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Composer & Artist:
Composer: Antonín Dvorák
Artists: Zara Nelsova, Ruggiero Ricci




About this Album:
A combination of the only two concertos for string instruments by Dvorák on one CD. Ruggiero Ricci (violin) and Zara Nelsova (cello) are the soloists.

Tracklist:
00:00:00 Violin Concerto in A Minor, Op. 53: I. Allegro ma non troppo - Adagio ma non troppo
00:19:04 Violin Concerto in A Minor, Op. 53: II. Finale. Allegro giocoso
00:29:18 Cello Concerto in B Minor, Op. 104: I. Allegro
00:43:31 Cello Concerto in B Minor, Op. 104: II. Adagio ma non troppo
00:54:07 Cello Concerto in B Minor, Op. 104: III. Finale. Allegro moderato
 
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Composers: Frédéric Chopin, Sergei Rachmaninoff
Artist: Hans Roelofsen (double bass)

Say double bass and people will probably think of jazz music. In spite of pioneering composers like Bottesini and active present-day players like Dutch Hans Roelofsen and Rudolf Senn, the double-bass does not have a serious image in classical music. Maybe Saint-Saëns’ Carnaval des animaux has something to do with this.

Back in the nineteenth century there were several virtuoso performers on this instrument who also wrote music for it. Bottesini being the best-known of them. His virtuoso pieces seem to stretch the instrument with its intrinsic slowness to its limits.

The first part with recordings from 1988 gives some examples of these typical showpieces. On the second part Hans Roelofsen gives newly recorded performances of two sonatas by Chopin and Rachmaninov which were originally written for cello with piano accompaniment. These transcriptions show how versatile the double bass really is. It works surprisingly well: this is the truly romantic double bass.

00:00:00 DUETTO for Clarinet, Double-bass & Orchestra
00:08:34 Allegro moderato
00:14:38 Andante
00:20:16 Allegro
00:24:33 DUO CONCERTANT on Themes from Bellini’s “I Puritani”, for Cello, Double-bass & Orchestra
00:36:35 GRAND DUO CONCERTANT for 2 Double-basses & Orchestra
00:51:43 Allegro moderato
01:03:58 Scherzo, allegro con brio
01:09:30 Largo
01:13:40 Finale, allegro
01:21:14 Lento-allegro moderato
01:35:19 Allegro scherzando
01:41:59 Andante
01:48:08 Allegro mosso

This album comes from the French Harpsichord Music box-set, containing the first 7 CD's out of 29.

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Composer: Jacques Champion de Chambonnières, Jean-Henry d’Anglebert, Gaspard Le Roux
Artists: Pieter-Jan Belder (harpsichord), Michael Borgstede (harpsichord), Yago Mahúgo (harpsichord), Francesco Cera (harpsichord), Franz Silvestri (harpsichord)

Brilliant Classics is proud to have released a number of harpsichord music of the highest quality over the past few years. This collection brings these works together, as well as never before published recordings, allowing the listener to soak up the sounds of 17th- and 18th-century France in its most intimate, domestic setting.

The release starts with Jean Henri d’Anglebert, featuring four of his extensive suites. Each begins with a precisely notated prelude, followed by various dance movements of lively gigues and slow sarabandes. Anglebert’s complex ornamentation system was so admired that it would later be copied by J.S. Bach. Francesco Cera, described as ‘one of the most promising talents in Italy’, performs the works. Jacques Champion de Chambonnières comes next; known as the ‘founding father’ of the French harpsichord tradition, he worked in the courts of both Louis XIII and XIV as a dancer and musician. Franz Silvestri plays on a modern-day harpsichord after Vaudry, Chambonnières’ suites reflect the regal French court at its peak. Pieter-Jan Belder, whose recordings span keyboard music from across Europe during this period, chooses to put the spotlight on Le Roux, a shadowy figure about whom not much is known. He has left us with a beguiling set of harpsichord suites, unusually printed twice: once for one harpsichord and one as an alternative setting for two harpsichords.

Tracklist can be found in the comment section!

Tracklist Below:
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Bach’s famous cello suites, recorded by cellist and early music specialist Jaap ter Linden. In addition to his increasing number of performances as a conductor, Ter Linden also remains active as an instrumentalist.

Ter Linden has worked together with the creamn of early music specialist such as Andrew Manze, Richard Eggarr, Emma Kirkby and Andreas Staier. For any cellist the suites are an important touchstone. Some careers can even be measured by the recordings of these works. Until the present day they remain the ultimate challenge.

True to his reputation, Ter Linden gives profound interpretations which invite the listener to play these performances time after time again.

