a quattro op. 11
Ensemble Aurora
Enrico Gatti
EMI Music Italy / CD Classica CDC126 (1999)
[flac, cue, log, scans]Download link
Tomaso Albinoni (1671-1751)Concerti a cinque from op. 10
Harmonices Mundi
Claudio Astronio
Amadeus AM 182-2 (2005)
[flac, cue, log, scans]Download link
Giovanni Mossi (1680-1742)Sonate a Violino, e Violone, o Cimbalo op. 1
Leila Schayegh violin
Ilze Grudule violoncello
Jörg Halubek harpsichord
Pan Classics PC 10212 (2009)
[flac, cue, log, scans] Download link
"Virtuosi italiani nell'Europa del '700"Giuseppe Tartini (1692-1770)
Francesco Geminiani (1687-1762):
Pietro Antonio Locatelli (1695-1764)
Francesco Maria Veracini (1690-1768)
Sonate per violino e basso
Domenico Scarlatti (1685-1757)
Sonate K. 18, 159, 532
Marco Serino violin
Francesco Cera harpsichord
Amadeus AM 263-2 (2011)
[flac, cue, log, scans] Download link
Antonio Vivaldi (1678-1741)Sonate da camera from op. 1
L'Estravagante
(Stefano Montanari violin, Stefano Rossi violin, Francesco Galligoni violoncello, Maurizio Salerno harpsichord/organ)
with Franco Pavan theorbo/guitar, Pietro Pasquini organ
Amadeus AM 256-2 (2011)
[flac, cue, log, scans] Download link
Antonio Vivaldi (1678-1741)Il Cimento dell'Armonia e dell'Inventione op. 8
Stefano Montanari violin
Accademia Bizantina
Ottavio Dantone
Amadeus AM 136-2 (2000)
[flac, cue, log, scans] Download link
Nicola Porpora (1678-1768)Sinfonie da camera op. 2
Artifizii Musicali
Guy Delvaux
Nuova Era (1992)
[flac, cue, log, scans] Download link
Francesco Geminiani (1687-1762)The Inchanted Forrest (An Instrumental Composition Expressive of the same Ideas as the Poem of Tasso of that Title)
Tommaso Traetta (1727-1779)
Sinfonia and Arias from the opera Armida
Cinzia Forte soprano, Anna Bonitatibus mezzosoprano
Cosarara
Giuseppe Camerlingo
Amadeus AM 158-2 (2003)
[flac, cue, log, scans] Download link
The following discs have been ripped from reissues.
Francesco Geminiani
Concerti grossi op. 3
La Follia (transcription of Corelli's Sonata op. 5 no. 12)
Europa Galante
Fabio Biondi
Opus 111 OPS 30-172 (1997)
[flac, cue, log, covers] Download link
Antonio Vivaldi "Concerti con molti strumenti"
Europa Galante
Fabio Biondi
Virgin Classics 7243 5 45527 2 4 (2002)
[flac, cue, log, covers] Download link
Antonio Vivaldi
"Concerti per viola d'amore"
Europa Galante
Fabio Biondi
Virgin Classics 0946 3 95146 2 5 (2007)
[flac, cue, log, covers] Download link
Antonio Vivaldi "Concerti con titoli"
Europa Galante
Fabio Biondi
Virgin Classics 7243 5 45424 2 8 (2007)
[flac, cue, log, covers] Download link
Suonate a violino solo e basso per il cembalo
(manoscritto di Manchester)
Fabio Biondi violin
Rinaldo Alessandrini, Maurizio Naddeo, Paolo Pandolfo, Rolf Lislevand
Originally on Arcana (1992). Partial reissue (only CD2)
[flac, cue, log, scans] Download link
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Harmonie und Janitscharenmusik by Rosetti, Spohr & Beethoven (Octophorus)
Parthia in F major
Ludwig Spohr (1784-1859)
Notturno in C major, Op. 34
Ludwig van Beethoven (1770-1827)
Wellingtons Sieg, Op. 91
Paul Dombrecht, Octophorus (Period Instruments)
Accent ACC 8860 D (1988)
(This disc took 36 hours to rip with many sync and timing errors. I have included a folder with the tracks corrected by Cue Tools.)
