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El Papa mantuvo un encuentro con la Asociación de Médicos Católicos de Italia con motivo de su 70 aniversario.
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ROME REPORTS es una Agencia de Noticias para TV, internacional e independiente, especializada en la actividad del Papa, la vida del Vaticano y los debates de actualidad sobre temas sociales, culturales o religiosos. Informar sobre la Iglesia Católica requiere cercanía a las fuentes, conocimiento en profundidad de la Institución, y elevados niveles de creatividad y competencia técnica.
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Está disponible en Internet a través de la plataforma Vimeo:
https://vimeo.com/ondemand/benedictoxviverdad
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[DESCRIPCIÓN DE LA NOTICIA]
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ROME REPORTS es una Agencia de Noticias para TV, internacional e independiente, especializada en la actividad del Papa, la vida del Vaticano y los debates de actualidad sobre temas sociales, culturales o religiosos. Informar sobre la Iglesia Católica requiere cercanía a las fuentes, conocimiento en profundidad de la Institución, y elevados niveles de creatividad y competencia técnica.
ROME REPORTS informa directamente al público y cubre las necesidades de las emisoras mediante noticias diarias, programas informativos semanales y documentales especializados.
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Fue un encuentro correcto pero Francisco no privilegia las relaciones bilaterales con Argentina.
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ROME REPORTS es una Agencia de Noticias para TV, internacional e independiente, especializada en la actividad del Papa, la vida del Vaticano y los debates de actualidad sobre temas sociales, culturales o religiosos. Informar sobre la Iglesia Católica requiere cercanía a las fuentes, conocimiento en profundidad de la Institución, y elevados niveles de creatividad y competencia técnica.
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Misericordia es quizá la palabra más repetida por el Papa Francisco.
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ROME REPORTS es una Agencia de Noticias para TV, internacional e independiente, especializada en la actividad del Papa, la vida del Vaticano y los debates de actualidad sobre temas sociales, culturales o religiosos. Informar sobre la Iglesia Católica requiere cercanía a las fuentes, conocimiento en profundidad de la Institución, y elevados niveles de creatividad y competencia técnica.
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Composer & Artist:
Composer: Alfred Schnittke
Artists: Bolshoi Theatre (Orchestra), Andrei Chistjakov (conductor)
About this Album:
In 1978 Alfred Schnittke (1934-98) wrote the incidental music for a production of The Inspector’s Tale, an adaptation for stage of Gogol’s Dead Souls. It was to have been directed by Yuri Lyubimov, but the Soviet government banned the production. A suite was assembled from the score by Gennadi Rozhdenstvensky, and two leading colleagues of Schnittke – Gubaidulina and Denisov contributed a jointly composed march, which opens this CD. In 1985 the music was choreographed, the ballet, called Esquisses was performed at the Bolshoi. Schnittke composed a number of new pieces for this production. The characters in the action are all from Gogol, but in addition to The Dead Souls, we meet Tchitchikov, Major Kovalyov’s Nose, and Ferdinand VIII from Notes of a Madman. A passage from the book is recited in his piece, and is read by the conductor on this CD.
Tracklist:
00:00:00 March: The Swan, the Pike and the Crayfish
00:01:54 Overture
00:03:15 The Childhood of Chichikov
00:05:37 The Portrait
00:12:01 Major Kovalyov
00:12:44 Morning. The Disappearance of the Nose
00:14:15 In Search of the Nose
00:15:46 Despair
00:17:39 The Nose is Found
00:19:59 The Overcoat
00:22:15 Ferdinand VIII
00:23:24 The Civil Servants
00:25:54 The Barrel-Organ
00:28:04 The Unknown Woman
00:29:26 Pas de deux
00:32:59 The Debauch
00:34:28 The Sabbath
00:36:29 The Barrel-Organ
00:37:38 Spanish Royal March
00:39:18 The Ball
00:45:18 The Testament
00:50:35 March: The Swan, the Pike and the Crayfish
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Tracklist below.