Composer:
J.S. Bach

Artist:
Jaap ter Linden

00:00:00 Suite No. 1 in G Major / G Dur BWV 1007 : Prelude
00:03:13 Suite No. 1 in G Major / G Dur BWV 1007 : Allemande
00:08:03 Suite No. 1 in G Major / G Dur BWV 1007 : Courante
00:11:02 Suite No. 1 in G Major / G Dur BWV 1007 : Sarabande
00:14:07 Suite No. 1 in G Major / G Dur BWV1007 : Minuet I & II
00:17:27 Suite No. 1 in G Major / G Dur BWV 1007 : Gigue
00:19:19 Suite No. 3 in C Major / C Dur BWV 1009 : Prelude
00:22:56 Suite No. 3 in C Major / C Dur BVW 1009 : Allemande
00:27:21 Suite No. 3 in C Major / C Dur BVW 1009 : Courante
00:31:01 Suite No. 3 in C Major / C Dur BWV 1009 : Sarabande
00:35:08 Suite No. 3 in C Major / C Dur BWV 1009 : Bourrée I & II
00:38:52 Suite No. 3 in C Major / C Dur BWV 1009 : Gigue
00:42:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Prelude
00:48:47 Suite No. 5 In C Minor / C Moll BWV 1011 : Allemande
00:55:34 Suite No. 5 in C Minor / C Moll BWV 1011 : Courante
00:58:01 Suite No. 5 in C Minor / C Moll BWV 1011 : Sarabande
01:01:03 Suite No. 5 in C Minor / C Moll BWV 1011 : Gavotte I & II
01:06:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Gigue
01:08:53 Suite No. 2 in D Minor / D Moll BWV 1008: Prelude
01:12:53 Suite No. 2 in D Minor / D Moll BWV 1008: Allemande
01:16:34 Suite No. 2 in D Minor / D Moll BWV 1008: Courante
01:19:00 Suite No. 2 in D Minor / D Moll BWV 1008: Sarabande
01:23:47 Suite No. 2 in D Minor / D Moll BWV 1008: Minuet I & II
01:27:01 Suite No. 2 in D Minor / D Moll BWV 1008: Gigue
01:29:51 Suite No. 4 in E flat major/Es Dur BWV1010: Prelude
01:34:13 Suite No. 4 in E flat major/Es Dur BWV1010: Allemande
01:39:01 Suite No. 4 in E flat major/Es Dur BWV1010: Courante
01:42:48 Suite No. 4 in E flat major/Es Dur BWV1010: Sarabande
01:47:37 Suite No. 4 in E flat major/Es Dur BWV1010: Bourrée I & II
01:52:45 Suite No. 4 in E flat major/Es Dur BWV1010: Gigue
01:55:36 Suite No. 6 in D Major / D Dur BWV 1012: Prelude
02:00:37 Suite No. 6 in D Major / D Dur BWV 1012: Allemande
02:08:08 Suite No. 6 in D Major / D Dur BWV 1012: Courante
02:11:58 Suite No. 6 in D Major / D Dur BWV 1012: Sarabande
02:16:23 Suite No. 6 in D Major / D Dur BWV 1012: Gavotte I & II
02:20:42 Suite No. 6 in D Major / D Dur BWV 1012: Gigue

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Artist: Alessandro Andriani (cello), Simone Ceppetelli (cello continuo)

Born in Paris in 1749, Jean-Louis Duport, cellist and composer, also known as ‘le jeune’ – to distinguish him from his elder brother Jean-Pierre (1741–1818), called ‘l’ainé’ – is today regarded as one of the most important figures in the history of the development and evolution of cello technique. In 1806 he published his cello treatise Essai sur le doigté du violoncelle et sur la conduite de l’archet, a work that became the fundamental reference point for all subsequent schools of cello teaching. At the end of the treatise, we find the 21 Etudes for Violoncello (with a second cello part as accompaniment), works that explain and put into practice the methods described within. They are very difficult, highly virtuosic exercises that present a wide selection of tones and bowings as well as an extraordinary richness of compositional ideas, and in this way the Essai can be viewed as an anthology of concert pieces with real artistic value rather than just a mere practical handbook.

Made following precise philological criteria and with attention to the performing practice of the age, this recording includes a second cello as accompaniment (the instrument assumes the role of continuo, developing the performance and enlivening the listening experience) and employs original instruments with gut strings and historical bows. Thanks more to their difficulty and pedagogical reputation, the Etudes may have been rarely recorded, a fact which only adds value to the present issue, but they repay repeated listening for their élan, and will be required listening not only for cello students seeking to master the Etudes themselves but also for anyone with a passing interest in the music of Classical-era France.