[Flac & Scans]
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G.Donizetti- Caterina Cornaro - Leyla Gencer
Gaetano Donizetti (1797 -1848)
Leyla Gencer, Jaume Aragall, Renato Bruson
Plinio Clabassi, Luigi Risani
Orchestra e Coro del Teatro di San Carlo di Napoli
di: Carlo Felice Cillario
Myto (1992) 2MCD921.53 2 CDs ADD
Rec.live May 28, 1972 S.Carlo di Napoli ( Good sound)
Bonus: Leyla Gencer in Lucrezia Borgia
[flac & cue, cover, inlays, booklet & discs scans]
![]()
di: Carlo Felice Cillario
Myto (1992) 2MCD921.53 2 CDs ADD
Rec.live May 28, 1972 S.Carlo di Napoli ( Good sound)
Bonus: Leyla Gencer in Lucrezia Borgia
[flac & cue, cover, inlays, booklet & discs scans]
Review
"This performance of Caterina Cornaro was reviewed in Opera by Enrico Tellini. He said that it was one of the most important happenings of the year. He wrote: “The title role was sung by Leyla Gencer who was in glorious voice. Giacomo Aragall sang with enthusiasm and clear pronunciation, while Renato Bruson was so elegant in his phrasing that his singing appeared a lesson.” Tellini was less enthusiastic about Plinio Clabassi, but I admire him. However, I certainly agree with Tellini in regard to the other singers. Carlo Felice Cillario’s conducting is excellent.
Caterina Cornaro was premiered on January 18, 1844. It was not a success. The last 19th-century performance was at Parma on February 2, 1845. This performance was the first revival of the opera since that date. In Fanfare 10:5, Anthony D. Coggi reviewed the recording issued on Rodolphe featuring Montserrat Caballé, Giacomo Aragall, and Ryan Edwards. (That performance was also issued on CD by Phoenix.) In his review he stated that this Gencer/Aragall/Bruson performance was superior, although at that time it was only on LP. While this is not one of Donizetti’s best operas, it does have striking moments, and is certainly well worth having. The audience is loud and enthusiastic; there is much applause and shouts of bravo.
Since Caterina Cornaro is a short opera, there are 14 bonus tracks from a live performance of Lucrezia Borgia given in October 1971. Both Gencer and Grilli are very good in their roles. On both the Caterina Cornaro complete opera, and the Lucrezia Borgia excerpts the sound is good. Unfortunately there is no booklet, only a list of bands. " FANFARE: Bob Rose
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Haydn: Die Schöpfung Vol. 1 (Kuijken, La Petite Bande)
Die Schöpfung - Authorized German Language Edition-1800
Sigiswald Kuijken, La Petite Bande
(Period Instruments)
Accent Live ACC 58228 D (1982)
(My original booklet had some pages missing when I bought this new, over 30 years ago. If anyone has the complete scans of this booklet, I would appreciate it. Part Two will come tomorrow.)
[Flac & Scans]
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Haydn: Die Schöpfung Vol. 2 (Kuijken, La Petite Bande)
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Andrew Davis: Michael Tippett - Orchestral Works
01. - 03. Concerto for Double String Orchestra [24'21]
04. - 05. Fantasia Concertante on a Theme of Corelli [17'33]
06. - 11. Ritual Dances from 'The Midsummer Marriage'* [23'21]
BBC Chorus* and BBC Symphony Orchestra conducted by Andrew Davis
Warner Apex 8573 89098 2 (recorded December 1993; this reissue 2001)
(Digital download; flacs, cover and inlay scans - no booklet)
Recording venue: St Augustine's Church, London
Recording engineer: Tony Faulkner; Producer: James Mallinson
These very fine recordings from Andrew Davis, a Tippett specialist, and the BBC orchestra have rather slipped from view in recent years. The works span from Tippett's early success with the Concerto for Double String Orchestra to music from a fairly late opera, The Midsummer Marriage, considered by many as a masterpiece. The approachabilty of the works varies from easy to relatively difficult in the sequence played but even the Ritual Dances are not that difficult.
The performance of the Corelli Fantasia is particularly sublime. For those interested, Tippett used the Adagio in F minor from Corelli's Concerto Grosso, op.6 no.2, as its basis.
This is as eloquent an introduction to Tippett's music as you will find on disc - with the added attraction of Tony Faulkner's, as usual, excellent engineering.
Download from MEGA.