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Composer: Giorgio Gentili
Artist: Soavi Affetti Baroque Music Ensemble
Patrizio Focardi (violin)
Paolo Cantamessa (violin)
Rebeca Ferri (cello)
Anna Clemente (cembalo & organ)
Giovanni Bellini theorbo
Here’s another name from the Italian Baroque to conjure with, rescued from dusty obscurity by stylish Italian musicians and Brilliant Classics, who have an unrivalled back-catalogue of such discoveries. Giorgio Gentili (1669-1737) was a Venetian musician who made his name as a violinist, playing in the ducal chapel of St Mark’s. Appointed at the age of 20, he remained
in post as a principal soloist in the ensemble for over 40 years, as well as taking on a music-director post at the Ospedale dei Mendicanti. Though now almost forgotten, he was clearly well-respected within the competitive musical scene of early 18th-century Venice, being among the highest-paid musicians in the city.
00:00:00 12 Sonatas, Op. 1, sonata VIII in G Major: I. Adagio - Presto – Grave
00:02:14 12 Sonatas, Op. 1, sonata VIII in G Major: II. Allegro
00:03:47 12 Sonatas, Op. 1, sonata VIII in G Major: III. Adagio
00:05:29 12 Sonatas, Op. 1, sonata VIII in G Major: IV. Allegro
00:06:38 12 Sonatas, Op. 1, sonata IV in E Minor: I. Grave
00:09:07 12 Sonatas, Op. 1, sonata IV in E Minor: II. Allegro
00:10:58 12 Sonatas, Op. 1, sonata IV in E Minor: III. Largo e staccato
00:12:25 12 Sonatas, Op. 1, sonata IV in E Minor: IV. Allegro
00:13:48 12 Sonatas, Op. 1, sonata I in A Major: I. Adagio
00:16:00 12 Sonatas, Op. 1, sonata I in A Major: II. Allegro
00:18:29 12 Sonatas, Op. 1, sonata I in A Major: III. Grave
00:19:54 12 Sonatas, Op. 1, sonata I in A Major: IV. Allegro
00:20:36 12 Sonatas, Op. 1, sonata I in A Major: V. Allegro
00:21:32 12 Sonatas, Op. 1, sonata IX in C Minor: I. Grave
00:24:12 12 Sonatas, Op. 1, sonata IX in C Minor: II. Allegro
00:25:38 12 Sonatas, Op. 1, sonata IX in C Minor: III. Largo
00:27:09 12 Sonatas, Op. 1, sonata IX in C Minor: IV. Allegro
00:28:26 12 Sonatas, Op. 1, sonata II in F Major: I. Grave
00:30:45 12 Sonatas, Op. 1, sonata II in F Major: II. Presto
00:32:30 12 Sonatas, Op. 1, sonata II in F Major: III. Largo
00:34:22 12 Sonatas, Op. 1, sonata II in F Major: IV. Allegro
00:35:44 12 Sonatas, Op. 1, sonata III in D Minor: I. Adagio
00:37:41 12 Sonatas, Op. 1, sonata III in D Minor: II. Allegro
00:39:29 12 Sonatas, Op. 1, sonata III in D Minor: III. Grave
00:41:26 12 Sonatas, Op. 1, sonata III in D Minor: IV. Presto
00:42:19 12 Sonatas, Op. 1, sonata XI in G Minor: I. Adagio
00:44:05 12 Sonatas, Op. 1, sonata XI in G Minor: II. Presto
00:45:33 12 Sonatas, Op. 1, sonata XI in G Minor: III. Grave
00:47:34 12 Sonatas, Op. 1, sonata XI in G Minor: IV. Presto
00:48:37 12 Sonatas, Op. 1, sonata VII in B-Flat Major: I. Grave
00:50:44 12 Sonatas, Op. 1, sonata VII in B-Flat Major: II. Allegro
00:52:39 12 Sonatas, Op. 1, sonata VII in B-Flat Major: III. Grave
00:54:21 12 Sonatas, Op. 1, sonata VII in B-Flat Major: IV. Presto
00:55:33 12 Sonatas, Op. 1, sonata X in B Minor: I. Grave
00:57:33 12 Sonatas, Op. 1, sonata X in B Minor: II. Allegro
00:59:38 12 Sonatas, Op. 1, sonata X in B Minor: III. Grave
01:01:14 12 Sonatas, Op. 1, sonata X in B Minor: IV. Allegro
01:02:44 12 Sonatas, Op. 1, sonata XII in D Major: I. Adagio - Presto – Adagio
01:04:55 12 Sonatas, Op. 1, sonata XII in D Major: II. Allegro
01:06:26 12 Sonatas, Op. 1, sonata XII in D Major: III. Grave
01:08:07 12 Sonatas, Op. 1, sonata XII in D Major: IV. Allegro
01:09:45 12 Sonatas, Op. 1, sonata V in A Minor: I. Grave
01:11:59 12 Sonatas, Op. 1, sonata V in A Minor: II. Allegro
01:13:59 12 Sonatas, Op. 1, sonata V in A Minor: III. Largo e piano
01:15:39 12 Sonatas, Op. 1, sonata V in A Minor: IV. Presto
01:16:54 12 Sonatas, Op. 1, sonata VI in C Major: I. Adagio - Allegro – Adagio
01:18:47 12 Sonatas, Op. 1, sonata VI in C Major: II. Allegro
01:20:40 12 Sonatas, Op. 1, sonata VI in C Major: III. Adagio – Vivace – Adagio
01:21:46 12 Sonatas, Op. 1, sonata VI in C Major: IV. Allegro
A worthy tribute to Beethoven, the genius, the human, whose motto was:
“Vom Herzen, möge es wieder zu Herzen gehn!”(From the heart, may it go into the hearts again!).