00:00:00 Etude No. 1 in F Major (Andante)
00:09:01 Etude No. 2 in F Minor (Allegro)
00:14:45 Etude No. 3 in C Major (Allegro)
00:17:16 Etude No. 4 in C Minor (Allegro moderato et très marqué)
00:19:19 Etude No. 5 in C Minor (Moderato)
00:20:41 Etude No. 6 in G Major (Allegro)
00:23:59 Etude No. 7 in G Minor (Allegro)
00:25:30 Etude No. 8 in D Major (Adagio cantabile)
00:31:21 Etude No. 9 in D Minor (Allegro moderato)
00:43:14 Etude No. 10 in A Major (Allegro)
00:47:26 Etude No. 11 in A Minor (Allegro)
00:52:36 Etude No. 12 in E Major (Allegro moderato – Presqu’andante)
01:04:25 Etude No. 13 in E Minor (Allegro)
01:09:27 Etude No. 14 in B-Flat Major ( Andante grazioso)
01:13:42 Etude No. 15 in B-Flat Minor (Allegro)
01:22:04 Etude No. 16 in E-Flat Major (Adagio)
01:29:10 Etude No. 17 in E-Flat Minor (Allegro)
01:39:07 Etude No. 18 in A-Flat Major (Allegro maestoso)
01:46:59 Etude No. 19 in B Major (Allegro)
01:48:34 Etude No. 20 in B Minor (Allegro)
01:55:02 Etude No. 21 in D-Flat Major (Allegro)

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The master of the piano must surely be Frédéric Chopin. Every one of his compositions includes the piano in some form, yet within his oeuvre there is still an exciting variety of music to be found. Chopin made the solo piano form into an art, extensively developing various styles – including the piano sonata, waltz, polonaise and impromptu – and heavily popularising others for the first time, such as the Polish mazurka, the form he often chose to express his nationalism. Chopin straddled the divide between the Classical and Romantic worlds, and the changes that took place in his writing is clear to see on an authoritative edition such as this one. His masterful études remain less virtuosic than those of his contemporaries, such as Liszt; the emphasis is still on the technical aspect, and they reveal Chopin’s supreme talent for the piano, as a performer as well as a composer. His waltzes were the first to move away from pieces composed for dancing; rather, they were designed to be performed in salons, and therefore gave the potential for a faster tempo and freer sense of rhythm. Never fading from popularity, Chopin has long been regarded as a symbol of Romanticism, appreciated both in his own lifetime and in the years since his death.

Composer : Frédéric Chopin

00:00:00 Piano Concerto No. 1 in E Minor, Op. 11: I. Allegro maestoso
00:19:49 Piano Concerto No. 1 in E Minor, Op. 11: II. Larghetto
00:29:19 Piano Concerto No. 1 in E Minor, Op. 11: III. Rondo. Vivace
00:39:54 Piano Concerto No. 2 in F Minor, Op. 21: I. Maestoso
00:54:05 Piano Concerto No. 2 in F Minor, Op. 21: II. Larghetto
01:03:34 Piano Concerto No. 2 in F Minor, Op. 21: III. Allegro vivace
01:12:07 Variations on “Là ci darem la mano” in B-Flat Major, Op. 2
01:27:34 Grande fantaisie sur des airs polonais in A Major, Op. 13
01:41:05 Krakowiak in F Major, Op. 14
01:55:28 Andante spianato and grande polonaise in E-Flat Major, Op. 22
02:08:56 Cello sonata in G Minor, Op. 65: I. Allegro moderato
02:23:14 Cello sonata in G Minor, Op. 65: II. Scherzo. Allegro con brio
02:28:01 Cello sonata in G Minor, Op. 65: III. Largo
02:31:21 Cello sonata in G Minor, Op. 65: IV. Finale. Allegro
02:37:34 Grand duo concertant sur des thèmes de Robert Le Diable in E Major, B. 70
02:50:25 Introduction and polonaise brillante in C Major, Op. 3
02:59:36 Piano Trio in G Minor, Op. 8: I. Allegro con fuoco
03:10:31 Piano Trio in G Minor, Op. 8: II. Scherzo. Con moto, ma non troppo
03:17:18 Piano Trio in G Minor, Op. 8: III. Adagio sostenuto
03:23:24 Piano Trio in G Minor, Op. 8: IV. Finale. Allegretto
03:29:12 Polish Songs Op. 74: I. Zyczenie (The Wish)
03:30:55 Polish Songs Op. 74: II. Wiosna (Spring)
03:33:37 Polish Songs Op. 74: III. Smutna rzeka (The Sad Stream)
03:37:18 Polish Songs Op. 74: IV.Hulanka (Merrymaking)
03:39:57 Polish Songs Op. 74: V. Gdzie lubi (There where she loves)
03:41:10 Polish Songs Op. 74: VI. Precz z moich oczu! (Out of my sight!)
03:44:48 Polish Songs Op. 74: VII. Poseł (The Envoy)
03:47:37 Polish Songs Op. 74: VIII. S´liczny chłopiec (Handsome Lad)
03:50:11 Polish Songs Op. 74: IX. Melodya (Elegy)
03:53:24 Polish Songs Op. 74: X. Wojak (The Warrior)
03:55:28 Polish Songs Op. 74: XI. Dwojaki koniec (The Double End)
03:57:29 Polish Songs Op. 74: XII. Moja pieszczotka (My Darling)
03:59:26 Polish Songs Op. 74: XIII. Nie ma czego trzeba (There is no need)
04:06:46 Polish Songs Op. 74: XIV. Piers´cien´ (The Ring)
04:08:24 Polish Songs Op. 74: XV. Narzeczony (The Bridegroom)
04:10:49 Polish Songs Op. 74: XVI. Piosnka litewska (Lithuanian Song)
04:12:50 Polish Songs Op. 74: XVII. S´piew grobowy (Hymn from the tomb)
04:18:25 Polish Songs Op. 74: XVIII. Czary (Charms)
04:20:56 Polish Songs Op. 74: XIX. Dumka (Reverie)