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Ponchielli - La Gioconda- Lorenzo Molajoli
Amilcare Ponchielli (1834 - 1886)
Giannina Arangi-Lombardi, Ebe Stignani, Alessandro Granda
Camilla Rota, Gaetano Viviani, Corrado Zambelli
Coro e Orchestra del Teatro alla Scala
dir: Lorenzo Molajoli
ZYX (1998) PD 3002 3 CDs ADD (?) mono
Naxos (2000) 8.110112-14 3 CDs ADD mono
(Bonus Arangi-Lombardi in Rossini, Bellini Donizetti & Verdi)
[cue & flac, cover, inlays, booklet & disc scans]
This is the first complete recording of la Gioconda and it was made by Italian Columbia in 1931 and released on nineteen 78 -rpm discs thanks to electrical recording started in 1924. The cast was almost entirely Italian with the exception de Alessandro Granda (Peruvian) and they show how Italian opera was sung by Italians in the inter-war period, The conductor is Lorenzo Molajoli an Italian opera conductor whose life and career little is known except that he was very active in the recording industry during 1920s and 1930s. He conducted twenty complete or abridged operas for Columbia between 1928 and 1932, including the first complete recordings of Rossini's The Barber of Seville, Boito's Mefistofele and this one of Ponchielli. Giannina Arangi-Lombardi is an underrated singer nowadays but in her days she was a prominent spinto soprano associated to the Italian repertoire, a singer highly esteemed in Italy and South America.
I'm posting two different sets of the same recording, one from ZYX and the other from Naxos. Why? Well you see, Ward Marston’s remasterings for Naxos and others labels are well known and highly appreciated. I treasure many of these recordings myself but in this case I find that the hiss noise is too present and it is a little annoying. On the contrary in the edition of the unknown (at least for me) ZYX label this noise is very reduced in comparison and you only notice it more rarely. At least this is my impression , but I include both so you can judge for yourselves.
Review (for the NAXOS set)
"...Each of the principals was on top vocal form at the time this recording was made, and had benefited from being part of the great ensemble established at La Scala by Toscanini, following his appointment as artistic director in 1920. Whilst not conducted by the maestro, the records surely convey something of the influence he exerted on his singers during his regime.
Arangi-Lombardi's is perhaps the most beautifully sung - as opposed to most dramatic - Gioconda of any complete recorded version. Her vocal security is always exciting; hear the final pages of Act 2, first the duet with Laura followed by Enzo's rejection. From full floods of fury at her rival in love she softens to a melting 'Son la Gioconda' as she sends Laura to safety. With Alessandro Granda on equally good form, the closing moments of the act crackle with Italian passion (the orchestra well recorded here, too). The great Act IV aria 'Suicidio' is sung as a true soliloquy, more introspective than on many familiar recordings. Always the voice reveals its mezzo origins, rich and wonderfully coloured, heard also to good effect in the additional arias included on CD3. The duet from Ernani offers the best dramatic performance -recorded in a sympathetic acoustic, too - 'Casta Diva' is cool but elegant, 'Com'e bello!' from Lucrezia Borgia finely poised. These extra tracks show Arangi-Lombardi to advantage in some of the roles that she did not record complete.
Alessandro Granda displays a combination of lyricism and ardour far more frequently encountered in his own time than in ours. His delivery is forthright and assured without any sense of strain. Occasionally intrusive aspirates and emotional gulps spoil his smoothness of line but Granda brings Enzo vividly to life (try his Act 2 duet with Laura and 'Gia ti veggo' in Act 3). After an uncertain start to 'Cielo e mar' (might this be a technical flaw on the original 78?) he continues in heroic form, confident in his phrasing and ending with an appealing' Ah vien'. His singing is too little remembered these days, unfairly, for he was, as the music critic Herman Klein averred, 'the possessor of a remarkably fine tenor voice'.
Although not yet thirty when these records were made, Stignani already displays the grand style for which she later became well known; no aggression here, little of the furiously jealous rival in love, but a beautifully sung and controlled performance of Laura. She fills the phrases with generously warm tone, matching Gioconda point for point in their duet, which in other 'hands' can become merely a shouting match, and her vocal colour contrasts effectively with Arangi-Lombardi's. Gaetano Viviani, not a singer whose reputation has survived to our generation, distinguishes himself in this more famous company. His incisive baritone remains clearly focussed at volume and stands out well in his ensembles; yet he can caress a malevolent phrase as he spins his web of intrigue. From Act 1 try 'O monumento!' with its challenging final 'Parla!' - very exciting. Barnaba is very much a brother under the skin to Verdi's Iago.
So here indeed are four excellent singers who bring La Gioconda vividly to life. The sound quality of the early recording does not always do them full justice, but the energy of their performance springs vigorously across seventy years; the opera could hardly want more persuasive advocates.
Giannina Arangi-Lombardi began her career in Rome as a mezzo in 1920 but four years later, after further study, emerged again as a soprano, making her second debut in Milan. Born near Naples in 1891, Arangi-Lombardi was one of the most admired 'classical-style' sopranos of her day, basing her career at La Scala; she appeared in South America and throughout Europe (but never at Covent Garden) in a number of spinto roles and her portrayals of Lucrezia Borgia, Aida and La Gioconda were specially successful In retirement she taught in Milan and Turkey and died in Italy in 1951.