The first 27 tracks of the Beethoven Edition! For the complete 104 tracks (13 hours of Music!), check the following links:
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Composer: Ludwig van Beethoven
Artist: Staatskapelle Dresden & Herbert Blomstedt
00:00:00 Symphony No. 1 in C Major, Op. 21: I. Adagio molto - Allegro con brio
00:09:03 Symphony No. 1 in C Major, Op. 21: II. Andante cantabile con moto
00:17:36 Symphony No. 1 in C Major, Op. 21: III. Menuetto & Trio. Allegro molto e vivace
00:21:02 Symphony No. 1 in C Major, Op. 21: IV. Finale. Adagio - Allegro molto e vivace
00:27:21 Symphony No. 3 in E-Flat Major, Op. 55: I. Allegro con brio
00:42:24 Symphony No. 3 in E-Flat Major, Op. 55: II. Marcia funebre. Adagio assai
00:59:12 Symphony No. 3 in E-Flat Major, Op. 55: III. Scherzo & Trio. Allegro vivace
01:05:01 Symphony No. 3 in E-Flat Major, Op. 55: IV. Allegro molto - Poco andante – Presto
01:16:50 Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio
01:24:56 Symphony No. 5 in C Minor, Op. 67: II. Andante con moto
01:36:18 Symphony No. 5 in C Minor, Op. 67: III. Allegro
01:45:11 Symphony No. 5 in C Minor, Op. 67: IV. Allegro – Presto
01:54:14 Symphony No. 6 in F Major, Op. 68: I. Allegro ma non troppo
02:03:45 Symphony No. 6 in F Major, Op. 68: II. Andante molto mosso
02:16:26 Symphony No. 6 in F Major, Op. 68: III. Allegro - Sempre più stretto - In tempo d'allegro - Tempo I – Presto
02:03:45 Symphony No. 6 in F Major, Op. 68: IV. Allegro
02:22:10 Symphony No. 6 in F Major, Op. 68: V. Allegretto
02:25:23 Symphony No. 9 in D Minor, Op. 125: I. Allegro ma non troppo, un poco maestoso
02:35:44 Symphony No. 9 in D Minor, Op. 125: II. Molto vivace – Presto
02:52:39 Symphony No. 9 in D Minor, Op. 125: III. Adagio molto e cantabile - Andante moderato - Tempo I - Andante moderato - Adagio - Lo stesso tempo
03:06:27 Symphony No. 9 in D Minor, Op. 125: IV. Presto - Allegro assai - Presto - Recitativo - Allegro assai
Artist:
Brendel Alfred
03:48:01 Piano Concerto No. 3 in C Minor, Op. 37: I. Allegro con brio
04:03:06 Piano Concerto No. 3 in C Minor, Op. 37: II. Largo
04:13:18 Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo
04:22:33 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": I. Allegro moderato
04:42:32 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso
04:51:05 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Rondo. Allegro
This is part 1 of the first and only Complete Locatelli Edition ever!
Locatelli, like many of his contemporaries, moved abroad and settled in Amsterdam/The Netherlands, concertising as a violinist (and a “devil” he was as a performer!), and founding a flourishing publishing house.
Locatelli composed in the tradition of the Italian Baroque, in the well known forms of the Concerto Grosso, Solo Concerto and Trio Sonata. His style is inventive, flamboyant, and extremely virtuoso. His violin sonatas and concertos still present a daunting challenge even to today’s violinists.