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In 1791, just after he completed The Magic Flute, Mozart received a call from a mysterious man commissioning him to compose a Requiem. The visitor gave Mozart an unsigned letter, which asked if he’d be prepared to undertake the composition, how much he’d charge for doing so and how long he would take to complete the work. The visitor returned a few days later, and paid the money Mozart had asked for, and was told that the work would be ready in four weeks. He who identified neither himself nor the name of his employer, and said that a person close to his master had died, and that his master wished to have a new Requiem performed in their memory.Mozart set about composition immediately, in spite of the fact that he also had to complete La clemenza di Tito for the coronation of Emperor Leopold in Prague.

By this time Mozart’s health was in a steep decline. He suffered frequent blackouts, and took to his bed, still insisting on working on the Requiem. His pupil Süssmayr helped him score the work, but Mozart died on 5th December 1791, leaving it unfinished. Süssmayr (who may have been romantically involved with Constanze at the time) was persuaded to complete the work.

Like the C minor Mass, the Requiem is a work of high drama, and written on a large scale. It set the pattern for the great Requiems of Berlioz and Verdi, especially in the Dies irae, where the writing is truly electrifying and the terror of the Day of Wrath palpable.

00:00:00 Requiem In D Minor, K626: I. Introitus: Requiem aeternam
00:04:45 Requiem In D Minor, K626: II. Kyrie eleison
00:07:30 Requiem In D Minor, K626: III. Sequenz. Dies irae
00:09:28 Requiem In D Minor, K626: III. Sequenz. Tuba mirum
00:12:34 Requiem In D Minor, K626: III. Sequenz. Rex tremendae
00:14:43 Requiem In D Minor, K626: III. Sequenz. Recordare
00:19:07 Requiem In D Minor, K626: III. Sequenz. Confutatis
00:21:36 Requiem In D Minor, K626: III. Sequenz. Lacrimosa
00:24:40 Requiem In D Minor, K626: IV Offertorium. Domine Jesu
00:28:26 Requiem In D Minor, K626: IV Offertorium. Hostias
00:32:26 Requiem In D Minor, K626: V. Sanctus
00:34:06 Requiem In D Minor, K626: VI. Benedictus
00:38:33 Requiem In D Minor, K626: VII. Agnus Dei
00:42:36 Requiem In D Minor, K626: VIII. Communio. Lux aeterna

Tracklist in the Comment Section!

This set contains about 5 hours of romantic listening pleasure. Great performances by artists, such as Mela Tenenbaum, Sara Crombach, Klára Würtz, Alwin Bär and many more.