Alessandro Granda, a native of Callao in Peru, was born in 1898. After an enthusiastic reception for ills first performances at Lima's Forero Theatre he trained in Milan and made his European debut in Mascagni's Iris in 1927. Selected by Toscanini for the Italian premiere of Kodaly's Psalmus Hungaricus, Granda sang frequently at La Scala, including Rigoletto with Toti dal Monte. His developing career took him to Germany, France, Spain, Portugal, Hungary, Finland and Egypt. Having visited Chile and the USA in the 1930s he returned to Italy, retiring after the war to Peru, where he died in 1962.
Ebe Stignani was born in Naples in 1903, made her operatic debut there at the age of 22 and triumphed as one of the world's leading dramatic mezzos until her retirement in 1958. Toscanini engaged her for La Scala in 1926, after which she sang extensively throughout Italy and Europe. Visits to the Americas both before and after the war consolidated her supremacy in nineteenth century Italian opera, whilst her repertoire also included roles by Gluck, Wagner and Bizet. Stignani is particularly remembered for her performances in Norma with Callas at Covent Garden and elsewhere. She died in 1974.
The shadowy figure of Lorenzo Molajoli is a mystery in the annals of opera. Nothing seems to be known of his career other than that he conducted many recordings in the 1920s and 1930s, mostly for Columbia in Milan. From the evidence of those discs (this La Gioconda an excellent example) he was clearly a very competent musician, experienced at handling large orchestral and vocal forces - and yet where? One might be tempted to guess that his was the nom de disque of another celebrated conductor who could not, for contractual reasons, be named. Shall we ever know?"
Paul Campion - www.naxos.com
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Senallié - Leclair - Forqueray: Sonates et Pièces
Extraits Du "Premier Livre De Sonates A Violon Seul Avec La Basse Continue" (1710)
Odile Edouard, violon
Freddy Eichelberger, clavecin
Emmanuel Jacques, violoncelle, basse de violon
Registered 2004, Time Total 67:14
Jean-Marie Leclair (1697-1764):
Troisième Livre de Sonates op. 5 (1734) à violon seul avec la basse continüe
John Holloway, violin
Jaap ter Linden, violoncello
Lars Ulrik Mortensen, harpsichord
Registered 2006, Time Total 69:18
Mr FORQUERAY:
Pièces de viole de gambe composées par Mr Forqueray le Père
mises en pièces de clavecin par Mr Forqueray le Fils
1747
Le Père: Antoine Forqueray (1672-1745)
Le Fils: Jean-Baptiste-Antoine Forqueray (1699-1782)
Blandine Rannou, Clavecin
Registered 2007, 2 CDs, Time Total 79:08 + 79:16
TRACKLIST
Jean-Baptiste Senallié, "le Fils"
(1688 - 1730)
Extraits Du
Premier Livre De Sonates A Violon Seul
Avec La Basse Continue
(1710)
Sonate II
1 Adagio 2'22
2 Allemande 2'55
3 Aria 3'43
4 Presto 3'00
Sonate VI
5 Preludio (grave) 3'22
6 Allemande 2'05
7 Adagio 1'37
8 Gavotte 2'37
Sonate VII
9 Adagio 2'35
10 Corrente 2'24
11 Adagio 2'05
12 Presto 2'43
Sonate I
13 Adagio 1'59
14 Allegro 1'58
15 Allemande 1'36
16 Gigue 1'39
Sonate VIII
17 Adagio 1'24
18 Corrente 2'19
19 Aria 5'38
20 Allegro 1'49
Sonate V
21 Prelude 1'44
22 Courante 2'27
23 Gavotte 1'56
24 Gigue 1'37
Sonate IV
25 Adagio 3'27
26 Allemande 1'50
27 Aria 2'18
28 Gigue 1'17
minutage total: 67'14
Odile Edouard, violon
Freddy Eichelberger, clavecin
Emmanuel Jacques, violoncelle, basse de violon
Enregistrement réalisé du 15 au 17 juin 2004,
au Château de Bény sur Mer par les soins de Manuel Mohino
(P) + (C) K617 FRANCE 2004 http://www.lecouvent.org
K617 / Le Couvent, Centre International des Chemins du Baroque.