Pietro Antonio Locatelli was one of the most important composers of the Baroque period, being a particularly celebrated composer of violin repertoire. His collection L’arte del violino contains 12 violin concertos with 24 caprices in the first and last movement of each, allowing for astonishing displays of virtuosity.
Composer: Pietro Antonio Locatelli
Artist: Various artists
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Bartok’s assessment of Zoltán Kodály’s music as “the most perfect embodiment of the Hungarian spirit” will strike a chord with those familiar with the suite from his opera Háry János, the Dances of Galanta or indeed the works for cello which moved the instrument on from the Romantic idiom of Brahms, and at the same time looked backwards to the dancing elegance of Bach’s solo Suites.
He had taught himself to play the cello to a reasonable standard (also the violin and viola) and while, as he freely admitted, not a natural virtuoso, he had a feeling for the instrument which is obvious in his writing. The Adagio was his first published work, dating from 1905 and originally written for violin and piano: still broadly Romantic in idiom, and unaffected as yet by his work in collecting folk songs from the countries of south-eastern Europe which would decisively influence his mature idiom.
Composer: Zoltán Kodály
Artist: István Várdai (cello)
Klara Würtz (piano)
00:00:00 Sonata for Cello in B Minor, Op. 8: I. Allegro maestoso ma appassionato
00:09:16 Sonata for Cello in B Minor, Op. 8: II. Adagio con gran espressione
00:20:46 Sonata for Cello in B Minor, Op. 8: III. Allegro molto vivace
00:32:26 Sonatina for Cello and Piano
00:41:12 Capriccio for Cello Solo
00:46:07 Adagio for Cello and Piano
00:53:55 Sonata, Op. 4: I. Fantasia
01:01:31 Sonata, Op. 4: II. Allegro con spirit
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Erik Satie (1866-1925) was without doubt one of great ‘one offs’in musical history. Impossible to categorise, he composed around 100 works, which include film scores, ballets, melodies and above all piano works. A friend of Debussy, Ravel, Cocteau,Picasso and Diaghalev, he was at the core of the avant garde in Paris, and yet he remained an outsider – deliberately so.
Happy playing piano in jazz bars – where he and Debussy met each other, Satie was the antithesis of the late 19th century and early 20th musical world as dominated by Wagner and his adherents. The master of Bayreuth had proclaimed himself the prophet of ‘music of the future’and his vast opulently scored music dramas cast their spell over the Second Viennese school, and also Debussy, whose opera Pelléas et Melisande has a good deal of Parsifal and Tristan in its score. With Satie, it was the music of the past that was important, and he even returned to the tones of the ancient Greeks. Gymnopédies evokes the dance of children from ancient Sparta, who danced in honour of Apollo. Similarly, Gnossiennes is from the labyrinth at Knossos (Gnossos). It wasn’t all ancient Greek influences though that guided Satie’s inspiration – jazz and the music hall were potent influences
Perhaps the most idiosyncratic work he composed is Vexations. He composed it in 1893, but refused to show the score to anyone, and the premiere took place in 1963 at the instigation of John Cage. The score occupies a single page, headed ‘Page Mystique. To play this motif 840 times in succession, it will be necessary to prepare oneself in advance, in total silence, by remaining absolutely motionless.’ A complete performance thus takes 18–30 hours. Cristina Ariagno plays an excerpt.
Tracklist can be found below!
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Half a bar of Carl Nielsen and you know it’s him; a characteristic of great composers down the ages, to be sure, but one peculiarly concentrated around nationalist composers of the late 19th and early 20th centuries. Nationalist, not necessarily through any political affiliation but because they sought to renew both the standard musical forms and genres, and their own country’s culture, with bold and fresh attempts to marry the two. So successful was Nielsen at this (like Sibelius in Finland), indeed, that for decades afterwards he seemed to cast a shadow over those who came after.
The symphonies lie at the centre of Nielsen’s achievement. They develop as he did, from exuberant Romanticism (No.1), through rangy melodies and ‘visionary’ slow movements (Nos. 2 and 3), to an unquenchable embrace of the heroic struggle that places Man at the centre of his world (Nos. 4 and 5), finally to rest in a quizzical re-examination of all that we hold worthwhile in mind and music (No.6, the ‘Sinfonia semplice’: never was a symphony more ironically named.)