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Tracklist:
00:00:00 Concert Arias for Soprano and Orchestra: Der Liebe himmlisches Gefühl, KV. 119
00:06:07 Concert Arias for Soprano and Orchestra: Vorrei spiegarvi, oh Dio, KV. 418
00:12:20 Concert Arias for Soprano and Orchestra: Cara, se le mie pene, KV. deest
00:22:02 Concert Arias for Soprano and Orchestra: Se tutti i mali miei, KV. 83
00:29:53 Concert Arias for Soprano and Orchestra: Alcandro, lo confesso… Non sò d’onde viene, KV. 294
00:39:18 Concert Arias for Soprano and Orchestra: Se ardire, e speranza, KV. 82
00:46:00 Concert Arias for Soprano and Orchestra: Ah, spiegarti, oh Dio, KV. 178
00:49:15 Concert Arias for Soprano and Orchestra: Ch’io mi scordi di te… Non temer, amato bene, KV. 505
00:59:20 Concert Arias for Soprano and Orchestra: Alma grande e nobil core, KV. 578
01:04:02 Concert Arias for Soprano and Orchestra: A questo seno…Or che il cielo, KV. 374
01:12:06 Concert Arias for Soprano and Orchestra: Basta vincesti…Ah, non lasciarmi KV. 486a (295a)
01:17:50 Concert Arias for Soprano and Orchestra: Al desio, di chi t’adora, KV. 577
01:23:45 Concert Arias for Soprano and Orchestra: Conservati fedele, KV. 23
01:30:45 Concert Arias for Soprano and Orchestra: Voi avete un cor fedele, KV. 217
01:37:49 Concert Arias for Soprano and Orchestra: Misero mi…Misero pargoletto, KV. 77
01:50:50 Concert Arias for Soprano and Orchestra: Nehmt meinen Dank, KV. 383
01:54:03 Concert Arias for Tenor and Orchestra: Va, dal furor portata, KV. 21 (19c)
02:00:01 Concert Arias for Tenor and Orchestra: Or che il dover…Tali e cotanti sono, KV. 36 (33i)
02:08:44 Concert Arias for Tenor and Orchestra: Si mostra la sorte, KV. 209
02:11:26 Concert Arias for Tenor and Orchestra: Con ossequio, con rispetto, KV. 210
02:14:22 Concert Arias for Tenor and Orchestra: Clarice cara mia sposa, KV. 256
02:16:08 Concert Arias for Tenor and Orchestra: Se al labbro mio non credi, KV. 295
02:26:09 Concert Arias for Tenor and Orchestra: Per pietà, non ricercate, KV. 420
02:31:52 Concert Arias for Tenor and Orchestra: Misero! o sogno...Aura, che intorno spiri, KV. 431
02:41:14 Concert Arias for Bass and Orchestra: Io ti lascio, KV. Anh 245
02:44:13 Concert Arias for Bass and Orchestra: Così dunque tradisci…Aspri rimorsi atroci, KV. 432 (421a)
02:48:04 Concert Arias for Bass and Orchestra: Dite almeno in che mancai, KV. 479
02:54:25 Concert Arias for Bass and Orchestra: Mandina amabile, KV. 480
02:59:17 Concert Arias for Bass and Orchestra: Alcandro, lo confesso…Non sò, d’onde viene, KV. 512
03:06:18 Concert Arias for Bass and Orchestra: Mentre ti lascio, KV. 513
03:13:10 Concert Arias for Bass and Orchestra: Ich möchte wohl den Kaiser sein, KV. 539
03:15:51 Concert Arias for Bass and Orchestra: Un bacio di mano, KV. 541
03:18:01 Concert Arias for Bass and Orchestra: Per questa bella mano, KV. 612
03:25:05 Concert Arias for Bass and Orchestra: Popoli di Tessaglia KV. 316: Popoli di Tessaglia
03:28:30 Concert Arias for Bass and Orchestra: Popoli di Tessaglia KV. 316: Io non chiedo
03:35:09 Concert Arias for Soprano and Orchestra: Ah se in ciel, benigne stelle, KV. 538
03:42:50 Concert Arias for Soprano and Orchestra: Chi sà, chi sà, qual sia, KV. 582
03:46:50 Concert Arias for Soprano and Orchestra: Vado, ma dove? oh Dei! KV. 583
03:51:02 Concert Arias for Soprano and Orchestra: Ch’io mi scordi te? Non temer, amato bene, KV. 490
03:58:19 Concert Arias for Soprano and Orchestra: Per pietà, bell’idol mio, KV. 78 (73b)
04:02:04 Concert Arias for Soprano and Orchestra: Oh, temerario Arbace, KV. 79 (73d)
04:07:22 Concert Arias for Soprano and Orchestra: Bella mia fiamma, addio!... Resta, oh cara, KV. 528
04:17:22 Concert Arias for Soprano and Orchestra: Ah, lo previdi!-Ah, t’invola-Deh, non varcar, KV. 272
04:31:37 Concert Arias for Soprano and Orchestra: Misera, dove son! – Ah! non son’io che parlo, KV. 369
04:38:42 Concert Arias for Soprano and Orchestra: Mia speranza adorata!- Ah, non sai, qual pena sia il doverti, KV. 416
04:48:07 Concert Arias for Soprano and Orchestra: Non curo l’affetto, KV. 74b
04:53:25 Concert Arias for Soprano and Orchestra: Fra cento affanni, KV. 88
05:03:38 Concert Arias for Soprano and Orchestra: A Berenice- Sol nascente, KV. 70
05:15:27 Concert Arias for Soprano and Orchestra: Ma, che vi fece, o stelle- Sperai vicino il lido, KV. 368
05:24:18 Concert Arias for Soprano and Orchestra: No, no, che non sei capace, KV. 419

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Valentina Levko was another in the glorious line of Russian 20th-century contraltos who in some ways defined the sound of Russian opera for ears, both Eastern and Western, which were often discovering the rich tradition of Russian opera for the first time through recordings. Levko's name, however, unlike compatriots such as Elena Obratzova, never travelled as far or as well. Committed to her contract at the Bolshoi, she spurned several opportunities to make a name for herself in the West, with the lucrative recording contracts that would surely have followed. And yet hers was, as this important set reveals, a voice and dramatic presence firmly in the mould of greats of the past such as Zara Dolukhanova.