K617164
TRACKLIST
Jean-Marie Leclair (1697-1764)
Troisième Livre de Sonates op. 5 (1734)
à violon seul avec la basse continüe
Sonata VIII in D major
1 Allegro ma non troppo 5:02
2 Aria. Gratioso 3:03
3 Andante 2:00
4 Allegro 3:23
Sonata VII in a minor
5 Largo 3:49
6 Allegro 1:49
7 Adagio 3:51
8 Tempo Gavotta. Allegro 3:16
Sonata I in A major
9 Adagio 2:06
10 Allegro 2:39
11 Aria. Gratioso 3:22
12 Allegro 3:47
Sonata III in e minor
13 Largo. Un poco dolce sempre 2:47
14 Vivace 3:12
15 Aria. Gratioso. Andante 4:07
16 Allegro - Presto 3:16
Sonata IV in B-flat major
17 Adagio 4:40
18 Allegro ma non troppo 4:14
19 Sarabanda. Largo 2:37
20 Chaconna 5:43
Time Totale: 69:18
John Holloway, violin
Jaap ter Linden, violoncello
Lars Ulrik Mortensen, harpsichord
Recorded November 2006 Propstei St. Gerold
Tonmeister: Stephan Schellmann
Executive producer: Manfred Eicher
(P) + (C) 2008 ECM Records GmbH www.ecmrecords.com
ECM New Series 2009
476 6280
TRACKLIST
Mr FORQUERAY
Pièces de viole de gambe composées par Mr Forqueray le Père
mises en pièces de clavecin par Mr Forqueray le Fils
1747
Le Père: Antoine Forqueray (1672-1745)
Le Fils: Jean-Baptiste-Antoine Forqueray (1699-1782)
Disque 1 79:08
5ème suite en do mineur - c minor - c moll
01. La Bellmont 5:41
02. La Portugaise 4:19
03. La Léon - Sarabande 5:18
04. La Boisson 3:51
05. La Montigni 3:42
06. La Sylva 8:44
07. Jupiter 3:53
2ème suite en sol majeur - G major - G Dur
08. La Bouron 4:58
09. La Mandoline 4:52
10. La du Breuil 6:41
11. La Leclair 3:17
12. La Buisson - Chaconne 5:50
1ère suite en ré mineur - d minor - d moll
13. La Laborde - Allemande 9:12
14. La Forqueray 4:23
15. La Cottin 4:26
Disque 2 79:16
1ère suite en ré mineur - d minor - d moll
01. La Bellmont 2:52
02. La Portugaise 3:58
03. La Couperin 4:23
3ème suite en ré majeur
04. La Ferrand 3:51
05. La Régente 5:57
06. La Tronchin 5:07
07. *La Angrave 3:06
08. *La du Vaucel 5:45
09. La Eynaud 3:55
10. *La Morangis ou La Plissay 8:23
4ème suite en sol mineur
11. La Marella 3:42
12. La Clément 7:25
13. La d'Aubonne - Sarabande 6:07
14. La Bournonville 2:39
15. La Sainscy 3:29
16. La Carillon de Passy 3:25
17. La Latour 4:44
*La Angrave, La du Vaucel, La Marangis ou la Plissay
wurden von Jean-Baptiste-Antoine Forqueray komponiert.
Blandine Rannou, Clavecin
Enregistré du 19 au 23 et 26 au 30 novembre 2007
au Studio Sequenza - Montreuil
Prise de son: Franck Jaffrès et Alban Moraud
Direction Artistique: Franck Jaffrès
Montage: Alban Moraud
Collection Printemps des Arts de Monte-Carlo
Zig-Zag Territoires www.zigzag-territoires.com
ZZT080301.2
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Britten Noye's Fludde - HDTT 24/192
NOYE'S FLUDDE (1957)
Owen Brannigan, Sheila Rex, Trevor Anthony
AN East Suffolk Children's Orchestra
English Chamber Orchestra
dir : Norman Del Mar
Recorded by Decca, 3-4 July 1961 at Orford Church, Suffolk
HDTT 7704 stereo, 24 bit /192 kHz direct digital download
FLAC files, documentation, libretto from LP issue
Noye's Fludde is a one-act opera by the British composer Benjamin Britten, intended primarily for amateur performers, particularly children. First performed on 18 June 1958 at that year's Aldeburgh Festival, it is based on the 15th-century Chester "mystery" or "miracle" play which recounts the Old Testament story of Noah's Ark. Britten specified that the opera should be staged in churches or large halls, not in a theatre.