Each symphony sets off on its own exciting journey, and the demands Nielsen makes on his participants are extreme; he was a fine violinist himself, and he used his extensive knowledge to turn string players inside out with ferocious fugues and precipitous runs. Many great orchestras have tackled this music, and some have ended up making it into little more than concertos for orchestra in all but name. Not however, this apparently less glittering ensemble. David Hurwitz, famously hard to please, is unequivocal in his Classics Today review: ‘Theodore Kuchar leads what is without question the most exciting complete Nielsen symphony cycle available, making this the set to get for Nielsen newcomers.
Composer: Carl Nielsen
Artist:
Janacek Philharmonic Orchestra
Theodore Kuchar (conductor)
00:00:00 Symphony No. 1 in G Minor, Op. 7: Allegro orgoglioso
00:09:09 Symphony No. 1 in G Minor, Op. 7: Andante
00:17:16 Symphony No. 1 in G Minor, Op. 7: Allegro comodo
00:24:59 Symphony No. 1 in G Minor, Op. 7: Finale, allegro con fuoco
00:33:10 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro collerico
00:41:58 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro comodo e flemmatico
00:46:00 Symphony No. 2, Op. 16 “The Four Temperaments”: Andante malincolico
00:58:33 Symphony No. 2, Op. 16 “The Four Temperaments”: Allegro sanguinoso
01:05:15 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegro espansivo
01:16:36 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Andante pastorale
01:26:16 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Allegretto un poco
01:32:50 Symphony No. 3, Op. 27 “Sinfonia espansiva”: Finale, allegro
01:42:07 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
01:53:17 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco allegretto
01:57:48 Symphony No. 4, Op. 29 “The Inextinguishable”: Poco adagio quasi andante
02:07:23 Symphony No. 4, Op. 29 “The Inextinguishable”: Allegro
02:16:11 Symphony No. 5, Op. 50: Tempo giusto
02:34:32 Symphony No. 5, Op. 50: Allegro
02:50:52 Symphony No. 6 “Sinfonia semplice”: Tempo giusto
03:04:33 Symphony No. 6 “Sinfonia semplice”: Humoreske, allegretto
03:08:41 Symphony No. 6 “Sinfonia semplice”: Proposta seria, adagio
03:14:47 Symphony No. 6 “Sinfonia semplice”: Theme & variations
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Composer & Artist:
Composer: Christoph Nichelmann
Artist: Michele Benuzzi
About this Album:
When calling to mind harpsichord music of the Baroque period, the 24 Preludes and Fugues of J.S. Bach or the Pièces de clavecin by Couperin are perhaps the most immediately obvious choices. However, the music of Christoph Nichelmann (who is said to have studied with Bach) is equally inspired, and this release is the first step towards a more substantial recording of his oeuvre – indeed, it is the first recording solely dedicated to his output. One of a large number of composers whose music faded into obscurity after their death, Nichelmann is at last attracting the scholarly attention he deserves, largely thanks to today's vogue for discovering and promoting lesser-known repertoire.
This recording brings together the two sets of six sonatas from the middle of Nichelmann’s life, printed in 1745, and which represent the only two surviving collections of his music. The style of his compositions is intriguing and eclectic: on the one hand we can still hear the heritage of Baroque music, and on the other the development of a more sensitive and expressive language – although not quite the bridge to the Classicism which we hear in the music of Bach’s son, Carl Philipp Emanuel.