This video contains the 7th volume of the complete Valentina Levko: Star of the Bolshoi box-set. To download and stream the complete album click here: https://brilliant-classics.lnk.to/StaroftheBolshoi

00:00:00 Alexei Verstovsky - The Little Bell (F. Glinka)
00:03:11 Mili Balakirev - Embrace me, kiss me (Koltsov)
00:05:47 Alexander Varlamov - I feel sorry for you
00:08:57 Alexander Varlamov - Oh, do not kiss me
00:10:30 Alexander Gurilyov - Girl’s Sorrow (Koltsov)
00:15:01 Pyotr Bulakhov - And this world has no eyes
00:17:15 Pyotr Bulakhov - Do not stir up memories (Davidov)
00:21:39 Alexander Diubiuk - Do not scold me (Razorenov)
00:25:34 Alexei Verstovsky - The Old Husband (Gipsy song after Pushkin)
00:27:56 Pyotr Bulakhov - Russian Carriage-and-Three (Viazemsky)
00:30:32 Alexander Varlamov - Red Sarafan (Tsyganov)
00:34:04 Song of Ilinichna (Music for a Tragedy by Nestor Kukolnik ‘Count Kholmski’)
00:35:57 Oh, if I had known (Gypsy Song – Dmitriev)
00:40:55 I loved him (Koltsov)
00:43:52 Reminder
00:49:48 I loved you (Pushkin)

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Composers: Frederico De Freitas
Artists: Carlos Damas (violin), Jill Lawson (violin), Jian Hong (violoncello)

Frederico de Freitas (1902-1980) was one of the most important musical figures of 20th century Portugal: a composer, conductor (founder of the Portuguese radio orchestra), writer, teacher and instrumentalist (piano, violin).
His early compositions are inspired by the musical trends of the time (polyrhythms and polytonality), later he developed a more classical style, in which his own harmonic language (augmented modality) and the inspiration of his country’s rich folk music tradition are the most important elements.
This CD contains De Freitas’ complete works for violin and piano, music of a rich originality, worthy to discover and cherish.
Portuguese violinist Carlos Damas is a strong advocate of this music: sensuous tone, intimacy and passion, perfectly suited to the music’s mood. Pianist Jill Lawson is an excellent partner, the duo having successfully recorded for Brilliant Classics already (Antonio Fragoso, works for violin and piano, BC 94158).

00:00:00 Allegro appassionato for Violin and Piano
00:08:21 Notturno for Violin and Piano
00:12:09 Sonata for Violin and Piano: I. Allegro moderato
00:21:50 Sonata for Violin and Piano: II. Adagio con molto espressione e sentiment
00:28:26 Sonata for Violin and Piano: III. Allegro con spirit
00:35:46 Berceuse for Violin and Piano
00:38:25 Clown Dance for Violin and Piano
00:41:12 3 Short Pieces: I. Serenata perdida
00:43:15 3 Short Pieces: II. Música para funerais
00:46:20 3 Short Pieces: III. Alla zingarese
00:48:11 Sonata for Violin and Violoncello: I. Andante quasi moderato
00:55:32 Sonata for Violin and Violoncello: II. Scherzo pittoresco
00:59:18 Sonata for Violin and Violoncello: III. Adagio non tanto
01:05:38 Sonata for Violin and Violoncello: IV. Allegro appassionato

Tracklist below.

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Taking inspiration from Fray Luis de León, the 16th-century lyric poet and monk, Seldom Sene have selected an enthralling collection of music for their second album. ‘El aire se serena’ – a line from one of Léon’s poems – translates as ‘The air becomes serene’, setting the tone for the beautifully atmospheric music of the album. The Quintet have selected a vast array of secular and sacred works, from the well-known composers De Cabezón and his son Hernando, to the more neglected but at the time equally prolific composers, such as Francisco de Peñalosa and the dance master Fabritio Caroso. Much of the release is dedicated to sacred music, with works such as Josquin’s five-voice motet Inviolata, integra et casta est Maria and Lamentabatur Iacob, written by Josquin’s successor De Morales, who styled himself on the Spanish composer.

This beautifully conceived CD presents music from the Courts and Cathedrals of 16th century Spain. The composers include Cabezon, Geurrero, Penalosa, Vasquez, Morales, Victoria, Milano, Lobo, Torre and Caroso. One of the main practices in 16-th century Spain was the transcription or arrangements of vocal music from the Franco-Flemish School. Masses, motets and madrigals by Gomberg, Josquin and others were transcribed for instrumental ensembles.
Seldom Sene is a recorder ensemble from the Netherlands. The ensemble’s aim is to translate the typical phrasing, blending, flexibility and expression of a vocal ensemble into an instrumental performance, and recreate the sense of Serenity and Brilliance as is described in the CD’s title. Seldom Sene already recorded a successful CD for Brilliant Classics, Taracea BC94871, Gramophone wrote: “commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display”. Dutch newspaper Early Music Review wrote: “Seldom Sene perceptively exploited a range of contrasting textures, and was the only ensemble of the day whose memorisation of the dots enabled unbridled spontaneity.”