By the mid-1950s Britten had established himself as a major composer, both of operas and of works for mixed professional and amateur forces – his mini-opera The Little Sweep (1949) was written for young audiences, and used child performers. He had previously adapted text from the Chester play cycle in his 1952 Canticle II, which retells the story of Abraham and Isaac. Noye's Fludde was composed as a project for television; to the Chester text Britten added three congregational hymns, the Greek prayer Kyrie eleison as a children's chant, and an Alleluia chorus. A large children's chorus represents the pairs of animals who march into and out of the ark, and proceedings are directed by the spoken Voice of God. Of the solo sung roles, only the parts of Noye (Noah) and his wife were written to be sung by professionals; the remaining roles are for child and adolescent performers. A small professional ensemble underpins the mainly amateur orchestra which contains numerous unconventional instruments to provide particular musical effects; bugle fanfares for the animals, handbell chimes for the rainbow, and various improvisations to replicate musically the sounds of a storm.
At its premiere Noye's Fludde was acclaimed by critics and public alike, both for the inspiration of the music and the brilliance of the design and production. The opera received its American premiere in New York in March 1959, and its first German performance at Ettal in May of that year. Since then it has been staged worldwide; the performance in Beijing in October 2012 was the first in China of any Britten opera. The occasion of Britten's centenary in 2013 led to numerous productions at music festivals, both in the UK and abroad.
By the late 1940s Benjamin Britten had established himself as a leading composer of English opera, with several major works to his credit. In 1947 he suggested to his librettist Eric Crozier that they should create a children's opera, based on a bible story. Crozier gave Britten a copy of Pollard's book, as a possible source of material. Nothing came of this project immediately; instead, Britten and Crozier wrote the cantata Saint Nicolas (1948), the first of several works in which Britten combined skilled performers with amateurs. The cantata involves at least two children's choirs, and incorporates two congregational hymns sung by the audience. Britten also used this fusion of professional with amateur forces in The Little Sweep (1949), which forms the second part of his entertainment for children, Let's Make an Opera, that he devised with Crozier. Again, child singers (also doubling as actors) were used, and the audience sings choruses at appropriate points. In 1952, although Britten's collaboration with Crozier had ended, he used the Chester plays book as the source text for his Canticle II, based on the story of Abraham and Isaac.
In April 1957 Boris Ford, Head of Schools Broadcasting at Associated Rediffusion (A-R), wrote to Britten, proposing a series of half-hour programmes. These would show Britten composing and rehearsing a work through to its performance, and would provide children with "an intimate piece of musical education, by ... watching a piece of music take shape and in some degree growing with it". Britten was initially cautious; he found the idea interesting but, he warned Ford, he was at that time busy travelling, and had little time for writing. He was also anxious not to cover the same ground as he had with Let's Make an Opera. However, he agreed to meet Ford to discuss the project further. On 11 July they met in London, together with Britten's musical assistant Imogen Holst. Britten told Ford that he had "for some months or a year vaguely been thinking of doing something with the [Chester] miracle plays", and agreed to write an opera for A-R's 1958 summer term of school programmes. The subject would be Noah and the flood, based on the Chester text. Later, Ford and his script editor, Martin Worth, travelled to Aldeburgh, and with Britten looked at possible churches for the performance. The Church of St Bartholomew, Orford, was chosen as, unlike most other churches in East Suffolk, its pews were not fixed, thus offering a more flexible performing space.
Wikipedia
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Verdi - Attila - Sinopoli
Nicolai Ghiaurov, Piero Cappuccilli, Mara Zampieri
Piero Visconti, Josef Hopferwieser, Alfred Sramek
Chor und Orchester der Wiener Staatsoper
dir: Giuseppe Sinopoli
Orfeo d'Or 2003 C601032I 2 CD stereo D.remastered (Exc. sound)
Rec. live at the Wiener Staatsoper, December, 21 1980
[cue & flac; cover, inlays, booklet & disc scans]
Review
"I have not always been complimentary about Orfeo's live recordings from the Vienna State opera. The sound quality varies as does the level of performance.... This Attila, conducted by Giuseppe Sinopoli at his premiere appearance there in 1980 is something else again.
...The leading roles are fiendishly difficult but posed no apparent problems for this cast. Nicolai Ghiaurov sings the title role with effortless ease, combining stentorian power with a gentle ease
fullness when necessary. Mara Zampieri is an astonishing Odabella. Her opening lines take her up to a high C then through a descending whirligig of coloratura down two octaves to a b below the staff. Her power is undiminished throughout this role, her voice is huge and at the same time capable of great delicacy and sweetness. She reminds me of Anita Cerquetti who also had an enormous voice with a fire-eating middle and low-register but capable of delicacy and subtlety. ...