Tracklist:
00:00:00 Sonata in G Minor, Op. 1 No. 1: I. Moderato
00:04:31 Sonata in G Minor, Op. 1 No. 1: II. Largo
00:08:12 Sonata in G Minor, Op. 1 No. 1: III. Allegro
00:11:22 Sonata in D Major, Op. 1 No. 2: I. Allegretto
00:15:33 Sonata in D Major, Op. 1 No. 2: II. Mesto
00:17:45 Sonata in D Major, Op. 1 No. 2: III. Allegro
00:22:39 Sonata in B Minor, Op. 1 No. 3: I. Un poco allegro
00:28:28 Sonata in B Minor, Op. 1 No. 3: II. Andantino
00:30:40 Sonata in B Minor, Op. 1 No. 3: III. Presto
00:33:54 Sonata in G Major, Op. 1 No. 4: I. Allegretto
00:38:24 Sonata in G Major, Op. 1 No. 4: II. Largo
00:40:29 Sonata in G Major, Op. 1 No. 4: III. Vivace
00:45:58 Sonata in C Minor, Op. 1 No. 5: I. Un poco allegro
00:53:01 Sonata in C Minor, Op. 1 No. 5: II. Andante
00:55:42 Sonata in C Minor, Op. 1 No. 5: III. Presto
00:59:17 Sonata in F Major, Op. 1 No. 6: I. Allegro
01:05:11 Sonata in F Major, Op. 1 No. 6: II. Adagio
01:08:22 Sonata in F Major, Op. 1 No. 6: III. Presto
01:12:39 Sonata in B-Flat Major, Op. 2 No. 1: I. Allegretto
01:16:23 Sonata in B-Flat Major, Op. 2 No. 1: II. Largo
01:19:09 Sonata in B-Flat Major, Op. 2 No. 1: III. Presto
01:22:10 Sonata in F Minor, Op. 2 No. 2: I. Un poco allegro
01:26:08 Sonata in F Minor, Op. 2 No. 2: II. Andante
01:27:56 Sonata in F Minor, Op. 2 No. 2: III. Vivace
01:30:57 Sonata in A Major, Op. 2 No. 3: I. Allegro
01:35:05 Sonata in A Major, Op. 2 No. 3: II. Largo
01:37:49 Sonata in A Major, Op. 2 No. 3: III. Allegretto
01:41:57 Sonata in D Minor, Op. 2 No. 4: I. Allegro
01:45:06 Sonata in D Minor, Op. 2 No. 4: II. Adagio
01:48:02 Sonata in D Minor, Op. 2 No. 4: III. Allegro
01:51:21 Sonata in E-Flat Major. Op. 2 No. 5: I. Allegro
01:54:33 Sonata in E-Flat Major. Op. 2 No. 5: II. Andante
01:56:06 Sonata in E-Flat Major. Op. 2 No. 5: III. Allegro
02:00:02 Sonata in A Minor, Op. 1 No. 6: I. Allegro
02:06:27 Sonata in A Minor, Op. 1 No. 6: II. Andante
02:08:10 Sonata in A Minor, Op. 1 No. 6: III. Presto
#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Nichelmann #Harpsichord
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Every now and again a piece of music comes along that captures the public’s attention and imagination – a composition, movement or excerpt which, on account of the enjoyment or interest we continue to derive from it upon repeated listening, is catapulted into the classical canon where it assumes the status of a permanent fixture.
Such is the case regarding the pieces brought together on this CD album: ‘chart-topping’ tunes which are among classical music’s most loved and celebrated works. From Handel’s rousing chorus Zadok the Priest – a coronation anthem that survived its ineffective first performance to become of the composer’s most popular works – to the magical beauty of Faure’s wistful, six-minute Pavane and Khachaturian’s rhythm-driven Gayaneh excerpt ‘Sabre Dance’, the set traces over 200 years of Western musical composition to present a programme that is diverse both in style and mood and which never fails to entertain. At hand to perform these iconic works (and revealing their versatility of repertoire) is the Royal Philharmonic Orchestra, with acclaimed singers such as Deborah Norman and Wynne Evans putting the finishing touches to this all-British effectuation.
- A good, old fashioned, success-proven compilation of Classical Hits, Orchestral Favourites, or whatever you would like to call these ever popular works, which still have a chance to find a new audience, because there are still hoards of people who have never heard Verdi’s Triumphal Aida March, Handel’s Hallelujah, Khatchaturian’s Sabre Dance, Strauss’ Blue Danube, Orff’s O Fortuna, or Puccini’s Nessun Dorma.
- Excellent performances by one of the world’s best orchestras, the Royal Philharmonic Orchestra.
- Total time nearly 140 minutes.