00:00:00 Obras de música para tecla, arpa y vihuela: Inviolata. Jusquin
00:03:54 Missa Dormendo un giorno: Agnus dei III
00:07:39 Durmendo un jorno. Verdelot
00:10:44 Dormend’un giorno a baia
00:13:18 Lamentabatur Jacob in D Minor
06:22:50 Ascendens Christus in altum in G Major
00:27:47 Triste de par. Gombert
00:31:33 Lágrimas de mi consuelo
00:34:13 Alta in D Minor
00:35:19 Il Ballarino: Balletto. Amor mio
00:36:49 Bassadanza: La spagna
00:38:21 Ave regina coelorum
00:41:41 Adoro te, domine
00:44:30 Missa pro defunctis: Lux aeterna
00:47:54 Susana un jur
00:51:14 Riu, riu, chiu
00:52:52 Trahe me post te, virgo Maria
00:58:26 Canciones y villanescas espirituales: Hombres, victoria, Victoria
01:01:57 Inviolata, integra et casta es: I. Prima pars
01:04:33 Inviolata, integra et casta es: II. Secunda pars
01:06:13 Inviolata, integra et casta es: III. Tertia pars

Artist:
Seldom Sene

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Composer & Artist:
Composer: Wolfgang Amadeus Mozart
Artists: Johanette Zomer Aminta, Francine van der Heijden Elisa, Marcel Reijans Agenore, Musica ad Rhenum, Jed Wentz (conductor)

About this Album:
Il rè pastore was commissioned in 1775 for the visit of Austria’s Archduke Maximilian Franz to Salzburg. Written in just six weeks, the opera is based on a libretto by Pietro Metastasio in which Alexander the Great (Alessandro) discovers that young shepherd Aminta is the rightful heir to the throne, taking it upon himself to restore the boy to power. Regardless of the composer’s youth, several moments in the opera show hints of the more mature Mozart, including the aria ‘L’amerò sarò costante’ in which rippling strings and lush orchestration are combined with a poignant, yearning vocal line. Another highlight is the glorious ensemble finale of Act II, a feature that would become a vital characteristic of Mozart’s later operas.

Tracklist:
The tracklist can be found in the comments!

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Composer & Artists:
Composer: Juan Vasquez
Artists: Quink Vocal Ensemble, Marjon Strijk, Mariëtte Oelderik (sopranos), Elsbeth Gerritsen (contralto) Harry van Berne (tenor), Kees Jan de Koning (bass)

About this Album:
Sacred music occupied an important role in 16th-century Spain, but there is much evidence that secular vocal polyphony held a place in society too. Such music is to be found in the little-known Juan Vázquez’s Recopilación which dates from around 1560; as well as canciones and soneto-madrigals, the collection includes various villancicos – the main focus of this recording – then a popular style of song and which Vázquez clearly overhauled through replacing endless repetition with melodic and rhythmic variety. That Vázquez’s contribution to the genre was both popular and significant (he wrote over 90 in total, most of which were set to texts by leading Spanish poets of the day) is demonstrated by the many later arrangements of his villancicos for vocal soloists with vihuela accompaniment.

Performing these highly engaging, deftly written works are the Dutch vocal group Quink, founded in 1978 and ranking among the world’s best a cappella ensembles. The recording, which can only serve to increase our appreciation for this largely-forgotten composer, underlines the group’s astonishing variety of tonal colour – of their Benjamin Britten CD, the New York Times drew attention to Quink’s ‘elegant phrasing, impeccable intonation and a purity of tone reminiscent of Renaissance madrigals.’

Little is known about the life of Spanish composer Juan Vasquez (fl. 16th century). A skilled and successful composer in the service of the King of Spain. His compositions are mainly secular, in the form of polyphonic madrigals and ‘Villancicos’, popular songs set for a vocal ensemble of 4 or 5 voices. The madrigals are on poetic texts by well known poets like Boscan and Garcilaso. The Villancicos are based on folk music and traditional texts, music brimming with joy, happiness and Spanish vitality!