Piero Visconti is a new tenor for me. I don't understand why he was so overlooked by recording companies ... His Foresto is excellent, though a little nasal when he has to ascend high and loud. It's a killer role like the rest. He does a fine job.
The real star of the show, however, is Piero Cappuccilli's Enzo. His final aria 'È gettata la mia sorte' ends on a high B-flat above the treble staff! This is incredibly high for a baritone. His performance receives an unprecedented ovation from an ecstatic audience that demanded an encore, and they got it! This sort of pandemonium has only happened on one other occasion on a recording from Vienna and that was at the end of Christa Ludwig's 'Entweihte Götter!' from Lohengrin in which the audience bursts into cheers. Something that is not supposed to ever happen in a Wagner performance. Cappuccilli's encore is every bit as thrilling as the first go-round.
The sound on this set is wonderful, just like a studio recording, only it has that live energy and tension that is never captured in a pasteurized studio environment. The audience applauds and shouts after several of the solos and ensembles.
...If you aren't sure about early Verdi and want to be convinced then get this recording. Highly recommended to all Verdians..."www.amazon.es- pekinman
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Mozart: Complete Wind Concerti Vol. III: Horn (Crawford, Orchestra of the Fairfield Academy)
Concerto in E-flat major, K. 417
Concerto in E-flat major, K. 447
Concerto in E-flat major, K. 495
Concerto in D major, K. 412 (386b)
Concerto in E-flat major, K. 370b (371)
RJ Kelly, Horn
Thomas Crawford, Orchestra of the Fairfield Academy
(Period Instruments)
Music Masters Classics 01612-67169-2
[Flac & Scans]
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Andrew Davis: Britten Orchestral Works
01. The Young Person's Guide to the Orchestra, op.34 [17'01]
02. - 12. Variations on a Theme by Frank Bridge, op.10 [27'46]
13. - 16. Four Sea Interludes from 'Peter Grimes', op.33a [15.41]
17. Passacaglia from 'Peter Grimes', op.33b [6'45]
BBC Symphony Orchestra conducted by Andrew Davis
Warner Apex 8573 89082 2 (recorded October 1990; this CD release 2010)
(digital download; flacs, cover and inlay scans, no booklet)
Recording venue: St. Augustine's Church, London,
Recording engineer: Tony Faulkner; Producer: Andrew Keener
Another release from Warner Music's fine series of recordings by the BBC Symphony under Andrew Davis - all in the customary excellent sound recorded by Tony Faulkner. Although rarely offering performances at the very top of the pile, none are other than very fine and the Frank Bridge variations here is one of the best of recorded performances in a 'big band' version. The first item would be better titled Variations and Fugue on a Theme by Purcell as there is no narration and that performance is also excellent. The Four Sea Interludes from Peter Grimes have been bettered by Adrian Boult, Vernon Handley and Eduard van Beinum but the Passacaglia is as good as any. (Unfortunately the composer never recorded the pieces with their concert endings.)
Download from MEGA.
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German Romantic Organ Music [5 CDS]
Philipp Wolfrum (1854-1919)
Complete Organ Sonatas
Martin Sander - organist
Voit organ [1903], Stadthalle Heidelberg
Label: MDG 606 1319-2
Recorded August 2004
[flacs & scans]
Karl Wolfrum (1856-1937)
3 Sonatas
Halgeir Schiager - organist
Sauer organ [1908], Lutherkirche Chemnitz
Label: Oehms OC 416
Recorded June 2011
[flacs & scans]
Johannes Brahms (1833-1897)
The Piano Concertos, transcribed
for piano and organ (8 hands)
Isabelle and Florence Lafitte - piano
Olivier Vernet and Cédric Meckler - organ
Label: Ligia Lidi 0104261-13 [2CD]
Recorded June 2013
[flacs & scans]
Robert Schumann (1810-1856)
Complete Organ Music
Roberto Marini - organist
Mascioni organ [2009], Pontevico Abbey
Label: Brilliant Classics 94721
Recorded April 2011
[flacs & scans]
Max Reger (1873-1916)
Mozart Variations, Op. 132a
Phantasies Op. 46 and Op. 53
Wolfgang Rübsam, Andreas Rothkopf - organ, piano
Label: Organ ORG 7004-2
Recorded September 1998
[flacs & scans]
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Verdi- Il Trovatore - Sinopoli
Giuseppe Verdi (1813-1901)
Julia Varady, Stefania Toczyska, Dennis O'Neill
Wolfgang Brendel, Harry Dworchak, Georgina van Benza
Chor der Bayerischen Staatsoper
Bayerisches Staatsorchester
dir: Giuseppe Sinopoli
Orfeo d'Or 2003 - C582032I- 2CD stereo DDD (excellent sound)
[flac & cue; cover, inlays, booklet & disc scans]
Review
"Taken from a live performance in February, 1992, this recording by the Bavarian State Opera bears some similarities to similar live efforts from the Vienna State Opera: the orchestra is clearer than usual and it plays very well.