00:00:00 Coronation Anthem "Zadok the Priest", HWV 258
00:05:17 The Valkyrie, WWV 86B, Pt. 3: The Ride of the Valkyries
00:10:27 Aida, Pt. 2: Grand March
00:18:05 Variations on an Original Theme “Enigma”, Op. 36
00:21:50 Les pêcheurs de perles, WD 13, Pt. 1:Duet. Au fond de temple saint (Nadir, Zurga)
00:26:46 Orphée aux enfers, Pt. 2: Can-Can
00:28:58 Slavonic Dances, Op. 46: VIII. Slavonic Dance in G Minor. Furiant (Presto)
00:33:28 Turandot, Pt. 3: Aria. Nessun dorma
00:36:28 Danse macabre in G Minor, Op.40
00:43:48 Madama Butterfly, Pt. 2: Aria. Un bel dì vedremo (Butterfly)
00:49:29 Adagio for Strings in B-Flat Minor
00:57:11 Boléro in C Major, M. 81
01:11:56 Finlandia, Op. 26
01:19:55 Carmina Burana: O fortuna
01:22:29 Pavane in F-Sharp Minor, Op. 50
01:28:57 And Did Those Feet in Ancient Time “Jerusalem”
01:31:47 The Liberty Bell March
01:34:14 The Barber of Seville: Aria. Largo al factotum
01:39:05 An der schönen blauen Donau, Op. 314
01:48:58 Messiah, HWV 56: Hallelujah
01:53:09 Pomp and Circumstance, Op. 39: March No.1 in D Major
01:58:43 O sole mio
02:01:01 Gayaneh, Ballet Suite: Sabre Dance
02:03:27 1812 Overture, Op. 49
Composers:
Edward Elgar, Georg Frideric Handel, Richard Wagner
Artist:
Royal Philharmonic Orchestra
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Composer and Artists:
Composer: Benjamin Britten
Artists: Rundfunkchor Leipzig, Dresdner Philharmonie , Herbert Kegel (conductor), Kari Lövaas (soprano), Anthony Roden (tenor), Theo Adam (bass-baritone)
About this Album:
The common theme of the three works presented on these 2 CD is Death, the transience of earthly existence. Britten’s famous and substantial War Requiem was written in commemoration of the 2nd World War victims, dedicated to the people of the destroyed city of Coventry, Penderecki’s Threnody is dedicated to the victims of Hiroshima, and Alban Berg’s moving Violin Concerto is written “to the memory of an angel”, the death of the 19 year old daughter of Alma Mahler.
Performances conducted by the great East-German conductor Herbert Kegel, a specialist in 20th century masterworks. He conducts the Dresdner Philharmonie and the Leipzig Radio-Sinfonieorchester, soloists include the great Kari Lövaas and Theo Adam.
A reissue from the rich archives of Berlin Classics, treasures from the DDR.
Tracklist:
00:00:00 War Requiem, Op. 66: I. Requiem aeternam. Requiem aeternam (chorus/boys’ choir)
00:07:46 War Requiem, Op. 66: I. Requiem aeternam. What passing-bells (tenor)
00:10:54 War Requiem, Op. 66: I. Requiem aeternam. Kyrie eleison (chorus)
00:12:40 War Requiem, Op. 66: II. Dies irae. Dies irae, dies illa (chorus)
00:16:51 War Requiem, Op. 66: II. Dies irae. Bugles Sang (baritone)
00:20:03 War Requiem, Op. 66: II. Dies irae. Liber scriptus proferetur (soprano/chorus)
00:23:10 War Requiem, Op. 66: II. Dies irae. Out There, We walked Quite Friendly up To Death (tenor/baritone)
00:25:09 War Requiem, Op. 66: II. Dies irae. Recordare, Jesu pie (chorus
00:30:45 War Requiem, Op. 66: II. Dies irae. Be Slowly Lifted up (baritone)
00:32:29 War Requiem, Op. 66: II. Dies irae. Dies irae, dies illa (chorus/soprano)
00:33:50 War Requiem, Op. 66: II. Dies irae. Lacrimosa (chorus) – Move Him into the Sun (tenor)
00:40:42 War Requiem, Op. 66: II. Dies irae. Pie Jesu domine (chorus)
00:42:38 War Requiem, Op. 66: III. Offertorium. Domine Jesu Christe (boys’ choir)
00:44:23 War Requiem, Op. 66: III. Offertorium. Sed signifer sanctus Michael (chorus)
00:46:43 War Requiem, Op. 66: III. Offertorium So Abram rose (baritone/tenor)
00:51:28 War Requiem, Op. 66: III. Offertorium Quam olim Abrahae (chorus)
00:53:07 War Requiem, Op. 66: IV. Sanctus. Sanctus (soprano/chorus)
00:55:50 War Requiem, Op. 66: IV. Sanctus. Hosanna – Benedictus – Hosanna (chorus/soprano)
01:00:03 War Requiem, Op. 66: IV. Sanctus. After the Blast (baritone)
01:03:31 War Requiem, Op. 66: V. Agnus dei. One Ever Hangs (tenor/chorus)
01:08:06 War Requiem, Op. 66: VI. Libera me. Libera me (chorus/soprano)
01:15:32 War Requiem, Op. 66: VI. Libera me. It Seemed (tenor/baritone)
01:24:01 War Requiem, Op. 66: VI. Libera me. Let Us Sleep Now (tenor/baritone/soprano/boys’ choir/chorus)