Tracklist:
00:00:00 Cancione “Hermosíssima María”
00:03:21 Cancione “Gentil señora mía”
00:06:46 Soneto-madrigal “Gracias al cielo doy”
00:09:57 Villancico “No pensé qu’entre pastores”
00:12:42 Villancico “Quien amores tiene ¿cómo duerme?”
00:15:05 Villancico “Si n’os uviera mirado”
00:17:11 Villancico “Con qué la lavaré”
00:20:59 Villancico “Por una vez”
00:23:31 Cancione “¿Serrana, dónde dormistes?”
00:25:54 Cancione “¡O dulce contemplación!
00:28:25 Cancione “¡A, hermosa, Abrime, cara de rosa!
00:30:25 Villancico “¿Qué sentis, coraçón mío?”
00:32:28 Villancico “Por mi vida, madre”
00:34:30 Villancico “Del rosal sale la rosa”
00:37:22 Villancico “¡Torna, Mingo, a namorarte!”
00:39:34 Villancico “Morenica m’era yo”
00:40:55 Villancico “Qué razón podeys tener”
00:42:52 Soneto-madrigal “Bendito sea el día, punto y ora”
00:46:58 Soneto-madrigal “Amor, virtud y nobles pensamientos
00:50:39 Villancico “Dexa ya tu soledad”

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Composer & Artist:
Composer: Ernest Bloch
Artists: Maristella Patuzzi, Mario Patuzzi

About this Album:
20th-century composer Ernest Bloch forged a unique path, firmly establishing his Jewish identity through his music and thereby creating many works of great spiritual expression. Born in Geneva in 1880, he studied in Belgium and Germany before moving to America. Although he returned to Europe, he eventually became a US citizen, abandoning Switzerland forever due to the encroaching threat of Nazism. It was in the States that his music was truly appreciated for the first time; in New York, he conducted renowned orchestral concerts of his own works and became known as the “Jewish Composer”, winning the Coolidge Prize for his Viola Suite. It was around this time that he began to compose for the violin.

Tracklist:
00:00:00 Violin Sonata No. 1 in A Minor (1920): I. Agitato
00:11:27 Violin Sonata No. 1 in A Minor (1920): II. Molto quieto
00:20:46 Violin Sonata No. 1 in A Minor (1920): III. Moderato
00:29:20 Abodah in C Minor (1929): Molto moderato
00:35:33 Melody in D Major (1929): Moderato
00:38:03 Suite No. 1 in G minor (1958) for solo violin (1958): Prélude – Andante tranquillo – Allegro – Andante – Allegro energico – Tempo del primo movimento – Allegro
00:46:48 Baal Shem Three Pictures of Chassidic Life (1923): I. Vidui (Contrition). Un poco lento
00:50:11 Baal Shem Three Pictures of Chassidic Life (1923): II. Nigun (Improvisation). Adagio non troppo
00:56:58 Baal Shem Three Pictures of Chassidic Life (1923): III. Simchas Torah (Rejoicing). Allegro giocoso


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Om bhur bhuvah svah
tat savitur varenyam
bhargo devasya dhimahi

Sadhguru explica cómo «Aum» es el sonido universal y no una palabra de origen religioso. Él elabora sobre cómo esta misma reverberación se encuentra en múltiples tradiciones a través del mundo; entre ellas el islam y el cristianismo.


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Yogui, místico y visionario, Sadhguru es un maestro espiritual con una diferencia. Una notable combinación de profundidad y pragmatismo, su vida y su trabajo sirven como recordatorio de que el yoga es una ciencia contemporánea, de vital relevancia en nuestro tiempo.

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La palabra yoga literalmente significa «unión» o «fusionarse». Más que un conjunto de posturas físicas o ejercicios, Sadhguru define yoga como una ciencia para determinar la naturaleza de quién eres y qué quieres ser. Hoy en día, estudios científicos han demostrado que los fundamentos mismos de la actividad cerebral, la química interna y las predisposiciones genéticas, pueden ser modificadas practicando ciertos sistemas de yoga. Yoga es, esencialmente, una tecnología para cambiar la forma de quién eres tú.

********************************************************************

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Yogui, místico y visionario, Sadhguru es un maestro espiritual con una diferencia. Una notable combinación de profundidad y pragmatismo, su vida y su trabajo sirven como recordatorio de que el yoga es una ciencia contemporánea, de vital relevancia en nuestro tiempo.

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Un buscador espiritual le pregunta a Sadhguru si es la suerte, nuestra fe, o Dios quien decide nuestro éxito. Él explica que no importa qué papel jueguen o no jueguen estos factores en nuestra vida; lo importante es concentrarnos en hacer un esfuerzo incisivo.

Sadhguru habla en Darshan, Isha Yoga Center, Coimbatore, Junio 2011.

**************************************************

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Yogui, místico y visionario, Sadhguru es un maestro espiritual con una diferencia. Una notable combinación de profundidad y pragmatismo, su vida y su trabajo sirven como recordatorio de que el yoga es una ciencia contemporánea, de vital relevancia en nuestro tiempo.

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La práctica de Nadi Shuddhi depura los nadis ─los caminos por los que la energía pránica fluye─ dando como resultado un sistema balanceado y bienestar psicológico.

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Yogui, místico y visionario, Sadhguru es un maestro espiritual con una diferencia. Una notable combinación de profundidad y pragmatismo, su vida y su trabajo sirven como recordatorio de que el yoga es una ciencia contemporánea, de vital relevancia en nuestro tiempo.

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