In this case, the balance is fairer to the singers than it has been in Vienna, and a good thing, too, because one of them, Julia Varady, is among the elite Leonoras, and is surely the reason why this set is out there, for Stefania Toczyska is merely a solid, slightly (and not inappropriately) rough Azucena, one of several good ones, while the male stars are in a bit over their heads. Dennis O’Neill’s voice is in somewhat better shape than it was on his Chandos “Opera-in-English” recordings, which came later in his career. One wants to like him because he’s a passionate Manrico who throws himself into the role. “Di quella pira” is shortened a bit, but he doesn’t transpose it and even gets off a strangulated high C. It may be it was this kind of fearless, fiery singing that did him in. Wolfgang Brendel sounds like he’s in the downward phase of his career. We can appreciate the intelligent way he finesses his way through his part. In “Il balen,” for example, his good breath control enables him to do long phrases without punching the music out, but he has to sing it too loudly. Harry Dworchak handles “Abbietta zingara” fairly well but, like all Ferrandos, he’s unable to sing “Morodi paura” at his conductor’s tempo.
Although touted as a “singers’ opera,” Il trovatore responds to the ministrations of a strong conductor, and the playing of the orchestra has energy and power but not rigidity. As for Varady, she makes a beautiful sound and usually executes all the notes—in act IV she simplifies a cadenza and, at another point, resorts to a simpler option in the score, but she hits a clean high D? in act I. Such proficient singing would be impressive in itself, but it’s also expressive, beautifully nuanced singing, even if it may not be enough to make this entry a “must buy” affair; but I’ve only heard about a half-dozen Leonoras who can compare with her.
There is a cued plot summary as well as a cue list and some notes about the artists." James Miller, Fanfare Magazine
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Scheidemann Organ Works vols 1-4
Organ Works
Pieter van Dijk (vol 1)
Karin Nelson (vol 2)
Julia Brown (vol 3 & 4)
Naxos 8.554202-3; 8.554548; 8.555876
78:40; 75:51; 72:65; 79:02
(flac tracks, scans & booklet pdf)
zippyshare links
Volume 1
Volume 2
Volume 3
Volume 4
Not too long ago casually dismissed as "just another" of the founders of the North German keyboard school, Heinrich Scheidemann has recently begun to garner the public respect due a master. This recording ought to enhance that goal, as, in every respect, it succeeds in melding Scheidemann 's Sweelinck-influenced keyboardism with the resources of the North German Baroque organ. To that end, Pieter van Dijk, professor of organ and improvisation at the Hamburg Hochschule, plays at the celebrated organ in Alkmaar, the 1645 Van Hagerbeer as redone in 1725 into a full-blown mature Baroque instrument by Franz Caspar Schnitger. Old timers will recall with affection the dozens of Bach discs made by the legendary Helmut Walcha on this instrument for the Archiv label. The organ has since undergone yet another restoration by Flentrop, ostensibly to undo changes made since 1725. Though no one can ever be certain about what should change or not under such circumstances, the Van Hagerbeer/Schnitger has a defining sonic quality about it. Perhaps as a result of those old Walcha mono LPs, one cannot escape the sense that this is the authentic dialect of the North German Baroque.
Pieter van Dijk's performances are nothing short of festive. Even the chorale and chant variations defy rhythmic gravity for, both in underlying pulse and tasteful manipulation of it, van Dijk keeps his listeners at the edge of their seats. He plays swiftly, fully respecting line, but always eager to achieve the summative moment. -Fanfare
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Bartók: Piano concertos 1-3 - Géza Anda, Ernest Bour
Anda’s best-known recording of these concertos was with Ferenc Fricsay and the RSO Berlin in the late 1950s-early 60s. Before that, though, there was an evening at the Herkulessaal, with Ernest Bour and the Bavarian RSO, in which undertook all three in a single concert. Here you have that evening.Géza Anda, piano
Bavarian Radio Symphony Orchestra; Ernest Bour
Recorded live 26 April 1957 Herkulessaal der Residenz, Munich (mono)
XLD rip (flac, cue, web covers)
col legno WWE 20091 (out of print)
203.71 MB links: zippyshare or 1fichier
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