01:30:01 Threnody “To the Victims of Hiroshima”
01:38:40 Violin Concerto: I. Andante – Allegretto
01:49:41 Violin Concerto: II. Allegro, ma sempre rubato, frei wie eine Kadenz – Adagio
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Composer: Roffredo Caetani
Artist: Alauda Quartet
In a series of first recordings, Brilliant Classics has explored the rich culture of non-operatic music in Italy during the late-Romantic era and the first decades of the last century. Particular attention has been given to the flourishing traditions of instrumental and chamber music, with recent releases not only of well-known names such as Respighi (BC94445), Martucci (BC94816 and a brand-new release of piano trios, BC94968) and Nino Rota (BC95237), but less familiar, often no less inspired composers such as Antonio Bazzini (BC95030), Ildebrando Pizzetti (BC9202) and Guido Fano (BC95353).
Among these lesser lights must be counted Roffredo Caetani (1871-1961). A Brilliant Classics release of his piano music (BC94909) has already disclosed an effusively lyrical, unashamedly Romantic voice working in the post-Lisztian tradition regardless of musical upheavals and revolutions around him. Caetani had more reason than most for his reactionary temperament, as godson to Liszt himself. The Hungarian composer recognized the young Roman’s talent and entrusted it to his friend Giovanni Sgambati for further instruction and refinement.
The Op.1 No.1 Quartet on this release was one of the first products of Caetani’s student years, composed when he was just 17 years old, but distinguished by a precocious mastery of the genre, as contemporary critics were not slow to recognize. The quartet is cast in a single, wide-ranging span: an innovative structure for the time, if in its way the writing is unmistakably indebted to the example of Beethoven. Twenty years later, Caetani returned to the quartet genre once more with his Op.12
in F minor: a three-movement work of considerably greater breadth in both its themes and development.
00:00:00 String Quartet No. 2 in F Minor, Op. 12: I. Allegro moderato
00:10:46 String Quartet No. 2 in F Minor, Op. 12: II. Molto lento
00:20:03 String Quartet No. 2 in F Minor, Op. 12: III. Presto
00:28:50 String Quartet No. 1 in D Major, Op. 1: Tempo di quartetto. Allegro - Un poco Moderato – Agitato –Tempo I – Moderato come la prima volta – Allegro agitat
Explicó su teoría “Propuesta de No Límite” en la Pontificia Academia de Ciencias.
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ROME REPORTS es una Agencia de Noticias para TV, internacional e independiente, especializada en la actividad del Papa, la vida del Vaticano y los debates de actualidad sobre temas sociales, culturales o religiosos. Informar sobre la Iglesia Católica requiere cercanía a las fuentes, conocimiento en profundidad de la Institución, y elevados niveles de creatividad y competencia técnica.
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20 de junio, 2016. Papa visita residencia de sacerdotes ancianos enfermos, para darles gracias
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ROME REPORTS es una Agencia de Noticias para TV, internacional e independiente, especializada en la actividad del Papa, la vida del Vaticano y los debates de actualidad sobre temas sociales, culturales o religiosos. Informar sobre la Iglesia Católica requiere cercanía a las fuentes, conocimiento en profundidad de la Institución, y elevados niveles de creatividad y competencia técnica.
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La práctica de Upa Yoga es una forma sencilla de activar los nódulos de energía en tus articulaciones y de ejercitar tus músculos, trayendo así alivio para todo el sistema.
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http://es.romereports.com La elección del Papa es un proceso muy bien definido. La primera regla es que sólo los cardenales pueden votar para elegir al sucesor del Papa. Por eso, en cuanto empiece el periodo de Sede Vacante, el cardenal decano Angelo Sodano, los convocará oficialmente. Sin embargo, sólo los menores de 80 años podrán votar.
